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A Birth of Jazz

A YouTube History of Music

Modern Jazz 3


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.



Muhal Richard Abrams    Toshiko Akiyoshi    Mose Allison

Walter Bishop Jr    Paul Bley    Claude Bolling    Hadda Brooks    Dave Brubeck    Ray Bryant    Milt Buckner    Ralph Burns    Jaki Byard
Sonny Clark    Nat King Cole    Eddie Costa
Tadd Dameron    Wild Bill Davis    Blossom Dearie    Martin Denny    Kenny Drew
Charles Earland    Bill Evans    Gil Evans
Dick Farney    Victor Feldman    Clare Fischer    Tommy Flanagan    Don Friedman
Red Garland    Erroll Garner    George Gruntz    Vince Guaraldi
Al Haig    Sir Roland Hanna    Barry Harris    Gene Harris    Hampton Hawes    Skitch Henderson    Eddie Higgins    Andrew Hill   Jutta Hipp    Elmo Hope    Shirley Horn    Dick Hyman
Ahmad Jamal    Bob James    Hank Jones    Duke Jordan
Wynton Kelly    Stan Kenton    Krzysztof Komeda
Michel Legrand    John Lewis    Ramsey Lewis    Nils Lindberg
Junior Mance    Dodo Marmarosa    Hank Marr    Les McCann    Brother Jack McDuff    Marian McPartland    Dave McKenna    Barry Miles    Thelonious Monk
Phineas Newborn    Charlie Norman
Charlie Palmieri    Big John Patton    Duke Pearson    Oscar Peterson    Terry Pollard    Bud Powell    Mel Powell    André Previn
Sun Ra    Freddie Redd    Wally Rose    Jimmy Rowles    George Russell
Shirley Scott    George Shearing    Lalo Schifrin    Horace Silver    Nina Simone    Jimmy Smith    Johnny Hammond Smith    Martial Solal    Lou Stein    Ralph Sutton
Horace Tapscott     Billy Taylor    Cecil Taylor    Sir Charles Thompson    Bobby Timmons    Stan Tracey    Lennie Tristano    Bobby Troup
Mal Waldron    George Wallington    Cedar Walton    Randy Weston    Mary Lou Williams    Claude Williamson
Joe Zawinul



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

Names are alphabetical, not chronological, per year:



Mary Lou Williams

1929 Art Hodes
1936 Nat King Cole
1937 Stan Kenton
1938 Charlie Norman
1939 George Shearing
1940 Tadd Dameron
1941 Thelonious Monk    Mel Powell    Sir Charles Thompson
1942 Milt Buckner    Ralph Burns    Gil Evans    Wally Rose    Jimmy Rowles    Lou Stein
1943 Dodo Marmarosa
1944 Tadd Dameron    Dick Farney    Victor Feldman    Al Haig    Bud Powell    Billy Taylor
1945 Hadda Brooks    Wild Bill Davis    Erroll Garner    Hank Jones    Duke Jordan     Oscar Peterson
1946 Skitch Henderson    André Previn    Sun Ra     John Lewis    Lennie Tristano
1947 Red Garland    Hampton Hawes    Junior Mance    Charlie Palmieri    George Russell    Ralph Sutton    George Wallington    Claude Williamson
1948 Walter Bishop Jr    Claude Bolling   Ray Bryant    Elmo Hope    Wynton Kelly    Marian McPartland    Terry Pollard
1949 Dave Brubeck    Jaki Byard    Dave McKenna    Phineas Newborn    Randy Weston
1950 Kenny Drew    Tommy Flanagan   Barry Harris    Dick Hyman    Freddie Redd    Shirley Scott
1951 Ahmad Jamal    Wynton Kelly    Lalo Schifrin    Horace Silver
1952 Blossom Dearie    Vince Guaraldi    Jutta Hipp    Hank Marr    Stan Tracey    Mal Waldron
1953 Toshiko Akiyoshi    Paul Bley    Sonny Clark    Michel Legrand    Martial Solal    Bobby Troup    Joe Zawinul
1954 Eddie Costa    Bill Evans    Jimmy Smith
1955 Don Friedman   Gene Harris    Andrew Hill
1956 Sir Roland Hanna    Krzysztof Komeda    Les McCann    Barry Miles    Big John Patton    Cecil Taylor    Bobby Timmons
1957 Mose Allison    Martin Denny    Clare Fischer    Don Friedman   Eddie Higgins    Ramsey Lewis    Johnny Hammond Smith
1958 Muhal Richard Abrams    George Gruntz    Bob James    Nils Lindberg    Nina Simone    Horace Tapscott     Cedar Walton
1959 Charles Earland    Shirley Horn    Brother Jack McDuff    Duke Pearson


  Together with saxophone, piano is the main instrument of modern and progressive jazz. This page is intended to list pianists releasing their first recordings before 1960. Other early jazz pianists can be found under Early Jazz and Swing Jazz. Pianists who played vibraphone are found in Jazz Percussion.



Birth of Modern Jazz: Mary Lou Williams

Mary Lou Williams

Source: All About Jazz


Born Mary Elfrieda Scruggs in 1910 in Atlanta, Mary Lou Williams (aka First Lady of Jazz) married saxophonist John Williams in 1927. But she first made her debut recordings in January that year with the band in which John played, Jeanette James and the Synco Jazzers (Jeanette James was a vocalist.) Those tracks made for Paramount in Chicago were: 'Downhearted Mama', 'Midnight Stomp', 'The Bumps' and 'What's That Thing?'. Upon Jeanette vacating, John assumed leadership, Mary to attend sessions with that band from February to May. Williams next recorded with Andy Kirk's Twelve Clouds of Joy in Kansas City on November 7, 1929, titles like 'Mess-s-Stomp' and 'Cloudy' which she also arranged. John was also in on those titles, with whose Memphis Stompers she recorded 'Somepin' Slow and Low' and 'Lotta Sax Appeal' two days later, she also arranging those. Kirk' would be a huge figure in Williams' career, she contributing to countless titles in his band throughout the thirties. Her last recordings with Kirk are thought to have been on July 17, 1941, she again arranging titles like '47th Street Jive' and 'No Answer'. Another huge presence was clarinetist, Benny Goodman, she arranging her first title for his orchestra in Hollywood per a session on July 7, 1937, with Jess Stacy at piano: 'Roll 'Em', which she also composed. Williams would work for Goodman numerously in '41, '46, '48, '55 and, finally, a reunion on January 17, 1978, for 'Goodman's '40Th Anniversary Concert'. Williams was also known for her work with Mildred Bailey, first accompanying Bailey's Oxford Greys on March 16, 1939, for such as 'Barrelhouse Music' and 'Arkansas Blues'. She would join Bailey again in 1944 and '45 for numerous CBS Radio broadcasts of 'Music 'Til Midnight'. The first on November 24 of '44 wrought titles like 'Don't Fence Me In' and 'Roll 'Em'. Her last session with Bailey fell on February 9 of '45, also for 'Music 'Til Midnight', putting down such as 'Sleigh Ride in July' and 'Rockin' Chair'. Williams had long since made her first name recordings, those a couple piano solos in Chicago on April 24, 1930: 'Night Life' and 'Drag 'Em'. Her first session as a leader followed five years later in NYC on March 7 of 1936 with Booker Collins (bass) and Ben Thigpen (drums) for 'Corny Rhythm', 'Over Hand' and 'Isabelle'. 'Swingin' for Joy' and 'Clean Pickin' followed on the 11th. Of Williams' well above 200 sessions 87 of those were her own projects. Her last piano solos, issued as 'Solo Recital', were recorded at the Montreux Jazz Festival in Switzerland on July 16, 1978, such as 'Over the Rainbow' and 'Offertory Meditation'. Her final recordings are thought to have been on November 14 of 1979 for 'At Rick's Cafe Americain' with Milton Suggs (bass) and Drasheer Khalid (drums). She died on May 28, 1981. The two tracks below for year 1945 are from her album, 'Zodiac Suite'. The three tracks for 1963 are from the album, 'Black Christ of the Andes'.

Mary Lou Williams   1927

   The Bumps

   What's That Thing?

Mary Lou Williams   1930


Mary Lou Williams   1936

   Mary's Special

   Overhand (New Froggy Bottom)

Mary Lou Williams   1944

   Russian Lullaby

Mary Lou Williams   1945



Mary Lou Williams   1963

   Dirge Blues

   A Grand Night For Swinging

   Miss D.D.

Mary Lou Williams   1974


Mary Lou Williams   1976

   Ode To Saint Cecile

   Album: 'Free Spirits' 



Nat King Cole was born in 1919 in Montgomery, Alabama. He made his first recordings in 1936 with his brother, bassist, Eddie Cole's, Solid Swingers for Decca: 'Honey Hush' (vocal: Eddie Cole), 'Stompin' at the Panama', 'Bedtime' and 'Thunder'. The next year he formed the King Cole Trio with bassist, Wesley Prince, and guitarist, Oscar Moore. The majority of Cole's 225 sessions were his own, others claiming his talents on occasion, such as several sessions in 1944 for Norman Granz' Jazz at the Philharmonic at the Philharmonic Auditorium in Los Angeles. Cole's 'Nat King Cole Show' debuted in November of 1956, which he pulled thirteen months later, unable to acquire sufficient sponsorship (he being black). He recorded his last album, 'L-O-V-E', in December 1964, that issued before his death of lung cancer on February 15, 1965, in Santa Monica, CA. Vocals by Nat King Cole can be found at Modern Jazz Song. Yet more Nat King Cole in a Birth of Rock & Roll 2 and under guitarist, Oscar Moore, in Modern Jazz Guitar. Per 1936 below, tracks are by Eddie Cole and the Solid Swingers, Eddie the vocalist. Unfortunately, Cole's piano recordings from 1938 through 1941 at YouTube's Overjazz channel have long since been made unavailable, making something of a footnote of Cole as a fine pianist on this page.

Nat King Cole   1936


  Honey Hush

  Stompin' At The Panama


Nat King Cole   1944

   B-Flat Blues

    Jazz at the Philharmonic 

  What Is This Thing Called Love

Nat King Cole   1947

   How High the Moon

Nat King Cole   1957

   Tea For Two


Birth of Modern Jazz: Nat King Cole

Nat King Cole

Photo: William P. Gottlieb

Source: Circulo de Estudios


Birth of Modern Jazz: Stan Kenton

Stan Kenton

Photo: Dave DeCaro

Source: Duduki


Born in Wichita, Kansas, in 1911, pianist, composer and band leader Stan Kenton started his career playing with dance bands in the thirties. He is thought to have first popped up on disc as a pianist in the Gus Arnheim Orchestra per a session on May 15, 1937, bearing such as 'The Image of You' and ''I'm Happy, Darling' with Ray Foster at vocals. Sessions with Arnheim ensued into summer before he joined the Vido Musso Orchestra in 1938, that followed by the Manny Strand Orchestra in '39 and '40. Sessions with Strand would eventually see release in 1999 as 'Night at Earl Carroll's'. Kenton's name would come to be a household word while working largely as an orchestra leader whose highly prolific recording career saw above 530 sessions, nearly all of them his own. Tom Lord's Discography shows his first session as a leader circa September of 1940 likely in Hollywood, those unissued titles: 'Reed Rapture' and 'Body and Soul'. November 1 has him arranging a string of the titles with only 'Etude for Saxophones' issued by Capitol. His first big affair as a bandleader was in 1941 upon getting booked at the Rendezvous Ballroom in Balboa, California. He began broadcasting from there on July 25 of '41 for the Mutual Broadcasting System: 'Artistry in Rhythm' (composed by Kenton) and 'Reed Rapture'. Another MBS broadcast ensued on September 1 before a Decca session on the 11th yielding 'Taboo', 'Adios', et al. Putting the Boom! to Kenton's career that year were numerous transcriptions for McGregor beginning on the 20th with such as 'Artistry in Rhythm' and 'Two Guitars'. Kenton ran a nonstop dead-ahead operation in the decades to come, including international tours. He would become something of a surveyor over American orchestral jazz, the go-to guy who knew everyone and all that was happening, the man to see for musicians who needed something, like a job. Many a musician got started with Kenton and many a prominent name performed with him at one time or another. Lord's disco has him playing piano with his orchestra on a final session at William Rainey Harper College in Palatine, Illinois, on April 21, 1978. That was released posthumously as 'A Time for Love (The Final Chapter)' in 1980, as Kenton had passed away on August 25, 1979.

Stan Kenton   1941

  Balboa Bash


    Vocal: Red Dorris

  I Haven't Got the Heart

  A Little Jive Is Good for You

     Vocal: Earl Collier

  Love Turns Winter to Spring

     Vocal: Red Dorris

   Marvin's Mumble

   Old Black Joe

   Prelude to Nothing

   Tempo De Joe

   Trumpet Symphonette

Stan Kenton   1942

   Gambler Blues

   This Love of Mine

      Film: 1944    Vocalist: Cyd Charisse

Stan Kenton   1943

   Artistry In Rhythm

Stan Kenton   1945


      Film    Vocalist: June Christy

Stan Kenton   1952


Stan Kenton   1953

   Harlem Nocturne

   Over the Rainbow

Stan Kenton   1954


Stan Kenton   1956


   El Congo Valiente

   Malibu Moonlight

   Polka Dots and Moonbeams

   La Suertes De Los Tontos

Stan Kenton   1958


Stan Kenton   1972

   Live in London


Stan Kenton   1976

   Send In the Clowns



Birth of Modern Jazz: George Shearing

George Shearing

Photo: Bettmann/Corbis

Source: France Musique


Born in London in 1919, blind pianist, George Shearing, first recorded in 1937 in association with Leonard Feather, a radio broadcast for the BBC which wasn't his only. Neither transcriptions nor record issues are known to have been made. Shearing began recording en force in 1938 with Vic Lewis and Carlo Krahmer, laying tracks with their ensembles into 1939. Sessions with Lewis, beginning with 'Ja-Da' and 'In de Ruff' in June of '38, are well-documented but releases per Lincon [sic] Rhythm Style and Day's Rhythm Style aren't. Shearing's first certain issue therefore doesn't arrive until his own session with his trio on March 2, 1939, for Decca 7102 ('How Come You Do Me Like You Do?'/'Stomp in F') and 7038 ('Blue Boogie'/'Squeezin' the Blues'). Shearing had earlier recorded a couple of unissued piano solos for Decca on January 19: 'Blue Boogie' and 'Nagasuckle Rose'. Shearing's first sessions in U.S. to where he would soon immigrate were in February in 1947 with his Trio in NYC, the first for Savoy yielding 'Bop's Your Uncle' et al, the second for Decca bearing 'The Nearness of You' et al. Two years later he formed his Quintet, his first session with that on January 31 of '49 in NYC for such as 'Cherokee' and 'Four Bars Short'. Such as 'September In the Rain' followed on February 17. That would get retitled 'Lullaby of Birdland' by Verve on a later album. Shearing became a citizen of the U.S. in 1955. Approaching 260 sessions during his career, Shearing led 181 of them. 1966 or '67 found him contributing piano to 'Cuckoo in the Clock' on 'The Airmen of Note & Friends'. The Airmen of Note were a US Air Force band in the tradition of Glenn Miller. Shearing's later career saw vocalist, Mel Tormé, on a handful of sessions between 1982 and 1990. Their first on April 16 of '82 at the Hotel Mark Hopkins in San Francisco wrought 'An Evening with George Shearing and Mel Torme'. Their last on November of 1990 at the Paul Masson Mountain Winery in Saratoga, CA, bore 'Mel & George 'Do' World War II'. The majority of Shearing's latter twenty years were spent working intermittently between the U.K. and the U.S. November of 1987 found him in Japan recording 'Dexterity'. His last session is thought to have been for 'Like Fine Wine' in 2004. Shearing died on February 14 of 2011.

George Shearing   1940

   Blue Moon

George Shearing   1941

   Jump For Joy Blue

George Shearing   1945

   Autumn Leaves

George Shearing   1948


George Shearing   1949

   Cotton Top


   Lady Byrd

   I'll Be Around


   September In the Rain

   Swedish Pastry

George Shearing   1952

   Lullaby of Birdland

George Shearing   1954

   I'll Remember April

   Jumping with the Symphony

   Little White Lies

   Roses of Picardy

George Shearing   1956

   Latin Escapade


George Shearing   1958

   Joy Spring

   The Nearness of You

   Some Other Spring

George Shearing   1960


George Shearing   1961

   Let There Be Love

      Vocal: Nat King Cole

   The Nearness Of You

      Vocal: Nancy Wilson

George Shearing   1974


George Shearing   1989

   Newport Jazz Festival


George Shearing   1997

   My Favorite Things




Born in Cleveland in 1917, composer, arranger and pianist Tadd Dameron is thought to have first appeared on disc via Harlan Leonard and his Rockets on January 11, 1940, in Chicago, he a contributing arranger to unspecified titles. Lord's disco has him arranging 'Louisiana' for Count Basie on March 7, 1940, per a radio broadcast from the Southland Theater Restaurant in Boston. That would be included much later on 'Rock-A-Bye Basie: Live in '38 & '39' (VJC 1033) in 1991. He arranged 'Louisiana' again for Count Basie for Columbia on March 19 in NYC. A couple more interesting sessions were held with Harlan Leonard on on July 15 in Chicago and November 13 likewise. The first included Dameron's compositions, 'Rock and Ride' and '400 Swing'. He also arranged 'A la Bridges'. The second included his composition, 'Dameron Stomp'. Those were later released on 'Harlan Leonard and His Rockets 1940' in 1992 by Classics Records in France. Dameron would contribute to arrangements for Leonard once again circa 1943 for an AFRS 'Jubilee' broadcast from Hollywood. He began arranging for Jimmie Lunceford in latter '41, sticking with that operation in to summer of '43. December 5 of 1944 saw him arranging 'I Want to Talk About You' and 'Ill Wait and Pray' for Billy Eckstine with Sarah Vaughan on vocals for the latter. Dameron's career was largely that of an arranger and bandleader, periods in which he didn't record on piano. Lord's disco lists his first contribution on piano per a session for Vaughan on May 25, 1945: 'I'd Rather Have a Memory Than a Dream'. He doesn't show up on piano again until May 7, 1946, again for Vaughan. Vaughan sang Dameron's composition, 'If You Could See Me Now' on that date. He began recording on piano continuously in 1947 with Fats Navarro and his Thin Men, titles such as 'Fat Girl' and Eb Pob'. Later that year his first session as a leader arrived on which he contributed piano to 'I Think I'll Go Away' and 'Don't Mention Love to Me' with Kay Penton at vocals on both. His next name session soon ensued on September 27 with his sextet including Navarro. Titles for Blue Note would also be later issued on the LP, 'The Fabulous Fats Navarro Vol 1' in 1957, to include his composition, 'Our Delight'. A later session for Blue Note on September 13, 1948, with Navarro in Dameron's septet would also get issued on 'The Fabulous Fats Navarro Vol 2' in 1957, to include his composition, 'Lady Bird'. Dameron's composition, 'Hot House', first saw recording on September 29, 1947, at Carnegie Hall by Dizzy Gillespie and his Legendary Big Band. Dameron's first album as a leader was recorded October 28, 1947: 'The Dameron Band'. His composition, 'Good Bait', was first recorded by Dizzy Gillespie as well on December 30 of '47 for Victor. He was a part of trumpeter, Clifford Brown's, circle to co-lead sessions in June of '53 that can be found on the 2009 CD 'Clifford Brown Lost Rehearsals 1953-56'. On June 11 of '57 they filled 'Clifford Brown Memorial' with Dameron's compositions such as 'Choose Now'. Other compositions by Dameron. Dameron tickled the keys from '47 through the fifties and into the early sixties before gradually focusing on only arranging and directing again. Lord's has his last recordings on piano in November and December of 1961, both unissued. The first was the piano solo suite, 'Improvisation 1-7', with 'Autumn in New York'. The second consisted of titles to be included on the LP by various artists, 'The Lost Sessions', in 1999. Dameron's last session as an arranger was for Chet Baker's quintet in May of 1964, putting together titles on the latter's confident 'The Most Important Jazz Album of 1964-65'. Dameron died relatively young at age 48 of cancer on March 8, 1965. A quarter century of recording had him contributing to above 120 sessions. Among those with whom he worked on multiple occasions were Georgie Auld, Milt Jackson, Miles Davis, Artie Shaw and Woody Herman, usually arranging with the exception of playing piano for Davis, who also backed Dameron for a couple sessions in '49, including titles to be included on 'Big Ten & Royal Roost Jam' per Beppo Records (503).

Tadd Dameron   1940


      Count Basie Orchestra

     Arrangement: Tadd Dameron

Tadd Dameron   1947

   The Chase

      Trumpet: Fats Navarro

   Lady Bird

      Trumpet: Fats Navarro

   Our Delight

      Trumpet: Fats Navarro

Tadd Dameron   1948

   Good Bait

      Composer: Count Basie

      Trumpet: Fats Navarro

Tadd Dameron   1955

   A Study in Dameronia

      Featuring Clifford Brown

Tadd Dameron   1956

   On A Misty Night

      Tenor Sax: John Coltrane

   Super Jet

      Tenor Sax: John Coltrane

Tadd Dameron   1962

   You're a Joy

      Vocalist: Barbara Winfield


Birth of Modern Jazz: Tadd Dameron

Tadd Dameron

Photo: William P. Gottlieb

Source: Keep Swinging


Birth of Modern Jazz: Thelonious Monk

Thelonious Monk

Photo: Herb Snitzer

Source: World of Duke Ellington


Thelonious Monk, composer, was born in 1917 in Rocky Mount, North Carolina. He began his piano career as a teenager touring with an evangelist. He first recordings were in 1941 for numerous sessions at Minton's Playhouse in NYC. As none of those sessions are dated we go by Tom Lord's expertise to hazard his first recordings with the Joe Guy Orchestra, titles like 'The Sheik of Araby', 'Mean to Me' and four renditions of 'Epistrophy' gone unissued. Monk is listed next with Don Byas, contributing to 'I Can't Give You Anything But Love' and 'Indiana' on 'Midnight at Minton's' issued that year. Next listed is Hot Lips Page for 'Sweet Georgia Brown'. Among others joining Monk at Minton's were guitarist, Charlie Christian, and trumpeter, Roy Eldridge. Nigh the whole of Monk's around 150 sessions were applied to his own catalogue. Monk was here to do his own thing as a composer and pianist, not hang out a shingle as a studio musician or board the train of some orchestra. Exceptions didn't happen randomly, but by Monk's particular criteria. Among them was saxophonist, Coleman Hawkins, with whom he first recorded on October 19, 1944, Monk joining Hawkins Quartet with Bass Robinson (bass) and Denzil Best (drums) to put out 'Recollections', 'Drifting on a Reed', et al. Hawkins would later join Monk's Septet on June 26, 1957, for 'Monk's Music' Another exception was Dizzy Gillespie whom Monk first joined at a performance at the Spotlight Club in NYC on June 18, 1946, for 'Live at the Spotlight'. The two reunited in 1950 in the Charlie Parker Orchestra for such as 'Bloomdido' and 'An Oscar for Treadwell'. Twenty some years later they would reunite in Europe in autumn of 1971 for sessions in Milan, Belgrade, Berlin and London which would find their way onto several Giants of Jazz LPs. Gillespie and Monk last reunited at the July 8, 1972, 'Newport Jazz Festival New York' as the Giants of Jazz, recording such as 'Blue 'n' Boogie' and 'I Can't Get Started'. Another exception was drummer, Art Blakey, who had joined Monk's Sextet on October 15, 1947, for Monk's first tracks as a leader such as 'Humph' and 'Evonce'. Blakey sided for Monk into 1948 and numerously from '51 to '58. The latter year saw the issue of their 'Art Blakey's Jazz Messengers with Thelonious Monk' recorded in May of '57. Blakey and monk reunited in a trio in London on June 28, 1971, with bassist, Al McKibbon, for titles like 'Chordially' and 'Trinkle Tinkle'. 1972 found them at the 'Newport Jazz Festival New York' per above, again at the Monterey Jazz Festival on October 16 for 'Art Blakey and the Giants of Jazz: Live at the 1972 Monterey Jazz Festival'. Drummer, Max Roach, also saw service siding Monk on several occasions in '52 and '56. Having already noted Charlie Parker above in 1950 with Gillespie, Monk had earlier been in Parker's Quintet on July 11 of '48 at the Onyx Club in NYC for titles like 'All the Things You Are' and 'Well You Needn't'. Another significant exception was saxophonist, Sonny Rollins, who had joined Monk's Quintet on November 13, 1953, for such as 'Let's Call This', 'Think of One' and 'Friday the 13th'. On October 25 of '54 Monk backed Rollins on 'I Want to Be Happy', 'The Way You Look Tonight' and 'More Than You Know'. Rollins backed Monk on 'Brilliant Corners' on October 9 of '56, after which Monk contributed to a few titles on Rollins' 'Sonny Rollins Vol 2' on April 15 of '57. Others Monk had had occasion to support during his career were Sarah Vaughan, Gigi Gryce and Clark Terry. As for Monk's own catalogue, he had recorded his first piano solos at the apartment of Timme Rosenkrantz in NYC on November 11, 1944. 'These Foolish Things' and his composition, ''Round Midnight', would be issued on a compilation of various sessions at Rosenkrantz' pad called 'Timme's Treasures' in 2015. Monk's first recordings as a band leader were for Blue Note Records in 1947 per above with Art Blakey, such as 'Humph' and 'Evonce'. 1954 and 1961 found him performing concerts in Europe. Monk's next to last concert tour and last studio recordings as a band leader were in 1971 per the Giants of Jazz European tour noted above with Gillespie. Aside from festivals already noted in 1972, Monk also returned to Europe for another Giants of Jazz performance in Switzerland on November 12 that year, recording such as 'Straight No Chaser' and 'Thelonious'. After another 'Newport Jazz Festival New York' on July 3, 1975, Monk began to drop away from the music business, not playing piano at all during the last six years of his life. Increasing mental illness is the general consensus as to his disappearance from the industry. But there seems no consensus as to what his illness was. The 'New York Times' gives bipolar disorder. Howsoever, Monk died on February 17, 1982, buried in Hartsdale, New York.

Thelonious Monk   1941


  I Can't Give You Anything But Love

  Stompin' at the Savoy

Thelonious Monk   1944

   Ask Me Now

Thelonious Monk   1947

   'Round Midnight

Thelonious Monk   1947

   'Round Midnight

      Composed 1944

Thelonious Monk   1951

   'Criss Cross

Thelonious Monk   1952


      With Max Roach

Thelonious Monk   1958

   At the Five Spot

  Live in New York City


Thelonious Monk   1963

   Live at Monterey Jazz Festival

  Monk's Dream

Thelonious Monk   1964

   Live in Zurich

   Well You Needn't

Thelonious Monk   1966

   Live in Oslo

      Featuring Charlie Rouse

Thelonious Monk   1967

   Live in Paris

Thelonious Monk   1969

   Live in Paris



Born Melvin Epstein in the Bronx in 1923, Mel Powell was not only a great jazz pianist, but a classical composer as well (a couple of his compositions for strings included below). Powell was working professionally by age 14 in New York City. At about age 16 (1939) he was playing with Bobby Hackett and arranging for Gene Krupa. He would later find himself in sessions with Krupa in '46 with Benny Goodman and '54 with Powell's All Stars at Carnegie Hall. It was 1941 when he changed his last name from Epstein to Powell. His earliest known recordings are thought to have been with Wingy Manone on March 19, 1941, for titles like 'Ochi Chornya' and 'Mama's Gone, Goodbye' with Manone at both trumpet and vocals. Come June 11 he was with the Benny Goodman Orchestra, recording such as 'Tuesday at Ten' and 'Soft as Spring', the latter with Helen Forrest at vocals. Powell hung with Goodman into 1942, his second Goodman period to arrive in 1945-47 with reunions in the fifties to as late as October 19, 1957, on the 'Perry Como TV Show' broadcast from NYC. The gap between Powell's first and second periods with Goodman were largely filled with service to Glenn Miller, he joining the latter's Army Air Force Band by virtue of having been drafted. That band's first recordings were a CBS radio broadcast on June 5 of '43 from Yale University in New Haven, Connecticut, such as 'I Sustain the Wings' and 'American Patrol'. Powell's final recordings with Miller were also Miller's last before his death on December 15, 1944, due to a plane with a failed engine returning from France to England over the English Channel. Those were 'Little Brown Jug' and 'Parachute Jump' on December 1 two weeks earlier for a 'Moonlight Serenade' broadcast from Bedford, England. His next association with the Glenn Miller Orchestra was its ghost band in Paris directed by Jerry Grey on .January 22 of 1945 for such as 'Here We Go Again' and ''I'll Be Seeing You'. It was Ray McKinley who directed the Glenn Miller All Stars three days later with Django Reinhardt on January 25 in Paris, putting down such as 'How High the Moon' and 'If Dreams Come True'. Powell performed with various formations of the Glenn Miller ghost operation until June 4, 1945, in Paris, broadcasting such as 'Song of the Volga Boatman' and 'Get Happy'. Powell had been released from military service by then, next to show up with Benny Goodman in NYC on August 29, 1945, to commence his second period with Goodman per 'Tiger Rag' and 'Shine'. That period would stretch to December 30, 1947, in Hollywood with both Goodman's Orchestra and Sextet for titles like 'Beyond the Sea' and 'The World Is Waiting'. Later reunions occurred per above in the fifties. Consequent to having joined Glenn Miller came an important associate in drummer/bandleader, Ray McKinley. McKinley had been present in Miller's Army Air Force Band on June 5 of '43 per above as well, having joined the Army. McKinley and Powell partnered in Millerr's band until the latter's death per above in '44, and afterword in Glenn Miller ghost enterprises. McKinley had earlier supported Powell during numerous recorded broadcasts with his Uptown Hall Gang from Co-Partners Hall in Bedford, England from July of '44 to February of '45. He would then join Powell in Paris on January 25 of '45 per above for a session with Django Reinhardt as the Glenn Miller All Stars resulting in 'How High the Moon', 'If Dreams Come True', 'Hallelujah' and 'Stompin' at the Savoy'. They then performed numerously at the Jazz Club Francais from January to May where Powell also recorded several piano solos on May 19: 'Hommage a Fats Waller', 'Hommage a DeBussey', 'Pour MMe Blanc' and 'Don't Blame Me'. He would join McKinley again for a couple sessions as an arranger in 1957, with the McKinley now directing the New Glenn Miller Orchestra. The first was 'In the Mood' for the 'Ed Sullivan Show' on May 19. The second was on May 20 and 21 for tracks that would get released on 'The New Glenn Miller Orchestra in Hi Fi' that year. 34 of Powell's 285 sessions were his own projects as a leader. His debut session as such had been on February 4, 1942, in NYC for such as 'Blue Skies' and  'Mood at Twilight'. That was a septet including Benny Goodman on clarinet as Shoeless John Jackson. He laid out his first piano solos while in the military on December 21, 1943, while in NYC with Glenn Miller's band: 'Jubilee', 'When a Woman Loves a Man' and two takes of 'Hallelujah'. After Powell's appearance on 'The Perry Como TV Show' with Goodman per above in 1957 he shifted from jazz to classical. As a classical composer Powell's early work had been in the neoclassical style, he eventually examining the atonal (or "non-tonal") and serial composing a la Arnold Schoenberg. It would be another thirty years before he recorded jazz again, that on the SS Norway in the Caribbean in '86 ('Avalon') and '87, the latter on October 21 to bear his final recordings per the album, 'The Return of Mel Powell'. Powel died of liver cancer on April 24, 1998, in Sherman Oaks, California.

Mel Powell   1941

   Caprice XXIV Paganini

   If I Had You

   Oomph Fah Fah

Mel Powell   1942

   Blue Skies

   When Did You Leave Heaven?

Mel Powell   1945

   I Got Rhythm

      Clarinet: Benny Goodman   Vibes: Red Norvo

Mel Powell   1948

   Let's Steal Some Apples

      Film: 'A Song Is Born'

      Clarinet: Benny Goodman   Vibes: Lionel Hampton

Mel Powell   1954

   After You've Gone

   Lighthouse Blues

Mel Powell   1959

   Settings for String Quartet

Mel Powell   1987

   I Can't Get Started

   Stomping at the Savoy


Birth of Modern Jazz: Mel Powell

Mel Powell

Source: Barry Schrader



Sir Charles Thompson was born in Springfield, Ohio, in 1918 and played piano professionally since age ten. He is said to have been with Bennie Moten as early as age twelve in Colorado Springs. He first recorded piano ten years later on December 19, 1940, with Lionel Hampton, such as 'Lost Love' and 'Fiddle Dee Dee'. He stuck with Hampton for another year, 'Train Time' his last title with that orchestra at the Hotel Sherman on September 26, 1941. Present during that session were tenor saxophonists, Dexter Gordon and Illinois Jacquet. Gordon would support Thompson several years later on his first session as a leader on September 4, 1945, bearing such as 'Takin' Off' and 'The Street Beat'. Alto player, Charlie Parker, was also in on that. Years later Thompson would contribute to Gordon's 'Landslide' on May 5, 1962. As for Jacquet, Thompson would later back a number of his projects, beginning with Jacquet's All Stars in Los Angeles in July of '45 for such as 'Flyin' Home' and 'Uptown Boogie'. Future sessions were held in '45, '47, '52, '62 and, finally, a reunion in Paris on March 27, 1978, for 'Midnight Slows Vol 8'. After Hampton Thompson  picked up 'Sir" from tenor player, Lester Young, with whom he recorded 'The Great Lie' in NYC circa October of 1942 with Lester's younger brother, drummer, Lee Young, in Lee and Lester Young's Band. Come a session with Count Basie estimated in April of '44, with Thompson arranging 'Hey! Rube' (AFRS 'One Night Stand' broadcast #228). Thompson would arrange for Basie again for a session on November 2, 1946, that 'My, What a Fry' (AFRS 'One Night Stand' broadcast #1142). 1945 was a big year for Thompson, starting with saxophonist, Coleman Hawkins, on January 11 for such as 'Sportsman's Hop' and 'Bean Stalkin'. Numerous sessions followed that year. On August 16, 1954, Thompson would feature Hawkins on 'Sir Charles Thompson and His Band'. They reunited a decade later in autumn of 1964 for several sessions during a tour to Europe, their final at Wembley Town Hall in London on October 2 with trumpeter, Sweets Edison, for titles like 'Stoned' and 'Centerpiece'. Come Lucky Millinder on January 16 of '45 for an AFRS 'Jubilee' broadcast (#116) in Hollywood, to bear such as 'Bleep' and 'Caravan'. Thompson joined Millinder's orchestra again on February 26, 1946, for 'How Big Can You Get, little Man' and 'More More More', et al. Further Millinder projects ensued into 1946, Thompson last joining him in NYC on April 11, 1947, for 'You Can't Put Out a Fire' and 'The Spider and the Fly', et al. Come tenor saxophonist, Bull Moose Jackson, and his Buffalo Bearcats in August of '45 for such as 'Bull Moose Jackson Blues' and 'Honeydripper', et al. Jackson and Thompson hung together into 1946, supporting other bands when Thompson wasn't backing Jackson. Their last titles together are thought have been in December of 1947: 'All My Love Belongs to You' and 'I Can't Go On'. On September 4 of '45 veteran trumpeter, Buck Clayton, backed Thompson on his debut session as a leader per above with Dexter Gordon and Charlie Parker. Clayton would become a significant figure in Thompson's career, supporting him later on December 14 and 16, 1953, for tracks that would get issued in 1993 on 'Buck Clayton: The Complete CBS Jam Sessions'. August of 1955 found him with Clayton's orchestra for 'Cat Meets Chick: A Story In Jazz' featuring vocalists, Ada Moore and Jimmy Rushing. October saw Clayton's orchestra supporting Frankie Laine on 'Jazz Spectacular'. Thompson would be back with Clayton in 1960-61, 1963-64 and, finally, 1967 for a number of sessions during a tour to Europe to result in 'Jazz from a Swinging Era'. Those were followed by a last date on October 30, 1967, in Rushing's All Stars for 'Gee Baby, Ain't I Good To You' and 'Who Was It Sang That Song?'. Highlighting the fifties were titles in January of 1959 in Los Angeles for Earl Bostic's 'Plays Sweet Tunes of the Sentimental 40's' and 'Musical Pearls'. Highlighting the sixties were titles with Bobby Hackett circa 1965 in Cape Cod Massachusetts that would find issue on two volumes of 'Butterfly Airs', the first released in 1977. Lord's disco shows Thompson first recording in Japan in May of 1992, those sessions in Yokohama, the first with tenor saxophonist, Herbie Steward, for 'Magical L-I-V-E', the second with a trio of Dave Young on bass and Yukio Kimura on drums (both also present on the first). That came to 'Live In Yokohama'. Thompson visited Japan again in '93, '94 and '97 before moving there with his wife, Makiko, in 2002. His final sessions are thought to have been in Tokyo and Yokohama in 2011, the first on April 11 with Yoshimasa Kasai for 'Love Is Here to Stay' issued posthumously in 2012. Sessions later that year resulted in 'The Jazz Legend' issued in 2013. Thompson died in Tokyo on June 16, 2016.

Sir Charles Thompson   1940


      With Lionel Hampton

   Open House

      With Lionel Hampton

Sir Charles Thompson   1945

   If I Had You

      Alto sax: Charlie Parker   Tenor sax: Dexter Gordon

      Trumpet: Buck Clayton

   The Street Beat

      Alto sax: Charlie Parker   Tenor sax: Dexter Gordon

      Trumpet: Buck Clayton

   Takin' Off

      Alto sax: Charlie Parker   Tenor sax: Dexter Gordon

      Trumpet: Buck Clayton

   20th Century Blues

      Alto sax: Charlie Parker   Tenor sax: Dexter Gordon

      Trumpet: Buck Clayton

Sir Charles Thompson   1947

   Tunis In

Sir Charles Thompson   1954

   These Foolish Things

Sir Charles Thompson   1956

   The Street Beat

Sir Charles Thompson   1984

   Happy Boogie


Birth of Modern Jazz: Sir Charles Thompson

Sir Charles Thompson

Source: Notes on Jazz



Milt Buckner was born in 1915 in St. Louis, Missouri. He began his career with the Cotton Pickers before joining Cab Calloway's orchestra. Buckner recorded his fist acetate demos in 1941, the same year he began to accompany Lionel Hampton, his first vinyl on piano with that orchestra in December of '41 in NYC with Rubel Blakey at vocals: 'Just For You', 'Southern Echoes' (vocal by Hampton), 'My Wish' and 'Nola' with vocals out. Hampton's band was Buckner's main wagon to 1952. Nigh ceaselessly touring, his last of countless sessions with Hampton were on August 3 that year in NYC backing Maxine Sullivan on 'I'll Remember April' and 'The Lady Is a Tramp'. Among other vocalists with whom Buckner worked while with Hampton was Dinah Washington to as late as 1946. Their earliest certain date was December 29 of '43 resulting in 'Evil Gal Blues', 'I Know How to Do It', 'Salty Papa Blues' and 'Homeward Bound'. Buckner would work with Hampton again in 1967 and the seventies, his last such occasions in Toulouse, France, on May 14 and 15, 1977, for 'Lionel Hampton and His Jazz Giants 77'. Another highly significant figure was saxophonist, Illinois Jacquet. Jacquet had attended a couple sessions with Hampton in '42. Buckner first recorded with Jacquet apart from Hampton per Jacquet's trio with Alan Dawson on drums at Lennie's on-the-Turnpike in West Peabody, MA, on March 15, 1966, toward 'Go Power!'. Excepting 1970 when Buckner toured Europe with his own group, he stuck with Jacquet, recording numerously, to as late as the New Orleans Jazz Club in Scheveningen, Holland, on October 25, 1976, putting down such as 'I'll Remember April' and 'I Apologize'. Buckner's first session as a leader was at piano on October 28, 1946, with his Beale Street Gang that consisted of Stafford Pazzuza Simon (tenor sax), Curly Russell (bass) and Arthur Herbert (drums). That resulted in the Savoy titles: 'Tupelo Junction', 'Raisin' the Roof' and 'Lights Out' with 'Rockin' the Boogie' unissued. With around 250 sessions to his name, 70 of those were Buckner's. He played vibes and organ on his last session on July 4, 1977, in Paris with Andre Persiany (piano), Roland Lobligeois (bass) and Michael Silva (drums). He died 23 days later on the 27th back in Chicago. Below, Buckner plays piano on 'Milt's Boogie', vibraphone on 'Where Or When' and organ on 'Limehouse Blues'.

Milt Buckner   1942

   Flying Home

      With Lionel Hampton

Milt Buckner   1944

   Evil Gal Blues

      With Hampton backing Dinah Washington

Milt Buckner   1948

   Baby Don't Be Mad At Me

      With the Beale Street Boys

   Fat Stuff Boogie

      With the Beale Street Boys

Milt Buckner   1949

   Milt's Boogie

Milt Buckner   1976

   Where Or When

Milt Buckner   1977

   Limehouse Blues

      Vibraphone: Lionel Hampton


Birth of Modern Jazz: Milt Buckner

Milt Buckner

Source: All Music


Born in 1922 in Newport, Massachusetts, arranger, composer, band leader and pianist Ralph Burns first found himself on vinyl in 1942 as the arranger for 'Flo Flo' recorded by Sam Donahue on November 12, 1941. His next title was also as an arranger, that in July of '42 for Charlie Barnet: 'Caravan'. October found him contributing to the arrangement of 'The Moose' with Turk van Lake for Barnet. Burns arranged for Barnet sessions to as late as December 1947. Lord's disco doesn't have him contributing piano until V-Disc sessions on October 28, 1943, with Red Norvo and his Overseas Spotlight Band putting down such as 'Seven Come Eleven', 'The Sergeant on Furlough' and 'Something for the Boys'. Come arranging and performing piano for Woody Herman in 1944, of whose First Herd he would be a member. His first titles with Herman on January 8 which he arranged were 'Noah', 'I've Got You Under My Skin' and 'I Get a Kick Out of You'. Herman's outfits were Burns' main locomotion for another fourteen years. The first performance of his composition, 'Summer Sequence', with Herman was at Carnegie Hall on March 25, 1946. Burns' last session of his long stretch with Herman was in September of '58 in NYC to arrange 'Midnight Sun'. There would be reunions in '60, '63 and, finally, on November 20, 1976, with Herman's New Thundering Herd toward the LP, 'The 40th Anniversary Carnegie Hall Concert', to which Burns contributed piano on 'Wrap Your Troubles in Dreams'. Among Burns' more freguent partners through the years was saxophonist, Al Cohn. They first collaborated per Burns' arrangement of 'Barefoot Boyd' for Boyd Raeburn at Liederkranz Hall in NYC on January 17, 1945. Their careers would interweave numerously for nigh another thirty years, backing other operations including Herman's as well as each other. Burns would contribute to such as Cohn's 'Mr. Music' (December '54) and 'That Old Feeling' (May 6, 1955). Cohn would participate in such as Burns' 'Perpetual Motion' (February 4, 1955), 'Porgy and Bess in Modern Jazz' (September 23, 1958), 'Where There's Burns There's Fire' (1962) and 'Lenny' (1974). Their last session was per above with Herman's New Thundering Herd, Cohn contributing tenor sax to 'Four Brothers' and 'Cousins'. Another fifties highlight was the Sauter-Finegan Orchestra to which Burns contributed piano on several sessions from '52 to '55. Recording with that operation on March 2, 1953, was the Ray Charles Singers per 'Now That I'm In Love'. Burns would arrange and conduct/direct a number of titles for Ray Charles in '59 and '60, bearing fruit on the albums 'Genius', 'The Genius Hits the Road' and 'Genius + Soul = Jazz'. He would arrange for Charles again in 1988 per the album, 'Just Between Us'. Other highlights in the early sixties were sessions with Judy Holliday ('61) and Oscar Brown Jr. (1961-62). With Burns' career approaching perhaps 370 sessions, very little of that can see illumination here. Apt to mention is Burns' first session as a leader per his own orchestra in Los Angeles on October 15, 1946, for two takes of 'Introspection', one of which would be issued in 1949 on the album by various, 'The Jazz Scene'. August 7 of 1951 found him recording 'Free Forms', issued in '52. Titles from that session would also see release in 1956 on an album shared with Billie Holiday on Side A: 'Jazz Recital'. 1954 saw the issue of Burns' album, 'Winter Sequence', followed in '55 by 'Spring Sequence', 'Bijou' and 'Perpetual Motion'. During the sixties Burns arranged and orchestrated for Broadway musicals. His first work on a soundtrack appeared in 1971 for the Woody Allen production, 'Bananas'. Burns died on November 21, 2001, in Los Angeles of pneumonia and complications following a stroke. Tracks below for 1951 are from Burns' album, 'The Free Forms'.

Ralph Burns   1942

   Coffee and Cakes

     With Sam Donahue

    Arrangement: Ralph Burns

     Vocal: Frances Claire

Ralph Burns   1946


    Composition: Ralph Burns

      Recorded 1946

     1st issue: 1949

   Summer Sequence

      Recorded 1946-47 w Woody Herman

    Composition: Ralph Burns

     Issue date unknown

Ralph Burns   1952



   Vignette at Verney's

Ralph Burns   1955


      Album: 'Bijou'

Ralph Burns   1960

   Love For Sale


Birth of Modern Jazz: Ralph Burns

Ralph Burns

Photo: William P. Gottlieb

Source: Wikiwand


Birth of Modern Jazz: Gi Evans

Gil Evans

Source: Jazz Labels


Canadian pianist, Gil Evans, born in Toronto, Ontario in 1912, was an arranger, composer and bandleader whose first recorded arrangement, 'Strange Enchantment', was for vocalist, Skinnay Ennis, on March 24, 1939, in Hollywood. No issue, however, seems documented until years later on albums by various artists such as 'Swingin' Uptown: Big Band 1923-1952' in 1998. Evans first arrangements wouldn't see issue until 1942 for Claude Thornhill, the first of numerous sessions in the forties on November 17, 1941, in NYC for Columbia, such as 'I Hate You, Darling' and 'Rose O'Day'. Evans' last contributions to Thornhill's operation were nine years later on April 10, 1950, in Hollywood, arranging 'Sweet and Lovely' and 'Honolulu'. Albeit Evans was a fine pianist, his major work was as an arranger and composer. Lord's discography doesn't show him recording piano until January of '57 for titles on Lucy Reed's 'This Is Lucy Reed'. Evans was particularly noted for "third stream" jazz or, fusion of classical with jazz improvisation. His family had moved from Canada to Berkeley, then Stockton, California, where Evans began plunking the keys in hotels while in high school. He formed his first band, a dectet, with Ned Briggs in junior college, which became the house band at the Rendezvous Ballroom in Balboa Beach for two years. Retaining Evans at piano, vocalist, Skinnay Ennis, took over leadership of that band in 1937, moving it to Hollywood to play on the Bob Hope radio show. Thornhill then hired Evans in 1941 per above as an arranger for his orchestra. One of the bigger names in jazz, Evans contributed to well above a couple hundred sessions, nigh half of those his own projects. This account of his career can be but shallow relevant to far deep waters. We jump ahead, then, to 1947 when Evans met Miles Davis, Gerry Mulligan and pianist, John Lewis, at salons he held at his apartment in New York City. Thus arose their first session together with Davis' orchestra on September 4, 1948, per a radio broadcast from the Royal Roost in NYC, recording such as 'Move' and 'Godchild'. That would lead to the Miles Davis Nonet which recorded 'The Birth of the Cool' between '49 and '50 on which Evans arranged 'Moon Dreams' and 'Boplicity'. ('The Birth of the Cool' wasn't released, however, until 1957.) Evans would see occasions to record with both Lewis and Mulligan again per Davis. Also during the fifties Evans would arrange for such as Helen Merrill, Tony Bennett, Johnny Mathis and Billy Butterfield. Working again with Davis in 1957, the result was the 1957 issue of 'Miles Ahead'. The pair then collaborated on the release of "Milestones' and 'Porgy and Bess' in 1958, followed by 'Sketches of Spain' in 1960 and 'Quiet Nights' in 1962. (Per above, 'Miles Ahead', 'Milestones' and 'Sketches of Spain' are good examples of "third stream" jazz.) Evans' first name issue as a bandleader was 'Gil Evans & Ten' in 1957, featuring soprano saxophonist, Steve Lacy with Lee Konitz on alto. Konitz and Evans went back to Claude Thornhill's Orchestra on September 4, 1947 (: 'Thrivin' On a Riff'), recording in that band together on multiple occasions until Miles Davis, starting September 4, 1948, at the Royal Roost in NYC for such as 'Move' and 'Godchild'. Multiple projects with Davis followed until 'Gil Evans & Ten' above. Among a couple more sessions with Konitz in the sixties was one with Kenny Burrell in 1964 per below. Evans and Konitz would reunite on multiple occasions in the eighties, including 'Heroes' and 'Anti-Heroes' co-led in 1980. They last recorded together in June of 1986 per Ornella Vanoni's 'Ornella &' (also called 'Ornella E'). As for Steve Lacy per 'Gil Evans & Ten' in '57 above, he, too, would be a significant figure into Evan's latter career in the eighties. Lacy would support Evans on 'Great Jazz Standards' in 1959. A Couple sessions followed in '62 before Evans' 'The Individualism of Gil Evans' on September 17, 1963. Reunions would occur in the seventies and eighties, a number of them in Europe. Their last recording opportunity arrived in latter 1987 in Paris to co-lead 'Paris Blues'. On April 9, 1958, Cannonball Adderley contributed to titles on Evans' album, 'New Bottle, Old Wine', as did bassist, Paul Chambers, who also supported Evans on 'The Individualism of Gil Evans' on September 17, 1963. Another bassist with whom Evans recorded on multiple occasions was Ron Carter, their first such occasion with Carter supporting Evans on 'Out of the Cool' in 1960. Evans first recorded with guitarist, Kenny Burrell, at Webster Hall in NYC on April 6, 1964: 'Las Vegas Tango' and 'Hotel for Me'. Burrell and Evans found multiple occasions to document titles, such as Evans contributing to arrangements on Burrell's 'Guitar Forms' in December of '64 and Brazilian vocalist, Astrud Gilberto's, album, 'Look to the Rainbow' in latter '65. In 1974 Evans released 'The Gil Evans Orchestra Plays the Music of Jimi Hendrix' with electric guitarists, John Abercrombie and Ryo Kawasaki. In 1983 Evans began a five-year residency on Monday nights at the Sweet Basil jazz club in Greenwich Village. Evans arranged the soundtracks for the films, 'Absolute Beginners' and 'The Color of Money', each released in 1986. In 1987 he recorded with Sting. He died on March 20 the following year of pneumonia in Cuernavaca, Mexico. Evans plays keyboards on most of the recordings below not otherwise indicated.

Gil Evans   1939

   Strange Enchantment

      Originally unissued   This 2010

      Vocal: Skinnay Ennis

      Thought Evans' debut recording

Gil Evans   1941

   Somebody Nobody Loves

      Piano: Claude Thornhill   Vocal: Lillian Lane

Gil Evans   1942

   Buster's Last Stand

      Piano: Claude Thornhill

   Moonlight Bay

      Piano: Claude Thornhill

Gil Evans   1946

   Portrait of a Guinea Farm

      Piano: Claude Thornhill

Gil Evans   1947

   A Beautiful Man

      Piano: Claude Thornhill


      Piano: Claude Thornhill

Gil Evans   1956

   'Round Midnight

      Album: 'Around About Midnight'

      Piano: Red Garland   Trumpet: Miles Davis

Gil Evans   1957

   Miles Ahead

      Album Side A

      Piano: Wynton Kelly   Trumpet: Miles Davis

   Miles Ahead

      Album Side B

      Piano: Wynton Kelly   Trumpet: Miles Davis


   Just One of Those Things

   Nobody's Heart


Gil Evans   1960

   La Nevada

      Album: 'Out of the Cool'

Gil Evans   1962

   Bulbs/Into the Hot

      Album: 'Into the Hot'   Piano: Cedar Walton

Gil Evans   1964

   The Time of the Barracudas

      Album: 'The Individualism of Gil Evans'

Gil Evans   1966

   Once Upon a Summertime

      Album: 'Look to the Rainbow'

      Vocal: Astrud Gilberto

Gil Evans   1972

   Day By Day

      Album: 'Satin Doll'   Vocal: Kimiko Kasai

Gil Evans   1974


      Original composition: Jimi Hendrix

   Crosstown Traffic

      Original composition: Jimi Hendrix


      Live in Perugia

Gil Evans   1976

   Barcelona Jazz Festival



      Live In Warsaw

Gil Evans   1981

   Love Your Love

      Album: 'Where Flamingos Fly'   Recorded: 1971

Gil Evans   1983

   Friday the 13th

      Live performance

   Stone Free

      Live performance

Gil Evans   1984

   Soul Intro/The Chicken

      Live   Bass: Jaco Pastrious

Gil Evans   1986

   Bud and Bird

      Album: 'Bud and Bird'


      Live in Milano

   Little Wing

   Voodoo Chile

      Live in Milano

Gil Evans   1987

   Little Wing

      Live with Sting


  Although pianist Wally (Waller) Rose cut more than a hundred records there is little to found of him at You Tube with the exception of when he played with Lu Watter's Yerba Buena Jazz Band. Born in Oakland in 1913, upon graduation from high school Rose found employment as a pianist on cruise ships. In 1940 he joined Lu Watter's band (who had played trumpet on cruise ships) with which he first recorded in 1941 at the Dawn Club in San Francisco, those first several titles unissued: 'Careless Love', 'Dipper Mouth Blues', 'Muskrat Ramble', 'St. James Infirmary' (twice), 'Willie the Weeper' (twice), 'Skid-dat-de-dat' and 'Milenberg Joys'. Rose's first session to issue was the same as Watter's Yerba Buena Jazz Band on December 19, not likely to have seen release before 1942. With Clancy Hayes (banjo) and Bill Dart (drums) on loan from Watter's ensemble, Rose recorded 'Black and White Rag' issued by Jazz Man (1 119). Titles by Watter's group on the same date were also issued on 78 by Jazz Man, such as 'Irish Black Bottom'/'Memphis Blues' (2 110) and 'Muskrat Ramble'/'Smokey Blues' (3 106). Alike Ralph Sutton (lower on this page), Rose kept ragtime piano alive throughout the decades following its demise in general. Of note while while with Watters was the recording of 'Live From the Dawn Club' in San Francisco on August 27, 1947, that issued in 1973. Rose's last numerous sessions with Watters appear to have been at Hambone Kelly's in El Cerrito, CA, in the summer of 1950 bearing such as 'Come Back Sweet Papa', 'Canal Street Blues' and 'Strut Miss Lizzie'. A reunion would occur in 1963 for 'Blues Over Bodega'. Other core members of Watter's band from its early days in 1941 were Bob Scobey on trumpet and Turk Murphy trombone. Robert Alexander Scobey began leading his own group called Alexander's Jazz Band while with Watters in 1947, Rose backing him that December on such as 'Melancholy Blues' and 'Alexander's Ragtime Band'. Scobey's band would eventually be renamed the Frisco Jazz Band, Rose backing Scobey's enterprises to as late as 1957, supporting him at the Tin Angel in San Francisco for titles like 'At the Devil's Ball' and '219 Blues'. As for Murphy, Rose began backing his formations on July 10, 1951, for such as 'Little John's Rag' and 'Bay City'. Murphy would play washboard with Bob Short on tuba on February 17, 1953, for Rose's 'Ragtime Classics'. Rose backed Murphy to October 11 of 1954, putting down 'South' and 'Coney Island Washboard' with Murphy at vocals on the latter. Lord's disco has Rose at 113 sessions, 21 his own as a leader. It would be ten years between his issue of 'Wally Rose Revisited' in 1982 and his last titles as a leader in 1992 per 'Rags-Blues-Joys'. Lord's disco has Rose's last recordings in August of '93 with the Down Home Jazz Band in Berkeley, CA, for 'Back to Bodega'. He died on January 12, 1997, in Walnut Creek, California. The last four tracks under 1942 below are with Lu Watters.

Wally Rose   1942

   Black and White Rag

   Fidgity Feet

   Irish Black Bottom

   Maple Leaf Rag

   Temptation Rag

Wally Rose   1953

   Ace In the Hole

       Vocal: Clancy Hayes   Trumpet: Bob Skobey

       Trombone: Buck Hayes

Wally Rose   1995

   Grizzly Bear Rag


Birth of Modern Jazz: Wally Rose

Wally Rose

Source: San Francisco Museum


Birth of Modern Jazz: Jimmy Rowles

Jimmy Rowles

Source: All Music


Born in 1918 in Spokane, Jimmy Rowles studied at Gonzaga College (now University) before moving to Los Angeles in 1941 where he connected with drummer, Lee Young, and his brother, sax man, Lester Young. Joining Lee and Lester Young's Band, he made his debut recordings with the same on December 2, 1941. Broadcast from Billy Berg's Club Capri in Culver City were 'Benny's Bugle' and 'Skyline'. That would get included years later on the Young compilation, 'Historical Prez 1940-1944' in 1984. Another session at the Club Capri followed in 1942 before Rowles joined Slim Gaillard's Flat Foot Floogie Boys on April 4 for such as 'Palm Springs Jump' and 'Groove Juice Special'. Roweles was back with the L & L Young Band in May of 1942 for a KHJ Radio broadcast from the Trouville Club in Los Angeles for 'Frolic Sam'. His next session there on June 6 included Billie Holiday on 'I Hear Music'. That was a big deal because it was the first not only with Holiday, but serves as a marker for what Rowles' would become especially well-known, collaboration with vocalists. (Actually both Les Young and Slim Gaillard sang as well.) Another session with the Youngs for Holiday followed before he would see her again in 1949, later from 1955-57, he last with her orchestra that year on January 9 for such as 'They Can't Take That Away From Me' and 'Embraceable You'. Rowles exchanged the Young Band for Benny Goodman's operation for 'I Know That You Know' in September of 1942, that for the film, 'The Powers Girl'. He next joined Goodman for a few titles per a couple radio broadcasts from the Hotel New Yorker. Rowles would join Goodman again in '47, '58 and '78. His first session with Woody Herman was in June of 1943 per the 'Fitch Bandwagon Show' in Los Angeles bearing such as 'Down Under' and 'Ten Day Furlough'. His final session as a civilian was an AFRS (Armed Forces Radio Service) broadcast ('Jubilee' #61) circa December 1943 with Timmie Rogers' Excelsior Hep Cats: 'Bring Enough Clothes for Three Days'. Rowles then disappeared into the military for a couple years per World War II. Upon release from duty he popped up again in NYC early enough to record with Sonny Berman in, perhaps, January of 1946 toward what would get issued in 2004 as 'Woodchopper's Holiday 1946'. He then joined Herman's band again on April 14 for 'Pipe Dreaming' and 'Linger In My Arms a Little Longer'. Rowles continued with Herman into '47, joining him later in 1956-57 and, finally, on November 20, 1976, in Herman's New Thundering Herd for 'The 40th Anniversary Carnegie Hall Concert'. Rowles would work as a studio musician, that contributing to his highly prolific recording career of about 550 sessions, 57 of which were as a leader. As a history of jazz all by himself this brief account can't but leave the greater majority of his career missing. Apt to mention as we sink that direction is drummer, Louie Bellson, who was a member of Benny Goodman's project above per 'The Powers Girl' in September 1942. Nigh eleven years later in July of '53 Rowles joined Bellson's orchestra for 'Skin Deep'. Rowles would join Bellson again in '57. They supported Ella Fitzgerald together in '66, and backed Carmen McRae and Joe Williams in 1971-72. Rowles much later joined Bellson on one title, 'The Red Door', with the Herb Geller Quartet in August of '93. Trumpeter, Billy May, was in Rowles' first session with Herman above in June of '43. Rowles would later sit in May's orchestras on several occasions from 1956 ('Jimmie Lunceford In Hi-fi') to 1966 ('Today'). Guitarist, Barney Kessel, had been in on Rowles session with Timmie Rogers above in December of 1943. Kessel would be one of Rowles' more frequent longtime partners, both supporting other bands and each other to 1959. In June of 1958 Kessel had backed Rowles for 'El Tigre'. Later versions of that got released as 'Upper Classmen' ('59) and 'Let's Get Acquainted With Jazz . . . For People Who Hate Jazz!' ('85). Rowles and Kessel would see each other again in '61, '63, '69 and, finally, in 1971-72 per above with McRae and JWilliams. Sax player, Stan Getz, first entered Rowles' atmosphere on June 3, 1947, with the Benny Goodman Orchestra for such as 'Dizzy Fingers' and 'Chicago'. 1947 also found them supporting both Wayne Francis and Woody Herman together. Rowles joined Getz' Quartet on January 23, 1954, with Bob Whitlock (bass) and Max Roach (drums) for such as 'Nobody Else But Me and 'I Hadn't Anyone 'Til You'. Rowles saw later reunions with Getz' in '75, '76 and, finally, July 16 of 1986 when they performed 'Peacocks' at the Hollywood Bowl. Another trumpeter Rowles saw a lot of was Benny Carter. Their first recordings together were in May 29, 1947, with the Hollywood Hucksters including Charlie Shavers on trumpet and Benny Goodman clarinet/vocals for 'I Apologize', 'Them There Eyes' and 'Happy Blues'. The found themselves together again with the Louie Bellson Orchestra for 'Skin Deep' in July of '53. Carter and Rowles would then cross paths numerously for more than a decade, both supporting other bands and Rowles supporting Carter (: 'Sax A La Carter' 1960) to as late as February 1964 for Billy Eckstine on such as 'Garden In the Rain' and 'Mister Kicks'. Reunions occurred in 1972-73 and, finally, August 14, 1979, supporting Zoot Sims' 'Passion Flower'. Rowles' first session with saxophonist, Gerry Mulligan, had been in the orchestra of Georgie Auld on January 17, 1949, for such as 'You've Got Me Jumpin' and 'They Didn't Believe Me', Mulligan arranging the latter. Rowles would contribute to 'Gerry Mulligan Meets Ben Webster' on November 3 of 1959. They would reunite with Mel Tormé at Carnegie Hall on June 27, 1978 . Come Jerry Gray's orchestra from December 1949 to August 1952. The next year on September 12, 1953, Rowles held his first session as a leader toward the very rare 'Jimmy Rowles Trio Plays Standards' issued by Vantage (NLP 5015) on date unknown. That was with John Simmons (bass) and Frank Capp (drums). One of the more frequent arranger/conductors with whom Rowles worked was Marty Paich, their first such occasion in 1955 for vocalist, Peggy Connelly: Trouble Is a Man', 'I Have Said Goodbye to Spring', et al. Paich and Rowles worked together numerously to 1961, either for other bands or Paich's ensembles. Their last such occasions were for Ann Margret in Hollywood in March of '61 for titles like 'Teach Me Tonight' and 'Love Joe'. They would reunite in July 1966 in Los Angeles for Ella Fitzgerald's 'Whisper Not'. Another arranger/conductor with whom Rowles worked on multiple occasions was Pete Rugolo in '57, '59, '60 and '61. His first opportunity to record with guitarist, Laurindo Almeida, was July 16, 1957, backing the Four Freshmen. They would support both Harry Belafonte and Kitty White together in 1958, and Henry Mancini in 1961. Latter 1962 witnessed Rowles supporting Almeida on 'Viva Bossa Nova!' and 'Ole! Bossa Nova!'. Rowles worked with arranger/conductor, Skip Martin, from 1958 (: 'TV Jazz Themes') to 1960 (: 'Perspectives In Percussion: Vol 1 '). Others glimmering from out of Rowles' galaxy were Les Brown ('47), Georgie Auld ('49, '53, '55, '57), Chet Baker ('52 w Mulligan, '53 w Parker), Buddy Rich ('53, 1955-56). Charlie Parker ('53), Bob Brookmeyer ('55, '60, '78), Bill Holman ('56, 1958-60, '62), Lee Konitz ('56, '77), Johnny Williams (1960-61), Henry Mancini ('61, 1963-64, '66), Gerald Wilson ('68) and Zoot Sims (1973-74, 1976-81, '83). As Rowles was a favorite among vocalists it's apt to list some beyond Billie Holiday above: Peggy Lee ('42, 1953-54, '58, '61), Tony Bennett, the Four Freshmen ('57, '59), Mark Murphy (1958-60), Mel Tormé (1958-61, '78), David Allyn ('58, '78, '81), Toni Harper ('60), Jo Stafford ('60), Ann Margret (1961-62), Sarah Vaughan (1962-64, '74, '79) and Ella Fitzgerald ('66, '82). Among Rowles' numerous compositions his best known is likely 'Peacocks', he first recording that on April 7, 1974, to be found on 'The Special Magic of Jimmy Rowles'. 'A Timeless Place' was recorded in October 1993 by Norma Winstone, in May of '94 by Jeri Brown. Other highlights in Rowles' career include live recordings for Blue Angel Club Records at the University of Pasadena on November 7, 1970, to be included the next year on 'The Complete 1971 Pasadena Jazz Party'. In 1983 he worked with young pianist, Diana Krall, in Los Angeles, she said to have begun singing with his encouragement. February of 1990 found him in Paris recording the soundtrack for 'Daddy Nostalgia' with Philip Catherine (guitar), Ron Carter (bass) and Jane Birkin (vocal). Also that month in Paris he participated in Frank Melville's 'I'm Old Fashioned' and Elisabeth Caumont's 'Dix Chansons D'Amour'. Rowles' final recordings are thought to have been in 1994: 'Lilac Time' in April with bassist, Eric Von Essen, and 'A Timeless Place' with Jeri Brown in May. Rowles died of cardiovascular disease on May 28, 1996, in Burbank, California. All tracks for year 1955 below are with Billie Holiday.

Jimmy Rowles   1942

   Benny's Bugle

      With Lee & Lester Young

Jimmy Rowles   1953

   Black Coffee

      Vocal: Peggy Lee

   For Europeans Only

      With Louie Bellson

Jimmy Rowles   1954

   Lady Be Good/Serenade In Blue/So Far So Good


Jimmy Rowles   1955

   Come Rain Or Shine

   A Fine Romance

   Everything Happens To Me

   Gone With The Wind

   I Don't Stand A Ghost Of A Chance With You

   I Don't Want To Cry Anymore

   I Get a Kick Out of You

   I Gotta Right To Sing The Blues

   It Had To Be You

   Nice Work If You Can Get It

   Prelude To A Kiss

   What's New

   When Your Lover Has Gone

Jimmy Rowles   1956

   Sonny Speaks

Jimmy Rowles   1957

   Comes Love

      Vocal: Billie Holiday

   Just One of Those Things

      Vocal: Billie Holiday

   I'm Coming Virginia

      Trumpet: Benny Carter

Jimmy Rowles   1958

   The Blues

Jimmy Rowles   1974

   A House Is Not A Home

      Vocal: Sarah Vaughan

   Sunday Monday Or Always

Jimmy Rowles   1975

   I'll Never Be the Same

      Sax: Stan Getz

   The Peacocks

      Sax: Stan Getz

Jimmy Rowles   1976

   While We're Young

Jimmy Rowles   1978


      Bass: Ray Brown

   My Ideal/Close Your Eyes

      Bass: Ray Brown

   That's All/Looking Back

      Bass: Ray Brown

Jimmy Rowles   1981

   Live at Montreux

      Concert   Vocal: Ella Fitzgerald


      Guitar: Joe Pass

   'Tis Autumn

      Guitar: Joe Pass

Jimmy Rowles   1997

   These Foolish Things

      Recorded 1990?   Vocal: Jane Birkin



Born in 1922 in Philadelphia, PA, composer Lou Stein is said to have worked with Buddy DeFranco as a teenager. At age 20 (1942) he began working on the road, notably with Ray McKinley. His initial recordings are thought to have been with McKinley's orchestra in June of 1942 in NYC: 'I'll Keep the Lovelight Burning', 'Who Wouldn't Love Toy?', et al. McKinley would be an important figure in Stein's career, they recording numerously that year, 1946-47, '51, 1953-54, '66 and, finally, May 25 and 26 of 1977 in NYC, McKinley contributing drums to tracks on Stein's 'Stompin' 'Em Down'. Stein's last session with McKinley in 1942 had been on July 16 in NYC for such as 'Big Boy' and 'Cheatin' On Me' with vocalist, Imogene Lynn. He then disappeared into the US military per World War II. He is said to have performed with Glenn Miller's Army Air Force Band while stationed Stateside. Lord's disco doesn't show Stein in another session until 1946, that with McKinley again in NYC on March 7 for such as 'We'll Gather Lilacs' and 'Have Ya Got Any Gum, Chum?'. Among Stein's numerous compositions was 'East of Suez', first recorded when he was with Charlie Ventura and His Combo in Chicago in August of 1947, that was live at  the Hotel Sherman with Buddy Stewart on vocals. A studio version was recorded the next month on the 11th, again with Ventura and Stewart. Another important figure in Stein's recording career arrived in the person of trumpeter, Yank Lawson, on May 22, 1950, they members of Bob Crosby's Orchestra for such as 'Semper Fidelis' and 'El Capitan'. Stein began working in Lawson's band in '51, contributing tracks that June to 'Lawson-Haggart Band Play Jelly Roll's Jazz'. Stein stuck with Lawson through numerous recordings to 1956, later joining him in 1958-60, '79 and a few occasions in the eighties, their last titles together in Atlanta on March 14, 1988, for Lawson's 'Something Old, Something New, Something Borrowed, Something Blue'. Stein's first session with the Sauter-Finegan Orchestra was on November 3, 1952, for titles like 'Nina Never Knew' and 'Love Is a Simple Thing'. Further sessions ensued in '52, later in 1958. Stein also joined the Percy Faith Orchestra in 1952 to support Sarah Vaughan on March 22 for such as 'It's All in the Mind' and 'I Confess'. He saw Vaughan again on January 5, 1953, for the likes of 'Linger a While' and 'A Blues Serenade'. Stein's first session as a leader was held on June 8, 1953, to result in 'Lou Stein at Large'. Among trombonists with whom Stein worked on occasion in the fifties was Bobby Byrne, the latter's All Star Alumni Orchestra of especial note, recording 'The Great Song Hits of the Glenn Miller Orchestra' ('66) in 1958 in NYC. With Stein appearing on about 230 sessions, 37 of those his own, we leap ahead to the significant figure that was violinist, Joe Venuti, they first recording together in Toronto, Ontario, in early 1969 for 'The Joe Venuti Quartet'. Stein backed Venuti numerously to as late as April of 1972 in Milan, Italy, for 'Jazz Me Blues'. Highlighting the latter seventies was the World's Greatest Jazz Band in Australia in December of 1979 with Yank Lawson and Bob Haggart (bass) leading titles like 'It's Delovely' and 'Caravan'. Stein would join the World's Greatest Jazz Band again in Ludwigsburg, Germany, in October of 1985 for tracks like 'Diane' and '42nd Street'. Lord's disco shows Stein's last titles recorded in Stamford, Connecticut, in 1995 for the album, 'Go Daddy!'. He died on December 11, 2002.

Lou Stein   1942

   Big Boy

     With Ray McKinley   Vocal: Imogene Lynn

Lou Stein   1946


     With Ray McKinley

Lou Stein   1952


      With Charlie Parker

   Stella By Starlight

      With Charlie Parker

Lou Stein   1954


Lou Stein   1955

   There'll Be Some Changes Made

Lou Stein   1958

   Got a Match


Birth of Modern Jazz: Lou Stein

Lou Stein

Source: Discogs


Birth of Modern Jazz: Dodo Marmarosa

Dodo Marmarosa

Source: Organissimo


Born in 1925 in Pittsburgh, PA, bebop pianist Dodo Marmarosa began his professional career in 1941 by joining the Johnny Scat Davis Orchestra at age 15, then got hired by Gene Krupa to play in his orchestra in 1942. He would record with Krupa not much later in 1944 in both the Tommy Dorsey Orchestra and Krupa Jazz Trio. When Krupa dissolved the earlier band in 1943 Marmarosa began touring with Charlie Barnet, with whom he made his debut recordings that same year on October 21 in NYC ('The Moose', 'Strollin'', et al). He would have occasion to record with Barnet again in '44, '45 and '47. Come Marmarosa's first session with Tommy Dorsey on March 4, 1944, a radio broadcast of 'Spotlight Bands' resulting in such as 'Shoo Shoo Baby' and 'I Couldn't Sleep a Wink', the latter with Bob Allen at vocals. Marmarosa's last tracks with Dorsey arrived in August, he then dismissed as incompatible. According to Wikipedia his modernistic lean wasn't suitable to Dorsey's swing. A few months later he was in the Artie Shaw Orchestra in Hollywood for a November session yielding such as 'Lady Day' and 'Jumpin' on the Merry-Go-Round'. Marmarosa stuck with Shaw into latter '46, his final session thought to have been on November 9 that year in Los Angeles for 'It's the Same Old Dream, 'I Believe' and 'When You're Around'. In early '45 Marmarosa contributed to Slim Gaillard's 'Laguna Oroonee' for the featurette, 'O'Voutie O'Rooney'. (Featurettes were short films perhaps half an hour long.) He joined Gaillard's band later that year into 1946 and would see a couple sessions in '47 as well, his last on October 1 to bear such as 'Mama's in the Kitchen' and 'Ghost of a Chance'. His first sessions with Boyd Raeburn were circa December of '45 in Los Angeles for Standard transcriptions yielding such as 'Tonsilectomy' and 'Rip Van Winkle'. He would stick with Raeburn into summer of '46, his last session with that orchestra at Club Morocco in Hollywood in July to yield such as 'A Night in Tunisia' and 'March of the Boyds'. His first session with Bob Crosby had been June 1 that year ('46) for an AFRS broadcast of 'One Night Stand' (#1025) in Culver City (Los Angeles) for such as 'Blue Moon' and 'Baby, Baby, All the Time'. Marmarosa hung with Crosby into 1947. Lord's disco has Marmarosa down for 175 sessions, prolific for the not twenty years that he recorded. Sixteen of those were his own projects, his first session as leader having been January 11, 1946, for Atomic Records with Ray Brown (bass) and Jackie Mills (drums) for 'Mellow Mood' and 'Dodo's Blues'. Lucky Thompson (tenor sax) joined them on 'How High the Moon' and 'I Surrender Dear'. Maramarosa's first piano solos went down per an AFRS (Armed Forces Radio Service) 'Jubilee' broadcast (#169) in Hollywood circa February 1946: 'Deep Purple' and 'Tea For Two'. Marmarosa went through a divorce in '53, then was drafted into the Army in 1954. He soon began experiencing symptoms leading to VA hospitalization for several months, including electroshock therapy, and was released from the military. He was back in Pittsburgh, his home town, in 1956 where he pursued his profession locally. Marmarosa's last recordings were in May of '61 for 'Dodo's Back!' ('62) and May 4 of 1962 for 'Jug and Dodo', the latter with Gene Ammons, though not issued until 1972 by Prestige. A final session on November 2 of '62 with Bill Hardman (trumpet) Richard Evans (bass) and Ben Dixon (drums) would find its way onto 'The Chicago Sessions' released in 1989. It's thought that diabetes forced Marmarosa's retirement thereafter, he dying forty years later in 2002 at the VA Medical Center in Pittsburgh.

Dodo Marmarosa   1943

   The Moose

      With Charlie Barnet

Dodo Marmarosa   1944


      With Charlie Barnet

Dodo Marmarosa   1945

   D.B. Blues

      With Lester Young

  These Foolish Things

      With Lester Young

  Lester Blows Again

      With Lester Young

  These Foolish Things

      With Lester Young

Dodo Marmarosa   1946

   How High The Moon

      Tenor sax: Lucky Thompson

   Moose the Mooche

       Alto sax: Charlie Parker


       Alto sax: Charlie Parker

Dodo Marmarosa   1947

   Cosmo Street

   Relaxin' At Camarillo

       Alto sax: Charlie Parker

Dodo Marmarosa   1950

   My Foolish Heart

Dodo Marmarosa   1958

   Moose The Mooche


Dodo Marmarosa   1961

   Everything Happens To Me

   Mellow Mood

   On Green Dolphin Street



Birth of Modern Jazz: Dick Farney

Dick Farney

Source: Last FM


Born in 1921 in Rio de Janeiro, Brazilian vocalist Dick Farney was also a fine piano player, making his debut as a singer on a Rio De Janeiro radio station in 1937. His first recording was 'The Music Stopped' in 1944. Because that and other examples of his music are featured in Modern Jazz Song we index only two examples of his piano playing below. Farney died ion August 4, 1987.

Dick Farney   1962

   Swanee River




Birth of Modern Jazz: Victor Feldman

Victor Feldman

Source: Jazz Wax


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

Victor Feldman   1958

   Minor Lament

      Bass: Scott LaFaro   Drums: Stan Levey


      Bass: Scott LaFaro   Drums: Stan Levey

Victor Feldman   1959

   Wonder Why

      With Shelly Manne

Victor Feldman   1961


      With Cannonbal Adderley

Victor Feldman   1965

   Summer Love

      Filmed live

   Swinging On A Star

      Filmed live

Victor Feldman   1977

   Haunted Ballroom

      Album: 'Artful Dodger'   Vocal: Jack Sheldon

Victor Feldman   1984

   With Your Love

Victor Feldman   1986


     Album: 'Smooth'



Born in 1922 in Newark, New Jersey, bebop pianist Al Haig got his start as a professional musician in 1944 upon meeting Charlie Parker and Dizzy Gillespie. Before recording with them in '45 he ended up on vocalist, Dick Merrick's, 'Two Heavens' in May of '44, either added or as a member of the Jerry Wald Orchestra in NYC. He got down to business with Gillespie on May 11, 1945, in the latter's All Star Quintet consisting of Parker (alto sax), Curly Russell (bass) and Sidney Catlett (drums). In addition to 'Salt Peanuts', 'Shaw 'Nuff' and 'Hot House' they backed Sarah Vaughan on 'Lover Man'. He, Gillespie and Russell then backed Parker as members of the latter's sextet and quintet on a couple sessions before a joint Gillespie/Parker engagement that would find release years later on CD as 'Town Hall, New York City, June 22, 1945' in 2005. A number of sessions with Gillespie followed until May 15, 1946, recording 'One Bass Hit' in addition to titles with vocalists, Gil Fuller and Alice Roberts. Haig would likewise support Parker projects into '46, then later join him from '48 to '51, followed by a couple sessions in '53. Haig's first tracks with Charlie Barnet's swing orchestra were on August 2, 1945 per Decca/World radio transcriptions in NYC, performing 'Xango' along with titles by vocalists, Phil Barton, Redd Evans and Fran Warren. Haig hung with Barnet to December at Casino Gardens, Ocean Park, CA, whence he joined Gillespie and Parker again in Hollywood the next January. A session November 23, 1946, with Red Rodney's Be Boppers saw him backing vocalists, Dave Lambert and Buddy Stewart on such as 'Perdido' and 'Gussie 'G''. He would support Lambert and Stewart again in '48 and '49. Haig took up big band swing again in April of '47 with the Jimmy Dorsey Orchestra in NYC, backing vocalists, Dee Parker and Bob Carroll on such as 'Who Knows'. Haig stuck with Dorsey to December, backing vocalist, Bill Lawrence, on titles like 'My Guitar' and 'Lilette'. Titles with Stan Getz commenced in October of '48 per the latter's quintet consisting of Jimmy Raney (guitar), Clyde Lombardi (bass) and Charlie Perry (drums), putting down such as 'Pardon My Bop' and 'Interlude In Bebop'. Haig backed Getz numerously to October 28 of 1951, for titles that would end up on 'At Storyville Vol 1 & 2' in 1990'. The month after his first session with Getz Haig conducted his first session as a leader, that in November of '48 in NYC with Wardell Gray (tenor sax), Jimmy Raney (guitar), Tommy Potter (bass) and Charlie Perry (drums). In addition to 'In a Pinch' and 'It's the Talk of the Town' he backed vocalist, Terry Swope, on 'Five Stars' and 'Sugar Hill Bop'. Those would end up on an album called 'Highlights in Modern Jazz' on an unknown date in the fifties. Haig's first occasion to record with Miles Davis was in Charlie Parker's All Stars at the Royal Roost in NYC on December 11 of '48, laying out such as 'Groovin' High' and 'Big Foot'. They would support Parker on a couple more sessions before recording tracks toward Davis' 'Birth of the Cool' ('57) on January 21, 1949. Their last title together was 'Blues' (also titled 'Farewell Blues'), recorded live at the Paris Jazz Festival on May 15, 1949. Haig's Trio on January 27, 1950, with Tommy Potter (bass) and Roy Haynes (drums) resulted in titles like 'Liza' and 'Opus Caprice'. Nigh all of Haig's projects during his career were for smaller ensembles like quartets and trios. On August 4, 1952, trumpeter, Chet Baker, backed him at the Tradewinds in Inglewood, CA, for what would get released in 1985 as 'Live in Hollywood'. Haig is thought to have recorded his first album with his Trio consisting of Bill Crow (bass) and Lee Abrams (drums) on March 13, 1954, that issued on August 25 as 'Al Haig Trio' by Esoteric. Haig would attend perhaps 150 sessions during his career, 40 of those his own. His final tracks are thought to have been in London on May 27, 1982, for two volumes of 'Bebop Live'. He died of heart attack on November 16, 1982. Per 1945 and 1946 below, all tracks are with Dizzy Gillespie.

Al Haig   1945

  Dizzy Atmosphere

  Hot House

  A Night In Tunisia (Interlude)

  Salt Peanuts

  That's Earl's Brother

  Lover Man

Al Haig   1946

   Lover Man

     Vocal: Sarah Vaughan

   Ol' Man Rebop

     Vibes: Milt Jackson

Al Haig   1954

   Autumn in New York

      Bass: Bill Crow   Drums: Lee Abrams

   Royal Garden Blues

      Bass: Bill Crow   Drums: Lee Abrams

   'S Wonderful/The Moon Was Yellow

       Bass: Bill Crow   Drums: Lee Abrams

   Yardbird Suite

      Bass: Bill Crow   Drums: Lee Abrams

Al Haig   1972

   Body and Soul

      Bass: Jamil Nasser   Drums: Frank Gant

Al Haig   1982

   Bag's Groove

      Album: 'Bebop Live Part 1'


      Album: 'Bebop Live Part 2'


Birth of Modern Jazz: Al Haig

Al Haig

Source: Jazz Wax


Born in 1924 in Harlem, Bud Powell, first recorded with Cootie Williams in January 1944. That first of several sessions with Williams that year produced 'You Talk A Little Trash', 'Floogie Boo (Sweet Lorraine)', 'I Don't Know (Now I Know)' and 'Gotta Do Some War Work'. His appearance on Thelonious Monk's ''Round Midnight', below, is the first recording of that tune. Powell's first session as a leader on January 10, 1947, was his Trio for Roost Records with Curly Russell (bass) and Max Roach (drums) yielding such as 'I'll Remember April' and 'Indiana'. Titles from that session would get included on the later album, 'Bud', in 1958. Regrettably, Powell had emotional conditions, likely increased by alcohol and anger from racial persecution, that saw his first electroshock treatment in 1948. He nevertheless continued as a remarkable composer and pianist throughout most his career of above 130 sessions, 100 of those his own projects. Among his numerous compositions were 'Tempus Fugit', 'Celia', 'Strictly Confidential' and 'Bouncing with Bud', all first recorded in 1949. Such as 'Oblivion' and 'Un Poco Loco' followed in 1951. His last recordings were issued as 'Ups 'n Downs' in 1972. Lord's disco has his first session for that at Carnegie Hall on March 27, 1965, for Powell's piano solo, ''Round Midnight'. The remaining tracks followed in late '65 and early '66. Powell died on July 31, 1966, age 42, of tuberculosis exaggerated by alcoholism and malnutrition. His funeral was in Harlem. Per below, all tracks per 1944 are with Cootie Williams.

Bud Powell   1944

  Cherry Red Blues

   Echoes Of Harlem

   Floogie Boo

   'Round Midnight

   Somebody's Gotta Go

     Vocal: Eddie Cleanhead Vinson

   Tess's Torch Song

     Vocal: Pearl Bailey

   You Talk A Little Trash

Bud Powell   1949

   Bouncing With Bud



Bud Powell   1950

   Tea For Two

Bud Powell   1951

   The Last Time I Saw Paris

   A Night In Tunisia



   Over the Rainbow

Bud Powell   1954

   Autumn In New York

Bud Powell   1957



      Bass: George Duvivier   Drums: Art Taylor

   Yardbird Suite

Bud Powell   1958

   Comin' Up

   When I Fall In Love

Bud Powell   1959

   Blues in the Closet


   Get Happy

      Live performance

Bud Powell   1960

   Tea For Two

Bud Powell   1961

   Ruby, My Dear

Bud Powell   1962


      Live performance

   Blues In The Closet

   I Remember Clifford

      Live performance

Bud Powell   1963

   B Flat Blues

   Satin Doll

   Stairway To The Stars

     Tenor sax: Dexter Gordon


Birth of Modern Jazz: Bud Powell

Bud Powell

Source: Musical Value




Plunk. Born in 1921 in Greenville, North Carolina, Billy Taylor, (not to be confused with the early bassist) began his jazz career in New York City with the Ben Webster Quartet in 1944. He may have first recorded with the Eddie South Trio with, perhaps, bassist, Edgar Brown, in spring of 1944. That was at the Antler's Hotel, perhaps in NYC for unissued titles like 'Pardon Madame' and 'Hejre Kati'. 'Humoresque' would later find its way onto cassette per Fable. Sessions with South followed on June 14 ('Among My Souvenirs', 'Someday Sweetheart', et al) to perhaps October in Hollywood for an AFRS 'Jubilee' broadcast (#107) of 'Jersey Bounce'. Come the band of saxophonist, Walter Foots Thomas, on March 8 of 1945 for 'The Bottles' Empty' and 'For Lovers Only', et al. That was his fist recording session with saxophonist, Ben Webster, drummer, Cozy Cole, and trumpeter, Charlie Shavers. Taylor would see Webster again in NYC on January 23, 1953, with the Johnny Richards Orchestra for such as 'Hoot' and 'Poutin''. Webster would later appear for Taylor on 'The Subject Is Jazz' TV program in 1958, their final title together the next month on May 3 with Ben's Boys: 'Flying Home'. March 18 of 1945 saw Taylor backing Cole on such as 'Hallelujah' and 'Stompin' at the Savoy'. Shavers and Taylor would reunite on June 2, 1954 to support vocalist, Jackie Paris, for 'That Paris Mood'. Shavers and Taylor would see Cole again to support Billie Holiday for 'Stay With Me' on Valentine's Day 1955. Glub glub. Another of the bigger names that early came his way was that of tenor saxophonist, Don Byas, the latter present for the Cole session above on March 18 of '45. Byas and Taylor would back both Don Redman and Tyree Glenn in 1946. Their last sessions together were several in 1947 on a tour to Europe. Most of their titles went down in Paris, but their last session, with Glenn and Byas co-leading, was in Hilversum, Holland, on February 17, 1947, for such as 'Humoresque' and 'Always'. The day after Taylor's first session with Byas for Cole above, he recorded his first tracks as a leader on March 20, 1945. Those, with his Trio of Al Hall (bass) and Jimmy Crawford (drums), would eventually get released in 1991 on side B of an LP called 'Separate Keyboards' with Erroll Garner on side A. Included was his composition, 'Mad Monk'. He recorded his first piano solo, 'The Very Thought of You', in Paris on December 4, 1946, that during the same session with his trio consisting of Ted Sturgis (bass) and Buford Oliver (drums) to put down 'Stridin' Down Champs-Elysees'. His third date as a leader was about June of 1947 back in NYC for such as 'Well Taylored' and 'I Don't Ask Questions'. With perhaps 260 sessions to Taylor's name, 87 of those his own projects, the whole account of his rather spectacular career requires means which permit coming up for air. I hope the gauge on the oxygen tank is correct as we descend. We dive ahead into dark and eerie waters with only this dull flashlight to the early fifties because Dizzy Gillespie is a beacon in any historical murk to quickly lend notion to elite and high-calibre musicianship, such as that which Taylor made a career of accompnying. Taylor first joined Gillespie's Sextet on January 6, 1951, for live broadcasts from the Birdland: 'Congo Blues', 'Yesterdays', et al. Several sessions were held with Gillespie at the Birdland until spring when they supported Charlie Parker for a VOA broadcast for such as 'Hot House' and 'Embraceable You'. Taylor joined Gillespie's Be Bop All Stars on March 27, 1965, for 'Charlie Parker Tenth Memorial Concert' at Carnegie Hall (Parker having died a decade earlier). Gillespie and Taylor would record 'Disorder at the Border, unissued, at the Newport Jazz Festival on July 4, 1966. Highlighting latter fifties was Taylor's album, 'Meets the Jazz Greats: Know Your Jazz' recorded in March of 1956. Those sessions featured a long list of all-star players from Gigi Gryce to Charlie Rouse. Following that was a triple take of 'Billie's Bounce' with the Metronome All Stars on June 18 of 1956. Glub glub. On March 14 of 1957 Taylor joined Lee Konitz and Warne Marsh for an NBC telecast of 'The Subject Is Jazz', performing titles like 'Godchild' and 'Lady Bird'. Taylor would became musical director of 'The Subject Is Jazz' in 1958, his band to record such as 'Blues in a Minor Key' (theme), 'For Dancers Only' and 'Sent for You Yesterday' on Program 5 ('Swing') and 6 ('The Blues'). Highlighting the sixties was a concert with Duke Ellington and Earl Hines at the Civic Arena in Pittsburgh, PA, on June 20, 1965, for such as 'Sweet Lorraine', eventually getting issued on a CD by various in 2007 called 'The Jazz Piano'. The next that Taylor and Hines got packaged together included pianist, Dave Brubeck, as well, that on April 29, 1969 at the East Room of the White House in Washington DC for a Duke Ellington Tribute, titles to go down like 'Take the 'A' Train' and 'I Got It Bad'. Taylor became musical director of the 'David Frost Show' in 1969. Such would affect an opportunity to string titles like 'Blueberry Hill' with jazz great, Louis Armstrong, on trumpet, on February 10, 1971, also with Tyree Glenn on trombone and Bing Crosby at vocals. We flounder ahead three decades to 2001 to witness the issue of 'Urban Griot', then 'Live at IAJE, New York' in 2002. Taylor's recording pace slowed into the new millennium. Lord's disco estimates a final title in 2010 per 'Consider Me Gone' on bassist, Christian McBride's, 'Conversations with Christian'. Performing nigh until his death, Taylor passed away of heart attack on December 28, 2010, with 23 honorary doctorates among numerous awards. Thud.

Billy Taylor   1945

   Alexander’s Ragtime Band

      Bass: All Hall   Drums: Jimmy Crawford

Billy Taylor   1952

   I Wish I Knew How It Would Feel to Be Free

Billy Taylor   1958

   52nd Street Theme/Confirmation

      Live with Cannonball & Nat Adderly

   Night In Tunisia/Round About Midnight

      Live with Cannonball & Nat Adderly

Billy Taylor   1964


      With Earl Coleman

Billy Taylor   1996

   My Heart Stood Still

   Tea For Two

Billy Taylor   2001


Billy Taylor   2006

   All Alone

   Live performance 


Birth of Modern Jazz: Billy Taylor

Billy Taylor

Photo: Tom Marcello

Source: Wikipedia



Birth of Modern Jazz: Hadda Brooks

Hadda Brooks

Source: Lileks

Born in 1916 and raised in Los Angeles, versatile pianist Hadda Brooks made a reputation for herself as the Queen of Boogie Woogie. Boogie woogie was the southern equivalent of ragtime, likely developing out of eastern Texas. She also came to reputation despite that she issued little vinyl during her career, attending only twenty something sessions to result in such during her career of more than fifty years. Brooks' first single, 'Swingin' the Boogie', was in 1945. She recorded fairly steadily into the fifties. She appeared on the 10" album, 'Modern Records Volume 7' in 1950. 1957 saw the issue of 'Femme Fatale', the same year she hosted 'The Hadda Brooks Show' on KCOP TV in Los Angeles. 'Hadda' was issued in 1971, upon which Brooks spent the seventies touring to Europe and moving to Australia. She wouldn't show up on record again until 'Queen of the Boogie' in 1984, recorded in Netherlands. In 1986 she played Perino's in Los Angeles, then other venues on the East and West Coast. 'Anytime, Anyplace, Anywhere' arrived in 1994. Brooks died in Los Angeles in 2002. She is thought to have last recorded in 1996 for 'Time Was When'. More boogie woogie by Hadda Brooks.

Hadda Brooks   1945

   Blues In B Flat

   The Man I Love

   Society Boogie

   Swingin' the Boogie

Hadda Brooks   1948

   Out Of the Blue

Hadda Brooks   1950

   I Hadn't Anyone 'Til You

      From the film 'In a Lonely Place'

Hadda Brooks   1953

   When I Leave the World

Hadda Brooks   1957

   The Thrill Is Gone



Born in 1995 in Glasgow, Missouri, Wild Bill Davis began his career with the Milton Larkin Orchestra in 1939 as a guitar player. He had switched to piano by the time he performed with Buster Bennett in Chicago, thought to have possibly first recorded on February 24, 1945, with the Buster Bennett Trio with Duke Brenner at bass and  drums: 'Leap Frog Blues', 'Reefer Head Woman', etc.. He then joined Louis Jordan's Tympany Five early enough for an AFRS V-Disc session bearing 'Banana Joe' and 'Nobody But Me' in NYC on July 12, 1945. Davis kept with Jordan into 1947, reupping in 1950-51. Between those periods Davis recorded his first organ solos in 1949, two of four issued by Mercury (8136) as 'Yes, You Know I Love You' and 'Oobie Yoogie Boogie'. Davis' first album, 'Here's Wild Bill Davis', is thought to have been released in 1954 by Epic from sessions in NYC mostly for Okeh stretching from December 20, 1951 to January 8, 1953, to include the Four Lads. 'On The Loose' saw session on May 16, 1954. The 'Goldmine 3rd Edition Jazz Album Price Guide' has 'Sweet and Hot' issued in 1956, the white label worth $250, the blue label of unknown issue worth $30. With at least 175 sessions to his name, more than fifty of those his own, Davis grooved a path too long to follow in this space. It would be apt, however, to mention at least one of the heavy weights Davis supported for a brief though significant period, that being Duke Ellington with whom he first recorded in October of 1950, Ellington contributing piano to Davis' organ on 'Things Ain't What They Used to Be'. Davis would join Ellington's orchestra 19 years later in time to record 'In Dolce Vita' and 'Spanish Flea' on September 2, 1969, in NYC. Davis would tour with Ellington to Eastern Europe, Scandinavia, Europe and Las Vegas before returning to NYC toward his last tracks with Ellington in June of 1971 yielding such as 'Toga' and 'Toga Brava Suite'. From 1972 throughout the remainder of his career, with but a couple exceptions all of Davis' numerous sessions were held in Europe, largely Paris, as was his final with the Paris Barcelona Swing Connection in June of 1992 toward 'Wild Cat 1992'. Davis died on August 17, 1995.

Wild Bill Davis   1945

   Nobody But Me

     Louis Jordan Typany Five

   Reefer Head Woman

     Buster Bennett Trio

Wild Bill Davis   1950

   I Know What I've Got

  Tamburitza Boogie

Wild Bill Davis   1954

   Things Ain't What They Used to Be

Wild Bill Davis   1969

   April In Paris

   Satin Doll

Wild Bill Davis   1973

   Snake Rhythm

      With Boogaloo Jones

Wild Bill Davis   1989

   Johnny Comes Lately


Birth of Modern Jazz: Wild Bill Davis

Wild Bill Davis

Source: Discogs


Birth of Modern Jazz: Erroll Garner

Erroll Garner

Source: New York Times


Born in 1923 in Pittsburgh, Pennsylvania, Erroll Garner was something of a prodigy, playing piano at three, though he never learned to read music. He began appearing on radio (KDKA) at age seven with a group called the Candy Kids. At age eleven he was playing riverboats along the Alleghany. He would stand to only 5'2", preferring to play while sitting atop telephone directories placed on the piano bench. In 1944 he went to New York, where he made his debut recordings that year on October 20 with Inez Cavanaugh singing 'I'm In the Mood For Love' and 'Somebody Loves Me'. He held seven more sessions for numerous titles into December until one on the 14th netted 'All the Things You Are' and 'I Hear a Rhapsody' saw issue the next year by Century and Selmer respectively. Garner had been denied membership in the Pittsburgh musician's union because he couldn't read music. He later recorded his composition, the jazz standard, 'Misty', on January 27, 1954, in Chicago. best known song was 'Misty', which he composed in 1954. The Pittsburgh musician's union relented in 1956, granting him membership. With perhaps 150 sessions to his name, the majority were his own projects. His final tracks are thought to have been per his album, 'Magician', in 1973. Garner died on January 2, 1977, of cardiac arrest and was buried in Pittsburgh.

Erroll Garner   1945

   Erroll's Bounce

   I Get a Kick Out of You

   I Hear a Rhapsody

  Sweet Lorraine

   Take the 'A' Train

      Radio broadcast

Erroll Garner   1949


   All the Things You Are

Erroll Garner   1951

   I'm In The Mood For Love


Erroll Garner   1954


Erroll Garner   1955

   I'll Remember April

      Album: 'Concert by the Sea'

Erroll Garner   1962

   Where or When

      Live performance

   Sweet And Lovely/Mack The Knife

Erroll Garner   1964

   My Fair Lady Medley



Erroll Garner   1972

   Earl's Dream

      Live performance


Erroll Garner   1974

   Mucho Gusto

      Album: Magician

   One Good Turn

      Album: Magician



Birth of Modern Jazz: Hank Jones

Hank Jones

Source: Jazz Wax

Pianist Hank Jones (brother of trumpeter, Thad Jones, was playing professionally by age 13 in Michigan. Born in 1918 in Vicksburg, Mississippi, it was 1944 when he and saxophone player Lucky Thompson took off together for New York City. His first recordings are thought to have been for trumpeter, Hot Lips Page, on November 30, 1944, with Page on vocals as well for such as 'The Lady in Bed' and 'Gee Babe, Ain't I Good to You?'. By spring of 1945 he was in the band of Andy Kirk, his first session with the latter thought to per the AFRS 'Jubilee' (#133) broadcast in Hollywood bearing such as 'One O'Clock Jump' and 'Roll "Em'. Jones hung with Kirk for more than a year until December 2 of '46, backing Joe Williams on such as 'Now You Tell Me' and 'Louella'. Jones was one of the most prolific recording artists in jazz, his sessions numbering 1037, right up there at alpine level with Jimmy Dorsey (1016) and Tommy Dorsey (1172). Among reasons for that was that he served as staff pianist to both the Savoy label and, later, CBS from '59 to '75. For fear of avalanche we better not root about too much and keep this account amputated to a few of Jones' important early associates. Preceding Jones' last titles with Kirk in 1946 he had joined Ray Brown's All Stars on November 28 for such as 'For Hecklers Only' and 'Smokey Hollow Jump'. Brown and Jones recorded together numerously into the fifties, the latter fifties through the sixties, then occasions in the seventies and eighties until their last on April 6, 1994 at Carnegie Hall, recording 'Now's the Time' for the LP 'Carnegie Hall Salutes the Jazz Masters'. Present in Brown's All Stars above on November 28 was vibraphonist, Milt Jackson, who would also become a significant figure in Jones' career. Their next occasion to record together was in the Coleman Hawkins Orchestra in December of 1946, grooving such as 'Bean and the Boys'. They would pair numerously into '47, later in 1955-59, 1961-65 and finally the eighties, their last occasion in Paris with the Paris All-Stars on June 15 of 1989 for 'Homage to Charlie Parker'. As for Coleman Hawkins per above in December of '46, Hawkins, too, would be a major figure in Jones' career, they recording together numerously to 1950, 1956-58 and later in the sixties, their last occasion on April 15 of 1965 as members of Lionel Hampton's All Stars to put down Stardust', 'Midnight Blues' and 'As Long As We're Here'. Jones' first of nine dates with Norman Granz' Jazz at the Philharmonic was on May 24, 1947, at Carnegie Hall with Roy Eldridge on trumpet: 'Perdido', 'What Is This Thing Called Love' and 'Blues'. His last was in Paris with Lester Young at tenor sax on March 3, 1953, for such as 'These Foolish Things' and 'Blues in C'. Jones found himself a treasure chest in Ella Fitzgerald on December 23, 1947, backing her on such as 'I've Got a Feeling I'm Falling' and 'You Turned the Tables On Me'. Jones worked for Fitzgerald numerously to 1953, later in 1958-59 and, finally, a couple sessions on January 30 and 31 of 1962 in NYC for Verve, such as 'Broadway' from the first and 'Laughing On the Outside' from the letter. Jones put together his first album in 1950. Bassist Ray Brown also features on one of its tracks, 'Ad Lib' below. Jones is also the pianist on 'Opus de Funk' under Milt Jackson in Jazz Percussion. Jones died in the Bronx on May 16, 2010.

Hank Jones   1946

  Bean and the Boys

      Saxophone: Coleman Hawkins

Hank Jones   1950

  Ad Lib

      Bass: Ray Brown   Drums: Buddy Rich

Hank Jones   1958

  My One And Only Love

      Drums: Osie Johnson

Hank Jones   1990


Hank Jones   1994

  Steal Away

Hank Jones   2009

  Live in Vienna



Born in Brooklyn in 1922, Duke Jordan's first recordings are thought to have been in January or February of 1945 in Chicago with the Floyd Horsecollar Williams Septet for the Chicago label (102): 'You Ain't Nothin', Baby' and 'How Ya Like That' with a couple others unissued. Likely with a good 180 sessions to his name, 69 of those his own, we'll here address only the first several. Jordans' next session was with Roy Eldridge in September of '46, including 'Lover Come Back to Me' and 'Rockin' Chair'. His third was with Allen Eager's Be-Bop Boys o July 15, 1947 for 'All Right, All Frantic' and 'Donald Jay' among others. Beside Eager on tenor sax, others in that quartet were Terry Gibbs (vibraphone), Curly Russell (bass) and Max Roach (drums). It was with Charlie Parker whom Jordan joined in 1947 that he began to shine as a great pianist. His initial session with Parker was on October 27 for takes of 'Dexterity', 'Bongo Pop', et al. Jordan kept with Parker through numerous sessions to spring of 1949 at the Pershing Hotel Ballroom in Chicago, starting a long stream of titles with "A Night In Tunisia' and 'My Old Flame'. There would be a reunion on September 20, 1952, recording 'Ornithology' and '52nd Street Theme' at the Birdland in NYC. After Jordan's brief stretch with Parker he signed up with Stan Getz' Boppers for a session in May of '49 in NYC yielding 'Stan Getz Along', 'Stan's Mood', 'Slow' and 'Fast'. Jordan would join Getz' again at the Birdland on May 31 of 1952 for 'Don't Get Scared', 'Just You, Just Me', et al. This time Jordan kept with Getz' to March 8, 1953, at the High Hat in Boston. That with an earlier session at the Hi Hat on December 8 of '52 resulted in two volumes of 'Getz in Boston - Live at The Hi-Hat'. After Jordon's brief time with Getz he held his first session as a leader with his Trio consisting of Gene Ramey (bass) and Lee Abrams (drums) resulting in his first album, 'Duke Jordan Trio', released in '54. Jordan plied his trade in the United States for nigh the next quarter century before became a resident of Copenhagen in 1978, His last titles in the States were two takes of 'Foxie Cakes' on July 11 of '78, one which would find its way onto 'Thinking of You'' completed October 29, 1979, in Copenhagen. Jordan's first session upon moving to Denmark was live in Oslo, Norway, on November 10, 1978, resulting in 'Flight to Norway'. Trumpeter, Chet Baker, visited for a session in Copenhagen, Denmark, on October 2, 1979, toward Baker's 'No Problem'. Jordan would host Baker on another trip to Europe in November of '83: Dates in Paris came to Baker's albums 'September Song' and 'Live at New Morning'. A date in Belgium witnessed such as 'Barbados' and 'But Not For Me' with Baker at vocals on the latter. A final date at George's Jazz Cafe in Holland (Netherlands) resulted in Baker's album, 'Star Eyes'. The majority of Jordan's recordings in the eighties and nineties will have been made in Europe, particularly Copenhagen, with the exception of numerous tours to Japan. His first trip there had been with his Trio consisting of Wilbur Little (bass) and Roy Haynes (drums) in 1976. Eight sessions were held there resulting in such as two volumes of 'Live In Japan', two volumes of 'Osaka Concert' and 'Flight to Japan'. Jordan would tour to Japan again in '82, '85, '87 and each year of 1989-91 and 1993-95. His last such occasion on December 11 came to titles like 'My One and Only' and 'Cherokee' with Tomonao Hara at trumpet. Lord's disco shows Jordan's final titles on July 4, 1997, at the Drop Inn in Copenhagen with Bent Jaedig (tenor sax), Jesper Lundgaard (bass) and Ed Thigpen (drums), bearing 'But Not For Me' 'My One and Only'. Jordon's later albums, 'Flight to Denmark' ('02) and 'Flight to Jordan' ('04) had each been recorded decades earlier, the former in '73 in Copenhagen, the latter in 1960 in Englewood Cliffs, NJ. Jordon died in Copenhagen on August 8, 2006.

Duke Jordan   1947

   The Bird Gets the Worm

         Saxophone: Charlie Parker

   Bird of Paradise

      Saxophone: Charlie Parker

   Bongo Pop

      Saxophone: Charlie Parker

   Dewey Square

      Saxophone: Charlie Parker

  Embraceable You

      Saxophone: Charlie Parker


      Saxophone: Charlie Parker

Duke Jordan   1954

   Golden Touch

     Bass: Oscar Pettiford

  Wait and See

Duke Jordan   1956

   More Of The Same

      Bass: Doug Watkins   Guitar: Kenny Burrell

Duke Jordan   1960

   Split Quick

      Album: 'Flight to Jordan'

Duke Jordan   1962

   The Feeling Of Love

   Yes, He's Gone

      Baritone sax: Cecil Payne

Duke Jordan   1973

   Everything Happens to Me

   Here's That Rainy Day


      Saxophone: Cecil Payne

  No Problem

  On Green Dolphin Street

  Two Loves

Duke Jordan   1979

   No Problem

     Trumpet: Chet Baker


Birth of Modern Jazz: Duke Jordan

Duke Jordan

Source: Verve Music Group


Birth of Modern Jazz: Oscar Peterson

Oscar Peterson

Photo: Associated Press

Source: Circle Music

Born in 1925 in Montreal, Quebec, Canadian piano virtuoso Oscar Peterson first recorded in Montreal in December of 1944, a 'Bovril Show' (Bovril sold milk) transcription bearing 'Flying Home' and 'If Could Be With You'. Those likely didn't see record shops at the time and how well they went around otherwise isn't known. Lord's Disco has them included on Harlequin 2023 as 'Jazz and Hot Dance in Canada 1916-1949 Vol 14'. April 30 of 1945 found him with the Oscar Peterson Trio in session for Victor Canada toward the issue of such as 'I Got Rhythm' and 'Louise'. Peterson first recorded in the United States at Carnegie Hall with bassist, Ray Brown, on September 18, 1949: 'Fine and Dandy', 'I Only Have Eyes for You' and 'Carnegie Blues'. With about 433 sessions to his name, well above half of those his own projects, Peterson's high-impact career can't see a lot of illumination in this small space. A few among his more important associates will need suffice. His closest musical comrade was Ray Brown who sided Peterson's ensembles throughout the fifties to 1965. The last session of that thirteen-year stretch was on December 6 of '65 with Louis Hayes on drums for 'Blues Etude'. They would reunite in Villingen, Germany, in July 1971 with Hayes and Milt Jackson for 'Reunion Blues'. That second period with Peterson stretched to 1978 with reunions in the early eighties and latter nineties. Brown's last of countless titles with Peterson arrived per the latter's Very Tall Band at the Blue Note in NYC in November 1998 toward 'Live at the Blue Note' and 'What's Up?'. Although Peterson's favored configurations were trios and quartets he occasionally supported big bands, one such being Count Basie's on July 6, 1952, for such as 'Cash Box' and 'Bootsie'. Other examples of Peterson in a big band setting were 'Swinging Brass!' recorded with the Russ Garcia Orchestra on November 9, 1959, and 'Bursting Out' with the All Star Band on June 14, 1962. On December 27, 1955, Peterson's Quartet of Herb Ellis (guitar), Ray Brown (bass) and Buddy Rich (drums) recorded (minus Basie) a string of Basie tunes toward 'Oscar Peterson Plays Count Basie'. Basie and Peterson would reunite on June 2, 1972, per Jazz at the Philharmonic at the Civic Auditorium in Santa Monica, CA, for such as 'In a Mellow Tone' and 'Loose Walk'. On December 2 of '74 Basie contributed piano to 'S & J Blues' on Peterson's album, 'Satch and Josh'. September 20 of '77 saw Basie contributing piano to Peterson's album, 'Satch and Josh . . . Again'. They would reunite again for a few sessions in February of '78 with John Heard (bass) and Louie Bellson (drums) toward the LPs 'Yes Sir, That's My Baby', 'Nightrider' and 'Count Basie Meets Oscar Peterson'. Performances with Jazz at the Philharmonic were generally highlights in any jazz career. The founder and impresario of the JATP, Norman Granz, would be Peterson's manager most of his career. Peterson joined his first JATP concert per above in 1952. Another ensued on September 13 that year at Carnegie Hall for such as 'Jam Session Blues' and 'The Trumpet Battle' (Roy Eldridge and Charlie Shavers). Peterson joined JATP again in May of '53 at Bushnell Memorial Auditorium in Hartford, CT, for such as 'Cotton Tail' and 'Air Mail Special'. Another JATP performance ensued on September 19 of '53 at Carnegie Hall for such as 'Cool Blues' and 'One O'Clock Jump'. November of '53 found Peterson with JATP in Tokyo at Yoyogi National Stadium for such as 'That Old Black Magic' and 'Perdido'. Peterson joined JATP again at the Civic Auditorium in Santa Monica per above on June 2 of 1972, later on October 17, 1983, at Yoyogi National Stadium in Tokyo, including the title, 'Flying Home', with Ella Fitzgerald. Another of Peterson's important associates was guitarist, Herb Ellis, who first recorded with Peterson in May of '53 per JATP above. They would record together numerously for the next five years, both backing other ensembles (like JATP) and Peterson's operation. Ellis first joined Peterson's Trio in Los Angeles on December 10, 1953, with Ray Brown at bass, recording such as 'I Want to Be Happy' and 'Manhattan'. Their last tracks together were at the Orpheum Theatre in Vancouver, BC, on August 8, 1958, again with Ray Brown for such as 'Alone Together' and 'How About You'. They would reunite in '61, '65, '69, '72 and, finally, several times between 1990 and '94. Their last session together is thought to have been on October 1, 1996, at Town Hall in NYC with Niels-Henning Ørsted Pedersen (bass) and Lewis Nash (drums) for titles toward 'A Tribute to Oscar Peterson' ('67). Another of Peterson's more important associates was drummer, Ed Thigpen, who first joined Peterson's Trio in Paris on May 18, 1959, for 'A Jazz Portrait of Frank Sinatra', again with Ray Brown. Thigpen sided Peterson to May 29, 1965, at Tivoli Gardens in Copenhagen, Denmark, for titles toward 'Eloquence', again with Brown. They reunited in November 1972 in Los Angeles with Brown to record 'Blues for Allan Felix' per the soundtrack to 'Play it again, Sam' ('72). Among the numberless highlights in Peterson's career were titles with saxophonist, Zoot Sims. Sims first recorded with Peterson in the summer of '67 at the Hollywood Bowl in Los Angeles toward the issue of 'The Greatest Jazz Concert in the World' in 1975. They would reunite that year on June 6 for Sims' 'Zoot Sims & The Gershwin Brothers'. Later that year in October in Europe Peterson, Niels-Henning Ørsted Pedersen (bass) and Louie Bellson (drums) would back Sims and Eddie Lockjaw Davis on 'The Tenor Giants'. They would reunite a last time in October of '83 per the JATP concert mentioned above in Tokyo. Lord's Disco lists Peterson's final recordings with a quartet in Austria consisting of Ulf Wakenius (guitar), Niels-Henning Ørsted Pedersen (bass) and Martin Drew (drums) on November 21, 2003: 'A Night in Vienna'. He was, however, yet active and touring when he died of kidney failure on December 23, 2007.

Oscar Peterson   1945

   Claire de Lune

  Oscar's Boogie

Oscar Peterson   1951

   I Got Rhythm

Oscar Peterson   1957

   You'd Be So Nice to Come Home To

      With Ben Webster & Coleman Hawkins

Oscar Peterson   1958

   A Gal in Gallico

      Live performance with Herb Ellis & Ray Brown

Oscar Peterson   1961


      Live performance   Trumpet: Lee Morgan

Oscar Peterson   1962

   Night Train


Oscar Peterson   1964

   C Jam Blues

      Live performance   Bass: Ray Brown

Oscar Peterson   1972

   Live in Hannover


Oscar Peterson   1974

   Boogie Blues Etude

      Live   Guitar: Barney Kessel

Oscar Peterson   1987

   Live in Tokyo


Oscar Peterson   2004

   Reunion Blues

      Live performance




Birth of Modern Jazz: Skitch Henderson

Skitch Henderson

Source: From the Vaults


The earliest recordings on which pianist, Skitch Henderson, are found were per May 13, 1940, in Hollywood with the Artie Shaw Orchestra, such as 'Dreaming Out Loud' and 'Now we know'. Born on a farm in 1918 near Holstad, Minnesota. If ask me, the winters there would have been reason enough to commence a music career as a traveling roadhouse performer in the Midwest, his major break occurring in 1937 upon being asked to accompany Judy Garland and Mickey Rooney on an MGM promotional tour that brought him to Hollywood. In July of '46 the Skitch Henderson Orchestra recorded 'Crazy Rhythm' for Capitol with 'Skitch's Boogie' following in March of '47. Among the highlights of Henderson's career was becoming music director for NBC television in 1951 and founding The New York Pops orchestra in 1983 based at Carnegie Hall. Henderson, however, was one of those musicians for whom making records wasn't a thing, Lord's disco listing him with not thirty sessions to his whole career. Henderson's main claim to fame was as bandleader for 'The Tonight Show' from its inception in 1954 as 'Tonight' hosted by Steve Allen. (Other notable members of that orchestra have been guitarist, Bucky Pizzarelli, drummer, Ed Shaughnessy, and trumpeter, Doc Severinsen who acquired Henderson's position as bandleader in 1966.) Albums issued in the sixties by the Tonight Show Orchestra were 'Skitch . . . Tonight!', 'More Skitch Tonight!', 'Plays Music From Sweet Charity' and 'Plays Music From Mame'. Henderson served several miserable months for tax evasion in 1975. He issued 'Swinging With Strings' in 2001 and 'Legands' in 2003 with Bucky Pizzarelli. He died on November 1, 2005.

Skitch Henderson   1940


      With Artie Shaw

Skitch Henderson   1946

   Dreamland Rendezvous

   Five Minutes More

      With Ray Kellogg

   Save Me a Dream

      With Ray Kellogg

   Swan Lake

Skitch Henderson   1947

   Army Air Corp

   But None Like You

      With Andy Reed


      With Mancy Reed & Andy Roberts

   A Garden In the Rain

      With Eileen Wilson

   Dream on a Summer Night

   Would You Believe

     With Eileen Wilson

Skitch Henderson   1965


      Album: 'Skitch...Tonight!'

   Night Life

   So What Else Is New



André Previn was born in Berlin, Germany, in 1929. Being Jewish, he was brought to Los Angeles in 1939 by his parents. Six years later in 1945 he made first recordings as a composer, conductor and pianist at age sixteen. Lord's disco has him recording 'I Surrender Dear' with his Trio of uncertain personnel on June 11, 1945, that issued years later on CD by RST Records. Titles recorded on October 14 along with 'Something to Live For' from March 29 of '46 can be heard on a CD titled 'Previn at Sunset', the LP first issued in 1972. The next month on November 5 he was in the Willie Smith Six to put down 'I Never Knew You', 'All the Things You Are' and 'I've Found a New Baby', indeterminable if those were issued at the time. His first recordings one might hazard to have been released in some form (transcription disc or phono record) at the time were for V-Disc in Hollywood on May 29, 1946: 'I Cover the Waterfront', 'What Is This Thing Called Love', 'September In the Rain' and 'I've Found a New Baby'. 45worlds has him issuing 'I Cover the Waterfront' in September of '46 on a 12" V Disc '78 (681) shared with Edgar Hayes' 'Stardust' on side B. Among recordings not listed by Lord's disco, OAC (Online Archive of California) has Previn transcribed per radio broadcast of the 'Ford Show' on July 28 of '46 without titles and fate unknown. In 1948 Previn began composing for Hollywood ('The Secret Garden', for instance). Among titles for RCA Victor issued in 1949 were 'Bewitched, Bothered, and Bewildered'/'Anything Goes' with Bob Bain (guitar), Lloyd Pratt (double bass) and Ralph Collier (drums). 'My Shining Hour'/'This Can't Be Love' and 'Just One of Those Things'/'Mad About the Boy' were also issued by RCA in '49. Among Previn's more frequent jazz partners were drummer, Shelly Manne, bassist, Red Mitchell and guitarist Barney Kessel. Manne first joined Previn per the latter's Trio with Buddy Clark at bass on June 24, 1953, for 'Andre Previn Plays Fats Waller'. They recorded severally in support of other bands until February 11 of '56 in Hollywood when Previn backed Manne toward 'Shelly Manne and His Friends'. Manne next supported Previn in March for Decca on such 'But Beautiful' and 'Moonlight Becomes You'. Manne and Previn stayed tight another four years, their last session of that seven-year stretch in support of Helen Humes in September 1960. A reunion on December 18, 1963, resulted in Previn's '4 to Go!'. Seventeen years later in May 1980 they joined Itzhak Perlman at Heinz Hall in Pittsburgh, PA, for 'It's a Different Kind of Blues' and 'It's a Breeze'. As for Red Mitchell, he and Previn recorded their first common titles for trombonist, Milt Bernhart, on March 8 of 1955. With Previn arranging, such affected 'Hillside', 'Looking for a Boy', et al. Mitchell next joined Previn in a quartet in Los Angeles on April 11 with Al Hendrickson (guitar) and Irv Cottler (drums) coming to such as 'Let's Get Away From It All' and 'It Happened in Sun Valley'. Mitchell remained a main hand throughout the fifties to as late as April 15, 1964, for Previn's 'My Fair Lady'. They would reunite 16 years later per above with Manne and Perlman in May 1980. Come Barney Kessel on October 6, 1955, they first recording together on that date supporting vocalist, Betty Bennett toward 'Nobody Else But Me'. Kessel and Previn wove a braid that saw them recording together numerously for another five years both backing other operations and Previn appearing on projects by Kessel such as 'Music to Listen to Barney Kessel By' ('57) and 'Carmen' ('59). The last sessions of that stretch together appear to have been in September of 1960 supporting Helen Humes toward 'Songs I Like to Sing'. Among others with whom Previn recorded jazz were Shorty Rogers ('54, '55), Georgie Auld ('54, '55), Pete Rugulo ('56, '57), Buddy Bregman ('56), Benny Goodman ('58, 59) and Ella Fitzgerald ('59, '83). Previn's first recording as a conductor was in 1962 with the St. Louis Orchestra. He was appointed principal conductor of the London Symphony Orchestra in 1968. Previn became director of the Pittsburg Symphony Orchestra in 1976, then conductor of the Royal Philharmonic Orchestra in 1985, the same year he began directing the Los Angeles Philharmonic. Among Previn's classical compositions are a strong number of pieces for chamber, orchestra, piano and song. Previn is yet active giving concerts as of this writing.

André Previn   1945

   I Surrender Dear

André Previn   1950

   I Only Have Eyes For You

   Love Is Just Around The Corner

   September In The Rain

   This Heart Of Mine

André Previn   1953

   Squeeze Me

      Original composition: Fats Waller

   Stealin' Apples

      Original composition: Fats Waller

   That's Where The South Begins

      Original composition: Fats Waller

André Previn   1959

   Like Young

André Previn   1961

   I Let A Song Go Out Of My Heart

      Original composition: Duke Ellington

André Previn   1962

   Close Your Eyes

     With Doris Day

  The Faraway Part Of Town

   Nobody's Heart

      With Doris Day

   Over the Rainbow

      Original composition: Harold Arlen

   Two For The Seesaw

      Film theme

André Previn   1963

   But Beautiful


André Previn   1964

   The Rain In Spain

   There Will Never Be Another You

André Previn   1985

   Rhapsody In Blue

      Original composition: George Gershwin


Birth of Modern Jazz: André Previn

André Previn

Source: 1001 in 1000 Days


Birth of Modern Jazz: Sun Ra

Sun Ra

Source: Transparent Radiation


Born Herman Poole Blount in 1914 in Birmingham, Alabama, pianist Sun Ra first recorded in 1946 with Wynonie Harris: 'Dig This Boogie'/'Lightning Struck the Poorhouse' and 'My Baby's Barrelhouse'/'Drinking By Myself'. Among the more colorful figures in jazz, Sun Ra was a child prodigy composing and sight reading music before he was a teenager. He first played professionally in 1934 when his high school biology teacher, Ethel Harper, formed a band and went on tour. Harper left the tour midway, bequeathing leadership of the band to Ra, who renamed it the Sonny Blount Orchestra. In 1936 he won a music scholarship, but dropped out after his first year in college. In 1942 he was arrested for not complying with the draft, but won deferment in 1943 for a hernia. His recordings in 1946 won him a place in Fletcher Henderson's band the same year. In 1948 he formed a trio with Coleman Hawkins and Stuff Smith. He is thought to have made his first recording with Smith at his own apartment in Chicago sometime between November '48 and mid '49: 'Deep Purple'. He then formed the Space Trio the year he changed his name from Blount to Sun Ra, considering Blount a slave name. The Space Trio recorded 'Treasure Hunt', unissued, circa 1951. A while later he began calling his orchestra the Arkestra. He recorded as the Nu Sounds in '54 or '55: 'A Foggy Day', thought to have been issued at the time by Saturn. He then directed the vocal group, the Cosmic Rays, in '55, for Daddy's Gonna Tell You No Lie', also thought issued by Saturn. Another recording at his own apartment was held that year with Wilbur Ware at bass: 'Can This Be Love?, that not released until much later per 'Standards' on CD. Jump ahead a good number of sessions with various duties and formations, such as his Arkestra, to 'Angels and Demons at Play' in February of '56, not released, however, until 1965. On July 12, 1956, he strung the tracks to his debut album, 'Jazz by Sun Ra'. Ra's Arkestra would tour the West Coast in 1968, Europe in 1970 and Egypt in 1971. Ra was mayhaps most admired for his work with electric keyboards, and perhaps best known for his exotic concerts blending Egyptian and space age themes. His final albums were recorded in Europe in March of '92 bearing 'Live In Ulm 1992' and 'Destination Unknown'. This brief reflection can lend but minimal account of his prolific 321 sessions, 303 of those his own. Lord's disco lists his last certain recording date per September 1992 with violinist, Billy Band, for the latter's 'Tribute to Stuff Smith'. Ra played another rendition of his first recording, 'Deep Purple', on that. Joining them were John Ore (bass) and Andrew Cyrille (drums). Ra died of pneumonia in Birmingham on May 30, 1993, but later versions of the Arkestra yet make highly popular concert tours.

Sun Ra   1946

   Dig This Boogie

      With Wynonie Harris

   Drinkin' By Myself

      With Wynonie Harris

   Lightning Struck the Poorhouse

      With Wynonie Harris

Sun Ra   1956

   Supersonic Jazz


Sun Ra   1959

   Ancient Aiethopia

   Jazz In Silhouette



Sun Ra   1961


Sun Ra   1976

   Jazz From an Unknown Planet

Sun Ra   1987

   Jazz Jamboree in Warsaw


Sun Ra   1988

   Sound Of Joy

      Aurex Jazz Festival

The Arkestra   2009

   Nancy Jazz Pulsations

      Without Sun Ra   Concert

The Arkestra   2014

   Live at the Jazzhouse in Copenhagen

      Without Sun Ra   Concert

   Love In Outer Space

      Without Sun Ra   Live



Birth of Modern Jazz: John Lewis

John Lewis

Source: Bio

Born in 1920 in La Grange, Illinois, John Lewis met drummer Kenny Clarke while serving in the Army, having joined in 1942 per World War II. Upon release from military service they met up again in New York City. in 1945, whence Lewis began, and Clarke continued, his professional career with composer/trumpeter, Dizzy Gillespie. Lewis may have first appeared on disc due a session in June of '46 to support Sarah Vaughan with the Eddie Davis Quartet on 'Don't Blame Me' issued by Hi-Fly. Lord's disco qualifies that it may be Thelonious Monk rather than Lewis at piano. Relatively speaking, neither Davis nor Vaughan had much affect on Lewis' career. He would back Vaughan only once more in 1971. But the other members of that quartet, Clarke and bassist, Ray Brown, would partner numerously in years to come. Both were present at Lewis' next session with the Dizzy Gillespie Orchestra on July 9 of 1946 to put down such as 'One Bass Hit' and 'He Beeped When He Shoulda Bopped'. Brown and Lewis would find themselves contributing to multiple operations in addition to Gillespie's into 1947 and later in '51, '56 and '67, their last occasion in Los Angeles on October 4 and 5 in the John Lewis Trio with Connie Kay at drums for unissued titles like 'Someday My Prince Will Come' and 'Yesterday'. Clarke and Lewis traveled much the same rail into 1953 and would reunite in '56 in Paris for a few titles applied to Lewis' album, 'Afternoon In Paris'. Lewis would back Gillespie into 1948, later in '56, '61, '75 and '78, their last such occasion on June 12 with alto saxophonist, Lee Konitz, in Nice, France, for titles like 'Bernie's Tune' and 'Blue and Boogie'. At 340 sessions during his career, 77 of those his own as a leader, this space is too limited to cover even the major names significant to Lewis' career. One, however, would have to be included in any account of Lewis, that being Milt Jackson, who was a member of Gillespie's orchestra on November 10 of '46 for the title, 'Emanon'. Jackson and Lewis would continue with Gillespie until Lewis joined Jackson's All Stars in April of 1948 in Detroit for 'Bobbin' with Robin', 'Autumn Breeze', et al. Three sessions with Jackson from August 24 of '51 to April of '52 resulted in Jackson's 'The Quartet' released in 1956. Come a session with Jackson's Quintet on April 7 of '52 for Blue Note with titles like 'Lillie' and 'What's New?'. November 1 of '52 saw Jackson's Quartet with Charlie Parker at the Birdland in NYC for 'How High the Moon', 'Embraceable You' (George/Ira Gershwin) and '52nd Street Theme' (Thelonious Monk). Their next session was the debut of the Modern Jazz Quartet (MJQ) with Percy Heath (bass) and Kenny Clarke (drums) on December 22 of '52 (though the birth of the MJQ is not uncommonly given per Jackson's Quartet above in August of '51). Those December titles for Prestige would get applied to the 1954 album, 'MJQ'. Jackson and Lewis would run the MJQ for another four decades, its last manifestation not until the Montreaux Jazz Festival in Switzerland on July 16, 1993, for the recording of 'Darn That Dream'. A couple other prestigious names are apt to mention per Lewis' incipient career in the latter forties, those being Miles Davis and Charlie Parker, both with whom he first recorded on August 24, 1947 with Davis' All Stars consisting of Nelson Boyd (bass) and Max Roach (drums). Those titles were 'Milestones', 'Little Willie Leaps', 'Half Nelson' and 'Sippin' at Bell's'. Lewis contributed piano to numerous sessions with Davis to 1951 (arranging 'Birth of the Cool' in '49), again in '53 and '56. Their last session is thought to have been that year on November 12 for SWF TV in Freiburg, Germany, putting out 'How High the Moon' with Lester Young (tenor sax), Milt Jackson (vibes), Percy Heath (bass) and Connie Kay (drums). Lewis and Parker continued with Davis to 1948. On September 29 of '47 they had joined Gillespie for a recorded performance at Carnegie Hall resulting in such as 'A Night In Tunisia' and 'Groovin' High'. Come Charlie Parker's All Stars with Curly Russell (bass) and Max Roach (drums) for a Savoy session on September 18, 1948, resulting in 'Barbados', 'Ah-Leu-Cha' and 'Constellation'. A couple more sessions were held with Parker that year, followed by multiple from '51 to '54, their last occasion the latter year at Carnegie Hall on September 25 for 'The Song Is You', 'My Funny Valentine' and 'Cool Blues'. Before leaving the forties another horn player is apt mention in JJ Johnson. After a session with Illinois Jacquet on April 6 of '49 Lewis joined a Miles Davis nonet on the 22nd that included Lee Konitz, Gerry Mulligan and Johnson, recording such as 'Rouge' (arranged by Lewis) and 'Boplicity'. Lewis joined Johnson's Boppers the next month for a couple sessions. Their paths would interweave on multiple occasions to as late as 1956. One such was a Blue Note session on April 26, 1953 in Johnson's Sextet with trumpeter, Clifford Brown, recording such as 'Isle of Capri', 'Turnpike' and 'Get Happy'. Lewis would later join Brown's sextet on August 28 for 'Clifford Brown Memorial Album'. Johnson and Lewis' last sessions were per the Brass Ensemble of the Jazz and Classical Music Society in 1956, a project in which Miles Davis was also involved. Highlighting the early fifties was Lester Young whose Quartet Lewis joined about June of 1950 with Joe Shulman (bass) and Bill Clark (drums) to record such as 'Count Every Star' and 'Neenah'. In January of '51 he joined Young's Quartet with Gene Ramey (bass) and Papa Jo Jones (drums) for a couple broadcasts from the Birdland in NYC coming to such as 'Up 'n' Adam' and ''Indiana'. A session for Blue Star the same month on the 16th saw 'Thou Swell' and 'Undercover Girl Blues'. Other Birdland broadcasts and studio sessions ensued that year, further titles following in '52, '53 and, finally, their last, on September 25 of '54 at Carnegie Hall, as commented above, with Kenny Clarke and Percy Heath. Lewis' first sessions as a leader were on February 10, 1956, issued the next year on 'Grand Encounter: 2 Degrees East / 3 Degrees West'. Lewis' composition, 'Two Bass Hit', was recorded by pianist, Red Garland, in latter 1957. Other of Lewis' numerous compositions were 'Django' ('53) and 'Na Dubrovacki Način' ('76). Highlighting the early sixties was Lewis' direction of Orchestra U.S.A. for which he also composed and performed piano. Its initial session on January 12 of '63 wrought 'Three Feelings' which would go toward the U.S.A.'s debut album aptly titled, 'Debut'. 'Jazz Journey' followed in '64, 'Sonorities' in '65. Lewis gave his first concert in Japan in 1966 with the MJQ, titles recorded on March 14 in Tokyo that year finding their way onto 'Concert In Japan '66' issued ten years later in '76. Lewis would tour to Japan on several more occasions apart from the MJQ, his first such session there on January 25 to result in 'Statements and Sketches for Development' that year. 'Live in Tokyo', a string of piano solos, was recorded two days later on the 27th, released in 1978 with piano solos by Hank Jones on back. Lewis' last of several visits to Japan was for a gathering of eleven statured pianists, such as Hank Jones, delivering piano solos when not accompanied by drummer, Alan Dawson. Though more like 110 fingers, that concert was issued as '100 Gold Fingers: Piano Playhouse '93' in 2003. Lewis laid out 'Evolution I' at Tarrytown Music Hall in NY in January 1999. His final three sessions were in 2000 at Masonic Hall in NYC and Tarrytown Music Hall toward the 2001 release of 'Evolution II'. Lewis passed away of prostate cancer on March 29, 2001.

John Lewis   1946


      Trumpet: Dizzy Gillespie

  Jivin' in Be-Bop

       Film with Dizzy Gillespie

John Lewis   1947


     Trumpet: Dizzy Gillespie

John Lewis   1956

  Willow Weep for Me

       Guitar: Sacha Distel

John Lewis   1957

  Two Lyric Pieces

       Guitar: Jim Hall

John Lewis   1959

  Delaunay's Dilemma

John Lewis   2001

  December, Remember

       Album: 'Evolution II'

  One! Of Parker's Moods

       Album: 'Evolution II'



Birth of Modern Jazz: Lennie Tristano

Lennie Tristano

Source: BrOtz


Born in 1919 in Chicago, blind pianist Lennie Tristano played his first professional gigs as a clarinetist at a brothel at age eleven. He was working on his master's degree in music in Chicago before traveling to New York City in '45 or '46. During his early career he also played saxophone. His first recordings are thought to have been in 1945 in Chicago with the Emmett Carls Sextet. Those wouldn't see issue until 1962 as 'The Lost Session: Earl Swope Sextet Featuring Lennie Tristano'. (Swope had been on trombone.) 'My Ideal' with Chubby Jackson in NYC in 1946 went unissued, as well as a suite of piano solos to be included on 'The Lost Session'. It was with his Trio of Billy Bauer (guitar) and Clyde Lombardi (bass) on October 8 of '46 that he first recorded to issue, such as 'Out On a Limb' and 'I Can't Get Started'. Tristano and Bauer had been with bassist, Chubby Jackson's, Trio above for 'My Ideal'. The guitarist would remain an important element in Tristano's career throughout the forties, recording numerously to January 10, 1950, with the Metronome All Stars to put out 'Double Date' and 'No Figs', the latter arranged by Tristano. Among the more highly regarded of Tristano's early musical associates were trumpeter, Dizzy Gillespie, and saxman, Charlie Parker, both with whom he first recorded on September 20, 1947, for a 'Back to Bonds' radio broadcast in NYC, those later finding issue on the album, 'Lullaby In Rhythm Featuring Charlie Parker' in 1972. Tristano would join Gillespie again in '49 and '50 with the Metronome All Stars. He saw Parker again in '49 with the Metronome All Stars, once more in August of 1951 at Tristano's apartment in NYC with Kenny Clarke drumming a phone book. Those titles eventually released on CD were 'All of Me' and 'I Can't Believe That You Love Me'. Tristano had begun teaching improvisation in the early forties. His students would number above 1000 during his career. Among the more significant were sax players Lee Konitz (alto) and Warne Marsh (tenor) he to first record with both of them in 1949. Konitz first hired on with Tristano per the latter's quintet on January 11 for such as 'Progression' and 'Tautology'. Those included Billy Bauer (guitar), Arnold Fishkin (bass) and Shelly Manne (drums). Konitz would support Tristano to 1952, later in '55 and, finally, in 1964 on June 6 for the telecast, 'Look Up and Live', from the Half Note in NYC to perform 'Subconscious-Lee' and '317 East 37th Street'. Marsh first joined Tristano per the latter's Sextet on March 4 of '49 with Konitz on alto for 'Wow!' and 'Cross Current'. Marsh supported Tristano on several occasions to 1952, later in '58 and, finally, 1964 per 'Look Up and Live' above with Konitz. Tristano toured to Europe in 1965 for 'Piano Summit' at the Berlin Philharmonic on October 30, he joining a few of the more spectacular names in piano on that: Earl Hines, Teddy Wilson, John Lewis, Bill Evans and Jaki Byard. Tristano held several sessions at various European venues before returning to the States to record 'Con Con' and 'Stretch' in 1966. Tristano would tire of traveling and performing concerts, delivering his last in the United States in 1968, thereafter privately teaching. Tristano had had the more musical explorer and teacher in him than businessman anyway, having attended only one festival (Newport in 1954) because he didn't like their marketing. His last recording is thought to have been with vocalist, Betty Scott, in January of '74: 'Like Someone In Love', that to be found on 'Betty Scott Sings with Lennie Tristano' in 2002, a collection of titles they recorded beginning in 1965. Tristano died of heart attack on November 18, 1978, at his home in Jamaica, New York.

Lennie Tristano   1946

  I Can't Get Started

Lennie Tristano   1949


      Saxophone: Wayne Marsh


      Bass: Arnold Fishkin   Drums: Shelly Manne

      Guitar: Billy Bauer   Alto Sax: Lee Konitz

Lennie Tristano   1955

  Don't Squawk

     With Lee Konitz & Warne Marsh


 Lenny Tristano


Warne Marsh   1958

  Live at the Half Note

      Film   With Lee Konitz & Warne Marsh

Lennie Tristano   1965


  You Don't Know What Love Is



Birth of Modern Jazz: Red Garland

Red Garland

Source: Belle Epoque


Born in 1923 in Dallas, Red Garland had studied piano five years before his first big job in 1945 with Hot Lips Page. His earliest determinable recording session was with Eddie Lockjaw Davis in 1947: 'Ravin' at the Haven'. On March 10, 1953, Garland supported Charlie Parker on titles that would much later be included on 'At Storyville' in 1985. It was upon joining the Miles Davis Quintet in 1955 that Garland began making a name for himself. His first titles with Davis were on June 7 toward 'The Musings of Miles'. Garland hung with Davis for another four years, last backing him on January 3, 1959, for a radio broadcast from the Birdland in NYC resulting in 'Bag's Groove and 'All of You'. Cannonball Adderley (alto sax) John Coltrane (tenor sax), Paul Chambers (bass) and Jimmy Cobb (drums). Coltrane and Garland would partner numerously, backing Davis, other operations and each other. their initial recordings together had been with the Miles Davis Quintet on October 7, 1955, with Paul Chambers (bass) and Philly Joe Jones (drums), recording multiple takes of such as 'Two Bass Hit' and 'Ah-Leu-Cha'. Among Coltrane projects that Garland supported were 'John Coltrane with the Red Garland Trio' in '57 and several in 1958 toward: 'Soultrane', 'Settin' the Pace', 'Black Pearls', 'Standard Coltrane' and 'The Believer'. Their last recordings together are thought to have been with Davis per above at the Birdland in '59. While Garland was with Davis and Coltrane he issued his first album as a group leader in 1956, 'A Garland of Red'. Others who borrowed Garland's talents were JJ Johnson, Kai Winding and Zoot Sims during a tour to Europe in 1958. Garland died of heart attack on April 23, 1984. His final recordings were live at Keystone Korner in San Francisco in February of 1983: 'The Last Recording I: My Funny Valentine' and 'The Last Recording II: Autumn Leaves'. Per 1955 below, all tracks were recorded in 1955 with Miles Davis.

Red Garland   1947

   Ravin' At The Haven

       With Eddie Lockjaw Davis

Red Garland   1956

  A Foggy Day

   A Gal in Calico

  How Am I to Know?

  I Didn't



  There Is No Greater Love

  Will You Still Be Mine?

Red Garland   1957


      Red Garland Trio   Album

Red Garland   1958

   Billie's Bounce

     With John Coltrane

  Blues In Mambo



   A Tisket, A Tasket



Birth of Modern Jazz: Hampton Hawes

Hampton Hawes

Source: Discogs


Hampton Hawes was born in Los Angeles in 1928. He found himself playing jazz with Dexter Gordon and Wardell Gray, to name a couple, while yet a teenager. Largely associated with bebop and West Coast jazz, Hawes was also yet a teenager when he first recorded with the Howard McGhee Quintet on March 1, 1947, at the Hi-De-Ho Club in Los Angeles, CA, titles like 'September In the Rain' and 'Rose Room'. Hawes and McGhee tread the same turf in various capacities to July 6 when they recorded 'Bop After Hours Parts 1-7' at the Elk's Auditorium in Los Angeles. Hawes' second session was the day after his first at the same club, now for Charlie Parker who had had a spot in McGhee's Quintet the day before. It would appear by Lord's discography that Parker took over the house ensemble at the the Hi-De-Ho Club, McGhee now supporting. Parker's first session as leader at the the Hi-De-Ho yielded a long stream of titles commencing with 'Blues In F' and 'The Man I Love'. Hawes continued with McGhee and Parker at the Hi-De-Ho, recording numerously, to March 13 (still '47), which last session wrought a string of titles beginning with 'Groovin' High' and 'September In the Rain'. Titles like 'Dee Dee's Dance I' and 'Dee Dee's Dance II' had gone down the week before on March 7. Hawes contributed a few tracks to McGhee's 'California 'Boppin'' at McCormick General Hospital in Pasadena in June before the first of four sessions at the Elk's Auditorium in Los Angeles on July 6 for 'The Hunt Parts 1-8'. Sessions following wrought 'Bopera Parts 1-7' and 'Bopland 1-6' with 'Jeronimo 1-8'. The last session that day saw 'Bop After Hours Parts 1-7' mentioned above. Those taking part in one or more of those sessions at the Elk's with whom Hawes would have at least one more occasion to record in the future were Dexter Gordon, Sonny Criss, Wardell Gray, Barney Kessel, Roy Porter and Teddy Edwards. Highlighting the early fifties was Hawes' first session as a leader at the Haig Club in Los Angeles on September 22, 1951, with a trio consisting of Harper Crosby (bass) and Larance Marable (drums). Those titles would see issue in 1975 on side A of 'The East/West Controversy', the second side featuring Paul Chambers. In December of '52 he recorded titles that would be found on Side B of 'Piano: East/West' in '56, the first side featuring pianist, Freddie Redd (thought to be Redd's first issue). Also of note in the early fifties were performances recorded at the Lighthouse Cafe in Hermosa Beach, CA, with Howard Rumsey. His first such occasion was on August 31, 1952, with Shorty Rogers (trumpet), Milt Bernhart (trombone), Shelly Manne (drums) and Bob Cooper with Jimmy Giuffre on tenor sax to record such as 'Cherokee' and 'Dickie's Dream'. Hawes attended numerous sessions to June 21 of '53, that with with Maynard Ferguson on trumpet for 'What's New'. Rumsey's Lighthouse All Stars would play the same date (June 20 1955) at the Irvine Bowl in Laguna Beach, CA, as the Hampton Hawes Trio consisting of Red Mitchell (bass) and Shelly Manne (drums). Performances by both would see issue in 1956 on 'Lighthouse at Laguna'. Hawes' recording career of thirty years would come to above 130 sessions, more than fifty of those in a leading capacity. He published his autobiography, 'Raise Up Off Me', in 1974. Lord's disco shows last titles in Hollywood circa January of 1977 with John Heard (bass) and Earl Palmer (drums) for 'Love Is Here'. The prior track was the same title with vocalists, Noreen Jackson and Julie Osborne. Hawes died on May 22, 1977.

Hampton Hawes   1947

  Bopera (Disorder at the Border)

       Tenor sax: Dexter Gordon

  Jeronimo (Cherokee)

       Trumpet: Howard McGhee

  The Man I Love

       Trumpet: Howard McGhee


      Trumpet: Howard McGhee

Hampton Hawes   1952

  Brown Gold

       Alto sax: Art Pepper

  Don't Get Around Much Any More

       Bass: Joe Mondragon

      Drums: Shelly Manne

  Jumpin' Jacque

       Bass: Joe Mondragon

        Drums: Shelly Manne

Hampton Hawes   1955

  All the Things You Are

  Blues the Most


  I Hear Music

  I'll Remember April

  So in Love


Hampton Hawes   1956

  Polka Dots and Moonbeams

  Somebody Loves Me

  Stella By Starlight

  Will You Still Be Mine

Hampton Hawes   1958

  April in Paris


  Someone Like in Love

  Up Blues

   Wrap Your Troubles In Dreams

Hampton Hawes   1964

  The Green Leaves of Summer

Hampton Hawes   1967

  Hamp's Blues

Hampton Hawes   1970

  Blues for J L

  Jazz On Stage


Hampton Hawes   1972

  Drums for Peace/Love Is Better

Hampton Hawes   1974

  C & H Sugar

  Live in France

     Concert film

Hampton Hawes   1976

  Killing Me Softly




Birth of Modern Jazz: Junior Mance

Junior Mance

Born in 1928 in Evanston, Illinois, it was 1947 when Junior Mance Mance played professionally as a teenager. He was a music major in college until the opportunity arrived to perform with Gene Ammons. Mance first recorded in Chicago with the Gene Ammons Quintet on September 23, 1947: 'Concentration', 'Jack's Town', 'Blowing Red's Top' and 'Bartee Meets Gene', the last unissued. Several sessions with Ammons soon followed that year, after which Mance would spend time in Ammons's ensembles in 1949-51, to reunite more than twenty years later in 1973 for 'Together Again for the Last Time'. Saxophonist, Leo Parker, was in on Mance's first session, that leading to Mance's next with Parker's All Stars in Detroit on October 4 that year. With Mance attending about 230 sessions during his career, we need fast forward a touch to tenor saxophonist, Lester Young, before leaving the forties. Mance joined Young's band in time for a session on March 19, 1949, that for a broadcast by WMGM Radio from the Royal Roost in NYC, recording such as 'Bebop Boogie' and 'These Foolish Things'. Three more sessions ensued in '49, followed nine years later with another Young Quintet for an unissued radio broadcast in June of '58 bearing such as 'Three Little Words' and 'I Can't Get Started'. In March of '54 Mance recorded his first titles as a leader in NYC. Issues are undetermined but for 'Hot Springs' and '111 East Ontario' included on a compilation of various in 1984 as 'Mercury 40th Anniversary V.S.O.P.'. Yet another important saxophonist entered Mance's space on April 4, 1956, that Cannonball Adderley in the Hal Mooney Orchestra to back Dinah Washington for 'In the Land of Hi-Fi'. He then joined the Julian (Cannonball) Adderley Orchestra on June 8 for 'Cannonball Adderley in the Land of Hi-Fi'. Mance kept with Adderley for a couple years, their last sessions together in March of '58 for Adderley's 'Cannonball's Sharpshooters'. Working with Cannonball meant performing with Nat Adderley during those years as well. In 1963 Mance would contribute to Nat's 'Little Big Horn'. In 1965 he, Nat and trombonist, Kai Winding, supported Benny Carter on the soundtrack to 'A Man Called Adam'. With all the sax passing before it was time to get down to trumpet with Dizzy Gillespie for an NBC telecast of the 'Timex All Star Jazz Show' on January 7 of 1959, to perform 'St. Louis Blues'. Trumpeter, Louis Armstrong, also showed up for 'Umbrella Man'. Mance continued with Gillespie until the Newport Jazz Festival on July 1 of 1960, recording such as 'Norm's Norm' and 'Lorraine'. They would reunite in 1992 at the Birdland in NYC for live tracks toward 'To Diz With Love'. April 9 of 1959 saw Mance recording his debut album, Junior'. Other than Dinah Washington in '54 and '56, among other vocalists with whom Mance worked were Joe Williams (1962-64, '96), Little Jimmy Scott ('69, '94) and Marion Williams ('69). From 1990 to 2009 Mance toured to Japan every other year for the annual 100 Gold Fingers concert generally featuring ten statured pianists performing solos. Mance played 'Blue Monk' and 'I Got It Bad' in Tokyo on May 20, 1990, on his first such tour. Mance and his wife, Gloria, founded the JunGlo record label in 2007, 'Live At Café Loup' its first release. As of this writing Mance is yet active. His latest album was 'For My Fans, It's All About You' in 2015. Many of the tracks below are live performances.

Junior Mance   1947

  El Sino

      Sax: Gene Ammons


      Sax: Gene Ammons

Junior Mance   1949

  Blues n' Bells

       With Lester Young

  D.B. Blues

       With Lester Young

Junior Mance   1950

  When I Dream Of You

      Sax: Gene Ammons

Junior Mance   1957

  Stella By Starlight

Junior Mance   1961

  Among My Souvenirs

     Trumpet: Clark Terry


     Tenor sax: Sonny Stitt


  This Is Always

  You Are Too Beautiful

Junior Mance   1964

  In Mellow Tone

Junior Mance   1966

  St. James Infirmary

Junior Mance   1968

  Before This Time Another Year

  I Wish I Knew How It Would Feel to Be Free

  That's All

Junior Mance   1970

  Blue Monk

       With Dexter Gordon

  Don't Cha Hear Me Callin' Ya

       Album 'With a Little Help From My Friends'

  Never Say Naw

       Album 'With a Little Help From My Friends'

Junior Mance   1973

  Tin Tin Deo


Junior Mance   2011

  I Wish I Knew How It Would Feel to Be Free

     Bass: Hide Tanaka   Drums: Kim Garey 

Junior Mance   2015


     Album: 'For My Fans'

   Home On the Range

     Album: 'For My Fans'


  Born in South Bronx in 1927, salsa musician Charlie Palmieri was the younger brother of Eddie Palmieri, also a talented pianist (leader of the Conjunto La Perfecta and NEA Jazz Master), by five years. Palmieri's parents had arrived to New York City from Puerto Rico in 1926. His father enrolled him in Julliard when he was seven. His first professional job was at age 16 with Osario Selasie at the Park Palace Ballroom where he kept seven months. While yet in high school he played with the Orquestra Ritmo Tropical. Upon graduating from high school Palmieri freelanced with various bands, including La Playa Sextet. He is generally agreed to have made his first recording with Rafael Muñoz, 'Se Va La Rumba'. That recording is thought to have occurred before he replaced Joe Loco in the band of Fernando Alvarez at the Copacabana nightclub in October 1947. With no documentation of such found, it is only assumed that was issued in 1947. (For what little discussion of the matter exists see Herencia Latina and 'Mambo King' by Max Salazar.) Palmieri formed his first band, Conjunto Pin Pin, in 1948, his first recordings with that outfit the same year, eight tracks of which can be found on the album, 'El Fantastico Charlie Palmieri', released by Tropical Records in 1962. During the fifties Palmieri freelanced with various bands, was a member of the house band for one of Jack Paar's daytime variety television programs, and performed at the Palladium Ballroom as a bandleader. He split to Chicago for several years, returning to NYC to form Charanga La Duboney. It was with Palmieri that bandleader, Johnny Pacheco, came to fore, performing flute on the Peanut Vendores' 'Swinging Latin Nights' in 1958, a brief operation including Eddie Costa on vibes and organ. During the seventies Palmieri was musical director for Tito Puente's 'El Mundo de Tito Puente' television program, began teaching Latin culture and music at various educational institutions, and began adding organ to his repertoire. Palmieri moved to Puerto Rico in 1980, commuting between there and New York. What is thought to be his last of about twenty LPs was released in 1984: 'A Giant Step'. His first appearance in the United Kingdom was in June of 1988. Palmieri gave his last performance that year at La Fortaleza in San Juan, Puerto Rico, for Governor Rafael Hernández Colón. He died four days later of heart attack on September 12 in Bronx. He had contributed to Mongo Santamaria's 'Soy Yo' in April of 1987. Others with whom Palmieri had recorded were Herbie Mann, Bill Potts, Cal Tjader, Tito Puente, Machito and Mac Gollehon.

Charlie Palmieri   1948

   Cielito Lindo

      Conjunto Pin Pin

   El Continental

      Conjunto Pin Pin

   Softly As In the Morning Sunshine

      Conjunto Pin Pin

   Sweet Sue

      Conjunto Pin Pin

Charlie Palmieri   1966

   Cellar Dwellers

      With his Duboney Orchestra

Charlie Palmieri   1967

   Either You Have It Or You Don't

Charlie Palmieri   1968

   Bitter Sweet

      Album: 'Latin Bugulu'

   Panama's Boogaloo

      Album: 'Latin Bugulu'

Charlie Palmieri   1972

   El Pan Sobao

Charlie Palmieri   1973

   La Hija De Lola

   Puerto Rico

      Filmed live

Charlie Palmieri   1978

   Tiene Sabor

Charlie Palmieri   1981

   Vamanos Pal Monte

      Filmed live

Charlie Palmieri   1986

   Live at Club Broadway

      Filmed live


Birth of Modern Jazz: Charlie Palmieri

Charlie Palmieri

Source: America Pink


Born in 1923 in Cincinnati, arranger, composer and pianist George Russell got his first taste of big-time jazz at age seven, singing for Fats Waller. He began his professional career as a drummer for Benny Carter before switching to piano, after which he wrote his first composition for Dizzy Gillespie in 1947 ('Cubano Be, Cubano Bop'). That was included on his first recordings with Gillespie on September 29, 1947, he also arranging 'Relaxin' at Camarillo' with John Lewis at piano. Russell arranged titles for a couple more Gillespie sessions to the end of the year. To go by Lord's disco, Russell worked as an arranger for more than a decade until his first contributions at piano. His first session as a leader on March 31, 1956, toward 'The Jazz Workshop' ('57) put Bill Evans at piano. Not until September 1, 1960, did Russell record piano, those titles to be included on 'Things New: Unissued Concerts 1960 & 1964' in 2007. Despite being plagued with health problems (tuberculosis) which intermittently interfered with his career, Russell had published a book concerning music theory in 1953, 'Lydian Chromatic Concept of Tonal Organization'. Russell's first tour to Europe in 1964 resulted in him living in Scandinavia for five years. From 1966 to 1971 his work would be in Norway and Sweden. Russell passed away on July 27, 2009. Lord's disco has his final recordings several years earlier in June of 2003 per 'The 80Th Birthday Concert'.

George Russell   1947

  Cubana Bop

     With Dizzy Gillespie

     Arrangement: George Russell

     Piano: John Lewis

George Russell   1956


  Jack's Blues

  Livingstone I PresumeYe Hypocrite, Ye Beelzebub

George Russell   1958

  East Side Medley

George Russell   1959

  A Helluva Town

George Russell   1960

  Bent Eagle


George Russell   1961


George Russell   1962

  You Are My Sunshine

George Russell   1967

  Live in Stockholm

George Russell   1970

  Trip To Prillarguri

George Russell   1971

  The Essence of George Russell

George Russell   1978

  Cubano Be, Cubano Bop



Birth of Modern Jazz: George Russell

George Russell

Source: George Russell


Ralph Sutton began his professional career in 1941 with tombonist, Jack Teagarden, before joining the Army, after which he played local venues in Missourri. He would become largely known for maintaining traditional jazz into the modern era. Born in Hamburg, Missouri, in 1922, Sutton is thought to have made his first recordings in June of 1947 for a WOR Studios 'This Is Jazz' radio broadcast. Those were with cornetist, Wild Bill Davison's, All Star Stompers in NYC for such as 'Shine' and 'I Found a New Baby'. Davison would be highly significant to Sutton's career for the next five years, first for 'This Is Jazz' radio broadcasts, then with Eddie Condon. His last session with Davison for 'This Is Jazz' was October 4, 1947, for such as 'Sensation Rag' and 'Ja-Da'. Davison's 'Showcase' with His Six followed on December 27, 1947, with such as 'Just a Gigolo' and 'She's Funny That Way'. Their first session together with Condon was for television in NYC on March 12, 1949, performing such as 'Just One of Those Things' and 'Dardanella', et al. Sutton's last session of his first period with Davison was also with Condon on April 7, 1952, at Condon's jazz club in NYC, broadcasting such as 'At the Jazz Band Ball' with Sutton delivering a solo of 'Jitterbug Waltz'. Davison and Sutton would reunite in July of 1974 for a tribute to Condon and Ben Webster at Carnegie Hall, though Davison doesn't seem to appear on the tunes featuring Sutton: 'I Gotta Right to Sing the Blues' and 'You're Driving Me Crazy'. Come tours to Europe in '75, '76 and '77, their last date together in Copenhagen, Denmark, on May 24 that year, recording such as 'Time After Time' and 'Exactly as You Like' per Storyville. As for Condon, Sutton remained with his operation after Davison's departure to summer of '52, last recording with Condon on June 2 that year, again at Condon's jazz club in NYC broadcasting such as 'My Monday Date' and 'Hindustan'. We need loop back to September of 1947 for some historic titles with veteran trumpeter, Bunk Johnson, and blues guitarist, Leadbelly, which would get issued in 2005 on 'Bunk & Leadbelly at New York Town Hall 1947'. Sutton's first session as a leader was on January 20, 1949, resulting in titles that would get compiled onto 'Piano Solos in the Classic Jazz Tradition' in 1956. Both Teddy Wilson and multi-instrumentalist, Dick Cary, had shared piano during the Condon television performance per above on March 12, 1949. Sutton would see Cary again on a couple occasions with Condon, Cary contributing alto sax, harmonica, and trumpet. He and Sutton would co-lead 'Rendezvous At Sunnie's 1969', recorded that February in Aspen, Colorado. In 1975 they toured to Netherlands (Holland) to record 'The Amazing Dick Cary' in October. Leaving the above abbreviated account of the forties for the fifties, Sutton finally put down tracks with whom he'd begun his career twelve earlier, Jack Teagarden, on March 19, 1953, at the Hangover Club for titles to 'In San Francisco'. Teagarden's younger brother, trumpeter, Charlie Teagarden, was in on that. Another trumpeter of greater significance during his residence at the Hangover Club that year was Lee Collins, they holding several live sessions from August 1 to September 5 which would get issued variously, including 'Lee Collins: Club Hangover Airshots Vol 1 & 2'. Highlighting the latter fifties was trumpeter, Bob Scobey, from the summer of 1956 to February of 1957. During that time Sutton supported Scobey on 'The Great Bob Scobey Volume 1 & 2', 'Beauty & the Beat', 'Swingin' on the Golden Gate' and 'Music from Bourbon Street'. Their final session together on February '57 found them backing Bing Crosby in Los Angeles on such as 'Dream a Little Dream of Me' and 'Some Sunny Day'. Highlighting the early sixties was cornetist, Ruby Braff, appearing at Condon's jazz club with the Ralph Sutton Trio in January of 1961 for what would be found on 'Recovered Treasures' in 2006. Braff and Sutton would reunite at Sunnie's Rendezvous in Aspen, Colorado, in 1968 for 'On Sunnie's Side Of The Street' and three volumes of 'Ralph Sutton Quartet with Ruby Braff' (Sutton's trio with Braff). They would reunite in October of 1979 for duets and another quartet. In February of 1981 they performed live titles at the Lafayette Club in Lake Minnetonka, Minnesota, coming to such as 'Struttin' with Some Barbecue' and 'Keepin' Out of Mischief Now'. Braff and Sutton held their final session together at the Wee Burn Country Club in Darien, Connecticut, on July 8, 1981, with Braff's Changing Times All Stars to record such as 'When You're Smiling' and 'Mean to Me'. Highlighting the latter sixties were Sutton's initial sessions with the World's Greatest Jazz Band in December of 1968, run by trumpeter, Yank Lawson and bassist, Bob Haggart. Those resulted in 'The World's Greatest Jazz Band' and 'Extra!'. Sessions in April and December of 1970 bore 'Live at Roosevelt Grill' and 'What's New?'. A session in England in December of 1971 would come to 'At Manchester's Free Trade Hall 1971' in 2006. Sessions in January, September and December of 1972 would see 'Century Plaza', 'Hark the Herald Angels Swing' and 'At Massey Hall Vol 1'. A concert in NYC on January 17, 1973, would come to 'At Carnegie Hall Vol 2'. Sessions in February and March came to 'Banu Gibson Meets The World's Greatest Jazz Band' and 'Good News'. Again touring, recordings were made in 1975 resulting in several albums, their last two in Stockholm, Sweden, on October 21 to arrive to 'On Tour Vol 1 & 2'. Highlighting the seventies was a session in NYC in 1972 with pianists, Dick Hyman, Stan Freeman and Lee Evans for 'Grand Slam'. Pianist, Derek Smith would join Hyman and Sutton for 'Nagasaki' on July 20, 1988. Multiple keyboards would again come into play on 'Stride Piano Summit' on June 15, 1990, in San Francisco with Hyman and pianists, Mike Lipskin and Jay McShann. Duets with Hyman followed at the Maybeck Recital Hall in Berkeley, CA, on November 12, 1993, yielding such as 'I Found a New Baby' and 'Always'. They recorded the duet, 'Somebody Stole My Gal', at the Hilton in St. Petersburg, FL, in March of 1994. That was followed on August 9 in London by Sutton's suite of piano solos, 'The Bedroom Sessions'.      Hyman and Sutton's final duets were at the Montreal Bistro in Toronto, Ontario, in June of 1996, coming to 'Just You, Just Me'. Highlighting the eighties was cornetist, Bob Bernard, on August 25, 1983, for 'Partners in Crime'. Come drummer, Trevor Richards, in the nineties on April 18, 1995, in Schloss Welkersheim, Germany, for 'The International Trio' with clarinetist, Reimer von Essen. Sutton and Richards would record again in Germany in 1996 before another trio with Essen that would arrive to 'The International Trio & Rene Franc'. Sutton's last sessions with the International Trio were in April of 2001 in Germany. His recordings with that ensemble can also be found on the box set of 3 CDs called 'The International Trio - 25 Years'. Sutton's final recordings were in 2001 as well. June 9, 2001, saw duets with pianist, Peter O'Brien, in Dublin, Ireland. He was in Montreal on December 14 for titles with Susie Arioli on snare: 'Don't Explain' and 'Walter's Flat'. Sutton died two weeks later of stroke in Evergreen, Colorado, on December 30, 2001.

Ralph Sutton   1949

   Baby Baby

      With Henry Red Allen

   Black Bottom Stomp

   Dill Pickles/Whitewash Man

   I Dance At Your Wedding/I Got Rhythm

   Muskrat Ramble

      With Max Kaminsky

Ralph Sutton   1953


   Tain't Nobody's Biz-Ness If I Do

Ralph Sutton   1960

   The Cascades

Ralph Sutton   1963

   Yellow Dog Blues

      With Henry Red Allen

Ralph Sutton   1988


      With Ruby Braff

Ralph Sutton   1998

   Eye Opener/Echoes Of Spring


Birth of Modern Jazz: Ralph Sutton

Ralph Sutton

Source: Riverwalk Jazz


Birth of Modern Jazz: George Wallington

George Wallington

Source: Sheet Music Direct

George Wallington was born in Sicily in 1924, but was raised in New York City since age one. He gained big momentum right off the bat at age 19 when he began playing bop with Dizzy Gillespie at a nightclub in New York City in 1943. In January of 1944 he contributed to and unissued version of 'A Night n Tunisia' with Gillespie and Oscar Pettiford. His first issued titles would appear to have been with the Serge Chaloff Sextette on March 5 of 1947 for such as 'Pumpernickel' and 'Serge's Urge'. Later that year found him with the Allen Eager Quintet on September 5 for 'Nightmare Allen', 'Church Mouse', et al. He would see Eager again on September 21 of 1951 to support Gerry Mulligan's 'Mulligan Plays Mulligan'. Wallington's first session as a leader was on May 9 of 1949 for two unissued titles in his trio with Curly Russell (bass) and Charlie Perry (drums) ('Racing' and 'Fairyland'), and two issued titles with his octet, 'Knock Out' and 'Igloo', with vocalist, Buddy Stewart, on the former. Wallington packed nearly nearly forty sessions into his brief career of about a decade to come, half of those his own. Yet in 1960 he suddenly quit the field of music, tired of touring, and joined his family's air conditioning business in Florida. Lord's disco shows his last session on August 7, 1958, for clarinetist, Tony Scott, on titles like 'Lover Man' and 'Lester Leaps In'. His final album had been 'Jazz at Hotchkiss' recorded the prior year on November 14. More than thirty years later Wallington got ants in his pants and recorded three sessions worth of piano solos in 1984 and '85 toward 'The Symphony of a Jazz Piano', 'Virtuoso' and 'The Pleasure of a Jazz Inspiration'. He died in Miami on February 15, 1993.

George Wallington   1947


      Allen Eager Quintet

George Wallington   1951

  Fine and Dandy

      Drums: Max Roach

  High Score

  Joy Bell

  Polka Dot

George Wallington   1952

   Summer Rain

George Wallington   1953

  I Married an Angel/Tenderly

  Squeezer's Breezer

George Wallington   1954

   Without Reservation

George Wallington   1956

   Billie's Tune

   One Night of Love

   What's New?

George Wallington   1957

   All of You

      Tenor sax: Bobby Jaspar

   Dis Mornin'



George Wallington   1960


   It's All Right With Me


  Born in 1922 in Brattleboro, Vermont, Claude Williamson graduated from the New England Conservatory in Boston. His younger brother, was trumpeter, Stu Williamson. In 1947 he headed for California where he began his professional career in 1947 playing with Teddy Edwards, then Red Norvo, in San Francisco. He would later record numerously with Norvo in 1955. Williamson first recorded on September 20, 1947, with saxophonist, Charlie Barnet, in Hollywood, titles like 'Blue Lou' and 'My Old Flame', the latter with Bunny Briggs at vocals. Williamson kept with Barnet's orchestra into 1949, they performing at the Rendezvous Ballroom in Balboa Beach that year in addition to other engagements. The last session of Williamson's run with Barnet was at the Rendezvous on July 30, 1949, for the first recording of Manny Albam's composition, 'Claude Reigns', among other titles. Williams filled a spot in Barnet's orchestra in '51 for such as 'Cherokee' and 'Skyliner', then joined Barnet's orchestra, with Barnet out, in 1958 for 'Tribute to Charlie Barnet'. While with Barnet on December 5, 1947, for a soundtrack to the short film, 'Thrills of Music' he recorded with tenor saxophonist, Bud Shank, for the first time. The two would form a friendship that would last professionally to as late as 1958. They traveled through the same bands together until April 3 of 1954 when Williamson joined Shank's band for 'Bud Shank and Three Trombones'. Williamson's last titles with Shank were on a tour to South Africa in 1958, recording 'Bud Shank In Africa' on April 23. They traveled through Pete Rugulo's operation together into the latter part of the year, to reunite in     the Hollywood in September of 1965 for Stan Kenton's 'Conducts the Los Angeles Neophonic Orchestra'. Nigh a quarter century later they would join bassist, Howard Rumsey's Lighthouse All Stars once again on February 12, 1989 at the Hermosa Beach Civic Auditorium for 'Jazz Invention'. Yet with Barnet on March 16, 1949, he first found himself with Pete Rugulo, the latter arranging 'Overtime'. Rugolo swung with Barnet into latter '49, they to reunite on March 18, 1950 for vocalist, Robert Clay: 'Louise', 'Pigalle', et al. Williamson then joined Rugolo's orchestra on February 8, 1954, for 'Introducing Pete Rugolo and His Orchestra'. That, per above, would include Bud Shank. Williamson remained with Rugolo to 1946, joined him again in '58 and, finally, June 12 of 1960 for titles like 'Love Is Here to Stay' and 'Marie'. Lucky Williamson when on September 11, 1950, he was with Shorty Rogers and His Giants to record titles with vocalist, June Christy: 'A Mile Down the Highway', 'Do It Again' and 'He Can Come Back Anytime'. Again per above, that would include Bud Shank. Also in 1950 Williamson backed Christy with the Ernie Felice Quartet for titles that get released in 1963 on side B of 'The Swinging Chicks' with Fran Warren on side A. Working together well, Williamson would support her again in 1954-56 and, finally, 1962, on 'The Stan Kenton Show' for a telecast of 'Meet the Bandleaders', eventually issued by the same title per Swingtime Video in 1985 (Library of Congress). Bassist, Howard Rumsey, is requisite to mention per Williamson's early career. Williamson's first recorded date at the famous Lighthouse Cafe in Hermosa Beach, CA, was on September 13, 1953, with Rumsey's Lighthouse All Stars to support Chet Baker toward 'Witch Doctor'. Again per above Bud Shank would be in on that. Williamson would join Rumsey on multiple occasions both at the Lighthouse and in Los Angeles to August 2 of '55 for 'Mexican Passport', 'The Song Is for You' and 'Snap the Whip'. A reunion per above was held in '89 for 'Jazz Invention'. After his last performance with Rumsey in '55 Williamson backed the Four Freshmen on multiple sessions, their first on August 17 to yield 'Love Is Just Around the Corner' and 'I Remember You' (that unissued) with Rugolo arranging and conducting. We need back up, however, to March 9 and 10, 1954, at the Lighthouse for sessions with Zoot Sims to include trombonist, Frank Rosolino, for such as 'Lighthouse Days' and 'Goofy Eyes'. Two days later Williamson would back Rosolino for titles toward 'Kenton Presents Jazz: Frank Rosolino'. Rosolino and Williamson traveled much the same path from band to band for the next four years, their last sessions together in October of '58 for 'Pete Rugolo Plays Kenton'. We back up once again to June 26, 1954, for Williamson's first titles as a leader with his trio of Curtis Counce (bass) and Stan Levey (drums), 'Obsession' to get issued on 'Kenton Jazz Presents Claude Williamson' with titles from a second session on the 29th. Another highlight in the fifties was Jack Millman's 'Jazz Studio 4' recorded June 1, 1955. Others with whom Williamson shared sessions in the fifties were Charlie Mariano ('54, '55, '56) and Oscar Pettiford ('56). In 1968 Williamson became pianist for the 'Andy Williams Show', followed by the 'Sonny and Cher' television series. In the latter seventies and eighties Williamson toured and recorded in Japan on Japanese labels. Williamson died July 16, 2016.

Claude Williamson   1949

 Claude Reigns

Claude Williamson   1950

 A Mile Down the Highway

     Vocal: June Christy 

Claude Williamson   1953


Claude Williamson   1954


     With the Lighthouse All-Stars 

Claude Williamson   1955

 Don't Get Around Much Anymore

Claude Williamson   1977

 All The Things You Are

 I Love You

 My Romance

Claude Williamson   1992

 As Time Goes By

 Embraceable You


 Robbin's Nest

 Star Crossed Lovers

Claude Williamson   1993

 There Will Never Be Another You

 Work Song

Claude Williamson   1995



Birth of Modern Jazz: Claude Williamson

Claude Williamson

Source: Jazz Wax


  Walter Bishop Jr was a bop pianist born in New York City in 1927 to Jamaican composer, Walter Bishop Sr. Raised in Harlem, he was in the US Army from '45 to '47, stationed near St. Louis where he involved himself in its jazz scene. He returned to NYC upon the end of his military tour and hooked up with drummer, Art Blakey, first recording with Blakey to back Ida James with the John Hunt Orchestra on an unknown date in 1947. A release date, however, of January 3, 1948, is known for 'Try a Little Tenderness'/'Yesterdays' (Manor 1107). One assumes 'You're a Fool If You Don't'/'Let's Do It' (Manor 1108), per the same session, was issued the same year. Bishop's second session was with Blakey's Messengers for Blue Note on December 22, 1947, recording 'The Thin Man'/'Musa's Vision' and 'Groove Street'/'The Bop Alley'. Bishop recorded with Blakey on several more occasions, a couple with Miles Davis, in '50, '51, '54 and '57, that last occasion in NYC in December for multiple takes of such as 'Ain't Life Grand?' and ''El Toro Valiente'. Present in that session with Blakey in December of '47 was Kenny Dorham on trumpet. Bishop would lay tracks with Dorham on December 15, 1953 for the album, 'Kenny Dorham Quintet'. Several sessions would follow in '56, '61 (: 'Inta Somethin'') and '62 ('K.D. Is Here'). After a couple sessions with Blakey, Bishop held his third with vibraphonist, Milt Jackson, on February 23, 1949, putting down 'Hearing Bells', 'Junior', 'Bluesology' and 'Babu'. His fourth session on April 8 was with the Stan Getz Bop Tenor Sax Stars: 'Battleground', 'Four and One Moore', 'Five Brothers' and 'Battle of the Saxes'. Joining Getz on tenor sax in that session were Zoot Sims, Al Cohn, Allen Eager and Brew Moore with Gene Ramey on bass and Charlie Perry on drums. Bishop would join Cohn in Blakey's band eight years later in December of '57 for tracks to 'Art Blakey Big Band' issued in January of '59. He joined Moore again the next year as one of Miles Davis' Birdland All Stars on June 30, 1950, for titles like 'Max Is Making Wax' and 'Wee'. Bishop wouldn't session with Sims again until February 13, 1965, backing saxophonist, Sonny Stitt, on 'Broadway Soul'. Bishop had opportunity to record with Miles Davis on several occasions, his first with saxophonist, Charlie Parker, and trumpeter, Fats Navarro, on June 30, 1950, per Davis' Birdland All Stars above. 1951 saw a couple sessions with Davis to back Parker, twice more in '51 and '53 as one of Davis' sextet. Bishop's first occasion to support Parker was on January 17, 1951, with Davis, setting down such as 'Au Privave' and 'She Rote'. Dizzy Gillespie would join Parker's outfit on November 15, 1952, for a radio broadcast from Carnegie Hall yielding 'Night In Tunisia' and '52nd Street Theme'. Bishop's last session with Parker was with the latter's quintet on December 10, 1954, for 'Love For Sale' and 'I Love Paris'. Bishop wouldn't record again until June 6, 1956, with Hank Mobley, due to a drug conviction resulting in the loss of his cabaret card (requisite since Prohibition in the twenties to play clubs in NYC) and jail time. Saxophonists, Jackie McLean and Sonny Rollins, were members of Davis' sextet on October 5, 1951, to record 'Conception', 'Out of the Blue', et al. They were also members of Davis' sextet on January 30, 1953, to contribute tracks to 'Collector's Items'. The first that Bishop supported McLean's band was October 20, 1959, for 'Swing, Swang, Swingin''. He would also contribute to McLean's 'Capuchin Swing' on April 17, 1960. Blue Mitchell blew trumpet on that, as well as his next session on May 11 for Charlie Rouse's 'Takin' Care of Business!'. Bishop would later back Mitchell in March of '71 for the latter's album, 'Blue Mitchell'. He finished 1960 in December in trombonist, Curtis Fuller's, band, participating in 'Boss of the Soul-Stream Trombone'. More titles followed in February the next year, a reunion much later on December 6, 1978, for Fuller's 'Fire and Filigree'. Bishop's first tracks as a leader were on March 14, 1961, resulting in the album, 'Speak Low'. Tracks from that session would also end up on 'Milestones' in '89. From '64 to '68 Bishop recorded tracks that would eventually emerge on 'Bish Bash' in 1975. In 1965 he recorded 'The Walter Bishop Jr. Trio/1965', not issued until 1970. 'Coral Keys' in 1971 was the first of a flood of albums released in the seventies. Having attended Juilliard in the latter sixties, Bishop began teaching music theory at colleges in Los Angeles in the seventies, also publishing 'A Study in Fourths', concerning improvisation, in 1976. Bishop instructed at the University of Hartford in the eighties. He died of heart attack in January of 1998. He had issued nearly twenty albums as a leader or co-leader, his last, 'Speak Low Again', put down on June 14, 1993. Per 1948 below, Bishop backs Art Blakey & his Messengers.

Walter Bishop   1948

  Bop Alley

  Groove Street

  Musa's Vision

  The Thin Man

Walter Bishop   1954

  Darn That Dream

     LP: 'Kenny Dorham Quintet'

Walter Bishop   1956


     Mies Davis LP: 'Dig'

  It's Only a Paper Moon

     Mies Davis LP: 'Dig'

Walter Bishop   1960

  Blue Streak

     Dizzy Reece LP: 'Soundin' Off'

  A Ghost of a Chance

     Dizzy Reece LP: 'Soundin' Off'


     Album by Ken McIntyre

Walter Bishop   1961

  Ease It

     Rocky Boyd LP: 'Ease It'

Walter Bishop   1971

  Coral Keys

     LP: 'Coral Keys'


     LP: 'Coral Keys'

Walter Bishop   1975

  Speak Low

     LP: 'Speak Low'   Recorded 1961

Walter Bishop   1977

  Soul Village

     LP: 'Soul Village'


     LP: 'Soul Village'

Walter Bishop   1994

  Una Mas

     LP: What's New'

Walter Bishop   2013

  Those Who Chant

     Theo Parrish LP: 'Black Jazz Signature'

     Recorded sometime between 1971 & 75


Birth of Modern Jazz: Walter Bishop

Walter Bishop Jr

Source: Walter Bishop Jr

Birth of Modern Jazz: Ray Bryant

Ray Bryant

Source: Stomp Off


Ray Bryant was born in Philadelphia in 1931. He started playing piano at age six. He first recorded in 1945 at age 14 with the Jimmy Johnson Big Band (per Jazzdisco) but those unknown titles weren't released. Bryant began touring with guitarist, Tiny Grimes, in 1948, he first recording with Grimes' orchestra on October 30, 1949, for the Gotham label: 'Hey Now', 'Drinkin' Beer', 'My Baby Left Me' and 'Hey Mr. J.B.'. Bryant would see Grimes again in '53 (w Screaming Jay Hawkins) and 1958-59, their last session per Grimes' quintet on August 13, 1959, for 'Tiny in Swingville'. After Bryant's session in 1953 with Grimes for Hawkins he joined mouth harp player, Toots Thielemans's quartet in April of 1955, for such as 'Don't Be That Way' and 'Diga Diga Doo'. Squaring that group were Wendell Marshall (bass) and Bill Clark (drums). Bryant's next and last appointment with Thielemans was in latter '89 for 'The Soul of Toots Thielemans'. Bryant recorded his first name releases in May of '55 per his trio with Wendell Marshall (bass) and Philly Joe Jones (drums). Among those of unknown date were 'Temptation' and 'Flat Foot Floogie' issued by Gotham (310). On May 13 and 16 that trio backed Betty Carter with Jerome Richardson on flute and Quincy Jones arranging, Epic to issue 'Meet Betty Carter and Ray Bryant' of that. Smaller ensembles like quartets and trios were in general Bryant's favored configurations through the years. He led his last trio session forty some years later in June of 1997 with Ray Drummond (bass) and Winard Harper (drums) for 'Ray's Tribute to His Jazz Piano Friends'. After Carter, a session for Prestige on August 5 of '55 placed him in the Miles Davis Sextet (either/or Quintet with Milt Jackson), that good for 'Milt and Miles'. Bryant rounded out '55 on December 2 with tenor saxophonist, Sonny Rollins, for 'Worktime'. He would join Rollins again a year later on September 17, 1957, they members of Max Roach's quintet for 'Max Roach + 4'. The next month they joined Dizzy Gillespie on 'Dizzy Gillespie Duets' and 'Sonny Side Up', both pairing Rollins with tenor saxophonist, Sonny Stitt. Bryant joined Gillespie between those sessions for 'The Greatest Trumpet of Them All', that with saxophones out. Bryant would reunite with Rollins a decade later on July 8, 1965, for Rollins' 'Sonny Rollins On Impulse!'. Bryant's wasn't a casual career with at least 220 sessions to his name, nigh a hundred of those his own. As the above sparse account spins off his recording career to only 1955, we'll abstain from '56 and years thereafter, only mentioning that in addition to sessions he supported he released at least one album nigh every year through 1997. 1999 saw him recording 'Play the Blues'. In the new millennium he put down 'Godfather' in 2002. 'In the Back Room' was recorded in 2004 and 2008. He died on June 2 of 2011. Bryant will also be found under Toots Thielemans in Jazz Guitar.

Ray Bryant   1949

 Hey Now

     With Tiny Grimes

  Drinking Beer

     With Tiny Grimes

Ray Bryant   1955

 Get Happy

  I Could Write a Book

     Vocalist: Betty Carter

Ray Bryant   1957

 Blue Changes

     Bass: Ike Isaacs   Drums: Charles Wright

 Golden Earrings

     Bass: Ike Isaacs   Drums: Charles Wright


     Bass: Ike Isaacs   Drums: Charles Wright

Ray Bryant   1958

 Until The Real Thing Comes Along

     Saxophone: Coleman Hawkins

Ray Bryant   1967

 Fox Stalker

 Paper Cup

 Slow Freight

Ray Bryant   1968

 Above the Rock

Ray Bryant   1973

 Jazz Session

   Filmed live 

Ray Bryant   1976

 Good Morning Heartache

Ray Bryant   1989


Ray Bryant   1995

 In the Back Room



Elmo Hope was born in 1923 in NYC. He began his career with the Joe Morris band. 'The Applejack', below, was recorded in NYC on September 19, 1948, among other titles with Morris. Hope's first album as a leader was 'Introducing the Elmo Hope Trio', released in 1953. Among those he backed during his career were Wynonie Harris, Lou Donaldson, Jackie McLean, Curtis Counce and Harold Land. Hope's final recordings took place in March and May of 1966, the same year as his last concert. Those would be issued in 1996 in a package of two CDs titled 'The Final Sessions'. He died of pneumonia and heart failure the next year on May 19, only 44 years old.

Elmo Hope   1948

   The Applejack

      Trumpet: Joe Morris

Elmo Hope   1953

   Happy Hour

   I Remember You

Elmo Hope   1954

   Later For You

Elmo Hope   1955

   It's a Lovely Day Today

Elmo Hope   1956

   On It

      Tenor sax: John Coltrane & Hank Mobley

Elmo Hope   1957

   So Nice

   Vaun Ex

Elmo Hope   1963

   It Shouldn't Happen to a Dream


Birth of Modern Jazz: Elmo Hope

Elmo Hope

Source: All About Jazz


Birth of Modern Jazz: Wynton Kelly

Wynton Kelly

Source: Discogs


Born in 1931 in Brooklyn to Jamaican immigrants, pianist Wynton Kelly's is thought to have recorded as early as 1948, circa June, in NYC with the Hal Singer Sextette for Savoy: 'Swanee River', 'Jumpin' in Jack's House' (unissued), 'A Plug for Cliff' and 'Corn Bread'. His first solo recordings followed the next year along with tracks for both Billie Stewart and Babs Gonzales. He recorded his debut album, 'Piano Interpretations', on July 15, 1951, also recording with Dinah Washington that year. His first of numerous occasions had been in January at the Birdland for titles like 'I'll Never Be Free' and 'I Wanna Be Loved'. Kelly was drafted into the military in September of 1952 for two years. Nevertheless, serving Stateside, he must have taken leave a few times to record with both Dizzy Gillespie and Washington during that period, Gillespie thrice in latter '52, Washington twice in June of both '53 and '54. Kelly ended his military service as director of the First Army traveling show, giving a performance before an audience of 10,000 at Chastain Memorial Park in Atlanta. He is thought to have completed his military tour by the time he recorded with Gillespie again on September 16, 1954, finding him on titles like 'Roses of Picardy' and 'Silhouette'. Kelly would see Gillespie again in '56 and '57. Following Gillespie in '54 Kelly supported both trombonist, JJ Johnson, and trumpeter, Art Farmer, before reassuming his spot with Washington in January of 1955 per the Hal Mooney Orchestra, backing her on titles like 'That's All I Want From You' and 'A Cottage For Sale'. Multiple sessions ensued with Washington that year and later in 1958, his last occasion to support her being with the Terry Gibbs Band at the Newport Jazz Festival on July 6 of '58 for 'All of Me'. Kelly had recorded his second album, 'Piano', in January 1958. Several albums down the road came 'Autumn Leaves' in July of 1961 with his Trio of Paul Chambers (bass) and Jimmy Cobb (drums). He would by that time have only another decade to live, yet will have accomplished a prolific recording career of 260 sessions, 31 as a leader. Among others with whom he recorded in the fifties and/or sixties were Sonny Rollins, Charles Mingus, Milt Jackson and Wes Montgomery. Fatefully, Kelly had been plagued with epilepsy. He died in Toronto, Ontario, at only age forty upon an epileptic seizure on April 12, 1971. More Kelly under Donald Byrd, Johnny Griffin and Hank Mobley.

Wynton Kelly   1951


  I'll Never Be Free/I Wanna Be Loved

      With Dinah Washington at Birdland

      Bass: Percy Heath   Drums: Art Blakey


      Piano solo

Wynton Kelly   1959

  On Green Dolphin Street

  Softly, As In A Morning's Sunrise

      Bass: Paul Chambers   Drums: Jimmy Cobb

Wynton Kelly   1961

  Autumn Leaves

      Bass: Paul Chambers   Drums: Jimmy Cobb

Wynton Kelly   1965

  Smokin' at the Half Note

      Album   Guitar: Wes Montgomery

Wynton Kelly   1966

  Autumn Leaves

      Bass: Ron McClure   Drums: Jimmy Cobb




Marian McPartland first recorded piano in London on January 6, 1946, with her husband, celebrated early jazz cornetist, Jimmy McPartland. Born in England in 1918, McPartland began her career in 1938 as a vaudeville pianist by the stage name of Marian Page. Born in Great Britain, McPartland met her husband, Jimmy, in Europe during World War II upon his being drafted into the army. They married in 1944, after which Jimmy returned to the States with his bride to resume his musical career. Marian's first recordings were with Jimmy in London on January 6, 1946, with Harlequin. Featuring guitarist, Vic Lewis, with vocals by Grace Scott, those tracks were 'I've Found a New Baby', 'The World Is Waiting for the Sunrise', 'Sweet Lorraine' and, possibly, 'Rose Room' and 'Blues'. Those would see issue in 1986 on 'Vic Lewis Jam Sessions Vol 3: 1945-1946'. Marian's initial session as a leader on December 7, 1949, in Chicago went unissued: 'Flamingo', 'Softly, As in a Morning Sunrise', 'I Wished on the Moon' and 'Yesterdays'. Her next, however, on March 15, 1951, were issued by Federal and King, among others. Those titles were 'Flamingo', 'It's Delovely', 'Liebestraum No 3' and 'Four Brothers'. Some time later, 1952, Marian formed a trio to play at the Hickory House in New York City for the next eight years. In 1969 Marian founded her own record label, Halcyon Records, her last release with that label in 1979. McPartland recorded prolifically into the new millennium, contributing as late as 2008 to 'Twilight World' on Daryl Sherman's album, 'Johnny Mercer: A Centennial Tribute'. She died on August 20, 2013 in Port Washington, New York with 180 sessions to her her name, the greater majority as a leader. Bill Crow plays bass on all selections below for year 1955. Jimmy and Marian play together on a couple of later dates.

Marian McPartland   1955

  Chelsea Bridge

  I Could Write A Book

  Poor Little Rich Girl

  Sand In My Shoes

  Struttin' With Some Barbecue

Marian McPartland   1956

  Dark Eyes

      Saxophone: Stan Getz

      Trumpet: Dizzy Gillespie

Marian McPartland   1960

  Peter Gunn Theme

      Cornet: Jimmy McPartland

Marian McPartland   1964

  Things Ain't What They Used To Be

      Filmed live

Marian McPartland   1974

  In a Mist

Marian McPartland   1975


 At the Top

     Film   Cornet: Jimmy McPartland


Birth of Modern Jazz: Marian PcPartland

Marian McPartland

Source: Marian McPartland



Birth of Modern Jazz: Terry Gibbs

Terry Gibbs & Terry Pollard

Source: Women in Jazz


Born in 1923, pianist Terry Pollard is (tentatively) thought per multiple sources to have first recorded with trumpeter, Thad Jones, backing tenor saxophonist, Billy Mitchell, in 1948: Dee Gee 4000 and 4001 consisting of 'Rockaway Rock', 'Rainy Day Blues', 'Danny Boy' and 'The Bulldozer'. jazzdisco lists those in 1948 as well. Other sources dispute that date, including Tom Lord's discography, giving no more specific date than the early fifties. A discussion at Organissimo would have them recorded between autumn of '52 and autumn of '53. Ditto Pollard's next session with Jones and Mitchell coming to 'Compulsory', 'The Blue Room', 'The Zec' and 'Alone Together'. Some say '48, some that ain't so. Howsoever, those titles would appear on the album, 'Swing . . . Not Spring' (Savoy 0188), in 1953 according to 'A History of Jazz In Detroit' by Lars Bjorn. Pollard's next known sessions aren't so occult, those with Sax Kari on February 23, 1953 ('Daughter'/'Down for Debbie') and March 31 in Chicago, those issued being 'Henry' and 'You Let My Love Grow Cold'. Her next session was with vibraphonist, Terry Gibbs, in NYC in September of '53 for such as 'Wednesday at Two' and 'I've Found a New Baby'. It was Pollard's partnership with Gibbs for which she was and remains best known. They would get together again in '54 to hold numerous sessions to October of '56 for Gibbs' 'Swingin''. Pollard's first and only album, 'Terry Pollard', appeared in 1955. After 'Swingin' in '56 Pollard retired to Detroit to raise her family, though she continued to play locally. On April 8 of 1958 she supported Yusef Lateef on 'Yusef Lafeef at Cranbook'. June 11 of '59 found her participating in Lateef's 'The Dreamer' and 'The Fabric of Jazz'. Lord's Disco has final recordings in August of 1961 for Dorothy Ashby's 'Soft Winds'. Pollard died on December 16, 2009.

Terry Pollard   1955

   Autumn Serenade

   The Coninental

      Vibes: Terry Gibbs

Terry Pollard   1956

   Gibberish/Now's the Time

      Live performance   Vibes: Terry Gibbs



Born in 1920 in Concord, California, pianist Dave Brubeck is thought to have made his first recording per a piano solo in 1942: 'I've Found A New Baby'. That first saw release in 1953  on 'Jazz at the College of the Pacific Vol 2'. Lord's discography has his next session in San Francisco in 1946 recording titles issued ten years later on 'Dave Brubeck Octet' in 1956. Compiled into that were his first sessions with major partner, Paul Desmond, in 1946-48: 'Serenade Suite', 'Schizophrenic Scherzo', 'How High the Moon' and 'Playland-At-The-Beach'. Brubeck and Desmond had met in the army in 1944. Upon release from the service the pair met again in California per above. While Desmond left for NYC to play with Jack Fina, Brubeck put together a trio with Ron Crotty on bass and Cal Tjader on drums, which first four recordings, made in September 1949, were 'Blue Moon', 'Tea For Two', 'Indiana' and 'Laura', those released that year. Upon Desmond's return to California in 1950 the pair formed a quartet. That quartet's first recordings were scheduled in August 1951: 'A Foggy Day', 'Lyons Busy', 'Somebody Loves Me' and 'Crazy Chris (Crazy Time)'. Brubeck's portrait appeared on 'Time' magazine's cover in 1954. Their album, 'Time Out', in 1959 was the first jazz album to sell platinum (one million copies). Brubeck and Desmond played together in their quartet until 1967 per 'Their Last Time Out', though multiple reunions would occur in the seventies. Their last such occasion was at the Interlochen Arts Academy in Michigan on March 10, 1976, for '25th Anniversary Reunion'. After the dissolution of Brubeck's quartet he began composing orchestral and choral pieces with Christian themes. (He would become a Catholic in 1980.) A recipient of several prestigious awards, Brubeck died of heart failure in Norwalk, Connecticut, on December 5, 2012. Lord's disco has his last of around 330 sessions on June 10, 2011, supporting his son, multi-instrumentalist, Chris Brubeck, on 'Live at Arthur Zankel Music Center'. Dave Brubeck is also found under Paul Desmond in Modern Jazz Saxophone. Per 1949 below, all tracks are with the Dave Brubeck Trio.

Dave Brubeck   1949

   Blue Moon/Tea For Two



Dave Brubeck   1950

   Fugue on Bop Themes

      Alto sax: Paul Desmond

   Let's Fall In Love

     Dave Brubeck Trio

Dave Brubeck   1951


      Alto sax: Paul Desmond

   Lyons Busy

      Alto sax: Paul Desmond

Dave Brubeck   1953

   How High the Moon

      Alto sax: Paul Desmond


   Over the Rainbow

      Alto sax: Paul Desmond

   Tea For Two

      Alto sax: Paul Desmond

   The Way You Look Tonight

      Alto sax: Paul Desmond

Dave Brubeck   1954


      Alto sax: Paul Desmond

Dave Brubeck   1958

   Newport 1958

      Album   Alto sax: Paul Desmond

Dave Brubeck   1959

   Blue Rondo à la Turk

      Alto sax: Paul Desmond

Dave Brubeck   1961

   Jazz Casual

      Live on 'Jazz Casual'   Saxophone: Paul Desmond

   Unsquare Dance

Dave Brubeck   1962

   Countdown: Time in Outer Space

      Album  Saxophone: Paul Desmond

Dave Brubeck   1963

   Blue Rondo à la Turk

      Live at Carnegie Hall   Saxophone: Paul Desmond

Dave Brubeck   1964

   Jazz 625

      Live on 'Jazz 625'   Alto sax: Paul Desmond

   Jazz at Storyville

     Album    Alto sax: Paul Desmond

   Theme From 'Mr. Broadway'

      Alto sax: Paul Desmond

   Time Changes

      Album   Alto sax: Paul Desmond

Dave Brubeck   1965


Dave Brubeck   1966

   Time In

Dave Brubeck   1971

   All the Things You Are

      Live with Paul Desmond & Gerry Mulligan

Dave Brubeck   1972

   Take Five

      Live performance   Saxophone: Paul Desmond

Dave Brubeck   1975

   The Duets

      Album   Alto sax: Paul Desmond

Dave Brubeck   2001

   Jazzwoche Burghausen


Dave Brubeck   2004

   Take Five im Quartet



Birth of Modern Jazz: Dave Brubeck

Dave Brubeck

Source: ED2000

Birth of Modern Jazz: Jaki Byard

Jaki Byard
Born in 1922 in Worcester, Massachusetts, multi-instrumentalist Jaki Byard first played piano in bands professionally at age sixteen. He served in the military from 1941 to 1946. Upon discharge he went to Boston where he joined the band of Earl Bostic to tour in 1947. Byard's first vinyl would be with Bostic for King Records in Cincinnati, OH, on January 12, 1949, for 'Watch Where You Walk Boy', 'Blip Boogie', etc.. His next session with Bostic on the 13th yielded such as 'Earl's Imagination' and 'Earl's Blues'. He then formed a group in Boston to include Joe Gordon and Sam Rivers. He then worked in Lynn at a club with Charlie Mariano. Byard is thought to have made his debut recordings with Mariano in 1950, appearing on the first release of the Mariano album, 'Charlie Mariano With His Jazz Group'. 'Boston Days', again with Mariano, followed in 1953. 'Modern Saxophone Stylings of Charlie Mariano' arrived in 1955. 1957 found Byard on Herb Pomeroy's album, 'Life is a Many Splendored Gig'. Byard first recorded with Charles Mingus in July 1959 at the Newport Jazz Festival in Rhode Island. A session with Maynard Ferguson that October yielded several tracks with vocalist, Ann Marie Moss. Those issued were 'Let's Fall In Love', 'Where's Teddy' and 'Hey There'. A couple of studio sessions with Mingus followed in November that year in NYC. Byard recorded his debut album in 1960, 'Blues for Smoke', but it wasn't released until 1988. So the album, 'Here's Jaki', was Byard's initial LP release in 1961. Between 1962 and 1970 Byard appeared on above ten Mingus LPs. 1969 found Byard recording three albums with Eric Kloss, the year he began teaching at the New England Conservatory of Music in Boston for the next fifteen years. He spent the next two decades teaching while performing in New York City. He was on the faculty of the Manhattan School of Music from '89 to '99. Byard issued his last of above 35 albums as a leader, 'My Mother's Eyes', in 1998. On February 11, 1999, Byard was found dead of a gunshot to his face through his nose in his home in Queens. Such remains one of the greater mysteries in jazz. It was clearly a homicide, no weapon found, but neither motive, such as robbery, nor any suspects either.

Jaki Bryard   1949

   Watch Where You Walk Boy

      With Earl Bostic

Jaki Bryard   1950


      Album: 'Charlie Mariano With His Jazz Group'

Jaki Bryard   1953


      Album: 'Modern Saxophone Stylings of Charlie Mariano'

Jaki Bryard   1960

   Blues for Smoke

      Album    Not released until 1988

Jaki Bryard   1961

   Giant Steps

      Album: 'Here's Jaki'

Jaki Bryard   1964

   European Episodes

      Album: 'Out Front!'

   Meditations On Integration

      Filmed live with Eric Dolphy & Charles Mingus

   So Long Eric

      Filmed live with Eric Dolphy & Charles Mingus

Jaki Bryard   1965

   Jazz Piano Workshop

      Filmed live

Jaki Bryard   1967


      Album: 'Sunshine Of My Soul'

   St. Louis Blues

      Album: 'Sunshine Of My Soul'


      Album: 'Sunshine Of My Soul'

Jaki Bryard   1968

   Memories Of You

      Album: 'The Jaki Byard Experience'

Jaki Bryard   1971

   Besame Mucho

      Album: 'Parisian Solos'

Jaki Bryard   1979

   Day Dream/Caravan

Jaki Bryard   1981

   To Them - To Us


Jaki Bryard   1998

   As Time Goes By/Misty

      Album: 'My Mothers Eyes'

    With the Apollo Stompers



Birth of Modern Jazz: Dave McKenna

Dave McKenna

Photo: Brian O'Connor

Source: All About Jazz


Dave McKenna was born in 1930 in Woonsocket, Rhode Island. He played professionally as a teenager with the Boots Mussulli band. At 19 he left home to join the Charlie Ventura Orchestra. His first known recordings were with Ventura in NYC on September 30, 1949, for Victor: 'Pavanne' (unissued), 'High on an Open Mike', 'Too Marvelous for Words', et al. McKenna's next session was with Woody Herman's Second Herd on May 5, 1950, titles for Capitol like 'Spain' and 'Pennies from Heaven'.  McKenna stayed with Herman until getting drafted into the Army to work as a cook during the Korean War. His last session with Herman was a radio broadcast at Municipal Arena in Kansas City, MO on July 22, 1951, toward 'Bird with the Word'. Nigh 30 years later he would reunite with Herman at the Concord Pavilion in California in August, 1980, for what would released as 'Presents a Concord Jam Vol 1' the next year. Upon completing his military tour McKenna joined Ventura again, his first certain session date on January 30, 1954, in NYC for such as 'How Deep Is the Ocean?' and 'Over the Rainbow'. He stuck with Ventura into summer, including a trip to Los Angeles and back to NYC. The summer of '55 found him with the Stan Kenton Octet, followed by the Benny Goodman Septet and Urbie Green Quintet ('Blues and Other Shades of Green') before his first session as a leader on Holloween, 1955, toward the album, 'Solo Piano'. Among the more significant of his musical associates was cornetist, Bobby Hackett, whose band he joined in time to record 'Blues with a Kick' in November of '58. His first period with Hackett stretched to 'That Midnight Touch' about March of 1967, picking up again in 1970 for 'Live at the Roosevelt Grill'. McKenna spread titles with Hackett on a few more occasions until their last, a concert at Avery Fisher Hall in NYC on July 3, 1974, resulting in such as ''Alexander's Ragtime Band' and 'What'll I Do'. Another highlight in the seventies was sessions at the Inn of the Golden West in Odessa, TX, in May 1977 toward 'Odessa Sound of Jazz Vol 1' released that year. A humble man, McKenna once remarked that he wasn't a "bona fide jazz guy," but "just a saloon piano player." This account of his recording career of 221 sessions, 49 as a leader, must be modest as well, fast forwarding to his last name session at the Sarasota Opera House in Florida on November 19, 1999, 'An Intimate Evening With Dave McKenna', released on Arbors Records in 2002. In March of 2000 McKenna supported Donna Byrne on her album 'Don't Dream of Anybody But Me'. He died on October 18, 2008, in his birthplace, Woonsocket, Rhode Island.

Dave McKenna   1950

   Starlight Souvenirs

      With Woody Herman

Dave McKenna   1957

   Sweet Sue, Just You

      Tenor sax: Charlie Ventura

Dave McKenna   1962

   Bill Bailey

     With Bobby Hackett

Dave McKenna   1979

   Have You Met Miss Jones

Dave McKenna   1982

   Live in Boston

     Vocal: Tony Bennett

Dave McKenna   1983

   Lazy River

Dave McKenna   1989

   Dream Dancing

Dave McKenna   1993

   42nd Street



Pianist Phineas Newborn Jr. was born in Whiteville, Tennessee, in 1931. He first recorded in Memphis with his brother, guitarist, Calvin Newborn, in 1949, backing what were BB King's first recordings as well (Bullet Records 309: 'Miss Martha King'/'When Your Baby Packs Up and Goes'). Recording dates seem unknown but Be Bop Wino states that was issued by July of '49. Bullet Records then issued 312 on which Newborn contributed to such as 'I Love My Baby' and 'Let's Go to the Liquor Store' with the Tuff Green Orchestra. Bullett 315 followed with BB King and Calvin again on 'Take a Swing with Me'/'Got the Blues'. Come Bullett 338 with the Tuff Green Orchestra again: 'She Ain't No Good' and 'Bounce with Benny'. In May of 1950 Calvin and Phineas joined the Lou Sargent Orchestra for 'Ridin' Boogie' and 'She Really Treats Me Wrong'. Sometime in '50 or '51 Phineas accompanied his father, Newborn Sr., on 'Phineas Boogie' and 'The Joint Is Jumpin'. Phineas and Calvin joined King again in May of 1951. Released on RPM 323 was 'She's Dynamite'. Come Big Walter Horton in June or July with whom Phineas and Calvin recorded RPM 338: 'Black Gal'/'Jumpin' Blues'. They were back again with King in September for RPM 339: 'Three O'Clock Blues'/'That Ain't the Way to Do It'. Phineas contributed to several titles with Bonnie Turner in April 1952 before his first name session was held as the Phineas Newborn Quartet in 1953 in Houston: 'How High The Moon' and ''Round Midnight' (Peacock's Progressive Jazz 500), his brother on guitar, bass and drums. Newborn's initial album release as a leader was 'Here Is Phineas' recorded in May 1956 in NYC for Atlantic, that with Calvin, Oscar Pettiford (bass) and Kenny Clarke (drums). Come a session in August with Charles Mingus at Cafe Bohemia in NYC for 'Confirmation', 'Just Bohemia' and 'What Is This Thing Called Love'. His second album went down on October 2 of 56, 'Pnineas' Rainbow', with Calvin, George Joyner (bass) and Philly Joe Jones (drums). Calvin and Phineas remained tight into 1958 until Phineas took off to Europe in autumn with the All Stars consisting of JJ Johnson and Kai Winding on trombone, Lee Konitz (alto sax), Zoot Sims (tenor sax), Red Garland (piano), Oscar Pettiford (bass) and Kenny Clarke (drums). Along with All Star sessions both Newborn and Sims recorded albums during that tour. Calvin and Phineas got together again on January 30, 1959, for "Down Home Reunion' before they parted to pursue each his own career. They would reunite in December 1976 for Cybill Shepherd's 'Vanilla'. Lord's discography shows Phineas' final recordings in November of 1987 for 'I've Something to Say'. Phineas died on May 26, 1989, of lung issues.

Phineas Newborn   1949

  Miss Martha King

      Backing BB King

  She's Dynamite

      Backing BB King

Phineas Newborn   1951

  Hard Hearted Woman

      Mouth harp: Big Walter Horton

Phineas Newborn   1959

  Give Me the Simple Life

 Golden Earrings

Phineas Newborn   1961

  For Carl

 Juicy Lucy


Phineas Newborn   1962

  Jazz Scene USA

     Television show

Phineas Newborn   1964

  Be Deedle Dee Do

 Good Lil' Man



Birth of Modern Jazz: Phineas Newborn

Phineas Newborn

Source: Phineas Newborn Jr


Birth of Modern Jazz: Randy Weston

Randy Weston

Source: Washington City Paper

Born in Brooklyn in 1926, pianist Randy Weston ran a restaurant in the latter forties frequented by name jazz musicians, whence he began playing gigs with Bull Moose Jackson and Eddie Cleanhead Vinson. In 1953 he began playing with Kenny Dorham, then with Cecil Payne beginning in 1954. Dorham would later back Weston on 'Live at The Five Spot' in 1959. Payne would accompany Weston on albums in '56 ('With These Hands', 'Jazz a La Bohemia' and 'The Modern Art of Jazz'), '60 ('Uhuru Afrika') and '66 ('Monterey '66'). Weston's first certain recording sessions had been with tenor saxophonist, Frank Culley, on January 17 of 1949 and February 27 of 1951. The first saw titles like 'The Snao' and 'Floor Show', the second such as 'Culley Flower' and 'Leap Frog'. On April 27 of 1954, Weston held his initial session as a leader with bassist Sam Gill, for the Riverside label. Those eight tracks made their way onto the 10-inch album, 'Randy Weston Plays Cole Porter in a Modern Mood', released the same year. In 1955 he added drummer Art Blakey to his duo with Gill, releasing those six tracks on Trio and Solo', again for Riverside. That same year he exchanged Blakey for drummer, Wilbert Hogan, recording ten tracks, again for Riverside, to be issued as 'Get Happy'. Hogan would appear on several Weston projects to 1960. Among Weston's favored musical associates through the years was trombonist Melba Liston who first joined him in October of '58 for 'Little Niles'. Liston stuck with Weston to 1960, later dates in '63, '73, '75, '93, '95 and, finally, April 8 of 2012, at the NYU Skirball Center for the Performing Arts in NYC to participate in 'The African Nubian Suite'. In the early sixties Weston began experimenting with African elements in jazz, releasing the album, 'Uhuru Afrika' ('Freedom Africa'), in 1960 (banned in South Africa in 1964). Weston moved to Morocco in 1968 where he worked with Gnawa musicians for the next five years at his jazz club, African Rhythms, in Tangiers. His ensembles would be called the African Rhythms. He recorded 'African Cookbook' in Paris in June of 1969. Years later in 1992 he would would record a couple sessions in Morocco with his orchestra of Gnawa musicians issued as 'The Splendid Master Gnawa Musicians of Morocco' and 'Marrakech in the Cool of the Evening'. Seven years later he brought that orchestra to the Lafayette Presbyterian Church in Brooklyn for a session on September 24, 1999, to result in 'Spirit! The Power of Music'. In 2010 Weston published his autobiography, 'African Rhythms'. The high majority of Weston's minimum of 87 sessions were his own projects, he releasing a prolific number of albums during his career which is yet active as of this writing with international tours. Weston plays with saxophonist Cecil Payne on all tracks below for year 1956.

Randy Weston   1956

   Don't Blame Me

      Album: 'Modern Art Of Jazz'

   How High the Moon

      Album: 'Modern Art Of Jazz'

   I Can't Get Started

      Album: 'With These Hands'


      Album: 'With These Hands'

   Little Niles

      Album: 'With These Hands'

   It's All Right With Me

      Album: 'Jazz A La Bohemia'

   The Man I Love

      Album: 'With These Hands'

   Once In a While

      Album: 'Jazz a la Bohemia'

   Run Joe

      Album: 'Modern Art Of Jazz'

   Well, You Needn't

      Album: 'Modern Art Of Jazz'

Randy Weston   1958


      Newport Jazz Festival

Randy Weston   1959


      Live at the Five Spot in NYC

Randy Weston   1972

   African Cookbook

      Album: 'African Cookbook'

  Niger Mambo

      Album: 'Highlife'

   Night In Medina

      Album: 'Blue Moses'

Randy Weston   1973


Randy Weston   1974

   Uhuru Kwanza

      Album: 'Blues to Africa'



Birth of Modern Jazz: Kenny Drew

Kenny Drew

Source: Jazz Wax

Kenny Drew was born in August of 1928 in New York City. He was at the right place at the right time to quickly find himself working in the more eliite circles of the NYC jazz scene. With around 300 sessions to his career, 69 of those his own, the full hand of those with whom he recorded in 1950 is all we can touch upon in this small space, leaving nigh the whole of the rest of career obscure. He first recorded piano with Howard McGhee on January 23, 1950, titles like 'Lo-Flame' and 'Fuguetta' for Blue Note. Other members of McGhee's All Stars were JJ Johnson (trombone), Brew Moore (tenor sax), Curly Russell (bass) and Max Roach (drums). Drew's second session on February 17 was for tenor saxophonist, Sonny Stitt, recording such as 'Avalon Song' and 'Later' with Tommy Potter (bass) Art Blakey (drums). Come his third session with Lester Young at the Savoy Ballroom on perhaps February 22, for a long stream of titles like 'Jumpin' With Symphony Sid' and 'Neenah'. A couple more sessions were held with Young in Chicago and Boston before he joined the Charlie Parker Quintet consisting of Parker on alto, Red Rodney (trumpet), Curly Russell (bass) and Art Blakey (drums) to record such as 'Jumpin' With Symphony Sid' and 'Anthropology'. That was a WJZ broadcast from the Birdland in NYC. The fifth and last ensemble Drew recorded with in 1950 was Leo Parker's Mad Lads (no relation between Charlie and Leo). That resulted in 'Woody' and multiple takes of such as 'Rolling With Parker' and 'Solitude'. 1951 found Drew in sessions with Coleman Hawkins, Miles Davis, Oscar Pettiford, Budd Johnson, Paul Quinichette and Sonny Rollins. Drew joined the Buddy DeFranco Quartet on February 27, 1952, with Jimmy Raney (guitar), Teddy Kotick (bass) and Art Taylor (drums) to record titles that would be found on 'Mr. Clarinet' in 1957. Drew stuck with DeFranco, also touring to California, to June 5, 1953, his last of numerous sessions with DeFranco. That was held in Los Angeles with the Herman McCoy Swing Choir toward the issue of 'Takes You to the Stars' in '54. Drew released his first album in 1953: 'New Faces, New Sounds', that with Curly Russell and Art Blakey. On September 18, 1955, he put down his first tracks with whom would later become one of his more significant associates, that Dexter Gordon with the latter's quartet consisting of Leroy Vinnegar (bass) and Larance Marable (drums) toward 'Daddy Plays the Horn'. His next session with a Gordon quartet would be on May 9, 1961, with Paul Chambers (bass) and Philly Joe Jones (drums) for 'Dexter Calling'. On June 2, 1964, Drew joined Gordon's quintet for 'One Flight Up' in Paris. That would be the first of numerous recordings together to as late as the Zurich Jazz Festival in August of 1975 resulting in three volumes of 'Swiss Nights'. Drew had moved to Paris in 1961, then Copenhagen three years later. Gordon had likewise moved to Europe in the early sixties, first Paris, then Copenhagen, returning to the States fourteen years later. The majority of Drew's recording career from '63 onward would be in Europe, beginning in October with the Johnny Griffin Quartet in Warsaw for titles issued in Poland by Muza like 'Sophisticated Lady' and 'Body and Soul'. Another highlight in the sixties was 'Violin Summit' recorded live in Basel, Switzerland, in 1966. In addition to Niels-Henning Ørsted Pedersen (bass) and Alex Riel (drums) Drew accompanied violinists Svend Asmussen, Stephane Grappelli, Jean-Luc Ponty and Stuff Smith. In 1971 Drew collaborated with Dexter Gordon on the soundtrack for the film, 'Pornografi: En Musical'. He died on August 4, 1993, in Copenhagen. His final recordings had been live in Osaka, Japan, in October of '92, some to be found on 'Kenny Plays Standards Live at the Blue Note Osaka'. Per below, tenor sax by Lester Young is featured on all tracks for 1950.

Kenny Drew   1950


      With Sonny Stitt

Kenny Drew   1953

  Lo Flame

      Album: 'Introducing the Kenny Drew Trio'


      Album: 'New Faces, New Sounds'

Kenny Drew   1955

  Blues in a Cardboard Box


Kenny Drew   1956

 The Kenny Drew Trio


      Bass: Paul Chambers   Drums: Philly Jo Jones

Kenny Drew   1960


      Bass: Sam Jones   Drums: Louis Hayes

      Sax: Hank Mobley   Trumpet: Freddie Hubbard

  Groovin' the Blues

      Bass: Sam Jones   Drums: Louis Hayes

      Sax: Hank Mobley   Trumpet: Freddie Hubbard


      Bass: Sam Jones   Drums: Louis Hayes

      Sax: Hank Mobley   Trumpet: Freddie Hubbard

Kenny Drew   1961

  A Stranger in Paradise

      Tenor sax: Tina Brooks

Kenny Drew   1971

  Springtime in Tivoli

   Film: 'Pornografi: En Musical'   With Dexter Gordon

Kenny Drew   1974

   In Your Own Sweet Way

    Album: 'If You Could See Me Now'

     Bass: Niels-Henning Pedersen   Drums: Albert Heath

   A Stranger in Paradise

     Album: 'Dark Beauty'

Kenny Drew   1980


     Tenor Sax: Warne Marsh

     Bass: Bo Stief   Drums: Aage Tanggaaard



Birth of Modern Jazz: Tommy Flanagan

Tommy Flanagan

Source: Sheet Music Direct

Be-bop pianist Tommy Flanagan was born in Detroit in 1930. His father was a postman. His mother worked in the garment industry. He was yet in his teens when he was playing with Frank Rosolino, Lucky Thompson, Pepper Adams and Kenny Burrell. His first residency was at the Blue Bird Inn in Detroit at age nineteen. He is thought to have recorded as early as 1950 with Kenny Burrell and the Four Sharps, Yusef Lateef also in that band to down 'Kenny's Sound' and 'My Funny Valentine'. He also played with saxophonist (not the guitarist) George Benson in Toledo before getting drafted into the Army. Flanagan left the military for New York City in 1956 where he worked in clubs, first as a study to sub for Bud Powell at the Birdland, and did session work, recording with the Kenny Burrell Quintet, the Thad Jones Sextet, the Miles Davis Quintet, the Kenny Clarke Quintet, the Sahib Shihab Sextet, the Oscar Pettiford Orchestra, the Phil Woods Septet, the Sonny Rollins Quartet, the JJ Johnson Quintet and the Bobby Jaspar Quartet, all that year. He also accompanied Ella Fitzgerald for the first time in 1956 at the Newport Jazz Festival. Flanagan released his first album in his own name, 'Overseas', in 1957 as the Tommy Flanagan Trio with bassist Wilbur Little and drummer Elvin Jones. His second album, 'The Cats', followed that year with a sextet. During the sixties Flanagan accompanied Ella Fitzgerald, Art Farmer and Tony Bennett. From 1968 to '78 he worked with Fitzgerald. In 1980 he played in a trio with Red Mitchell and Tal Farlow, filling out the eighties with his own trio including bassist, George Mraz. Flanagan toured Japan with 100 Golden Fingers in '90, '93 and '97. He died with 50 name sessions out of above 400, on November 16, 2001, in Manhattan. More Flanagan with Kenny Burrell.

Tommy Flanagan   1956

  Afternoon In Paris

      Kenny Clarke Quintet


      Sahib Shihab Sextet

   In Your Own Sweet Way

      Miles Davis Quintet

   No Line

      Kenny Burrell Quartet

   Saxophone Colossus

      Album with Sonny Rollins


      Thad Jones Sextett

   Tom's Thumb

      Kenny Clark Quintet

   Vierd Blues

      Miles Davis Quintet

   Your Host

      Kenny Clarke Quintet


      Thad Jones Sextet

Tommy Flanagan   1957


      Kenny Burrell Quartet


      Album: 'Overseas'


      Album: 'The Cats'

  Relaxin' at Camarillo

      Bass: Wilbur Little   Drums: Elvin Jones


      Bass: Wilbur Little Drums: Elvin Jones

Tommy Flanagan   1960

  At Dawning

      Sax: Coleman Hawkins

  Then I'll Be Tired Of You

      Sax: Coleman Hawkins



Birth of Modern Jazz: Barry Harris

Barry Harris

Source: Wikipedia


Barry Harris was born in Detroit in 1929. He is thought to have first recorded with his own group in Detroit in 1950 for the New Song label with vocalists, Christine Harris and Frank Foster, on 'Sante Fe Shuffle' with an instrumental called 'Hopper Topper'. JazzDiscography (BRIAN) has Harris recording above 20 titles for New Song in 1950. With about 200 sessions to his name, nigh 40 of those his own, we need confine this account to the first handful who put Harris' tractor into gear. He joined the Frank Rosolino Quartet in September of '52 in Detroit for such as 'Rubberneck' and 'Mean to Me'. 1954 found him with Wild Bill Moore on such as 'Football Boogie' and 'Blue Journey'. Come trumpeter, Donald Byrd, on August 23, 1955, toward 'Byrd Jazz'. Yusef Lateef contributed tenor sax to that, a figure with whom he would have a few occasions to record again during his career. Harris would see Byrd again with Hank Mobley ('Jazz Message 1 & 2' 1956), later with Art Farmer on 'Two Trumpets' ('56). Come titles for 'The Magnificent Thad Jones' in July of '56. Harris would visit Jones again with the Basie-Ites in 1960 in Detroit for what would get issued in 1981 as 'How High the Moon'. Along with Harris on piano and Jones on trumpet that configuration consisted of Joe Newman (trumpet), Al Grey (trombone), Billy Mitchell (tenor sax), Frank Foster (tenor sax), Frank Wess (ternor sax/flute), Freddie Green (guitar), Eddie Jones (bass) and Sonny Payne (drums). After Jones came Hank Mobley in July of '56 for 'Jazz Message 1 & 2' per above, after which Harris would visit Mobley again on February 5, 1965, for 'Turnaround'. Also that February he joined Coleman Hawkins for tracks toward 'Wrapped Tight'. Other highlights in the sixties were Dexter Gordon's 'Clubhouse' and 'Gettin' Around' in May of '65. Harris had released his first album as a leader in 1958, 'Breakin' It Up'. In 1982 he became a founding partner of the Jazz Cultural Theater in NYC, that venue remaining open until 1987. As of this writing Harris is yet active conducting workshops in New York City.

Barry Harris   1958

  Allen's Alley



Barry Harris   1959

  All the Things You Are

  Stranger In Paradise

Barry Harris   1965

  Shiny Stockings

      With Dexter Gordon

Barry Harris   1967

  Even Steven

Barry Harris   1972


      With Sonny Stitt

Barry Harris   1976

  I'll Remember April

      Live in Tokyo

   I'll Remember April

      With Dexter Gordon


  Dick Hyman was a classically trained pianist born in NYC in 1927. A highly prolific recording artist approaching 500 sessions, 120 of those his own, this account of Hyman will need see some fast forwarding. Such as from his birth to his first recording on July 18, 1949, with the Alvy West Sextette for vocalist, Bill Darnell, on titles like 'So Much' and 'Sleeping' released by Coral. November 12 of '49 found him with vocalist, Jackie Paris. Among other titles was ''Round Midnight' (composed by Thelonious Monk) but not released by Paris until 1955. On January 30, 1950, Hyman recorded his first piano solos: 'The Lady Is a Tramp' and 'The Gentleman Is a Dope' among others. On February 18, 1950, the Dick Hyman Trio consisting of Gene Ramey (bass) and Art Blakey (drums) was recorded at the Birdland in NYC. Those four tracks including 'Honeysuckle Rose' were added that year to a Miles Davis' album titled 'A Very Special Concert' featuring Stan Getz. The next month in March he backed Charlie Parker during a session at Cafe Society in NYC on 'Lover Come Back to Me' and '52nd Street Theme'. He then joined the Benny Goodman operation for a tour to Europe. Their first session there is thought to have been on April 24, 1950 for Swedish Radio in Stockholm, Sweden, a Goodman's septet and quartet. Among other titles they backed Nancy Reed on such as 'I Would Do Anything For You' and 'I Can't Give You Anything But Love'. Other members of Goodman's entourage were Roy Eldridge (trumpet/vocal), Zoot Sims (tenor sax), Toots Thielemans (guitar/harmonica), Charlie Short (bass) and Ed Shaughnessy (drums). With the exception of Short, Hyman would record with all of them again at one time or another after Goodman. Hyman would join Goodman's bands on multiple occasions in '55, '60 and 1965-66, their last such occasion for 'The Bell Television Hour' on March 25 ('66) with the Benny Goodman Quintet consisting of Charlie Byrd (guitar), Bob Haggart (bass) and Ed Shaughnessy (drums). Those titles were 'Great Day', 'The Shadow of Your Smile' and 'Air Mail Special'. There would be a reunion nigh twenty years later on October 5, 1985, from Marriott Marquis Hotel in NYC, that finding issue the next year as 'Benny Goodman: Let's Dance - A Musical Tribute'. In 1952 Hyman found himself on television with Charlie Parker in the latter's only television appearance. Hyman's first occasion to record with trombonist, Urbie Green, was with the Benny Goodman Sextet in NYC on November 14, 1955, to back Rosemary Clooney on such as ''It's Bad For Me'. Green and Hyman found numerous occasions to record together over the decades to come. After their mutual spell with Goodman they would back other operations as well as each other to as late as May of 1994 for Hyman's 'From the Age of Swing'. Hyman recorded 'New Orleans Rag' circa 1955, included on a compilation of Scott Joplin compositions by various on an unknown date called 'Searchlight Rag: Piano Ragtime of the Fifties'. 1956 found Hyman on tracks with Morgana King, the same year he released his debut album, 'The Unforgettable Sound Of the Dick Hyman Trio'. Another horn player whom Hyman would join on frequent occasions was cornetist, Bobby Hackett, a session on November 27, 1957, resulting in the latter's album, 'Don't Take Your Love From Me'. More titles followed in December, then a stream from February to November of 1963, their last session toward Hackett's 'Plays the Music of Bert Kaempfert'. If anyone knew ragtime it was Hyman, releasing 'Knuckles O'Toole Plays the Greatest All Time Ragtime Hits' in 1958. During the sixties he oft performed on the 'Sing Along With Mitch' television show. Also during the sixties he issued a couple of LPs on which he featured the Moog synthesizer. From 1969 to 1974 Hyman was organist on the television game show, 'Beat the Clock'. Amidst other album releases and demand as a studio musician Hyman continued his examination of ragtime with his 1976 release of 'Scott Joplin: 16 Classic Rags'. He explored Duke Ellington on the 1990 issue of 'Dick Hyman Plays Duke Ellington'. March of 1994 found him recording at the Hilton in St. Petersburg, Florida, for Bob Haggart's 80th birthday party, getting released in 2003 on 'The Piano Giants'. Also in on that were Derek Smith, Ralph Sutton, Bob Haggart, Milt Hinton and Bobby Rosengarden. Hyman was inducted into the Jazz Hall of Fame in 1995. Yet active, Hyman's last album per this writing was issued in 2015, 'House of Pianos', recorded in Madison, Wisconsin, on June 1, 2014.

Dick Hyman   1952

  Hot House

        Television program with Charlie Parker

Dick Hyman   1956

   Moritat (Theme From Threepenny Opera)

Dick Hyman   1958

   Ragtime Razz Matazz

     Album: 'Knuckles O'Toole Plays the Greatest All Time Ragtime Hits'

Dick Hyman   1965

   The Man From U.N.C.L.E.

Dick Hyman   1969


     Album: 'The Age of Electronicus''

   The Electric Eclectics of Dick Hyman


Dick Hyman   1971

   Rainy Days and Mondays

     Album: 'fantomfingers'

Dick Hyman   1985


     Filmed live

Dick Hyman   1992

   Body and Soul

     Filmed live

Dick Hyman   2013

   I'll See You in My Dreams

     Duet with Stephanie Trick   Filmed live

Dick Hyman   2015

   Send in the Clowns

      Album: 'House of Pianos'


Birth of Modern Jazz: Dick Hyman

Dick Hyman

Source: All About Jazz

Birth of Modern Jazz: Freddie Redd

Freddie Redd

Source: Washington DC Jazz Network

Born in 1928 in Harlem, hard bop pianist Freddie Redd was released from active duty in the military in 1949, whence upon he took his first professional gigs in Syracuse, New York. Lord's disco has him recording in Philadelphia in September of 1950 with Tiny Grimes' Rockin' Highlanders for tracks like 'Freddie and Boogie' and 'Riverside Jump'. Via touring with Grimes he ended up in NYC where he played with other ensembles in addition Grimes' to 1954, He is thought to have last recorded with Grimes with the latter's Quintet on May 24, 1954: 'Frivolous Sal' and 'Showboat Mambo'. On February 28, 1955 Redd recorded his debut name recordings ('Piano - East/West', sharing half an album with recordings made by Hampton Hawes on side A in 1952). Among others whom he backed later that year were Art Farmer, Gigi Gryce and Gene Ammons. In 1956 he toured to Sweden where he recorded live titles like 'Looking for a Boy' and 'Lover Man' at Varnamo Folkets Park in Jönköping, Sweden, on July 30 with Rolf Ericson (trumpet), Lars Gullin (baritone), Tommy Potter (bass), Joe Harris (drums) and Ernestine Anderson at vocals. His next sessions in Sweden were in September of '56 in Stockholm. Redd wrote the score to the 1961 film, 'The Connection', in which he also appeared both as an actor and musician. Briefly afterward he moved to Denmark, then France, recording 'Under Paris Skies' in Paris on July 28/29, 1971. Returning to the States in 1974 to pursue his occupation in San Francisco, 'Straight Ahead' saw recording in Hollywood on December 3, 1977. He saw Europe again 1991, recording such as 'Don't Lose the Blues' and 'Waltzin' In' in Stockholm in July. Redd moved to Baltimore in 2011 where, as of this writing, he yet resides. Titles per the new millennium are 'Music for You' in November 2014 and 'With Due Respect' issued in 2016.

Freddie Redd   1950

  Frankie and Johnny Boogie

     With Tiny Grimes

Freddie Redd   1955

  Blue Lights

     With Art Farmer & Gigi Gryce

  Ready Freddie

     Album: "Introducing Freddie Redd'

Freddie Redd   1956

  People's Park

Freddie Redd   1960

  Blues, Blues, Blues

     Album: 'Shades of Redd'

   ust a Ballad For My Baby

     Album: 'Shades of Redd'

  The Thespian

     Album: 'Shades of Redd'

  O.D. (Overdoes)

     Album: 'The Music From The Connection'


     Album: 'Shades of Redd'

  (Theme For) Sister Salvation

     Album: 'The Music From The Connection'

  Time to Smile

     Album: 'The Music From The Connection'

  Who Killed Cock Robin?

     Album: 'The Music From The Connection'


     Album: 'The Music From The Connection'

Freddie Redd   1961

  Old Spice

Freddie Redd   1977

  Waltzing In

     Album: 'Straight Ahead'

Freddie Redd   2013

  Buckeye Blues

     Filmed live with the Colours Quartet



Birth of Modern Jazz: Shirley Scott

Shirley Scott

Source: Second Hand Songs

Shirley Scott played piano on occasion but her preferred instrument was organ. Born in Philadelphia in 1934, she first recorded piano on November 18, 1949, in Sheffield, England, with the Leicester Jazz Band. Of those issued were 'Kansas City Stomps'/'Savoy Blues' and 'Buddy Bolden's Blues'/'Courtin' Man Blues'. Lord's disco doesn't show another session until July 16 of 1956, playing organ for Eddie Lockjaw Davis on titles like 'The Happy Whistler' and 'Scotty Roo'. Scott kept with Davis until 1960, their last session on January 31 that year for the album, 'Eddie Lockjaw Davis with Shirley Scott'. Scott created nine record albums from 1958 to 1960, her first, 'Great Scott!'. 'Satin Doll', below, is from her tenth album, 'Satin Doll'. Scott was married to tenor sax player, Stanley Turrentine, with whom she performed from 1960 to 1969. Her initial session with Turrentine was for the latter's 'Hip Soul' on June 2, 1961. Their last was in September and November of 1968 for Scott's 'Soul Spring'. She died of heart failure on March 10, 2002, so her last recordings at the Montreux Jazz Festival in Switzerland per George A. Johnson Jr's 'All Star Tribute' ('06) had to have preceded that. Lord's disco has her at 109 sessions, nigh 60 of those her own projects.

Shirley Scott   1958

  In the Kitchen

      Saxophone: Eddie Lockjaw Davis

  Satin Doll

Shirley Scott   1960

  Muy Azul (Very Blue)

      With the Latin Jazz Quintet


      With the Latin Jazz Quintet

Shirley Scott   1964


      Saxophone: Stanley Turrentine

Shirley Scott   1972

  By the Time I Get to Phoenix

Shirley Scott   1976

  Live in San Francisco



Born Frederick (Fritz) Russell Jones in 1930 in Pittsburg, pianist Ahmad Jamal ('highly praised beauty" in Arabic) began his career with the George Hudson Orchestra in 1948. Conceived to Baptist parents, Jamal converted to Islam in 1950. His first recordings were in Chicago on October 5, 1951, for the Okeh label with a group called the Three Strings: 'The Surrey with the Fringe On Top', 'Will You Still Be Mine?', 'Rica Pulpa' and 'Perfidia'. His next session on May 5 of '52 in Chicago saw 'Aki and Ukthay (Brother and Sister)', 'Billy Boy', 'Ahmad's Blues' and 'A Gal in Calico', also later released in 1959 on the album, 'The Piano Scene'. The Three Strings, with personnel changes meanwhile, released the album, 'Live at Pershing: But Not For Me', in 1958. Jamal's 'Poinciana' was first released on that album. After a tour of Africa Jamal disbanded the Three Strings and opened a club and restaurant in Chicago called The Alhambra. Jamal then put together a new ensemble in '64 to tour and record the album, 'Extensions', released in 1965. In 1986 Jamal sued Jewish critic, composer and musician, Leonard Feather, for using Jamal's non-Muslim name in a publication, greater circumstance, if any, unknown. (It seems Feather, now deceased, had written at least one dismissive review of Jamal, perhaps at that period. To this day another Jewish critic Jamal bans from mention, along with religion, during interviews is Ira Gitler. Knowing nothing about such, we leave it at coincidence. Knowing not what relevance, but relatively, Jamal produced 'The Fundamental Question' for Channel 4 in England in 1996, a documentary film concerning the rise of fundamentalist versus secularist Islam.) As of this writing Jamal is yet active. With around a hundred sessions to his name, nearly all of those have been as a leader. His last album release was 'Saturday Morning' as of 2013.

Ahmad Jamal   1952

   Ahmad's Blues

   A Gal in Calico

  Aki & Ukthay (Brother & Sister)

Ahmad Jamal   1956

   Jim Love Sue


   They Can't Take That Away From Me

Ahmad Jamal   1958

   Billy Boy

  I'll Remember April


  Surrey with Fringe On Top

  Woody'n You

Ahmad Jamal   1959

  Darn That Dream


Ahmad Jamal   1961

   Isn't It Romantic

Ahmad Jamal   1970

   The Awakening


Ahmad Jamal   1971



Ahmad Jamal   1992


      Bass: James Cammack   Drums: David Bowler

Ahmad Jamal   2008


      Bass: James Cammack

      Drums: Idris Muhammad

Ahmad Jamal   2012

   Live in Paris

      Concert film with Yusef Lateef



Birth of Modern Jazz: Ahmad Jamal

Ahmad Jamal

Photo: Chuck Stewart

Source: Village Voice


  Born in 1922 to Jewish parents in Buenos Aires, Argentina, Lalo Schifrin was largely an arranger and composer for film and television scores as well as a conductor and pianist. His most famous work is likely the theme to the television series, 'Mission Impossible', premiering in 1966. Schifrin didn't begin to study piano until age sixteen, then pursued sociology and law at the University of Buenos Aires. He quickly changed his major to music and enrolled at the Paris Conservatoire at age twenty. Schifrin played piano in Paris clubs before returning to Argentina to form an orchestra. His first arrangement to see vinyl was in 1951 per 'The Continental', performed by the All Stars Argentinos. His first piano recordings are thought to have been released in 1953 from a December 1952 session of 'Nunca Supe'/'Enigma Para Boppers', the latter 'Enigma Para Boppers' also his first recorded composition. His first performance on an album was as a pianist in 1955 on 'Piazzolla et Son Orchestre' released by Festival Records. 1955 found Schifrin traveling to the International Jazz Festival in Paris to record titles for Vogue toward 'Rendez-Vous Dansant a Copacabana'. Due collaborations with Dizzy Gillespie in Argentina, then NYC, Schifrin took his wife to live in the United States in 1960. (Thanks to Douglas Payne for recording information above.) That November he backed Gillespie on 'Gillespiana'. A week later he was with Jazz at the Philharmonic in Europe with Gillespie, for the first of two sessions on November 21 in Stockholm, Sweden, for titles like 'Take the 'A' Train' and 'Indiana', the second on the 25th in Paris for such as 'Gillespiana Suite' and 'Caravan'. Schifrin supported Gillespie numerously to 1963 in Chicago with the Double Six of Paris for 'Con Alma' and 'Oo-shoo-bee-doo-bee'. There would be a reunion in winter of '77 for 'Free Ride'. Schfrin's initial film score was for 'Rhino!' released in 1963, followed by his first score for television in 1964, a movie titled 'See How They Run'. Themes for television shows rapidly followed, such as 'The Man From U.N.C.L.E.' and 'The Big Valley'. From that point onward Schifrin's career largely consisted of a prolific number of film scores and album releases. Schifrin is yet active as of this writing, touring internationally. Per below, arrangements and compositions are represented in addition to piano performances.

Lalo Schifrin   1958

   El Jefe

       Film theme

Lalo Schifrin   1959


       Conductor: Xavier Cugat


       'Voice of Firestone' television program

Lalo Schifrin   1960

   All the Things You Are

       With Jazz at the Philharmonic

       Live in Paris 


       With Jazz at the Philharmonic

     Filmed live in Paris

   Take the 'A' Train

       With Jazz at the Philharmonic

      Filmed live in Paris

Lalo Schifrin   1961


       Filmed live with Dizzy Gillespie

   Salt Peanuts

       Trumpet: Dizzy Gillespie

Lalo Schifrin   1962

   Bossa Nova


   An Evening in Sao Paulo


Lalo Schifrin   1966

   Bossa Nova

       Television theme

Lalo Schifrin   1967

   The Fox

       Film theme

Lalo Schifrin   1968


       Soundtrack suite

Lalo Schifrin   1970

   THX 1138

       Soundtrack suite

Lalo Schifrin   1974

   The Four Musketeers

       Film theme

Lalo Schifrin   2004

   Most Wanted

      Compilation album

       Arrangements 1968-79

Lalo Schifrin   2006

   Jazzwoche Burghausen 2006

       Filmed concert


Birth of Modern Jazz: Lalo Schifrin

Lalo Schifrin

Source: Hollywood Bowl


Pianist Horace Silver was discovered by Stan Getz in Connecticut in 1950. It's with Getz that Silver is thought to have made his initial recordings on December 10 that year in New York City for the Roost label: 'Tootsie Roll', 'Strike Up the Band', et al. A couple more sessions were held with Getz in '51, a final on April 15, 1952, at the Birdland where much of Silver's earlier career would occur, often performing for radio broadcasts. His first session at the Birdland with Getz bore 'Potter's Luck', 'I Can't Get Started' and 'Parker 51' ('Cherokee'). Among the more important jazz pianists with above 150 sessions to his name, 88 of those his own projects, we need confine this account to Silver's first decade in the fifties. A couple months after his last titles with Getz Silver joined alto saxophonist, Lou Donaldson, with Gene Ramey (bass) and Art Taylor (drums) on June 20 of '52 for a Blue Note session of Donaldson's 'New Faces New Sounds'. Silver would see Ramey again per his first session as a leader on October 9, 1952, with drummer, Art Blakey, that trio to record 'Horace-Scope', 'Safari' and 'Thou Swell'. He would see Taylor again on June 17, 1956, for such as 'I'll Know' and 'Silver's Blue'. Silver would hold a couple more sessions with Donaldson at the Birdland in 1953, a final on February 21, 1954, with Donaldson backing Art Blakey Quintet with Clifford Brown on trumpet toward 'A Night at Birdland'. The month after Silver's first session with Donaldson he joined vibraphonist, Terry Gibbs, on July 11, 1952, at the Pythian Temple in NYC for such as 'T and S' and 'Flying Home'. Come trombonist, Bill Harris, the next month at the Birdland on the 23rd for such as 'Ow' and 'Pennies From Heaven'. Following Harris at the Birdland came a couple live broadcasts with Coleman Hawkins in September, bearing such as 'Rifftide' and 'Disorder at the Border'. Per above, Silver's first name tracks for Blue Note followed on October 9 at WOR Studios in NYC with Blakey and Ramey. That was followed on the 20th with another trio including bassist, Curly Russell, yielding such as 'Quicksilver' and 'Ecaroh'. Silver and Russell had first recorded together with Hawkins on September 6 of '52 at the Birdland for 'Rifftide', 'I Can't Get Started' and 'Disorder at the Border'. They would see one another numerously, both with the Jazz Messengers and backing other ensembles, to 1957, their last occasion on March 3 that year to support Clifford Jordan's 'Blowing in from Chicago'. Silver and Art Blakey had first recorded together with Hawkins at the Birdland on September 13, 1952, yielding 'Disorder at the Border', 'The Blue Room' and 'Stuffy'. Silver's first session with Blakey and the Messengers was on October 31, 1953, again broadcasting from the Birdland, titles like 'An Oscar for Oscar' and 'If I Love Again'. Albeit Blakey had already recorded with a group he'd called the Jazz Messengers in 1947 that was a brief affair. With Silver's participation and joint leadership the Messengers's name was resurrected. Recordings by Silver with Blakey that followed were essentially Messengers affairs without the name, such as those by the Horace Silver Quintet on November 13, 1954, bearing such as 'Room 608' and 'Creepin' In', and February 6 of 1955 bearing 'Hippy' and 'Hankerin'', et al. On November 23 of that year the Messengers recorded a long string of titles toward 'The Jazz Messengers at the Cafe Bohemia'. Titles on April 6 of '56 went toward the album, 'The Jazz Messengers', that year. Silver's last Messengers session ensued the next month on the 3rd in support of Rita Reys on such as 'Taking a Chance on Love' and 'That Old Black Magic'. Prior to Silver's first session as a leader he had joined Lester Young at the Birdland for six sessions from January 3 to April 15 of 1953. The first wrought such as 'Up 'n' Adam' and 'Blue and Sentimental', the sixth 'Lullaby of Birdland', 'Up 'n' Adam' and 'Too Marvelous for Words.' Silver's first recordings with trumpeter, Howard McGhee, had been with Terry Gibbs above in July of '52. They had also attended a session together with Hawkins in September that year. On May 20, 1953, Silver backed McGhee on such as 'Shabozz' and 'Tranquility'. Alto saxophonist/flautist, Gigi Gryce, had been in on that. Silver joined Gryce again on May 10 the next year with Art Farmer for 'When Farmer Met Gryce'. He romped with the Gigi Gryce Orchestra for a couple sessions in October of '55 yielding such as 'Social Call' and 'Smoke Signal'. Come Al Cohn on June 23, 1953, for such as 'I'm Tellin' Ya', and 'Jane Street'. They would reunite on February 25, 1955, in Quincy Jones' All Stars for 'Grasshopper', that to be found on the album by various in 1963 called 'The Giants of Jazz'. Kenny Dorham had been one of the Jazz Messengers for its first session with Silver per above at the Birdland in October 1953. He was also a member of Silver's Quintet in 1954 before Silver joined Dorham's Sextet on January 30, 1955, toward 'Afro/Cuban'. Dorham would join a couple more Messengers sessions in '55 ('The Jazz Messengers at the Cafe Bohemia') and '56 ('The Jazz Messengers'). Silver commenced 1954 with the Art Farmer Quintet on January 20 with titles like 'Wisteria' and 'Soft Shoe'. Farmer and Silver would see a couple sessions with Gryce in '55, another with Hank Mobley in '57 before Farmer supported Silver on 'The Stylings of Silver' on May 8 of '57. Also present at that January 20 session in '54 was drummer, Kenny Clarke. Silver and Clarke would get partnered on several occasions in the fifties, both backing other operations and each other. January 28 of '55 found Silver participating in Clarke's 'Bohemia After Dark'. July 2 of '65 found Clarke contributing to Silver's 'Silver's Blue'. Tenor saxophonist, Sonny Rollins, had been in on the Farmer session of January 20 1954, above. Rollins and Silver would back Miles Davis on 'Bag's Groove' on June 19 1954. They would reunite on April 14, 1957, Silver backing Rollins on titles like 'Why Don't I' and 'Wail March'. Silver's first session with Miles Davis had been on March 6 of '54 with Art Blakey on drums and Percy Heath on bass. His first of several sessions with Heath had been with Lou Donaldson and trumpeter, Blue Mitchell, on November 19, 1952, for such as 'Down Home' and 'If I Love Again'. Numerous followed until January 7 of '57, they backing Milt Jackson on 'Boogity Boogity' and 'Heartstrings', et al. Mitchell would later back Silver a few times in 1959, including the Newport Jazz Festival' followed by 'Blowin' the Blues Away' on August 29. As for Miles Davis, a few more sessions ensued until 'Bags' Groove' on June 29 the same year ('54). A session with Davis on April 29 had included trombonist, JJ Johnson. Silver would join Johnson again to support both Kenny Dorham and Quincy Jones before a session on June 6, 1955, resulting in 'The Eminent Jay Jay Johnson Vol 3'. They would back Rollins in '57, then reunite eight years later on October 22, 1965, Johnson supporting Silver on 'Nutville', 'Bonita' and 'Mojo'. Silver's first session with trumpeter, Clark Terry, had been on June 2, 1954, for 'Cats vs Chicks', those titles to appear on side B of an album of various with 'Hot vs Cool' on side A in 1978. A couple sessions with Terry in '55 followed, they to reunite more than thirty years later on March 31, 1988, for Silver's 'Music to Ease Your Disease'. A couple weeks after his first Terry session Silver joined Milt Jackson on the 16th ('54) for such as 'Opus de Funk' and 'I've Lost Your Love'. Silver would back Jackson again in '55 and January of '57, those last two sessions coming to Jackson's 'Plenty Plenty Soul'. Tenor saxophonist, Hank Mobley, had first recorded with Silver per the latter's Quintet on November 13, 1954: 'Room 608', 'Creepin' In', etc.. Mobley and Silver would get partnered severally in the fifties, both supporting other operations and each other. Silver participated in Mobley's album 'Hank Mobley Quartet' on March 27, 1955. Later that year Mobley joined the Jazz Messengers per above for 'The Jazz Messengers at the Cafe Bohemia'. Mobley contributed to 'The Stylings Of Silver' in May of '57 and 'Further Explorations' on January 13, 1958. Silver had first recorded with trumpeter, Quincy Jones, on January 23 of '54, Jones arranging titles for Terry like 'Double Play' and 'Slow Boat'. February of '55 found Silver contributing to Jones' 'Grasshopper' per above, they to reunite on January 7, 1957, with Jones arranging titles for Milt Jackson like 'Plenty Plenty Soul' and 'Boogity Boogity'. Silver's first occasion to record with bassist, Paul Chambers had been with JJ Johnson on June 6, 1955, for 'The Eminent Jay Jay Johnson Vol 3'. They would witness several sessions backing other enterprises together to April 14, 1957, for Sonny Rollins. Silver had meanwhile supported Chambers on 'Whims of Chambers' on September 21, 1956. Silver's first tracks with trumpeter, Nat Adderley, had been on June 28, 1955, for Clark Terry's 'Bohemia After Dark'. On September 6 that year he supported Adderley on 'Introducing Nat Adderley' with Nat's brother, saxophonist, Cannonball Adderley, Roy Haynes on drums and Chambers on bass. Silver had first recorded with Haynes per the Stan Getz Quintet on August 15 of 1951, for titles like 'Melody Express' and 'Yvette'. Trumpeter, Donald Byrd, had also been in the crew for Terry's 'Bohemia After Dark' per above in June of '55. Silver would support Byrd's 'Byrd's Eye View' on December 2, 1955, and 'The Jazz Message' on January 30, 1956. Byrd then joined the Jazz Messengers for a couple of sessions in spring that year, his last supporting Rita Reys per above on May 3 for such as 'That Old Black Magic'. Byrd contributed to '6 Pieces of Silver' on November 10 of '56. A session with Hank Mobley followed fifteen days later, Byrd and Silver to reunite on June 15, 1958, to back vocalist, Bill Henderson, on 'Senor Blues'. Silver's first occasion to record with guitarist, Kenny Burrell, was per 'Whims of Chambers' above in September of '56. The next year on February 10 Silver backed Burrell's 'K.B. Blues'. Silver contributed to the debut album, of saxophonist, JR Monterose on October 21, 1956: 'J. R. Monterose'. The next month on the 4th he participated in trumpeter, Lee Morgan's, 'Lee Morgan Indeed!'. A session would follow with Mobley and Byrd on the 25th before their last titles together the next month on December 2 for 'Lee Morgan Sextet'. Silver joined saxophonists, Clifford Jordan and John Gilmore on March 3, 1957, for 'Blowing In From Chicago'. On January 13, 1958, Jordan supported Silver on 'Further Explorations'. Silver wasn't known for his work with vocalists. One exception beyond Rita Reys and Bill Henderson above consisted of Gail Nelson with Andy and Salome Bey for Silver's issue of 'All' in 1972. Silver had accomplished a number of compositions during his career, both classical and jazz. Among his earlier was 'Opus de Funk' first going down on November 23, 1953, to be found on Silver's album, 'Sabu'. 'Creepin' In' was first recorded on November 13, 1954. 'The Preacher' followed on February 6, 1955. 'Soulville' arrived on May 8, 1957, on 'The Stylings of Silver'. 'Peace' was first recorded at the Newport Jazz Festival on July 3, 1959. Come 'Song for My Father' on October 26, 1964, issued on the album titled the same. 'Liberated Brother' saw issue in 1973 on 'In Pursuit of the 27th Man'. Silver toured internationally very little in comparison to other musicians. In July of 1962 he recorded 'Tokyo Blues' in Japan. He was in Paris on November 4, 1968, for live recordings of ''The Natives Are Restless Tonight, 'Serenade to a Soul Sister' and 'Psychedelic Sally'. Silver's album, 'You Gotta Take a Little Love', followed in January of '69, recorded back in New Jersey. Leaping ahead to the nineties, beginning with 'Rockin' with Rachmaninoff' in June of '91 Silver recorded seven albums to 'Jazz Has a Sense of Humor' in December of 1998. He died on June 18 of 2014, leaving a trail of 36 studio albums, three live albums and seven compilations.

Horace Silver   1952

 Strike Up the Band

      Tenor sax: Stan Getz

  Tootsie Roll

     Tenor sax: Stan Getz

Horace Silver   1952

 Potter's Luck

      Saxophone: Stan Getz

Art Blakey   1955


    Album: 'Horace Silver and the Jazz Messengers'

   Prelude To a Kiss

     Drums: Art Blakey   Recorded 1952

Horace Silver   1956

  Señor Blues

Horace Silver   1959

  Blowin' The Blues Away

  Señor Blues

      Live performance

Horace Silver   1962

  The Tokyo Blues


     Tenor sax: Stan Getz

Horace Silver   1963

  Silver's Serenade

Horace Silver   1964

  Lonely Woman

      Album: 'Song For My Father'

Horace Silver   1965

  The African Queen

Horace Silver   1968

  Serenade To a Soul Sister

  Song For My Father

      Live version

Horace Silver   1970

  Acid, Pot or Pills

Horace Silver   1972

  In Pursuit of the 27th Man

  Summer In Central Park

Horace Silver   1974

  Liberated Brother

      Umbria Jazz Festival

Horace Silver   1976

  Live at the Umbria Jazz Festival


Horace Silver   1978

  The Gods Of The Yoruba


Birth of Modern Jazz: Horace Silver

Horace Silver

Photo: Dimitri Savitski

Source: Wikiwand




Born in 1924 in East Durham, New York, singer Blossom Dearie switched from classical piano to jazz as a teenager. In 1948-49 she recorded a few vocals in NYC which didn't make it to issue at the time. The first was 'In the Merry Land of Bop' in May of '48, sharing vocals with Dave Lambert and Buddy Stewart with Al Haig on piano. That would be included on an album by various in 1965 called 'A Look at Yesterday', also on the 1972 issue of 'Yesterday'. On July 28 of '49 she contributed vocals to 'Be Still, TV' and 'Short P, Not LP' with Haig at piano, those to eventually be included on the album by various, 'Prezervation', in 1967. February 19, 1952, found her singing with King Pleasure on 'Moody's Mood for Love'. Allmusic mentions her recording a lost album of piano solos around this time. Her first issue at piano was recorded April 1, 1952, for Annie Ross, resulting in Dee Gee titles like 'Every Time' and 'The Way You Look Tonight. Shortly afterward that year, at age 28 she took off for France where she formed the group, The Blue Stars of France. Her initial session with that ensemble in November of '54 in Paris was a long stream of vocals such as 'La legende du pays des oiseaux' ('Lullaby of Birdland') and 'Cherokee'. The next year she performed piano with Herman Garst (bass) and Bernard Planchenault (drums) toward her first name album, 'Jazz Sweet'. On April 20 of '55 Dearie arranged titles for Bobby Jaspar such as 'Lover Man' and 'What's New?'. They co-led more titles on January 16, 1956, like 'Old Devil Moon' and 'Flamingo'. Dearie and Jaspar married in April of '56 to 1963. Numerous sessions with Les Blue Stars ensued in '56 until Dearie returned to America that year to record her first record album in September: 'Blossom Dearie'. 'Give Him the Ooh-la-la' followed in September of '57, 'Once Upon a Summertime' in September of '58. Sessions in NYC followed until the recording of 'Soubrette: Blossom Dearie Sings Broadway Hit Songs' in Los Angeles in February of 1960. Her first trip to London in '62 or '63 resulted in 'Sweet Blossom Dearie' recorded live at Ronnie Scott's jazz club. She would spend the remainder of her career commuting between the United Kingdom, New York City and California. She founded Daffodil Records in New York in 1974 (not to be confused with the Canadian label existent in 1971-78). Dearie's career wasn't recording intensive with only fifty some sessions, the majority her own. She yet maintained, if not a blockbusting presence, one of distinctive charm. Dearie is thought to have recorded her final album, 'Blossom's Planet', in 1999 for 2000 release. Her last title, 'It's All Right to Be Afraid', was issued in 2003. Dearie died on February 7, 2009, in her flat in Greenwich Village, NYC. The box set of 4 CDs, 'Complete Recordings: 1952-1962', was issued in 2014. More of Dearie, including a few of her earlier recordings in France.

Blossom Dearie   1955

   April In Paris


Birth of Modern Jazz: Blossom Dearie

Blossom Dearie

Source: Soulful Planet


  Vince Guaraldi was born in 1928 in San Francisco. He began performing on piano during college, that early inclination interrupted by service as an army cook during the Korean War. Upon discharge he found employment as an intermission pianist at the Black Hawk in San Francisco, filling in breaks at Art Tatum performances. In 1951 Guaraldi joined the Cal Tjader Trio with which he is thought to have first recorded in San Francisco in November of '51, such as 'Vibra-Tharpe' and 'Chopsticks Mambo' released by Gotham in '52. Titles from that would also go toward the December 1953 album, 'The Cal Tjader Trio'. Three years later he formed his own trio and recorded his first album in April of '56, 'Vince Guaraldi Trio'. November of that year found him with Tjader again, backing three titles on 'Introducing Gus Mancuso'. Guaraldi then joined Tjader's quartet for 'Jazz at the Blackhawk' on January 20, 1957. He stuck with Tjader, contributing to numerous albums, into 1959, mostly in San Francisco, often at the Blackhawk. Guaraldi's last recording, the soundtrack for 'It's Arbor Day, Charlie Brown', took place on February 6, 1976, he dropping dead later that day, possibly of heart attack. Cal Tjader plays both drums and vibes in tracks below.

Vince Guaraldi   1952


      With Cal Tjader

   Lullaby of the Leaves

       With Cal Tjader

   Three Little Words

       With Cal Tjader


       With Cal Tjader

Vince Guaraldi   1956


      Album: 'Vince Guaraldi Trio'

Vince Guaraldi   1957

   A Flower is a Lovesome Thing


Vince Guaraldi   1962

   Cast Your Fate to the Wind


Birth of Modern Jazz: Vince Guaraldi

Vince Guaraldi

Source: Jazz Times

  Born in 1925 in Leipzig, Germany, Jutta Hipp studied painting before moving to West Germany upon Soviet occupation and the establishment of East Germany (German Democratic Republic) in 1949. Among the names with whom she first played piano was tenor saxophonist, Hans Koller, Hipp also forming her first ensemble at that time. Hipp had recorded as early as December '45 of January '46 in Leipzig at the Lime City Swing Club with the Lindenstadt Swing Quintett. Such as 'Flat Foot Floogie' and 'St. Louis Blues' would much later be included in a box set called 'Hipp Is Cool' in 2015. Hipp is thought to have grooved her first issued recordings in 1952, the same year she began working with guitarist, Attila Zoller. Those were recorded with the Hans Koller Quartet in May, such as 'Hans Is Hip' and 'Up From Munich'. Hipp's first titles as a leader on November 30 of 1952 went unissued. Such as 'Blues After Hours' and 'Erroll's Bounce' would much later be included on 'Lost Tapes: The German Recordings 1952-1955' in 2013. Hipp recorded in Germany into 1955, releasing the album, 'Jutta (New Faces - New Sounds From Germany)' that year, then emigrated to the United States, there releasing the album, 'At the Hickory House Vol. 1', the same year. In 1956 she issued 'At the Hickory House Vol. 2', also featuring at the Newport Jazz Festival in Rhode Island that year. Also in 1956 she recorded the album, 'Jutta Hipp with Zoot Sims', released the following year. Hipp left the music industry in 1958 to paint, supporting herself in a garment factory. One source explains that she dropped away from the jazz scene due that she didn't possess a business drive, especially as rock music was by that time stealing away jazz audiences: she played piano well enough, but owned small ambition and was socially withdrawn. Another source cites that she suffered PTSD (post-traumatic stress syndrome) due largely to living in Germany during the war years. Though she played weekends until 1960 she gradually fully settled into employment at Wallach’s Clothiers, where she remained until retirement in the nineties. Among the few musicians with whom she remained in contact throughout her life was alto saxophonist, Lee Konitz. Hipp died on April 7, 2003, of pancreatic cancer in Queens. Saxophonist, Zoot Sims, performs with Hipp on all tracks for 1956 below.

Jutta Hipp   1953

   Blues After Hours

     Recorded November '52

     Issued 2013 per 'Lost Tapes'

Jutta Hipp   1953

   Indian Summer

Jutta Hipp   1954

   Ack Varmeland Du Skona

      Tenor Sax: Joki Freund & Hans Koller


      Bass: Hans Kresse   Drums: Karl Sanner

   Frankfurt Special

      Tenor Sax: Joki Freund & Hans Koller


      Tenor Sax: Joki Freund

   Simon/Cool Dogs/Yogi

      Album: 'Cool Europe'   Tenor Sax: Joki Freund

Jutta Hipp   1956

   Almost Like Being In Love

   Down Home

   Just Blues

  S' Wonderful

   Too Close For Comfort

   These Foolish Things

  Violets For Your Furs

  Wee Dot


Birth of Modern Jazz: Jutta Hipp

Jutta Hipp

Source: Discogs

Birth of Modern Jazz: Hank Marr

Hank Mar

Source: Second Hand Songs

Born in 1927 in Columbus, Ohio, Hammond B3 organist, Hank Marr, lived in the same neighborhood with saxophonist, Roland Kirk. After a period in the military he gigged clubs in Tampa for a couple years before attending Ohio State University. In 1952 he joined Rusty Bryant in Columbus, Ohio, for a Dot session yielding 'Castle Rock' and 'All Night Long'. Marr would stick with Bryant for a few years into 1955-56. In August 1954 he joined Julian Dash in Chicago in the recording of several R&B tunes for Vee Jay Records: 'Dash Is It', 'So Let It Be' and 'Zig Zag' and 'Mambo'. Marr began issuing as a leader for the Federal label in 1961: 'Tonk Game'/'Hob Nobbin'', 'Ram-Bunk-Shush'/'The Push' and 'Travelin' Heavy'/'Mexican Vodka'. He issued his debut LP, 'Teentime Latest Dance Steps', in 1963, a collection of already issued recordings. The single, 'Greasy Spoon', released in '63, would show up on another collection in 1969 titled, 'The Greasy Spoon'. Marr had emphasized R&B during his career, but came to greater favor for his jazz recordings, such as those with guitarists, Wilbert Longmire and James Ulmer. Longmire had joined Marr's Quartette in '63 consisting of Rusty Bryant (tenor sax) and Taylor Orr (drums). In January of '64 they recorded Marr's 'Live at the Club 502' in Columbus, OH. Longmire and Marr would reunite more than thirty years later in Louisville, Kentucky, for the latter's 'Groovin' It' with Bill Stewart on drums. Longmire would also join Marr on titles for 'Blues'n and Cruisin'' in 2001. As for Ulmer, his debut recordings were with Marr in 1964, 'Sounds from the Marr-Ket Place' not released until 1967. Marr's career has emphasized other musical industry than the recording, such as television and education, beginning to teach at Ohio State in 1983. Lord's disco has him on only 50 sessions during his fifty-year recording career, 15 of those his own. Into the new millennium he recorded 'Blues'n and Cruisin'' in Louisville, Kentucky, on June 20, 2001. His next sessions fell in October of 2002 for Tim Cummiskey's 'Redeeming the Time', those thought to be his last titles. He died on March 16 of 2004. Per 1954 below, not to confuse, but to note the anomaly, the back to back labels for Julian Dash would appear to have gotten reversed on those particular records.

Hank Marr   1954

   So Let It Be

      Titled as 'Zig Zag'

     With Julian Dash

   Zig Zag

      Titled as 'So Let It Be'

     With Julian Dash

Hank Marr   1961

   Tonk Game

Hank Marr   1962

   Sweet Nancy

   Watusi Roll

Hank Marr   1963

   I Can't Go On/The Greasy Spoon


Hank Marr   1964

   One O'Clock Jump

      LP: 'Live at Club 502'

     Guitar: Wilbert Longmire

Hank Marr   1967

   Sounds From The Marr-Ket Place

      Album with James Ulmer

     Recorded 1964

Hank Marr   1968

   Down In the Bottom

Hank Marr   2001

   City Lights

     Filmed at the 501

     With Organic Chemistry


  Composer/pianist, Stan Tracey, was born in 1926 in Denmark Hill, South London. With World War II interrupting his education, he became a professional accordionist at age sixteen, performing with ENSA (Entertainments National Service Association), providing music to British armed forces. He himself was in the Royal Air Force before taking gigs on ocean liners, the Queen Mary and Coronia. He toured the UK in 1951 with Cab Calloway before his initial recording sessions in 1952 with the Kenny Baker Swing Group: 'Lullaby of Birdland'/'Exploitation' and 'Round About Midnight'/'Afternoon in Paris'. Tracey recorded numerously with Baker into 1954, their last session of that period on June 8 yielding 'Peg o' My Heart' and 'The Other Side'. Later in the sixties Baker would contribute trumpet to a few of Tracey's projects: 'Alice in Jazzland' in '66 as well as 'The Latin-American Caper' and 'We Love You Madly' in 1968. Shortly after joining Baker, Tracey also recorded with the Victor Feldman All Stars on March 3, 1952 ('Lullaby In Rhythm', 'Serenity', 'Just Friends' and 'Euphony'). He would see Feldman again in July of 1960 to back Tony Crombie's 'Sweet Wild and Blue'. Tracey's first session after leaving Baker in 1954 was with the Harry Klein Quintet on January 19 of 1955 for 'Monument' and 'Euphony'. Klein and Tracey had first recorded together backing Baker on March 3 of '52 for 'The Very Thought of You' and 'The Night Is Long'. They were also together with Feldman per above on the same date. They would would get conglomerated on wide occasion in the sixties backing other operations, Klein also supporting Tracey's 'Alice In Jazzland' on March 8, 1966. Among the more significant figures in Tracey's career was drummer, Tony Crombie, first recording with him on February 1, 1956, to support Jimmy Deuchar's 'Worthington E' and 'Barley Wine'. Crombie and Tracey partnered numerously, both backing other operations such as Ronnie Scott's and each other, into and throughout the sixties. Examples of Tracey backing Crombie were 'Jazz Inc.' on January 6, 1960, and 'Sweet Wild and Blue' per above in July of '60. Among Tracey sessions that Crombie supported in '59 and '64 was one featuring Tubby Hayes on vibraphone on December 1, of '59 for such as 'We'll Call You' and 'The Toff'. Their last tracks together are thought to have been in October 1970 for touring Ben Webster's 'Webster's Dictionary'. Another drummer Tracey saw a good amount of was Phil Seamen, they first recording together on May 5, 1956, for Kenny Graham's 'Poinciana' and 'Teddy Boy' with Tracey on bongos. Their careers would interweave often into the sixties, Seamen also backing Tracey on such as 'Showcase' on May 1 of '58 and 'Little Klunk' on May 2, 1959. Their last tracks together were in the Splinters for 'One In One Hundred' and 'Two In One Hundred' on May 2, 1972, issued in 2009 as 'Split the Difference'. As for Deuchar above, he and Tracey had first recorded together per Victor Feldman above on March 3, 1952. They would join one another a number of times, backing other bands if not Tracey supporting Deuchar, in 1956-57, 1961 at Ronnie Scott's Jazz Club (to include Zoot Sims in November, 1966) and, finally, March 23 of 1986 for Rolling Stones drummer, Charlie Watts's 'Live at Forum Town Hall'. Eighteen days after Tracey's initial session with Deuchar above on March 1, 1956, Tracey fell in with Ronnie Scott's band at Royal Festival Hall in London for titles like 'Basie Talks' and 'It Might As Well Be Spring'. Scott would be a highly significant figure in Tracey's career for another twelve years supporting other operations when Tracey wasn't working for Scott. Notable were Tracey's numerous appearances at Ronnie Scott's Jazz Club in the sixties and eighties. His first recorded session there was November 14, 1961 with touring saxophonist, Zoot Sims, for 'Zoot at Ronnie Scott's'. He was house pianist from 1963 to 1966, returned in 1968 for touring saxophonist, Ben Webster's, 'Soho Nights Vol 1', returned again for a couple sessions in '85 and, finally, January of 1988 for unissued titles like 'Creole Love Call' and 'Festival Junction'. Returning to 1956, sessions with Kenny Graham's Satellites that July found him contributing various instruments like cello to 'Lullaby', vibes to 'Tropical Sun' and accordion to 'Sunday'. Continuing with Graham into 1957, their last session together was on February 5 that year for such as 'Tuxedo Junction' and 'Swallowing the Blues'. That was followed by a two-year trot with the Ted Heath Orchestra, his first title with that outfit on November of 1957: 'The Keel Row'. His last of numerous sessions with Heath arrived on October of 1959 toward 'Pop Hits From The Classics'. While with Heath, Tracey recorded his first name session as a leader on May 1 of 1958 beginning with 'Over the Rainbow', those titles to appear on his debut album that year: 'Showcase'. Tracey founded his own record label, Resteamed, in 1964, holding its first session on December 11 for Ben Webster''s 'Soho Nights Vol 2'. That label would release Tracey's last recordings in 2013. Venturing into the seventies, Tracey first recorded as a duo with alto saxophonist, Mike Osborne, at Surrey Hall in Stockwell in April '72, yielding 'Original'. They would record a number of times together to November 26, 1976 at South Hill Park in Bracknell for 'Back to Berks'. Also of note during that period were his first duets with pianist, Keith Tippett, on December 21, 1974, toward 'T n T'. 'Supernova' followed on August 21, 1977. In May of 1978 Tracey would join Tippett's Ark for 'Frames'. We take a step back to the founding of another record label, Steam, in 1976 to issue such as 'Under Milk Wood' (1976), 'The Salisbury Suite' (1978), 'The Crompton Suite' (1981) and 'The Poets Suite' (1984). Another important drummer came along in the person of Tracey's son, Clark Tracey, on June 20, 1980, that first session to bear 'South East Assignment'. Clark would remain Stan's main drummer for more than thirty years to come, their final session together also Stan's last on January 30, 2013, toward 'The Flying Pig'. Among several albums issued in the new millennium had been 'A Child's Christmas' in 2011. Tracey released nigh fifty albums as a leader from out of about 100 sessions. Another 165 sessions were in support of other groups and bands. Among Americans not mentioned above with whom he recorded as they toured to England were Johnny Griffin (1983), Stan Getz (1964), Sonny Rollins (1965), Prince Lasha (1966) and Jimmy Witherspoon (1966). Other Brits were Evan Parker ('86, '03, '04) and John Surman (1978). Tracey died of cancer on December 6, 2013. Per 1956 below, Tracey records on cello. Per 1986, edits were filmed at a tribute to Duke Ellington at the Bath International Jazz Festival.

Stan Tracey   1956

  Drop Me Off In Harlem

     Ronnie Scott/Tony Crombie Orchestra


     Kenny Graham & His Satellites


     Ronnie Scott/Tony Crombie Orchestra

Stan Tracey   1964

  Afro Charlie

     LP: 'The New Departures Quartet'


     LP: 'The New Departures Quartet'

Stan Tracey   1965


     LP: 'Jazz Suite Inspired by Dylan Thomas'

  Starless and Bible Black

     LP: 'Jazz Suite Inspired by Dylan Thomas'

  Under Milk Wood

     LP: 'Jazz Suite Inspired by Dylan Thomas'

Stan Tracey   1966

  Alice in Jazz Land

     LP: 'Alice In Jazz Land'

Stan Tracey   1967

  Everywhere Derriere

     LP: 'With Love From Jazz'

  Let Them Crevulate

     LP: 'In Person'

Stan Tracey   1968


     LP: 'Latin American Caper'

Stan Tracey   1969

  I Let a Song Go Out of My Heart

     Filmed live with Ian Carr

  I'm Beginning to See the Light

     Filmed live with Ian Carr

Stan Tracey   1970

  Still Looking

     LP: 'Perspectives'

Stan Tracey   1975

  Panama Red


Stan Tracey   1986

  Festival Junction

  I'm Beginning to See the Light

  In a Sentimental Mood


Stan Tracey   2008

  Live at Soho Pizza Express

     Filmed in London


Birth of Modern Jazz: Stan Tracey

Stan Tracey   1986

Source: Getty Images

  Malcolm Earl "Mal" Waldron was born in 1925 in New York City. He took his bachelor degree in music in 1949. He also made his first recordings in 1949 in New York City. But those piano solos, 'Fine and Dandy' and 'I Can't Get Started', for Atlantic went unissued, as did titles with tenor saxophonist, Ike Quebec's, Kansas Fields Quartet with vocalist, Frank Price, on April 18 of '52: 'Forgive This Fool' and 'Don't Tell Me'. The second session that day with that group consisting of Fields on drums and Alfred Matthews on bass resulted in 'Whispering Winds' and 'Kiss of Fire' minus Price. Waldron recorded with Emmett Davis on the same day (April 18) for the same label (Hi-Lo): 'Rippin' and Runnin'/'Look What'cha Done'. Waldron attended a couple sessions for both the Wanderers ('Heh Mae Ethel'/'We Could Find Happiness')and Varetta Dillard ('I Ain't Gonna Tell'/'My Mind Is Working') in 1953 before arriving to bassist, Charles Mingus', Sextet on October 31, 1954, toward 'Jazz Composers Workshop'. December 18, 1955, found Waldron contributing to 'Mingus at the Bohemia'. January 30, 1956, found him participating Mingus' 'Pithecanthropus Erectus'. February 4, 1959, witnessed him supporting Mingus' 'Blues and Roots'. Waldron backed operations like those of Lucky Millinder and Lucky Thompson in 1955, but doesn't seem to have recorded with them. With Waldrons' career approaching 300 sessions, 115 of those his own, we need confine this account to a few of its bigger nuggets with whom he attended multiple sessions. Alto saxophonist, Jackie McLean, was one such compatriot, Waldron joining him on October 21, 1955, with trumpeter, Donald Byrd, for 'New Traditions'. Byrd and Waldron would cross paths several more times backing various outfits to 1960. Ditto McLean with whom he would have occasion to support both Mingus and Gene Ammons. Works by McLean to which Waldron contributed include '4 5 and 6' on July 13 of '56 and 'Jackie's Pal' on August 31 of '56. McLean backed Waldron on 'Mal/2' on April 19 of '57, 'Left Alone' in April of '60, 'Like Old Times' on April 12 of '76 in Tokyo, and 'Left Alone '86' on September 1 of '86 in Tokyo. We return to 1955 and drummer, Max Roach, with whom Waldron first recorded on December 18 per above with Mingus for 'Mingus at the Bohemia'. Later on February 22, 1961, they would back Abbey Lincoln on 'Straight Ahead'. August 1 that year found Waldron contributing to Roach's 'Percussion Bitter Sweet'. Febrruary 15 of '62 saw him participating on Roach's 'It's Time'. October 27 that year found him on Roach's 'Speak, Brother, Speak'. Returning to the fifties, come vibraphonist, Teddy Charles, with trumpeter, Art Farmer, on January 6 of 1956 for 'Nature Boy' and 'The Quiet Time'. Farmer and Waldron would get grouped again on a few occasions, notably with Gene Ammons, Farmer also supporting Waldron on 'Earthy' on January 25 of '57 and 'Mal/3 Sounds' on January 31 of '58. As for Charles, he and Waldron recorded severally with various bands including Charles' until 1961 when Charles participated in Waldron's 'For Pianists Only!'. Come tenor saxophonist, Gene Ammons, on July 13, 1956, with Donald Byrd for 'Jammin' With Gene'. Waldron appeared on several Ammons albums in the latter fifties, they last recording together with Wendell Marshall (bass) and Ed Thigpen (drums) on September 5, 1962, for such as 'Light'n Up' and 'Short Stop'. On November 9, 1956, Waldron recorded his debut album, 'Mal-1', that followed by 'Earthy' on January 25, 1957. 'Mal-1' employed Idrees Sulieman (trumpet), Gigi Gryce (alto), Julian Euell (bass) and Arthur Edgehill (drums). 'Earthy' employed Art Farmer (trumpetp), Hal McKusic (alto), Al Cohn (tenor), Kenny Burrell (guitar), Teddy Kotick (bass) and Ed Thigpen (drums). Waldron worked with Billie Holiday the last couple years of her life. His first session with her was at the Newport Jazz Festival on July 6, 1957, for titles like 'Nice Work If You Can Get It' and 'Willow Weep for Me'. His final session with her was in April of 1959 with Champ Jones (bass) and Roy Haynes (drums) for a Boston broadcast of such as, again, 'Nice Work If You Can Get It' and 'Willow Weep for Me'. Holiday would die a few months later on July 19. While with Holiday Waldron recorded the piano solo 'Nervous', issued in December that year on the album by various, 'The Sound of Jazz'. Other highlights in the latter fifties included a few appearances on the television program, 'Art Ford's Jazz Party', in 1958. Come soprano saxophonist, Steve Lacy's, Quartet on October 19, 1958 for 'Reflections'. Lacy would become one of the more important figures in Waldron's career, they supporting each other numerously into the new millennium. Of especial note were their many duos: 'Round Midnight Vol 1' (1981 in Paris), 'Snake-Out' (1981 in Paris), ''Herbe De L'oubli' (1981 in Paris), 'At the Bimhuis 1982' (in Amsterdam), 'Live in Berlin' in 1984, 'Sempre Amore' (1986 in Milan), 'Hot House' (1990 in Paris), 'I Remember Thelonious' (1992 in Vignola), 'Japan Dream' (1992 in Saitama), 'Let's Call This . . . Esteem' (1993 in Oxford) and 'Communique' (1994 in Milan). Waldron's last recordings with Lacy were in France in January of 2002 for Waldron's 'One More Time' with bassist, Jean-Jacques Avenel. Waldron favored smaller ensembles from the quintet down to the duo. Another vocalist with whom he would be strongly associated was Jeanne Lee, their first titles as a duo in May of 1994 in Paris toward 'After Hours'. They also recorded 'Travellin' in Soul Time' and 'White Rain Black Road' in August of '95 in Japan, and 'Soul Eyes' in Belgium in August of '97. Other duos in the nineties were recorded with George Haslam (baritone sax 1994), Judy Niemack (vocals 1994), Danila Satragno  (vocals 1994), Danila Satragno (vocals 1994), Takeo Moriyama (drums 1995) and Roberto Ottaviano (soprano sax 1996). Duos were recorded in the new millennium with Judi Silvano (vocals 2000), David Murray (tenor sax 2001) and Archie Shepp (tenor sax 2002). Waldron lived in Europe the last quarter century of his life. His career had come to serious threat in 1963 due to heroin overdose. Upon recovering, a change of scenery to Europe was of assistance, he recording there for the first time in Milan on March 1, 1966, a suite of piano solos titled 'All Alone'. Waldron eventually moved to Munich in 1967. His first visit to Japan was in 1970, recording 'Tokyo Reverie' and 'Tokyo Bound' on February 7. Waldron's final tracks are though to have been in Paris for a duo (above) with Archie Shepp on February 7 and 8 for 'Left Alone Revisited'. He performed his last concert in Lille, France, in 2002, dying two weeks later on December 2 of complications arising from cancer. Among other golden names in his portfolio had been Dizzy Gillespie in 1964. Per below, all tracks for 1987 are from Waldron's album, 'Breaking New Ground'.

Mal Waldron   1956


     Alto sax: Jackie McLean

  Dee's Dilemma

      Alto sax: Jackie McLean


      Album: 'Mal-1'

Mal Waldron   1959

 Cat Walk

 Left Alone

Mal Waldron   1971

 Warm Canto

 First Encounter

     Album   Bass: Gary Peacock

     Drums: Hiroshi Murakami

Mal Waldron   1973

 Snake Out

     Album: 'Up Popped the Devil'

Mal Waldron   1983

 Desespoir Agreable

 'Round Midnight

 Waltz for My Mother

 You and the Night and the Music

Mal Waldron   1986

 Left Alone

    Filmed live   Alto sax: Jackie McLean

Mal Waldron   1987

 Everything Must Change

 Gemnopedie #2

 Suicide Is Painless

 Thy Freedom Come

Mal Waldron   1994

 Goodbye Pork Pie Hat

      Vocal: Jeanne Lee

Mal Waldron   1995

 Free Improvisations

      Live performance

Mal Waldron   1997

 Peggy's Blue Skylight

      With Steve Lacy


      With Steve Lacy

 Soul Eyes

      Vocal: Jeanne Lee

Mal Waldron   2000

 I Thought About You

     Vocal: Jeanne Lee

Mal Waldron   2002

 The Seagulls of Kristiansund

 Soul Eyes


Birth of Modern Jazz: Mal Waldron

Mal Waldron

Source: Discogs

Birth of Modern Jazz: Toshiko Akiyoshi

Toshiko Akiyoshi

Source: Jazz Talk

Classical fans of Mitsuko Uchida (b 1948), meet the Uchida of jazz, Toshiko Akiyoshi, whose recording career began much earlier in 1953 upon discovery by pianist, Oscar Peterson, one reason being her much earlier birth in Japan in 1929. Peterson had met Akiyoshi on a JATP tour to Japan in 1952. Returning in '53, Peterson loaned her his rhythm section consisting of guitarist Herb Ellis, bassist Ray Brown and drummer J.C. Heard to record her first album in November of '53: 'Toshiko's Piano', also issued as 'Amazing Toshiko Akiyoshi'. She became the first Japanese student at the Berklee Shool of Music in Boston in 1956, attending on scholarship. She married saxophonist, Charlie Mariano, in 1959. Their first recording together was at the Birdland in NYC on April 2, 1960, co-leading what would be issued in 1991 as 'Live at Birdland'. Numerous sessions followed until July 16, 1964, Mariano contributing to arrangements for 'Toshiko Mariano and her Big Band'. In 1969 Toshiko married saxophonist, Lew Tabackin, with whom she formed a 16-piece big band band in 1973 to release the album, 'Kogun', the next year. In 1982 she and Tabackin formed the Toshiko Akiyoshi Jazz Orchestra. Akiyoshi's proclivity to work with big bands meant that a number of her recordings were released only in Japan, as by the time she entered the music business big bands were becoming passé in the States, the more so over the decades. Akiyoshi published her autobiography, 'Life with Jazz', in 1997. She dissolved her orchestra in 2003, 'Last Live in Blue Note Tokyo', released in 2004, its last recording. Having difficulty acquiring recording contracts for orchestral jazz, she then concentrated on piano. She became an NEA Jazz Master in 2007. As of this writing Akiyoshi yet lives with her husband in Manhattan.

Toshiko Akiyoshi   1957

   Blues For Toshiko

Toshiko Akiyoshi   1958

   The Third Movement

Toshiko Akiyoshi   1975

   Long Yellow Road

      With the Lew Tabackin Big Band

Toshiko Akiyoshi   1976

   Road Time Shuffle

Toshiko Akiyoshi   1996

   Dance of the Gremlins

   Feast In Milano

   Strive For Jive

Toshiko Akiyoshi   1997

   Count Your Blessings

     Live at the Blue Note Tokyo

   Sophisticated Lady

     Live at the Blue Note Tokyo

Toshiko Akiyoshi   2000

   Harvest Shuffle


  Born in 1932 in Montreal, it was 1953 when composer and pianist Paul Bley was first recorded on a Canadian television broadcast of 'Jazz Workshop' in Montreal, Quebec, on February 5 with alto saxophonist, Charlie Parker, and tenor saxophonist, Brew Moore. Titles like 'Don't Blame Me' and 'Wahoo' wouldn't be issued until much later on CD. Bley's first issued titles occurred on October 4 that year with the Charles Mingus Octet, 'Miss Bliss', 'Blue Tide', 'Pink Topsy' and 'Eclipse' to appear on Mingus' album, 'Charles Mingus Octet' that year. Bley's next session was his first as a leader per the Paul Bley Trio with Mingus on bass and Art Blakey on drums, that on November 30 of 1953 for the album, 'Introducing Paul Bley'. Bley's favored configuration was the trio, which he filled over the years with a list of musicians too long for mention here. Jumping ahead to the sixties, Bley first laid tracks with clarinetist/saxophonist, Jimmy Giuffre, on March 3, 1961, as a member of the Jimmy Giuffre Trio with bassist, Steve Swallow, that toward the issue of 'Fusion'. That trio recorded numerously into 1962, most of their sessions while on tour in Europe in '61. Bley and Giuffre would record on several more occasions together throughout Bley's career, their last a reunion with Swallow in Milan, Italy, on May 27, 1993, for 'Conversations With a Goose'. Swallow had been a member of the Don Ellis Trio with Bley on April 21, 1961, for the recording of 'Out of Nowhere'. After Giuffre, Swallow joined Bley in the latter's trio with Pete La Roca on drums on September 12, 1963, for titles like 'Syndrome' and 'King Korn'. They found themselves recording together again in 1965, including Bley's trio with Barry Altschul on drums on December 12 toward the album, 'Closer'. That trio reunited twenty years later for 'Hot' on March 10, 1985. Besides Giuffre, another infusing saxophonist in the early sixties was Sonny Rollins. Tenor saxophonist, Coleman Hawkins, was also part of Rollins' quintet when Bley first recorded with Rollins at the Newport Jazz Festival on July 7, 1963, putting down 'Remember' (Hawkins out), 'All the Things You Are' and 'The Way You Look Tonight'. Eight and eleven days later they held a couple sessions toward 'Sonny Meets Hawk!'. Bley then toured to Japan with Rollins, their last track together on January 17 of '64 in NYC, 'Blue 'n' Boogie', gone unissued. Bley was married 1964-67 to composer and pianist, Carla Bley. Their only recorded collaboration of sorts would appear to have been in December of '64, Carla arranging 'Roast' and 'Composition No. 3' for the Jazz Composer's Orchestra per a performance at Judson Hall in NYC. Bley also helped form the Jazz Composers Guild in 1964 to promote free form jazz in New York City. Bley addressed his music in the documentary, 'Imagine the Sound', released in 1981. He began instructing at the New England Music Conservatory in the nineties. Bley passed away on January 3, 2016, in Stuart, Florida. His final recordings would appear to have been at the Oslo Jazz Festival in Norway in August, 2008, issued in 2014 as 'Play Blue'.

Paul Bley   1953

 Embraceable You

      Album: 'Montreal 1953'

 Montreal 1953

      Album suite   Alto sax: Charlie Parker

  Split Kick

      Bass: Charles Mingus   Drums: Art Blakey

Paul Bley   1958

 Live in Los Angeles

      Ornette Coleman Quintet

Paul Bley   1961

 Stretching Out

      Bass: Steve Swallow   Clarinet: Jimmy Giuffre

Paul Bley   1962


 When Will the Blues Leave?

Paul Bley   1963



Paul Bley   1964



Paul Bley   1965



Paul Bley   1966


 Ida Lupino

 Only Sweetly


Paul Bley   1967



Paul Bley   1968

 El Cordobes

Kid Dynamite

  Mr. Joy

 Nothing Ever Was Anyway


Paul Bley   1972

 El Cordobes/King Korn


    Album: 'Dual Unity'   Vocal: Annette Peacock

Paul Bley   1973


   Filmed live

 Ida Lupino

Paul Bley   1976

 Japan Suite


Paul Bley   1977

 Pyramid 2

      Alto sax: Lee Konitz   Guitar: Bill Connors

Paul Bley   1985



Paul Bley   1985

 You Go to My Head

      With Chet Baker

Paul Bley   1988

 If I Loved You

Paul Bley   1992

 Ojos de Gato

Paul Bley   1993



Paul Bley   1994


Paul Bley   1996

 Time Will Tell

Paul Bley   2008

 Live in Oslo

   Filmed live


Birth of Modern Jazz: Paul Bley

Paul Bley

Source: Stomp Beast



Sonny Clark, organ and piano, was born in Herminie, PA, in 1931. He left Pennsylvania for California at age 20 to pursue a career in jazz. He soon met Wardell Gray and Oscar Pettiford. Clark's recording career would span only ten years. Yet in that time he contributed to titles rapid fire, attending 144 sessions, nearly forty of those his own. We'll mention but his initial three in this abbreviated account, starting in Los Angeles on February 10, 1953, with the Teddy Charles West Coasters, Charles on vibes, Frank Morgan on alto sax and Wardell Gray on tenor sax. Titles for Prestige were 'The Man I Love', 'Lavonne', 'So Long Broadway' and 'Paul's Cause'. Spring of that year found Clark at the Lighthouse Cafe in Hermosa Beach featuring his own trio of Harry Babasin (bass/cello) and Bobby White (drums) accompanied by alto saxophonist, Art Pepper, for such as 'Deep Purple' and 'Bluebird'. Clark would contribute to titles at the Lighthouse again for bassist, Howard Rumsey, on September 25, 1956, bearing such as 'A Bit of Basie' and 'Blue Sands'. Clark's third and last session in '53 arrived in September with the Buddy DeFranco Orchestra in Los Angeles, laying out such as 'Gold Nugget' and 'Love Is For the Very Young'. DeFranco would be a three-year study for Clark to 1956, they touring to Scandinavia and Europe in '54. Clark is thought to have held his first sessions during such at the apartment of Randi Hiltin in Oslo in January of 1954: 'Jeepers Creepers', to be found on an album by various called 'Born Under the Sign of Jazz' in 1998. Other titles would be found on 'The Sonny Clark Memorial Album' in 1976. Clark last recorded with DeFranco in August of '56 in Los Angeles toward the latter's 'Broadway Showcase'. He had issued his first album, 'Oakland', the year before. In 1957 he traded coastlines for NYC by way of tour with singer, Dinah Washington. He released his second album, 'Dial "S" For Sonny', in 1957, completing the year with Lou Donaldson on tracks that December: 'Groovin' High', 'Strollin' In', etc.. Beginning '58 on January 5 with the recording of 'Cool Struttin', members of that crew were Art Farmer (trumpet), Jackie McLean (alto sax), Paul Chambers (bass) and Philly Joe Jones (drums). Backing McLean on albums in '59 ('Jackie's Bag'), '60 ('A Fickle Sonance') and '61 ('Hipnosis'), 1962 found Clark supporting saxophonist, Dexter Gordon, on the albums, 'Go!' and 'A Swinging Affair' before recording tracks with Grant Green, McLean ('Tippin' the Scales') Coleman Hawkins, followed by his final session on October 18 with Stanley Turrentine for titles like 'Brother Tom', 'My Ship' and 'Jubilee Shout'. Clark then died of a sudden, young at age 31, on January 13, 1963, of heart attack.

Sonny Clark   1953


      Teddy Charles' West Coasters

      Alto sax: Frank Morgan

      Tenor sax: Wardell Gray

  The Man I Love

      Teddy Charles' West Coasters

      Alto sax: Frank Morgan

      Tenor sax: Wardell Gray

  Paul's Cause

      Alto sax: Frank Morgan

      Tenor sax: Wardell Gray

   So Long Broadway

      Alto sax: Frank Morgan

Sonny Clark   1954

   Blues In the Closet

      With Buddy DeFranco

   A Foggy Day

      With Buddy DeFranco

   Once In A While

      Jimmy Raney Quartet

Sonny Clark   1957

   Bootin' It

      With Art Farmer

   Love Walked In

   Sonny's Mood

      With Art Farmer

Sonny Clark   1958

   All Of You

Sonny Clark   1961

   Eric Walks

   Melody For C



Birth of Modern Jazz: Sonny Clark

Sonny Clark

Source: Jazz Wax


Michel Legrand was born in 1932 in Paris. He entered the Paris Conservatory of Music at age ten, where he studied until age eighteen. Upon leaving school he accompanied a number of French popular singers and also toured with Maurice Chevelier. Lord's discography has Legrand arranging titles for Dizzy Gillespie as early as 1953, that in Paris for Blue Star for titles like ''Undecided' and 'The Way You Look Tonight'. Legrand recorded his first album, 'I Love Paris', at age 22 (1954). He contributed numerous arrangements to Blossom Dearie's Blue Stars on five occasions between November of '54 and circa May of '56. Legrand first recorded jazz in the United States in NYC in June of 1958, issued on 'Legrand Jazz'. His orchestra for that was an all-star crew including trumpeter, Miles Davis, with whom he collaborated three decades later in 1990 on the soundtrack to 'Dingo'. In addition to jazz piano, Legrand conducted orchestras and wrote above 200 film and television scores (: 'Cléo from 5 to 7' in 1961, 'The Thomas Crown Affair' in 1968, 'F for Fake' in 1974). Among other American musician with whom he performed in Europe was trumpeter, Stan Getz, they recording at Palais de Chaillot in Paris together on October 5, 1969, for 'I Remember Clifford' and 'Perdido'. A session in Paris in '71 came to Getz' album, 'Communications '72'. His following session was in Los Angeles to back Sarah Vaughan on a couple of dates in spring of '72. Highlighting the eighties was opportunity to collaborate with Oscar Peterson, Claude Bolling, Niels-Henning Ørsted Pedersen and Martin Drew at the National Art Centre in Ottawa, Ontario, on September 21, 1984, for titles like 'Frere Jaques' and 'I Will Wait For You'. Highlighting the nineties were contributions to Arturo Sandoval's 'Dream Come True' in January of '93. Legrand joined Peterson again in Toronto in April 2000 for Trail of Dreams: A Canadian Suite'. Legrand is yet active as of this writing, having released more than 100 albums.

Michel Legrand   1953

  Le pianiste du bal Loulou

      André Claveau

Michel Legrand   1954

  I Love Paris

  Moulin Rouge

Michel Legrand   1958

  Jitterbug Waltz

      Trumpet: Miles Davis

  Night In Tunisia

      Trumpets: Donald Byrd and Art Farmer


      Sax: Ben Webster

  'Round Midnight

      Trumpet: Miles Davis

Michel Legrand   1959

  Paris In the Spring

      Album: 'Jazz In Paris'

Michel Legrand   1970

  I Was Born in Love With You

      From the film 'Wuthering Heights'

Michel Legrand   1971

  Oum le dauphin

Michel Legrand   1972

  Pieces of Dreams

      With Sarah Vaughan

Michel Legrand   2001

  The Summer Knows

      Sax: Phil Woods

  Watch What Happens

      Sax: Phil Woods

  You Must Believe In Spring

      Sax: Phil Woods


Birth of Modern Jazz: Michel Legrand

Michel Legrand

Source: Armenpress

  Born in French Algeria in 1927, Martial Solal first recorded in 1952 in Paris for Andre Hodeir on the soundtrack, 'Jazz et Jazz' which saw release eight years later in 1960 on LP. Come Django Reinhardt on April 8, 1953 for such as 'Le Soir' and 'Chez Moi'. The next month after his session with Reinhardt, above, Solal held his first as a leader on May 16, that with his trio consisting of Pierre Michelot (bass) and Pierre Lemarchand (drums) toward 'Dinah', 'La Chaloupee', 'Ramona' and 'Once in a While'. Those would be included on his 1954 issue of 'Modern Sounds: France'. Solal's base of operations was Paris throughout his career. As such, he numerously hosted European and American musicians visiting Paris on tour. With at least 211 sessions to his name, 122 of those his own, we'll not attempt to represent the whole of Solal's career here, but concentrate on only American musicians, and those only in the fifties. Such leaves the larger part of Solal's career on his own turf hugely missing, but I could come up a missing person myself to venture his greater career. Solal's first session with a visiting American was for the French label, Vogue, on November 23 of '53, that with Don Byas for such as 'Remember My Forgotten Man' and 'If I Had You'. A session on December 8 affected 'G.D.P.', 'Time on My Hands', et al. Byas and Solal would reunite on July 13, 1958, at the Jazz Festival du Cannes for 'Now's the Time' and 'Indiana'. 1954 saw Solal working with Jean Pierre Sasson, '55 with Henri Crolla, and '56 with Fats Sadi before Lucky Thompson arrived for a session on March 14 of '56 with drummer, Gerard Pochonet's, All Stars, that coming to titles like 'You Go to My Head', 'Undecided', et al. Sometime that month Solal had also put down 'It Had to Be You' with the Zoot Sims Quartet. A total of nine sessions would be held with Thompson to April 25, the last with the Gerard Pochonet Quartet to yield Thompson's 'Lucky Plays the Club' (Club Saint-Germain in Paris). Solal would see Thompson again in '57, a last time in spring of '61 for the latter's 'Lord, Lord, Am I Ever Gonna Know?'. Bassist, George Duvivier, popped up in May of 1956 for a session on the 22nd yielding such as ''Rue Dauphine' and 'Nautilus'. Come October 26 for tracks to drummer, Kenny Clarke's, 'Kenny Clarke's Sextet Plays Andre Hodeir'. Clarke had been in Sims' Quartet per above the previous March. He had also backed Solal on September 24 for 'Reunion a Paris'. Another session for Clarke on November 21 bore such as 'Oblique' and 'Jeru'. November 30 saw such as 'Bemsha Swing' and 'Blue Serge'. Clarke had immigrated to Paris in '56 so he and Solal found themselves partners on numerous occasions to 1961, their last such in spring to back Thompson's 'Lord, Lord, Am I Ever Gonna Know?' per above. They would reunite in January of 1968 for Hampton Hawes' 'Key for Two'. March 12 of 1957 found Solal leading a quartet with alto saxophonist, Sidney Bechet, consisting of Lloyd Thompson (bass) and Al Levitt (drums) to put down 'I Only Have Eyes for You', 'The Man I Love', et al. Their Quartet on June 17 consisting of Pierre Michelot (bass) and Kenny Clarke (drums) saw such as 'All the Things You Are' and 'Embraceable You'. Saxophonist, Stan Getz, arrived in June and/or July for concerts in Paris which would occur the latter's 'Live In Europe 1958'. Titles put down at the Cannes Jazz Festival on July 12 and 13 would get issued on a compilation called 'Jazz Sur La Croisette: Cannes 1958'. A radio broadcast the next day from Cannes resulted in 'Now's the Time' and 'Indiana'. That was with four other saxophonists: Don Byas, Barney Wilen, Guy Lafittea and Coleman Hawkins with Arvell Shaw (bass) and JC Heard (drums). Trumpeter, Dizzy Gillespie, was also present in Cannes on those dates to appear on 'Jazz Sur La Croisette: Cannes 1958' above. One of those recordings on the 13th included three other trumpeters: Bill Coleman, Teddy Buckner, Roy Eldridge with Arvell Shaw (bass) and JC Heard (drums) for 'Just Uou, Just Me'. Solal's Trio in Essen, Germany, on April 18 of 1959 consisted of Oscar Pettiford and Kenny Clarke for titles like 'Special Club' and 'Lover Man'. Those would get issued in 2012 on side B of an album with Thelonious Monk on side A titled 'Live In Berlin 1961/Live In Essen 1959'. His appearance on a couple tracks of 'One World Jazz' released in 1960 was dubbed along with others except the main crew consisting of Clark Terry (trumpet), JJ Johnson (trombone,) Ben Webster (tenor sax), Hank Jones (piano) Kenny Burrell (guitar), George Duvivier (bass) and Jo Jones (drums) who had recorded the album on May 19 of 1959 in NYC. Solal's first visit to the States was in 1963 toward 'Martial Solal at Newport '63'. The next month on August 13 he recorded such as 'Jordu' and 'Suite Pour Une Frise' at the Montreal Jazz Festival. Among highlights in the sixties was guitarist, Wes Montgomery, in Hamburg on April 30 to result in the latter's 'Live in Europe'. He was back in the States on September 30, 1974, to participate in 'Sometime Ago' on saxophonist, Lee Konitz', album, 'Satori'. Solal had already recorded with Konitz on the latter's previous trips to Paris in 1968 ('European Episode') and 1974 ('Jazz a Juan'). He would join Konitz again in Rome on November 29, 1977, for the latter's 'Duplicity'. A session in Villingen, Germany, on May 8, 1979, saw Konitz' 'Four Keys'. A session in Berlin, Germany, on October 30, 1980, saw their duo 'Live at the Berlin Jazz Days 1980'. Another duo followed in Nice on May 14 of '81 for 'Just Friends'. Yet another duo followed on November 11, 1983 in Hamburg resulting in 'Star Eyes, Hamburg 1983'. June of 1988 found Solal in New York City again for '9.11 PM Town Hall' with European associates Michel Portal (sax/bass clarinet), Joachim Kuhn (piano), Marc Ducret (guitar), Jean-Francois Jenny-Clark (bass) and Daniel Humair (drums). September of 2001 witnessed the recording of 'NY-1: Live at the Village Vanguard' with his trio of Francois Moutin (bass) and Bill Stewart (drums). Another session at the Village Vanguard on October 12, 2007, resulted in a suite of piano solos titled 'I Can't Give You Anything But Love'. Among Solal's more famous French compatriots was violinist, Stephane Grappelli, with whom he'd recorded on several occasions since 1959. One such occurrence was their duo in February of 1980 resulting in 'Happy Reunion'. Among Solal's latest recordings was participation in violinist, Dider Lockwood's, 'For Stephane' in 2007/08 with vocalist Dee Dee Bridgewater. Among his latest compositions (prior to 2011) are those found on the 2015 issue of 'Works for Piano and Two Pianos' with pianist, Eric Ferrand-N’Kaoua. Solal is yet active as of this writing. All edits below from 1990 onward are live performances.

Martial Solal   1953

   I Cover the Waterfront

      With Django Reinhardt

   Le Soir

      With Django Reinhardt

Martial Solal   1954


Martial Solal   1960


      Album: 'À Bout de Souffle'

   New York Herald Tribune

      Album: 'À Bout de Souffle'

Martial Solal   1965

   On Green Dolphin Street

      Live performance

Martial Solal   1974


Martial Solal   1990


Martial Solal   2007

   Coming Yesterday

   The Last Time I Saw Paris

   Body & Soul/Begin the Beguine

   Tea For Two

  Vierson Jazz Festival 2007

    Filmed concert 

Martial Solal   2008

   Piano Solo

Martial Solal   2010

   My Funny Valentine

Martial Solal   2012



Birth of Modern Jazz: Martial Solal

Martial Solal

Photo: Jos L. Knaepen

Source: Musique a la Campagne

  Born in Harrisburg, Pennsylvania in 1918, pianist Bobby Troup sold a couple compositions in 1941 ('Daddy', recorded by Sammy Kaye and the Andrew Sisters, and 'Snootie Little Cutie', recorded by Tommy Dorsey and Frank Sinatra). It was 1946 when he composed 'Route 66' (Nat King Cole) on his way to Los Angeles. Troup's first name recordings didn't occur until his release of the album, 'Bobby Troup!', in 1953. Troup had graduated from the University of Pennsylvania with a degree in economics before joining the Marines, promoted to Captain in 1944. Troup was first married to Cynthia Hare (who contributed to lyrics on 'Route 66') in 1942. He later married vocalist, Julie London, in 1959. Troup also made appearances on film and television. He died on February 7, 1999, in Los Angeles, where he had worked as an actor, 21 of only 43 sessions his own.

Bobby Troup   1953


  I Can't Get Started

  Lemon Twist

  My Blue Heaven

  You're Lookin at Me

Bobby Troup   1955

   Little Girl Blue

   Love's Got Me In a Lazy Mood

Bobby Troup   1958

   Their Hearts Were Full of Spring

Bobby Troup   1964

   Route 66


   You'd Be So Nice To Come Home To

      Filmed live in Japan   Vocal: Julie London


Birth of Modern Jazz: Bobby Troup

Bobby Troup

Source: Songbook

Birth of Modern Jazz: Joe Zawinul

Joe Zawinul

Source: Secret Society

Born in Vienna, Austria, in 1932, Joe Zawinul was part Hungarian, part Czech. Zawinal was studying classical piano, clarinet and violin at the Konservatorium Wien when Venna came under siege by Allied forces during World War II. He and 28 other students were evacuated by the German military to Czechoslovakia where Zawinul's education continued under SS directorship. Upon the end of the war Zawinul returned to Vienna to further his studies in piano while playing accordion professionally. Lord's disco has him first recording with Willi Fantl und Seine Solisten in November of 1952 for HMV GA854: 'Sie tantz mit ihm' and 'Er tantz mit ihr'. 1953 found him in Fantl's orchestra for 'Oh!' (Columbia DV1726). HMV had him recording a duo with pianist, Sascha Janus, in December of '53, titles like 'Fine and Dandy' and 'Pick Yourself Up' with Rudolf Hansen (bass) and Victor Plasil (drums). His first recordings with Hans Koller were on the 15th ('Laura', documentation unkown) and 16th of September, 1954. The latter were for the Elite Special label, assumed to be have been issued that year: 'Zero', 'These', 'M.S.K.' and 'Koller’s idea'. Zawinal recorded between 1955 (Hans Koller: 'Some Winds') and 1958 with the Fatty George Jazzband ('65 to '58) and Bud Shank ('European Tour ’57', release date unkown). 'Some Winds' with Koller was taped privately, not issued until 'Hans Across The Sea 1952-55' on an unknown date. Nor were Zawinul's numerous recordings with Fatty George released to the public until later in collections on unknown dates: 'On the Air', 'Dixie aus dem Wienerwald' ('Dixie from the Vienna Woods'), 'Fatty’s Saloon 1958' (1969 by Preiser Records) and 'A Tribute to Vienna'. Zawinul's first session as a leader had been in Vienna on March 12 of '57: 'Easy Living', 'What a Difference a Day Made' and 'The Beat'. He was becoming of note in Vienna, and must have been making good money and saving frugally while performing at American military bases and on American Armed Forces Radio, for he had $800 in his pocket (per Zawinul's official website) when in 1959 he spent five days to cross the Atlantic to the U.S. to attend the Berklee College of Music on scholarship. He that year issued his initial album as a leader: 'To You with Love' recorded in NYC. The next year he would appear on a couple albums with Dinah Washington, but it was Cannonball Adderley with whom he spent an intense sixties, they issuing well above twenty albums together in nine years from '61 to 1970. Miles Davis liked Zawinul on five LPs from 1969 to to '79. The meanwhile Zawinul had formed the early jazz fusion band, Weather Report, with Wayne Shorter (saxophone) and Miroslav Vitouš (double bass). Weather Report released its first eponymous album in 1971. That group issued some fifteen more until 1986. During the nineties Zawinal composed 'Stories of the Danube'. First performed at the Bruckner Festival in Linz, Austria, in 1993. It was recorded in 1995 by the Czech State Philharmonic Orchestra with Caspar Richter. Zawinul issued about fifteen albums as a leader. His last studio effort was released posthumously in 2009: 'Absolute Zawinul'. His final live titles had gone down in Lugano, Switzerland, in the summer of 2007, to be issued as '75th'. Zawinul died of skin cancer in Vienna on September 11, 2007. Per 1959 below, each track is from Zawinul's debut LP: 'To You with Love'. All entries from 1985 onward are filmed concerts unless otherwise noted. More Zawinul naturally under Weather Report.

Joe Zawinul   1954

  Koller's Idea

     With Hans Koller

Joe Zawinul   1959

  It Might as Well Be Spring

  I Should Care

  My One and Only Love

  Please Send Me Someone to Love

Joe Zawinul   1961

  Jazz Casual

     Television program

     Cannonball Adderley Quintet

Joe Zawinul   1985

  Munich Piano Summer

Joe Zawinul   1986

  Weather Update

Joe Zawinul   1994

  Deutsches Jazz Festival

Joe Zawinul   1996


     LP: 'Stories of the Danube'

  Many Churches

     LP: "My People'

Joe Zawinul   1997

  Jazzopen Stuttgart

  Newport Jazz Festival

  North Sea Jazz Festival

Joe Zawinul   2004

  Live at le New Morning

     Filmed concert Paris



Birth of Modern Jazz: Eddie Costa

Eddie Costa

Source: Last FM

Eddie Costa's was born in Atlas, Pennsylvania, in 1930. His first recordings of certain date were made on July 21, 1954, with guitarist Sal Salvador: 'Round Trip', 'Yesterdays', 'Cabin In the Sky' and 'See'. A couple more sessions with Salvador followed in October. Costa would join Salvador on several sessions in '56 and '57, both backing others and Salvador on the latter's 'Shades of Sal Salvador' ('56) and 'A Tribute to the Greats' ('57). 1955 found Costa backing both Jerry Wald and Morey Feld before co-leading 'A Pair of Pianos' with pianist, John Mehegan, on November 15, supported by bassist, Vinnie Burke. Costa would partner with Burke on a several occasions to 1957, particularly for both guitarist, Tal Farlow, and bandleader, Manny Albam. Summer of '56 found Costa participating in Burke's 'The Vinnie Burke All-Stars'. First recording with Albam per the latter's arrangement of titles for Feld's 'Jazz Goes to B'Way' in August of '55, Albam would be a frequent compatriot on numerous sessions to as late as Curtis Fuller's 'Cabin In the Sky' in April of '62. He had contributed to a few tracks of Albam's 'West Side Story' on October 10, 1957. Another guitarist with whom Costa recorded on several occasions was Mundell Lowe, their first such occasion in April of '58 for Jackie Davis' 'Most Happy Hammond' with Kenny Burrell also contributing guitar along with Bertell Knox on drums. Costa would contribute to both volumes of Lowe's 'TV Action Jazz' in '59 and '60, and 'Satan In High Heels' in '61. They last recorded together on April 2, 1962, backing vocalist, Jerri Winters, on such as 'The Lost and the Lonely' and 'Elmer's Tune' for Summit. Also highlighting '62 was a prior session in January for Julius Watkins' 'French Horns For My Lady'. Costa recorded his second album as a band leader in 1957, 'At Newport', followed by 'Eddie Costa Quintet' put down a week later on the July 13th. January of '58 saw the recording of 'Guys and Dolls Like Vibes', 'The House of Blue Lights' ensuing the next year. Costa's final sessions in '62 were with Clark Terry in May for 'All American', Tony Bennett in June for 'Tony Bennett at Carnegie Hall' and, finally, Al Cohn in July for 'Jazz Mission to Moscow'. Costa was killed 16 days later on July 28 in a late night auto crash on a highway in New York. During his eight years of recording activity Costa had appeared on more than 100 albums per 203 sessions, seven of the latter his own.

Eddie Costa   1954


      With Sal Salvador

Eddie Costa   1956

   Pile Driver

      Bass: Vinnie Burke   Drums: Nick Stabulas

   Sweet and Lovely

      Bass: Vinnie Burke   Drums: Nick Stabulas


     Bass: Vinnie Burke   Drums: Nick Stabulas

Eddie Costa   1957

   I Didn't Know What Time It Was

   Let's Take a Chance On Love

Eddie Costa   1958


   I'll Know

   I've Never Been In Love Before

Eddie Costa   1959



   The House Of Blue Lights

   My Funny Valentine

   What's To Ya

   When I Fall In Love



Birth of Modern Jazz: Bill Evans

Bill Evans

Source: Notes on the Road

Bill Evans was born in 1929 in Plainfield, New Jersey. He began to play piano in his brother's band at age twelve. Though good at classical, but not improvisation, at the time, he taped his own first recording in 1943 at age fourteen in Plainfield with George Bache (tenor sax), Walt Kaye Kawalski (bass) and Frank "Fluffy" Wrobel (drums): 'The Man I Love'. Evans taped numerous titles to 1949, available on '1943-1949 Very Early Volume 1' issued in 2000 by E3 Records. Tapes made in the early fifties at his home in Plainfield were likewise made available by E3 in 2000: 'Practice Tape No. 1'. Evans is thought to have taken his first professional employment in 1950 with Herbie Fields. Drafted into the Army in 1951, upon discharge Evans scratched his first grooves with the Jerry Wald Orchestra in 1953 and 1955. Those albums were 'Jerry Wald and His Orchestra' and 'Listen To The Music of Jerry Wald'. A session with Dick Garcia in 1955 wrought such as 'Kimona My House' before tracks with Lucy Reed in spring, resulted in her 1957 album, 'The Singing Reed'. Sessions in '56 and '57 with trumpeter/vibraphonist, Don Elliott, were made available in 2001 as 'Tenderly: An Informal Session'. Another name to develop some prestige arrived on March 31 of '56 per pianist, George Russell, and his Smalltet, Russell directing titles for RCA Victor's 'The Jazz Workshop' issued the next year. Evans found himself working for Russell on multiple occasions into 1960, there a reunion in May of '72 with both of them co-leading Evans' 'Living Time' consisting of 'Events I-VIII'. Following Russell in '56 was clarinetist, Tony Scott, on July 2 for titles to 'The Touch of Tony Scott'. With the exception of '58 Evans found multiple occasions to back Scott to October of '59 for the latter's 'Sung Heroes'. Evans also released his first name album, 'New Jazz Conceptions' in 1956. Evans was highly prolific at recording, his career resulting in around 330 sessions, a good two thirds of those his own. Unable to trace such here to any detail, it is nevertheless apt to mention a couple heavyweights with whom Evans held multiple sessions: Trumpeter, Miles Davis, came along with a quintet on May 17 of '58 for a radio broadcast from the Cafe Bohemia in NYC, resulting in such as 'Bye Bye Blackbird' and 'Walkin''. Evans' last occasion to record with Davis is thought to have been with the latter's sextet on April 22, 1959, for multiple takes of 'Flamenco Sketches' and 'All Blues'. Nine days after his initial session with Davis in '58 fell another on May 26 with a sextet including sax man, Cannonball Adderley, that resulting in multiple takes of 'Stella By Starlight' among others. Evans and Adderley would work with Davis for a time, Evans also backing Adderley on a couple of the latter's albums: 'Portrait of Cannonball' ('58) with the Julian Adderley Quintet (Julian Adderley being Cannonball Adderley) and 'Jump For Joy' the next month in August with the Julian Adderley Orchestra. In January and February of 1961 Adderley and Evans co-led 'Know What I Mean?' and 'Explorations'. Evans stepped onto the heroin carpet in the latter fifties, which he rode into the early seventies. Among highlights in the sixties was trombonist, Jay Jay Johnson, they recording 'This Could Be the Start of Something Big' on October 3, 1960, with trombonist, Kai Winding. That would be included on Johnson and Winding's 'Swinging Together Again', recorded during sessions the next month. Evans first switched from acoustic to electric piano for the release of 'From Left to Right' in 1970. During the latter seventies Evans found cocaine to be choice. Highlighting that decade were sessions with harmonica player, Toots Thielemans, in November of '78 with saxophonist/flautist, Larry Schneider, resulting in 'Affinity'. Thielemans would also join Evans in Netherlands on December 6 of '79 for titles like 'Blue In Green'. Evans had recorded his last studio LP in August of 1979, 'We Will Meet Again', though numerous live recordings would follow in the States, Brazil and Europe before his early death at age 49 on September 15, 1980, of multiple causes: ulcer, cirrhosis, pneumonia and hepatitis. In August and early September he had recorded a river of titles in San Francisco that would be released in 2000 per a box set of 8 CDs called 'The Last Waltz'. Those were with his trio consisting of Marc Johnson (bass) and Joe LaBarbera (drums). The same would accompany him on his final recording 5 days before his death at Fat Tuesday's in NYC, getting issued as 'The Very Last Performance' in 2010. A very abbreviated list of some of Evans' other musical associates includes Lee Konitz, John Coltrane, Paul Chambers, Roy Haynes and Jimmy Giuffre. Among Evans' favorite nonmusical interests had been horseracing, frequently gambling sizable sums and winning. He also owned the horse, Annie Hall, with film producer, Jack Rollins. Evans will also be found under Toots Thielemans in Jazz 10.

Bill Evans   1956

   Kimona My House

      Guitar: Dick Garcia

  New Jazz Conceptions


Bill Evans   1958

   Play Fiddle Play

      Bass clarinet: Hal McKusick

     Drums: Paul Motian

     Guitar: Barry Galbrath

     Trumpet: Don Elliott

Bill Evans   1961

   Know What I Mean?

      Album   Sax: Cannonball Adderley

Bill Evans   1965

   Jazz 625

      Filmed concert

Bill Evans   1966

   Rehearsal Tape

      Filmed live in Copenhagen

     Bass: Eddie Gómez   Drums: Alex Riel

Bill Evans   1970


      Album: 'Left to Right'

Bill Evans   1979

   Live at Maintenance Shop

     Filmed live

      Bass: Marc Johnson

      Drums: Joe LaBarbera

   We Will Meet Again

     Album: 'We Will Meet Again'

Bill Evans   1980

   Days of Wine and Roses

     Filmed live

Bill Evans   2000

   The Moon/Star Eyes

     Album: 'We Will Meet Again'

     Early fifties home recordings



Birth of Modern Jazz: Jimmy Smith

Jimmy Smith

Source: Naver

While James Brown was delivering funk to rock n' roll fans organist Jimmy Smith brought funk to jazz listeners. Born in 1925 in Norristown, Pennsylvania, Smith began playing piano as a child. He dropped out of school at age fifteen in the eighth grade and joined the Navy. Seven years later he finished his tour in the service and returned to Philadelphia where he studied music, piano and double bass, at the Ornstein School of Music. for a couple years. Of the numerous Jimmy Smiths in Lord's disco it is this one who is placed with the Loumell Morgan Trio for recordings in Hollywood in 1944 and '45, playing double bass with vocals. But he is thought to have been in the Navy at age nineteen and there is no reference found of him in California during that period. Nor does this photo of Jimmy "Jam" Smith look like the same Smith to me. With information breakdown at this point we need leave it moot and place his first issues much later with Don Gardner's outfit. Smith joined Gardner's band in Philadelphia in 1951, the same year he began experimenting with the Hammond organ. Smith originally played piano with Gardner, but his first recordings with Gardner's ensemble were on organ. The earliest titles given some kind of date in Lord's disco were per spring of 1953 for DeLuxe. Those weren't released, however, until '57 and '58 as 'This Nearly Was Mine'/'A Dagger In My Chest' and 'There! I've Said It Again'/'I Don't Want to Go Home'. Soulfulkindamusic wants Smith with the Gardner Trio on Bruce 105 in 1954 for 'How Do You Speak to an Angel'/'Sonotone Bounce' with Albert Cass on bass. Globaldogproductions wants him leading the Sonotones on Bruce 112 for 'Jughead'/'Dancing On The Ceiling' the same year. Come Don Gardner and the Sonotones in 1955 on Bruce 127 for 'It's a Sin To Tell a Lie'/'I Hear a Rhapsody'. Smith began recording as a bandleader for Blue Note in 1956, releasing his first album, 'A New Sound... A New Star...', for that label the same year. Also in his Trio were Thornell Schwartz (guitar) and Bazeley Perry (drums). On February 12, 1957, he formed a trio with Kenny Burrell on guitar and Art Blakey on drums for such as 'Billie's Bounce' and 'Yardbird Suite'. Smith would see Blakey on a few other occasions, but Kenny Burrell would become a significant figure throughout his career, they basically each in the other's ensembles for countless titles to as late as April 6, 1994, at Carnegie Hall for the tune, 'Down by the Riverside'. Of above 170 sessions during his career 134 of those were Smith's own. Highlighting the sixties was his first album for Verve, 'Bashin'', in 1962. He had opportunity to record with Wes Montgomery a couple times in 1966, the first on September 21 for 'The Dynamic Duo', the next seven days later for 'The Further Adventures of Jimmy and Wes'. George Benson joined him in Atlanta for 'The Boss' in 1968. Benson would join him again on June 7 of '82 for 'Off the Top'. December 17 of 1984 found them supporting Stanley Turrentine on titles like 'Plum' and 'A Child Is Born'. Come his Supper Club in Hollywood to highlight the seventies, where on July 6 and 7 of '77 he recorded 'It's Necessary'. In 1978 he toured to South Africa to record 'Jimmy Smith Plays For The People'. Releasing above 100 albums during his career, among them came 'Damn! in '95. Smith moved to Flagstaff, Arizona, in 2004. His wife, Lola, died a few months later, and he himself, of natural causes, on February 8, 2005. He had begun recording the LP, 'Legacy', in 2004 with Joey DeFrancesco, that platter released posthumously the next year.

Jimmy Smith   1954

   How Do You Speak To An Angel

      With Don Gardner

   Sonotone Bounce

      With Don Gardner

Jimmy Smith   1958


Jimmy Smith   1962

   Live on Jazz Scene USA

Jimmy Smith   1965

   Live for the BBC


Jimmy Smith   1971

   Dirty Roosta Booga

   First Class


Jimmy Smith   1972

   Root Down (and Get It)

Jimmy Smith   1974

   I Can't Get Enough

      Album: 'Paid in Full'

Jimmy Smith   1977

   Born to Groove

   Give Up The Booty

Jimmy Smith   1988

   Live at the ZDF Jazz Club

      Concert filmed live

Jimmy Smith   1995

   The Sermon

      Filmed live

Jimmy Smith   1996

   Funky Broadway

Jimmy Smith   2005

   I've Got My Mojo Workin'

     With Joey DeFrancesco


  Pianist, Don Friedman, was born in 1935 in San Francisco. He is thought to have first recorded in Los Angeles in May of 1955 with Jack Millman: 'When You're Near', 'So Goes My Love', 'Too Much' and 'Tom And Jerry'. He stepped into the studio again with Millman in March the next year to record 'Woody 'n You', 'Darn That Dream' and 'Stitt's It'. Friedman first recorded as a leader in 1961 in NYC in a trio with Scott LaFaro at double bass and Pete LaRoca Sims  on drums. Those tracks were 'I Hear A Rhapsody', two takes of 'Sacre Bleu' (Friedman's composition), 'Woody 'n You' (Dizzy Gillespie's composition) and 'On Green Dolphin Street'. That trio released three LPs. His first recordings with guitarist, Attila Zoller, were at the Newport Jazz Festival in Rhode Island in July 1963. Friedman and Zoller would record numerous albums together into the new millennium, their last in 2007 for Friedman's release of 'Straight Ahead' in 2008. Friedman would also record frequently with trumpeter, Clark Terry. Their first such occasion was as members of Herbie Mann's outfit in May of '64 in NYC, recording 'And This Is My Beloved', 'Saudade De Bahia', 'Vikki' and 'I Have Dreamed'. Friedman's last album session with Terry was in 2004 for Terry's release of 'Chilled & Remixed' in 2006. His base of operations in NYC, as well as teaching at New York University, Friedman filled out his career performing local venues in New York City and touring internationally. He died on June 30, 2016. His last recordings are thought to have been in April of 2015 for 'Nite Lites' and September for 'Strength and Sanity'.

Don Friedman   1961

   I Hear a Rhapsody

Don Friedman   1962

   Circle Waltz

      Album: 'Circle Waltz'

   Sea's Breeze

      Album: 'Circle Waltz'

Don Friedman   1963

   Ballade in C-Sharp Minor

Don Friedman   1966

   Wakin' Up

Don Friedman   1995

   Have You Met Miss Jones?

   It Could Happen to You

   The Days Of Wine and Roses

      Original composition: Henri Mancini

Don Friedman   2005

   JazzBaltica 2005

      Concert filmed live with Jim Hall

Don Friedman   2011

   JazzBaltica 2011

      Concert filmed live

Don Friedman   2016

   Strength and Sanity

      Filmed live 2015

      Album: 'Strength and Sanity'


Birth of Modern Jazz: Don Friedman

Don Friedman

Source: All Music

  Born in Benton Harbor, Michigan in 1933, Gene Harris toured with various bands upon discharge from the Army in 1954. His first name recording was possibly his first recording session as well, in 1955 in NYC, releasing the Jubilee LP, 'Our Love Is Here To Stay' as the Gene Harris Trio the same year. In 1956 he formed the Four Sounds which quickly became the Three Sounds upon the loss of a member. Lord's disco has them first recording at the Blue Note studio in Inglewood, NJ, on September 16, 1958, such as 'Both Sides' and 'Bobby'. Perhaps earlier that month Harris had participated in Nat Adderley's 'Branching Out'. Harris played with the Three Sounds into the seventies, there a final session in Detroit in June of '73 for 'Yesterday, Today And Tomorrow'. Harris attended considerably above 100 sessions during his career, 41 of those his own. Instead of attempting to track that we'll but mention a few highlights per his earlier and latter career. His initial occasion to record with Stanley Turrentine was on June 29, 1960. That and another session on December 16 would result in what got issued as 'Blue Hour - The Complete Sessions' in 2000. Separate albums per each session had been issued in 1961 as well, each called 'Blue Hour'. Turrentine would later support Harris on a couple projects in '85 ('The Gene Harris Trio Plus One') and '95 ('Gene Harris & The Philip Morris All-Stars Live' 1998). Not long after Turrentine arrived tenor saxophonist, James Clay, on October 11, 1960, in Los Angeles for 'A Double Dose of Soul'. Harris moved to Boise, Idaho, to play locally there in the latter seventies with howling coyotes and crows picking in trash bins during blizzards across a tundra populated by more potatoes than humans. He resumed his national status with bassist, Ray Brown, in the eighties. They would join Milt Jackson's Quartet on December 1, 1983, with Mickey Roker on drums for 'Soul Route'. They would begin supporting each other's projects in 1987 to as late as August 4, 1991, in San Francisco for Brown's '3 Dimensional'. Harris' final recordings are thought to have been live in Seattle in December of 1998, for 'Alley Cats'. Harris died of kidney failure on January 16, 2000.

Gene Harris   1955

  Almost Like Being In Love

     Album: 'Our Love Is Here To Stay'

  Our Love Is Here To Stay

     Album: 'Our Love Is Here To Stay'

  There'll Never Be Another You

     Album: 'Our Love Is Here To Stay'

Gene Harris   1968

  Book of Slim

     Album: 'Elegant Soul'

Gene Harris   1973

  Lil' Darling

Gene Harris   1976

  Theme For Relana

Gene Harris   1977


    Album: 'Tone Tantrum'

Gene Harris   1986

  Uptown Sop

Gene Harris   1987

  The Masquerade Is Over

    Album: 'Tribute to Count Basie'

Gene Harris   1991

  Black And Blue

    Album: 'Black And Blue'

Gene Harris   1992

  When You Wish Upon A Star

Gene Harris   1998


    Filmed Live

Gene Harris   1999

  Listen Here

     Album: 'Alley Cats'

  Put It Where You Want It

     Album: 'Alley Cats'

Gene Harris   2010

  This Masquerade

    Recorded 1996   Released posthumously


Birth of Modern Jazz: Gene Harris

Gene Harris

Photo: Pam Bentham

Source: VK

  Born in 1931 in Chicago, underrated composer and pianist Andrew Hill began dancing, singing and performing on accordion at age twelve. He took up piano the next year and was touring with such as Charlie Parker and Miles Davis as a teenager. Hill is thought to have first recorded in November of 1954 in the band of David Shipp. Two of those four tracks were released the next year: 'Romping/Let's Live'. Hill's first vinyl as a leader was recorded in October of 1956 with his band, the De'bonairs. Released on 78 that year were 'Lanky Linda', 'Mother's Son', 'Say a Prayer For Me', 'Cracker-Jack Daddy', 'Dot', 'Mal's Blues', 'After Dark' and 'Down Pat'. Hill recorded his debut album in 1956, 'So in Love', released in 1960. Hill recorded the album, 'Black Fire', in 1963 for 1964 release. He also recorded 'Smokestack' in 1963, to be issued in 1966. Since that time Hill released well above thirty albums into the new millennium, his last the live album, 'The Day the World Stood Still', released in 2003. In the meantime he taught at Portland State University and held residencies at several others. Hill's final release in 2006 was 'Time Lines', recorded in June and July of of 2005. He gave his last performance at Trinity Church in NYC in March 2007, dying the next month of lung cancer in Jersey City, New Jersey.

Andrew Hill   1956

   After Dark

   Down Pat

Andrew Hill   1960

   So in Love


Andrew Hill   1964


     Album: 'Judgment'

   Black Fire


Andrew Hill   1965

   Flight 19

     Album: 'Point of Departure'

   New Monastery

     Album: 'Point of Departure'

Andrew Hill   1966





Andrew Hill   1968

   The Griots

     Album: 'Andrew!!!'   Recorded 1964

   Soul Special

     Album: 'Grass Roots'

Andrew Hill   1975

   Blue Black



     Album: 'One For One'

Andrew Hill   2000


     Album: 'Dusk'

Andrew Hill   2002

   A Beautiful Day


Andrew Hill   2003

   Passing Ships

     Album: 'Passing Ships'   Recorded 1969

Andrew Hill   2010


     DVD: 'Andrew Hill - Solos: The Jazz Sessions'

    Recorded 2004


Birth of Modern Jazz: Andrew Hill

Andrew Hill

Photo: Jimmy Katz

Source: Andrew Hill

  Born in 1932 in Detroit, Sir Roland Hanna began studying classical piano at age eleven. Pianist, Tommy Flannigan, was a childhood friend of his. Hanna began playing professionally while yet in high school. Upon graduation he enlisted in the Army for a couple of years, during which time he played in an Army band. Upon release from duty in 1951 Hanna connected with Thad Jones in Detroit. Moving to NYC in 1955, he played with Benny Goodman, then Coleman Hawkins, then Charles Mingus, He would later record with all but Hawkins. Hanna's first vinyl was put down in 1956 for 'Seldon Powell Sextet Featuring Jimmy Cleveland'. In May of '58 he took off for Europe with Goodman where numerous sessions would be held in Berlin, Brussels and finally NYC. August 28 of '58 found Hanna participating in WNTA TV's 'Art Ford's Jazz Party' for a salute to Goodman (out), covering titles like 'Air Mail Special' and 'How Deep Is the Ocean'. Hanna followed that with his first sessions as a leader in 1959 to result in 'Roland Hanna Plays Harold Rome's Destry Rides Again' and 'Easy to Love'. Hanna had first recorded with guitarist, Kenny Burrell, at the '58 Newport Jazz Festival as members of the Benny Goodman Orchestra. His first titles in support of Burrell were on August 25, 1959, at the Five Spot in NYC toward Burrell's 'On View at the Five Spot Cafe'. Hanna would record with Burrell again in '68, '69, '76, '88 and, finally, July of 1996 as one of the Jazz Heritage All Stars for Burrell's 'Live at the Blue Note'. Hanna first backed Charles Mingus on November 1, 1959, for 'Mingus Dynasty'. Hanna recorded with Mingus into 1960, later in 1971-72 and '74, that last occasion at Radio City Music Hall in NYC on July 7. During the eighties Hanna joined a few sessions with the band, Mingus Dynasty, formed after Mingus' death (January 5, 1979) and expanded into an orchestra. His last such occasion was for a string of Mingus compositions on June 3, 1989, at Alice Tully Hall at Lincoln Center, that to be issued as 'Epitaph'. In 1960 Hanna took his bachelor's degree from Julliard, upon which he began backing Sarah Vaughan into 1961. They would reunite in March of '82 for Vaughan's 'Crazy and Mixed Up'. After Vaughan, Hanna joined Lionel Hampton's orchestra to participate for a tour to Europe, recording titles in Essen, Germany on March 12, 1961: 'Four In One', 'Hava Nagilah' and 'Alexander's Ragtime Band'. Hanna stuck with Hampton into 1962, reuniting in 1977 for Hampton's 'New York Black Out 1977'. Among other vocalists Hanna backed in the sixties were Al Hibbler for 'Early Morning' on August 10, 1964, and Ruth Brown that December for her album, ''65'. Reunions with Brown would occur in '68 with the Thad Jones/Mel Lewis Orchestra and, finally, in late '82 for 'Black and Blue'. Come the Thad Jones/Mel Lewis Jazz Orchestra to back Joe Williams on September 30, 1966, for 'Presenting Joe Williams and Thad Jones/Mel Lewis Orchestra'. Hanna stayed with the Thad Jones/Mel Lewis operation for the next ten years, including a tour to Europe in '69, London in '73 and Tokyo in '74. Among numerous sessions with Jones and Lewis was one in January of '70 for 'Consummation', after which Hanna recorded his album, 'Child of Gemini' in 1971. Next came 'Suite For Pops' for Jones and Lewis in January of 1972. Hanna's last session with Jones/Lewis is thought to have been in January of 1976 for such as 'Little Rascal On a Rock' and 'Cherry Juice'. While working with the Thad Jones/Mel Lewis Orchestra Hanna had found time in 1968 to begin a series of charity concerts in Liberia, resulting in being knighted by Liberian President, William Tubman, in 1970. In 1971 Hanna formed the New York Jazz Quartet with saxophonist, Frank West, then toured the Soviet Union in 1972. In 1988 Hanna composed the soundtrack for the Clint Eastwood film, 'Bird'. Also highlighting his latter career was trumpeter/composer/conductor, Terence Blanchard ('89 for Ed Thigpen: 'B'Way' and 'Face To Face') and '92 (soundtrack to 'Malcolm X'). Also during his latter career Hanna taught music, particularly at the Aaron Copland School of Music at Queens College in Flushing, New York, where he was a tenured professor. In association with that he founded the RMI record label in 1997. With above 330 sessions during his career, 60 of those his own, Hanna was recording albums numerously into the new millennium before his last live session in Asaka, Japan, on October 5 of 2002, issued posthumously the next year as 'Last Concert'. Hanna died of a heart infection on November 2, 2002. All tracks below for year 1959 are from the album, 'Roland Hanna Plays Harold Rome's Destry Rides Again', unless otherwise noted.

Sir Roland Hanna   1956

   Seldon Powell Sextet Featuring Jimmy Cleveland


      Thought to be Hanna's 1st issued recordings

Sir Roland Hanna   1958

   Lover Come Back

      'Art Ford's Jazz Party'

Sir Roland Hanna   1959

   Anyone Would Love You

      Guitar: Kenny Burrell


      Albums: 'Mingus Dynasty'

                  'Mingus - Alternate Takes'

   Easy to Love

      Album: 'Easy to Love'

   Fair Warning

      Guitar: Kenny Burrell

   From This Day On

      Album: 'Easy to Love'

   I Know Your Kind

   I Know Your Love

   I Say Hello

   Like Someone to Love

      Album: 'Easy to Love'

   Rose Lovejoy Of Paradise Alley


      Album: 'Easy to Love'

Sir Roland Hanna   1974

   A Child Is Born


   Take the 'A' Train

Sir Roland Hanna   1976


      Bass: George Mraz

Sir Roland Hanna   1977

   Time For the Dancers

Sir Roland Hanna   1981

   Time For the Dancers

      Filmed live

Sir Roland Hanna   2002

   All Blues

   Portrait Of John Lewis

Sir Roland Hanna   2003

   Body and Soul

      Posthumous release

   Prelude Op.28, No.20

      Posthumous release


Birth of Modern Jazz: Sir Roland Hanna

Sir Roland Hanna

Source: IPO Recordings

  Pianist, Krzysztof Komeda, was born Krzysztof Trzciński in 1931 in Poznań, Poland. His was a brief career in jazz and composing for film, but a highly productive and well-regarded one. Raised in Częstochowa, Komeda took up piano at age seven but became a physician in 1956 upon receiving his doctorate from the Poznań Medical Academy. He had made his first recordings four years earlier in Cracow. One for Radio Cracow with Witold Kujawski (bass) and Witold Sobocinski (drums) went unissued: 'How High the Moon'. That didn't see light until 1975 on 'Polish Jazz 1946-1956 Vol 4'. The other went unissued as well, he a member of Melomani for 'September Song' and 'Caravan' which would eventually get included on 'Polish Jazz 1946-1956 Vol 2' in 1975. In August of '56 he performed at the  Ogolnopolski Jazz Festival with his Sekstet Komedy (Komeda Sextet) for several titles among which one, 'Memory of Bach', saw issue that year on an album called 'Festiwal Jazzowy Sopot 1956'. His sextet made its debut performance on Polish television in Poznań in 1956 as well. "Komeda" was a stage name he began using at that time, Trzciński the otolaryngologist, Komeda the jazz musician. They then performed at the 1st Sopot Jazz Festival. Recordings from that were released on a 10" album. The group performed in Moscow in 1957, the same year he began working with his most important associate in film, Roman Polanski. Komeda's first film score for Polanaki was for the silent film, 'Dwaj ludzie z szafą' ('Two Men and a Wardrobe') in 1958. Unfortunately, since it was for a silent film it couldn't be heard and his sanity was questioned ever after. Just kidding. But it was composed for a silent film (per below). Komeda thereafter led a double railed career as a composer and jazz musician. He was a member of the Jazz Believers in 1958, after which he appeared on a number of 'Jazz Jamboree' recordings for Muza before releasing 'Crazy Girl', in 1962. He toured Europe from Scandinavia in the north to Yugoslavia to the south. It was a fateful decision when he traveled to the United States in January of 1968 to compose scores for 'Rosemary's Baby' and 'The Riot'. Lord's discography lists final recordings that year in Warsaw, one with the Polish Radio Jazz Studio Orchestra ('Moja Ballada'), several piano solos for 'Private Conversation', and one with a quintet consisting of Tomasz Stanko (tp/flugelhorn), Zbigniew Namyslowski (alto sax), Roman Dylag (bass) and Rune Carlsson (drims) for 'Jazz and Poetry'. Accounts of Komeda's death vary but it was the result of an accident causing cerebral hemorrhage. He was taken back to Warsaw where he died in the prime of his life at age 38 in April of '69.

Krzysztof Komeda   1956

   Love Me or Leave Me

      1st Sopot Jazz Festival'

   Memory of Bach

      Filmed at 1st Sopot Jazz Festival

Krzysztof Komeda   1958

   Two Men and a Wardrobe

      Film by Roman Polanski

Krzysztof Komeda   1961

   Crazy Girl


Krzysztof Komeda   1965

   Breakfast at Tiffany's

      Not issued until 1998

Krzysztof Komeda   1966



   Cul de Sac


Krzysztof Komeda   1967

   Bossa Nova

      Soundtrack: 'People Meet'

   Requiem for John Coltrane


   Muzyka Krzysztofa Komedy 3


      Not issued until 1974

Krzysztof Komeda   1968

   Rosemary's Baby


Krzysztof Komeda   1969

   100 Miles

      Vocal: Bill Medley

      Soundtrack: 'Riot'


Birth of Modern Jazz: Krzysztof Komeda

Krzysztof Komeda

Source: Alchetron

  Pianist, Les McCann, was born in 1935 in Lexington, Kentucky. His first recording was on television rather than vinyl, appearing on 'Ed Sullivan' in August of '56 ('U.S. Navy Talent Show', season 8 with Kirk Douglas substituting for Sullivan). In 1959 he appeared on the LP by the Lewis Sisters, 'Way Out Far'. He also backed the album, 'It's About Time', for Teddy Edwards in August of '59 for release the next year. Also that month he supported Gloria Smyth on 'Like Soul'. McCann's first two of several albums with Les McCann Ltd. were released in 1960: 'Les McCann Ltd. Plays the Truth' and 'Les McCann Ltd. Plays the Shout'. Ltd. was a trio with Leroy Vinnegar on double bass and Ron Jefferson on drums. Herbie Lewis would replace Vinnegar on Ltd. albums to follow. In 1969 McCann discovered Roberta Flack, gaining Flack an audition with Atlantic that would find her releasing 'Take Five' that year. In 1971 McCann toured to Ghana with Santana. McCann has issued well above sixty albums through the years. Yet active, McCann's last two LPs in the new millennium were 'Pump It Up' ('02) and 'Lazz Legend Project' ('04). Per 1960 below, 'The Truth' is from the McCann album: 'Les McCann Ltd. plays the Truth'.

Les McCann   1959

   Way Out Far

      LP by the Lewis Sisters

Les McCann   1960

   The Truth


Les McCann   1961

   Go On/Get That Church

      Filmed live

      Bass: Herbie Lewis

      Drums: Ron Jefferson

  Yours Is My Heart Alone

      LP: 'On Time'   Guitar: Joe Pass

Les McCann   1963


      Tenor sax: Clifford Scott

Les McCann   1965

   Jack V Schwartz

      Album: 'But Not Really'

Les McCann   1969

   Burnin' Coal

      Album: 'Much Les'

   Compared to What

      Album: 'Swiss Movement'

   Compared to What

      Filmed live in France

      Date estimated

Les McCann   1972

   Get Yourself Together

      Live in Montreux

   Invitation to Openness


   Talk to the People


Les McCann   1974

   Music Box


Les McCann   1985

   Morning Song

      Filmed live

      Bass: Curtis Robertson

      Drums: Alan Sharrod


Birth of Modern Jazz: Les McCann

Les McCann

Source: Martini & Jopparelli

Birth of Modern Jazz: Big John Patton

Barry Miles

Source: Atlantic City Press

Born in Newark, New Jersey, in 1947, multi-faceted jazz fusion pianist, Barry Miles, was a highly focused prodigy who began playing drums professionally at age eight. Not to be mistaken with the rock n roll biographer, Barry Miles, Miles' was yet a child when he was performing with heavyweights such as Woody Herman, Roy Eldridge and Chet Baker. His first recordings were on television rather than vinyl, appearing on 'To Tell the Truth' as early as 1956 during that program's 6th season. His abilities were featured on other television shows as well at an early age, such as the 'Art Ford Jazz Party' in 1958 (below). He waited all the way to his first album release in 1962 at age fourteen with Duke Jordan at piano: 'Miles of Genius'. During the sixties Miles composed and ran his own band while attending Princeton University from which he graduated in 1969. During that period he had released his initial piano LP, 'Barry Miles Presents His Syncretic Compositions', in '66. Electric piano ensued in 1969 on 'Barry Miles'. During the early seventies a couple of highly successful albums with R&B group, Gladys Knight & the Pips, were issued: 'Imagination' ('73) and 'I Feel a Song' ('74). Guitarist, Al Di Meola, began to figure big in Miles' career in the mid seventies, they releasing several albums together between 'Land of the Midnight Sun' in '76 and 'Consequence of Chaos' in 2006. Miles was musical director for R&B singer, Roberta Flack, from 1980 to 1995, appearing on 'Oasis' in 1988. Among highlights in the nineties were sessions supporting Nino Tempo for 'Tenor Saxophone' in 1990. Working much as a studio musician, it was nearly thirty years between Miles' 'Zoot Suit Stomp' per '86 and 'Home and Away Vol One' in 2013.

Barry Miles   1958

   Mop Mop

      'Art Ford Jazz Party'

      Drum battle vs John Parelli

Barry Miles   1962


      LP: 'Miles of Genius'

Barry Miles   1970


      LP: 'Barry Miles'

Barry Miles   1971


      LP: 'White Heat'

Barry Miles   1972


      LP: 'Scatbird'

   Skeleton Dance

      LP: 'Scatbird'

Barry Miles   1974

   Silver Lightning

      LP: 'Barry Miles and Silverlight'

Barry Miles   1976

   Sky Train


Barry Miles   1978

   Country Miles

      LP: 'Fusion Is...Barry Miles'


      LP: 'Fusion Is...Barry Miles'

Barry Miles   1986



Barry Miles   2013

   Fantasy #1

      LP: 'Home and Away Vol One'


Birth of Modern Jazz: Big John Patton

Big John Patton

Source: Flea Market Funk

Big John Patton was a self-taught pianist born in Kansas City, Missouri, in 1935. It was 1954 that he met Lloyd Price at the Howard Theater in Washington D.C. Price had just fired his pianist and was in need of another. Patton's first vinyl release was with Price in 1956, 'Rock 'n' Roll Dance', that session held in April. Patton left Price's crew in 1959 to put together a Hammond organ trio in NYC, also working as a studio musician for the Blue Note label. A few of Patton's more important musical associations were Ike Quebec (his mentor at Blue Note), Lou Donaldson and guitarist, Grant Green. Patton first recorded with Green in September 1961 when they were members of Donaldson's outfit, resulting in Donaldson's LP, 'A Man with a Horn'. Patton and Green would appear on a couple more Donaldson albums into 1963. He released his debut album, 'Along Came John', in 1963. Patton's last album collaboration with Green was in 1967 in a trio with Ben Dixon on drums: 'Iron City!'. He later became involved in acid jazz in London, another name for pub jazz that combined jazz with funk, soul and disco. Patton issued his last album in 2001 with saxophonist, George Braith: 'Eagle Eye Blues'. He passed away of diabetes in March 2002 in Montclair, New Jersey.

Big John Patton   1956

   Rock 'n' Roll Dance

      With Lloyd Price

Big John Patton   1963

   Hot Sauce

      Album: 'Blue John' Guitar: Grant Green

   The Silver Meter

      Album: 'Along Came John'

Big John Patton   1964


      Album: 'The Way I Feel'

   The Rock

      Album: 'The Way I Feel'

Big John Patton   1965

   Let 'em Roll

      Album: 'Let 'em Roll'

Big John Patton   1966

   The Yodel

      Album: 'Got A Good Thing Goin'

Big John Patton   1968

   Boogaloo Boogie

Big John Patton   2001

   Funky Mama



Birth of Modern Jazz: Cecil Taylor

Cecil Taylor

Source: Puro Jazz

It's possible that Cecil Percival Taylor could have first been recorded (per jdisc at Columbia) in 1948 by WHN Radio in New York City. Nothing else is known about that recording, thought to have been a duo of piano and drums, but that it would have to have occurred before WHN became WMGM in September that year. Born in 1929 in NYC, Taylor was a major figure in the launching of the "free jazz" genre, another figure being Ornette Coleman. We pick up Taylor forming his first band in 1955 with Steve Lacy, releasing his first album the next year, 'Jazz Advance'. Personnel were Lacy (soprano sax), Buell Neidlinger (bass) and Denis Charles (drums). He iwas next found at the Newport Jazz Festival on July 6, 1957, with the same personnel for 'Johnny Come Lately', 'Nona's Blues' and 'Tune 2'. Taylor had issued several albums by the time he joined Charles and tenor saxophonist, Archie Shepp, to support Neidlinger's operation, Krystall Klear and the Buells, for 'Ready for the Nineties' in January of 1961. Shepp had contributed to Taylor's album, 'The World of Cecil Taylor' on October 20, 1960. He would last support Taylor on October 10, 1961, for tracks to 'Into the Hot'. Taylor's last tracks with Lacy had been recorded January 10 that year during sessions ascribed to Neidlinger by Lord's disco though later issued in 1967 on Taylor's 'Jumpin' Punkins'. Those would also appear to have been his last sessions with Charles and Neidlinger. Eighty of Taylor's well above 100 sessions were his own projects. He did, however, back bad boy, Albert Ayler, on 'Four' on November 16, 1962, for a telecast from Copenhagen, Denmark. Taylor's first session with his Feel Trio consisting of William Parker (bass) and Tony Oxley (drums) was on November 2, 1989, at the Quartier Latin in Berlin, that performance of 'Looking' to get issued in 1990 as 'Cecil Taylor Looking (Berlin Version) The Feel Trio'. The next day or so Taylor recorded 'Looking' with his quintet, that issued in 1991 as 'Looking (Berlin Version) Corona'. The Feel Trio also issued '2 Ts for a Lovely T', recorded in 1990 in London, and 'Celebrated Blazons' recorded June 29, 1990. Parker had first joined Taylor on November 8, 1981 in a quartet for 'Calling It The Eighth'. Their last tracks together would be July 8, 1990, for 'The Dance Project'. Taylor's first duo with Oxley had been on July 17, 1988, for 'Leaf Palm Hand'. Another duo was held for 'Nailed' in Berlin at Bechstein Concert Hall on September 26, 1990. Nigh twenty years later they partnered again for Taylor's last recordings per this writing, a duo at the Village Vanguard in November of 2008 getting issued in 2010 as 'Ailanthus/Altissima: Bilateral Dimensions of 2 Root Songs'. Having received both MacArthur and Guggenheim fellowships, Taylor accepted the Kyoto Prize in 2014, only to be swindled of the $500,000 award by one Noel Muir. The account into which Miuir fraudulently deposited Taylor's prize was depleted by the time he was caught, though as of this writing $200,000 has thus far been replenished. Taylor is yet active. Per 1956 below, all tracks are from the album, 'Jazz Advance', with bassist, Buell Neidlinger, and drummer, Dennis Charles.

Cecil Taylor   1956

   Bemsha Swing

   Charge 'Em Blues


   You'd Be So Nice to Come Home To

Cecil Taylor   1958

   Excursion On a Wobbly Rail

Cecil Taylor   1959

   Get Out of Town

      Album: 'Love for Sale'

Cecil Taylor   1965

   Number One

     'Octagonal Skirt and Fancy Pants'

      Alto Sax: Jimmy Lyons

      Bass: Henry Grimes

     Drums: Sunny Murray



Birth of Modern Jazz: Bobby Timmons

Bobby Timmons

Source: All About Jazz

Born in 1935 in Philadelphia, pianist Bobby Timmons studied on scholarship at the Philadelphia Musical Academy. Moving to New York City in 1954, Timmons first recorded with trumpeter, Kenny Dorham's Jazz Propets for 4 sets on May 31, 1956, toward the latter's ''Round About Midnight at the Cafe Bohemia'. He would see Dorham again for the latter's 'Matador' on April 15, 1962, in NYC. After Dorham came trumpeter, Chet Baker, with his Sextet on July 9, 1956, with whom he appeared on 'Stars of Jazz' for KABC TV in Los Angeles, recording such as 'Dig' and 'The Thrill Is Gone'. Baker gave Timmons no rest to October 26 with his Big Band for 'Tenderly', 'A Foggy Day' and 'Darn That Dream'. He had held his first session as a leader the day before with Bill Hood (baritone sax), Jimmy Bond (bass) and Peter Littman (drums). Hood was out on 'Autumn In New York' finding issue on the album by various, 'Jazz Pianists Galore'. The title, 'This Is Always', went unissued. Timmons next accompanied Anthony Ortega in November of '56 toward 'Jazz for Young Moderns'. Other outfits with which he had recorded in 1956 were those of Frank Morgan, James Clay and Phil Urso. Timmons' first session in 1957 was on April 21 with tenor saxophonist Hank Mobley for 'Hank'. Following that to fill out the year came Sonny Stitt, Curtis Fuller, Maynard Ferguson, John Jenkins and Lee Morgan. 1958 witnessed sessions with both Pepper Adams and Kenny Burrell before his first with  Art Blakey's Jazz Messengers on October 30 that year to participate in 'Moanin'. Blakey and Timmons got along for three years of nonstop jazz to June 1961 for 'Jazz Messengers!!!!!'. In the meantime Blakey had backed Timmons on 'Soul Time' in August 1960. That followed his first album, 'This Here Is Bobby Timmons', recorded in January 1960. Another highlight during the early sixties occurred in fall of 1961 with the Riverside All Stars featuring trumpeters, Blue Mitchell and Clark Terry toward the LP, 'A Jazz Version of Kean'. During the twelve years that Timmons recorded he would average ten sessions a year, 2 his own, to 112 of them, 24 his own, in all. That pace, however, didn't last long. His last titles that Lord's disco can give some kind of specific date was in November of 1968 in NYC with Joe Beck (guitar) Bob Cranshaw (electric bass) and Jack DeJohnette (drums) for 'Do You Know the Way'. More than Timmons' career was daunted by alcoholism during the sixties, he drinking so heavily as to die of cirrhosis in 1974. He had fallen in a Swedish bar while beginning a tour in Europe with Clark Terry and been flown back to the States to be hospitalized to no avail, he dying a month later on March 1, 1974.

Bobby Timmons   1956

  Autumn In New York

      With the Jazz Prophets

  K.D.'s Blues

      With the Jazz Prophets


      With the Jazz Prophets

Bobby Timmons   1958


      Album with the Jazz Messengers

Bobby Timmons   1960

  Dat Dere

     Album: 'This Is Bobby Timmons'

  Dat Dere

      With the Jazz Messengers

  This Here

      Album: 'This Is Bobby Timmons'

  My Funny Valentine

      With the Jazz Messengers



Pianist and vocalist Mose Allison was born in 1927 in Tippo, Mississippi. He attended the University of Mississippi, joined the Army for two years, then graduated from Louisiana with a bachelor's in English. Moving to New York City in 1956, Allison quickly found work with such as Gerry Mulligan. He recorded his first vinyl as a member of the Al Cohn Quintet in December of '56 toward the album, 'The Al Cohn Quintet Featuring Bobby Brookmeyer'. Allison would record with Brookmeyer again on October 27, 1959, as members of the Manhattan Jazz All-Stars, such as 'Adelaide' and 'I'll Know'. Allison recorded with Cohn again on March 27, 1957, in 1959-61 and, finally in April of 1976, Cohn supporting Allison on the latter's album, 'You Mind Is On Vacation'. A portion of Allison's professional circle in 1957 consisted of Stan Getz and Zoot Sims. His first tracks for Getz were per a Mutual radio broadcast at the Red Hill Inn in Pennsauken NJ on February 16, 1957, participating in such as 'Some Blues' and 'Feather Merchant'. Allison contributed to Getz' 'The Soft Swing' on July 12. Allison had by that time accomplished his first name session as a leader on March 7, 1957, that for 'Back Country Suite' with Taylor LaFargue on bass and Frank Isola on drums. Twenty days later on the 27th he recorded with Sims for the first time, they members of the Al Cohn Quintet for the album 'Al and Zoot'. They would record variously several more times together, also supporting each other's projects, until their last occasion in February of '61 for Cohn's 'Either Way'. It was during a session with Sims at the Half Note in NYC on February 7, 1959, that Allison first saw titles with alto saxophonist, Phil Woods: 'Wee Dot and 'After You've Gone'. Woods was also one of the Manhattan Jazz All-Stars per above with Brookmeyer in October. From 'Local Color' on November 8, 1957, to 'Autumn Song' on February 13, 1959, Allison released five albums, making for six in three years, a pace something kept until gradually relaxing into his latter career, recording only on occasion. Alison died at his home in Hilton Head, South Carolina, on November 15, 2016, having for some years retired from the music profession. His last tracks are thought to have been recorded in Pasadena, CA, in 2009, for 'The Way of the World'. More Mose Allison.

Mose Allison   1957

  In Salah

     From the album 'Back Country Suite'


Birth of Modern Jazz: Mose Allison

Mose Allison

Source: ABC Jazz


  Born in NYC in 1911, Martin Denny played piano as a child. During the thirties he toured South America some four years with the Don Dean Orchestra. After service in the USAAF (Army Air Forces) Denny studied at the Los Angeles Conservatory of Music and the University of Southern California. In 1954 he moved to Honolulu to play at the Shell Bar on Oahu. While there he noticed bull frogs croaking when his band played, and stopping when his band stopped. Group members began joking around making tropical bird calls and the subgenre of jazz known as exotica was born. Conceived in the middle of the Pacific Ocean, such would come to be referred to as Polynesian. First recording in 1956, Denny's first releases were the next year, the single, 'Hong Kong Blues'/'Ah Me Furi', and the album, 'Exotica', released in May. In 1962 his group supported the Si Zentner Orchestra in Hollywood for 'Exotica Suite'. Denny recorded and toured until the latter eighties when he retired. He died in Honolulu on March 2, 2005. other associated with exotica are Les Baxter and Arthur Lyman.

Martin Denny   1957



Martin Denny   1958

  Forbidden Island

Martin Denny   1959


Martin Denny   1962

  A Taste of Honey


Martin Denny   1968

  Exotic Love


Martin Denny   1980

  From Maui With Love



Birth of Modern Jazz: Martin Denny

Martin Denny

Source: Fyrtarnet

Birth of Modern Jazz: Clare Fischer

Clare Fischer

Source: Jazz Wax

Keyboardist (piano, synthesizer), arranger and composer Douglas Clare Fischer (not to be confused with the earlier pianist, Clare or Carl T. Fischer, who recorded with Frankie Lane and Pee Wee Hunt in the forties), was born in 1928 in Durand, Michigan. He put together his first band at age fifteen. Graduating from high school in 1946, Fischer began studying composition in 1947. But he didn't receive his Master in Music until 1955 due to having been drafted into the Army. He began his professional career in Los Angeles as an arranger and accompanist (piano) for the Hi-Lo's. 'Tenderly', below, is among Fisher's first arrangements with that group, on which he also conducts the orchestra. 'Agogically So' is another of his arrangements, on which he may also be the accompanist on piano. Fischer began writing for commercials in the early sixties. He first recorded with vibes player, Cal Tjader, among the more significant figures in his career, on October 18, 1960, for 'West Side Story'. His first period with Tjader ran numerous sessions to their last in January of '63 for Tjader's 'Sona Libre'. Fischer had meanwhile released his first album in his own name in 1962, 'First Time Out' for Pacific Jazz Records with Gary Peacock (bass) and Gene Stone (drums). Among the genres into which Fischer crossed as a jazz musician were Latin and pop. Fischer's second period with Tjader commenced in September of '76 for the latter's 'Guarabe' and ran to March of '78 for Tjader's 'Huracan'. Fischer formed the group, Salsa Picante, in 1978, recording the album by that name in Hollywood on January 30 that year. Among the popular artists for whom Fischer arranged during his later career were Prince (several titles from '85 to 2005) and Michael Jackson (contributing to the arrangement of the orchestral version of 'This Is It' in 2009 with Brent Fischer). Lord's disco shows Fischer's final recordings circa 2011 for such as '¡Ritmo!' and 'Out of the Blue'. Fischer died on January 26, 2012, of cardiac arrest, after which his son, Brent, assumed directorship of his orchestra. A number of the later tracks below are with the group, Salsa Picante.

Clare Fischer   1957


       Arrangement for the Hi-Lo's

Clare Fischer   1958

  Agogically So

       Arrangement for the Hi-Lo's

Clare Fischer   1960

  Over the Rainbow

       Vibes: Cal Tjader

Clare Fischer   1962

  I Love You

       Album: 'First Time Out'

  Nigerian Walk

       Album: 'First Time Out'


       Saxophone: Bud Shank

Clare Fischer   1963


  There Will Never Be Another You

       Guitarist: Joe Pass

Clare Fischer   1965


     Album: 'Manteca' 

Clare Fischer   1976

  Someday My Prince Will Come

Clare Fischer   1979


Clare Fischer   1980


     Album: 'Muchaca'

Clare Fischer   1981


     With 2 + 2

Clare Fischer   1987

  Cuban Fantasy

  San Francisco PM


  Pianist, composer and orchestrator, Eddie Higgins, was born in Cambridge, Massachusetts, in 1932. He began his professional career performing at jazz clubs in Chicago as a student at the Northwestern University School of Music. His initial recording session was in late 1956 or early 1957 with Paul Severson for Replica Records in Des Plains, Illinois, for such as 'Dinah' and 'Lela #1'. His next session is listed as of the 15th of January 1957 with vocalist, Lucy Reed, then Warren Kime in summer for '2 of a Kime'. Higgins' first session with his Trio consisted of Dave Poskonka (bass) and Jack Noren (drums), held in September of '57 for a string of titles like 'A Night In Tunisia' and 'Happiness Is Just a Thing Called Joe'. During his Chicago period Higgins performed and recorded with any number of prominent musicians as they passed through Chicago, from Cannonball Adderley to Dizzy Gillespie. In 1970 he relocated to Fort Lauderdale, Florida, spending his winters there and his summers in Cape Cod, Rhode Island. He participated in some of Sonny Stitt's latest recordings in 1981, held at Bubba's Jazz Restaurant in Fort Lauderdale. The albums, 'Sonny, Sweet and Jaws' and 'Sonny' were both recorded on November 11, 1981. (Stitt's final recordings would be in June of '82 in NYC.) Higgins began touring internationally during the eighties, both Europe and Asia, most notably Japan. He died on August 31, 2009, in Fort Lauderdale. His last LP, 'Portraits of Love', had been recorded in November 2008, one of four made that year. Per 2000 below, tracks are with Eddie Lockjaw Davis, Sweets Edison and Sonny Stitt, recorded live at Bubba's Restaurant, Fort Lauderdale, in 1981, not issued until 2000.

Eddie Higgins   1957

  I'll be Seeing You

    With Paul Severson

Eddie Higgins   1960

  You Leave Me Breathless

Eddie Higgins   1996

  A Portrait In Black And White


Eddie Higgins   2000

  The Chef

    Recorded 1981

  Lester Leaps In

     Recorded 1981

  Oh, Lady Be Good

     Recorded 1981

Eddie Higgins   2002

  Dear Old Stockholm

Eddie Higgins   2003

  Yellow Days

Eddie Higgins   2005

  Minor Swing

  On A Slow Boat To China

  Shinjuku Twilight

Eddie Higgins   2007

  A Fine Romance


Eddie Higgins   2008

  Christmas Songs



Birth of Modern Jazz: Eddie Higgins

Eddie Higgins

Source: Heidi's Jazz Club


Pianist Ramsey Lewis was born in Chicago in 1935. He began piano lessons at age four and played in his first band at age fifteen (The Cleffs). With the drummer from that band, Isaac Holt, and bassist, Eldee Young, Lewis then formed the Ramsey Lewis Trio which released its first album, 'Ramsey Lewis and The Gentlemen of Swing' in 1957. (Release dates vary at several sources from 1956 to '58 for Argot LP 611. 4/57 looks most probable per David Edwards/Mike Callahan at bsnpubs.) Lewis released his second LP in 1958, 'The Gentlemen of Jazz', also for Argot (LP 627). His next session on September 2, 1957, was in support of 'The Colorful Strings of Jimmy Woode'. January 4 of 1958 saw Lewis in the Max Roach Quintet for the album, 'MAX'. Also in '58 Lewis contributed to 'Sonny Stitt' as a member of Stitt's Quartet on an unknown date. The high majority of Lewis' sessions approaching a couple hundred have been his own as a leader. In 1966 Lewis released three singles which each sold over a million copies: 'The In Crowd', 'Hang On Sloopy' and 'Wade in the Water'. Lewis released over eighty albums over the years, produced seven gold records (500,000 copies) and received three Grammy Awards. His last LP was 'Taking Another Look' in 2011. As of this writing Lewis is yet active giving concerts.

Ramsey Lewis   1957


   Album: 'The Gentlemen of Swing'

Ramsey Lewis   1958

  I Get A Kick Out Of You

   Album: 'The Gentlemen of Jazz'

Ramsey Lewis   1968

   Les Fleurs

   Album: 'Maiden Voyage'

Ramsey Lewis   1974

   Sun Goddess

    With Earth, Wind & Fire

Ramsey Lewis   1977

   Tequila Mockingbird

Ramsey Lewis   1983

   Essence of Love

    Album: 'Les Fleurs'

  Super Woman

    Album: 'Les Fleurs'

Ramsey Lewis   1984

   Closer Than Close

Ramsey Lewis   2011

   Love Song

   Album: 'Taking Another Look'


Birth of Modern Jazz: Ramsey Lewis

Ramsey Lewis

Source: R2 Records

Birth of Modern Jazz: Johnny Hammond Smith

Johnny Hammond Smith

Source: All Music

Johnny Hammond Smith was born John Robert Smith in 1933 in Louisville, Kentucky. First recording as Johnny Smith, he picked up "Hammond" in the seventies because he played the Hammond B-3 organ. Lord's disco has Smith on organ in a group with drummer, Christopher Columbo, on July 7, 1957, for two takes of 'Oh Yeah' per King 5012. He was working with Nancy Wilson when the Arrow label offered both of them a contract. Wilson turned it down, waiting for a bigger label. (Having recorded for Dot Records, she had experience with smaller labels, and would soon be with Capitol which had the wherewithal to globally distribute and promote as please.) Smith, however, went with Arrow, he to issue the 7" 45rpm 'Imagination Part 1 & 2', in 1958. 'Over the Rainbow' and 'Deep Purple' were also released on 7" by Arrow, issue date unknown but likely '58 or '59. Come Smith's debut album, 'Have You Heard Johnny Smith', in 1959. Smith issued three more albums in 1959: 'Imagination' (Warwidk), 'That Good Feelin'' (New Jazz) and 'All Soul' (New Jazz). Among vocalists Smith supported was Byrdie Green for 'The Golden Thrush Strikes At Midnight' in July of '66, 'I Got It Bad' in April of '67 and 'Sister Byrdie' in March of '68'. Smith issued nearly forty albums during his relatively brief career of above sixty sessions. His last was in 1978, 'Don't Let the System Get You', when he retired from recording and started buying real estate (he would own at least one motel). Smith performed regional gigs in SoCal (southern California) and began teaching at Cal Poly Pomona in 1987 before recording again on July 8, 1990, to back Diane Witherspoon on such as 'Thankin' You' and 'Yes I'll Dare'. Lord's disco shows latest sessions with Charles Earland at the DuSable Museum of African American History in Chicago on May 24, 1997, one of those an organ solo of 'Summertime'. He died of cancer at his home in either Victorville or Hesperia ("top of the hill" in trucking lingo before descending into LA) on June 4 of 1997.

Johnny Hammond Smith   1959

  Autumn Leaves

     Album: 'That Good Feelin''

  My Funny Valentine

     Album: 'That Good Feelin''

Johnny Hammond Smith   1963

  Black Coffee

     Album: 'Black Coffee'

Johnny Hammond Smith   1967

  Gettin' Up



     LP issue 1968: 'Soul Flowers'

Johnny Hammond Smith   1969

  Soul Talk

     Album: 'Soul Talk'

Johnny Hammond Smith   1970

  Here It 'Tis

     Album: 'Here It 'Tis'

Johnny Hammond Smith   1971

  I'll Be There

     Album: 'What's Going On'

  It's Too Late

     Album: 'Breakout'

  Rock Steady

     Album: 'Wild Horses Rock Steady'

  What's Going On

     Album: 'What's Going On'

Johnny Hammond Smith   1973

  Summertime/The Ghetto

     Album: 'Higher Ground'

Johnny Hammond Smith   1974

  Star Borne

     Album: 'Gambler's Life'

Johnny Hammond Smith   1975



Johnny Hammond Smith   1991


     Filmed live


  Pianist and multi-instrumentalist, Muhal Richard Abrams, was born in 1930 in Chicago. He there briefly attended Roosevelt University, dropping out due that academics weren't what was being played in the nightclubs where he initially performed blues, R&B and bop. He began arranging in 1950 for the King Fleming Band. In 1955 he was a member of the bop group, Modern Jazz Two + Three. In 1957 Abrams participated in what is thought to be his debut recording session with Walter Perkins for the release of 'Daddy-O Presents MJT + 3' in July of the next year. Abrams began to move beyond bop upon the formation of the Experimental Band in 1962. In May of 1965 the AACM (Association for the Advancement of Creative Musicians) was founded in Chicago with Abrams as its president. Part of that organizations' agenda was to move jazz out of nightclubs into theatres and lofts, thus affecting the emergence of the "loft" period in jazz in NYC in the seventies. In 1968 Abrams appeared on the first of three albums with Anthony Braxton: '3 Compositions of New Jazz'. Abrams has appeared on three more LPs with Braxton. In 1971 he recorded 'Instant Death' with Eddie Harris for its release the next year. In 1975 Abrams recorded 'Roscoe Mitchell Quartet' for its issue in 1976. He would appear on two more albums with Mitchell. Also in '75 Abrams moved to New York City where he established the New York chapter of the AACM. In '76 he recorded 'Morning Prayer' with Chico Freeman, that released in '78. In '77 he appeared on Freeman's album, 'Chico'. As to his own material, the seventies saw Abrams composing for symphony orchestras, big bands, string quartets, solo piano and voice. Abrams was made an NEA Jazz Master in 2010. Abrams has toured the States, Canada and Europe, having released more than 25 albums as a leader.

Muhal Richard Abrams   1957

   Temporarily Out of Order

      Album with Walter Perkins:

     'Daddy-O Presents MJT + 3'

Muhal Richard Abrams   1968

   3 Compositions of New Jazz

      Album by Anthony Braxton

Muhal Richard Abrams   1972

   Instant Death

      Eddie Harris album: 'Instant Death'

Muhal Richard Abrams   1974

   Young at Heart

      Recorded 1969

Muhal Richard Abrams   1976



Muhal Richard Abrams   1979



Muhal Richard Abrams   1983

   Rejoicing with the Light


Muhal Richard Abrams   1991

   Blu Blu Blu

      Album: 'Blu Blu Blu'

Muhal Richard Abrams   1995

   The Prism 3

      Album: 'One Line, Two Views'

Muhal Richard Abrams   2012

   Saalfelden JazzFestival

      Filmed live with the Experimental Band


Birth of Modern Jazz: Muhal Richard Abrams

Muhal Richard Abrams

Source: Harlem Jazz Museum

  Born in 1932 in Basel, Switzerland, pianist, George Gruntz, performed locally in Switzerland until he was invited into the International Youth Band to tour to the Newport Jazz Festival in Rhode Island in 1958. Their concert was recorded and released that year by Columbia: 'Newport 1958'. He had earlier held a number of unissued sessions in Switzerland from May 3, 1952 to September 15, 1956, some of which would later be included on '30 Jahre Jazz Made In Switzerland 1935-1965' in 1976. In 1960 Gruntz recorded tracks which wouldn't be found until 2003 on 'Mental Cruelty'. In 1964 he was a member of the Swiss All Stars, issuing 'Swiss All Stars' that year. His first name issues were also in 1964: 'Bach Humbug! Or Jazz Goes Baroque' and 'Jazz Goes Baroque'. Among American musicians whom he accompanied on tours in Europe was Phil Woods in 1968-69 and 1972. Gruntz became artistic director for JazzFest Berlin in 1972, which role he served until 1994. He had also formed his Concert Jazz Band in 1972 at which he stood at helm through the coming decades. 1980 found him with the Basel All Stars recording what would get released on CD as 'Happy 60th Birthday and Happy Returns'. Gruntz toured globally, including China, during his career. He issued at least forty albums as a leader or co-leader. Gruntz is thought to have made his last recordings in 2011 with the NDR Bigband, 'Dig My Trane', issued the following year. He had issued 'Matterhorn Matters' in 2010. Gruntz died in his home in Basil in January 2013. Per 1960 below, 'East of the Sun' is from the LP, 'Franco Cerri and his European Jazz Stars''.

George Gruntz   1959

   Lover Man

      Filmed live with Roland Kirk

George Gruntz   1960

   East of the Sun

George Gruntz   1964

   Ciacona F Minor

      LP: ' Jazz Goes Baroque'

   Symphonie Les Echanges Jazzversion

      LP: 'Les Echanges'

George Gruntz   1967


      LP: 'Noon In Tunisia'


      LP: 'Noon In Tunisia'

George Gruntz   1969

   Freedom Jazz Dance/Ballad

      Filmed in Paris with Phil Woods

   Live with Art Farmer

      Filmed live

George Gruntz   1987

   Emergency Call

      Filmed live

George Gruntz   1994

   Napoleon Blown Apart

      Filmed live

George Gruntz   1998

   Jazzwoche Burghausen

      Filmed concert

George Gruntz   2007

   Well You Needn't

     Filmed live

     Bass: Herbie Kopf

     Drums: Rafi Woll

George Gruntz   2010

   Body and Soul

      Filmed live with Tobias Preisig


Birth of Modern Jazz: George Gruntz

George Gruntz

Source: PrimeTime Orchestra

  Born in 1933 in Uppsala, Sweden, composer and pianist, Nils Lindberg, studied at Uppsala University and the Royal Swedish Academy in Stockholm while performing with such as Benny Bailey, Ove Lind and Putte Wickman. Lindberg first emerged on vinyl with Bailey in 1958 on a 7" EP: 'Benny's Blues'/'It's You or No One' (unfound at YouTube). In 1960 Lindberg released his first two albums, 'Jazz in TV Time' (45 rpm 7" EP) and 'Sax Appeal' (33 rpm LP). Tracks on the 7" were 'Cotton Tail', 'Taboo', 'Blues For Bill' and 'Moonlight in Vermont'. Lindberg's jazz was often in an orchestral context, though during the seventies and eighties he focused on jazz compositions for horn, especially saxophone. His 33rd album (32nd LP) was 'Stockholm Big Band' in 1986. During the nineties he concentrated on jazz blended with orchestral and choral compositions. Per below, Lindberg composed what titles on which he may not appear at piano. Lindberg remains active per this writing. Per 1960 below, the date unconfirmed. Lindberg first recorded 'Symphony 1' in August of 1963 at Studio H for the Swedish Broadcasting Corporation. No earlier release is determined than 1998 on 'Symphony No 1 & Jazz from Studio A'.

Nils Lindberg   1960

  Symfoni No 1

     Filmed live   Date unconfirmed


     Album: 'Jazz in TV Time'

Nils Lindberg   1963

  Ars Gratia Artis

     Album: 'Trisection'

  Trisection I

     Album: 'Trisection'

Nils Lindberg   1975

  Fäbodlåt Från Högbo

     Album: 'Reflections'

  Vals Från Enviken

     Album: 'Reflections'

Nils Lindberg   1994


     Album: 'Requiem'

Nils Lindberg   2001

  As You Are

     Vocal: Alice Babs

Nils Lindberg   2013

  Counsel to Girls

     Bass: Olle Lindberg

     Vocal: Agnes Lindberg

  Shall I Compare Thee

     Filmed live

     Bass: Olle Lindberg

     Vocal: Agnes Lindberg

Nils Lindberg   2014

  As You Are

     Bass: Olle Lindberg

     Vocal: Agnes Lindberg


Birth of Modern Jazz: Nils Lindberg

Nils Lindberg

Source: Discogs

  Born Eunice Kathleen Waymon in 1933 in Tryon, North Carolina, composer, pianist and vocalist, Nina Simone began playing piano at age three. Her early influences were classical and gospel. One incident as a child illustrates her later involvement in civil rights: At one recital her parents, who had sat in the front row, were moved to the rear of the hall to make room for white folk. Simone refused to play until her parents were moved back up front. Simone later studied at Julliard. Among her first jobs was at the Midtown Bar & Grill in Atlantic City, New Jersey, where, upon the owner's request, she added singing to piano performances. About that time she changed her name from Eunice Waymon to Nina Simone. ("Niña" is Spanish for little girl. "Simone" was in honor of the French actress, Simone Signoret.) It was December of 1957 that Simone came out the gate with a group of powerful recordings that made her abilities conspicuous, compiled on an album titled, 'Little Girl Blue' (preceded by the single, 'I Loves You, Porgy'). The problem with poverty is that the condition itself keeps you poor. Not much you can do with it. Not having the wherewithal to wait for royalties, Simone sold her rights for $3000, after which she lost an estimated one million dollars over the years from that record's sales. Simone began addressing racial inequality with song in 1964, upon the release of the live album, 'Nina Simone In Concert'. During that period she advocated violent revolution, Martin Luther King's strategy of protest too slow. Among such songs was her 1965 cover of Billie Holiday's 1939 recording of 'Strange Fruit', concerning the lynching of blacks. Simone moved to Barbados in 1970. She intended to quit the music industry in 1974 with the release of the album, 'It Is Finished', but started to record again in 1978, issuing the album, 'Baltimore'. During the eighties she worked at Ronnie Scott's Jazz Club in London. She lived in Switzerland and the Netherlands before calling France home in 1992, the year Simone published her memoirs, 'I Put a Spell On You'. She released her last album, 'A Single Woman', in 1993. Simone died in her sleep in Carry-le-Rouet, France, on the Mediterranean coast, in 2003. Among her longest musical associations through the decades were with guitarist and musical director, Al Schackman, and percussionist, Leopoldo Fleming. Among her awards were the Grammy Lifetime Achievement Award in 2000 and honorary degrees from three schools. A statue was erected in her honor in 2010 in her birthplace, Tryon, North Carolina. We list only one performance by Simone below, a concert filmed live in Montreux, Switzerland. More piano by Simone will be found in Early Modern Jazz Song.

Nina Simone   1958

 Little Girl Blue   [Selection]

Nina Simone   1959-62

 Piano Suite

Nina Simone   1969

  Nina Simone and Piano!



Birth of Modern Jazz: Nina Simone

Nina Simone

Source: Sound Projections

Birth of Modern Jazz: Horace Tapscott

Horace Tapscott

Source: NeFormat
Born in 1934 in Houston, trombonist and pianist, Horace Tapscott, had a professional pianist and singer for a mother. Graduating from high school in Los Angeles in 1952, he joined the Air Force and played trombone in a military band in Wyoming. Discharge saw his return to L.A. where he would freelance with numerous such as Eric Dolphy, Frank Morgan, Wardell Gray, Dexter Gordon, Gerald Wilson. Lord's disco has him playing trombone for Dootone (DL 240) with Peppy Prince in 1956 in Los Angeles. Both Sides Now has that issued in January of 1958 as 'Dance Party', a review for it existing in the January 20, 1958, edition of 'The Billboard'. Tapscott is thought to have toured with Lionel Hampton from 1959 to '61. In 1961 Tapscott helped found the Underground Musicians and Artists Association (UGMAA) which became the Union of God's Musicians and Artist's Ascension (UGMAA) a few years later. Come Lou Rawls for 'Black and Blue' in October 1962. Lord's disco shows that to be Tapscott's last with trombone. Dental troubles from a serious auto accident in high school had him exchanging that instrument for piano on his next session, that with Lou Blackburn for 'Jazz Frontier' on January 25 of '63. His first sessions with pianist, Onzy Matthews, were held on February 6 toward 'Mosaid Select' issued in 2007, posthumously for both of them, Matthews dying in 1997. Among the more important drummers of Tapscott's career was Everett Brown Jr, their first mutual session thought to have been on May 8, 1968, for Sonny Criss' 'Sonny's Dream (Birth of the New Cool)'. Brown joined Tapscott for the latter's first session as a leader on April 1 of 1969 for 'The Giant Is Awakened' in his Quintet consisting of Arthur Blythe (alto sax) and bass by both David Bryant and Walter Savage Jr. Brown provided rhythm on multiple Tapscott LPs, including the Pan African People's Arkestra, to sessions in August of 1983 eventually getting issued on 'Faith in 2010. Among the more important bassists in Tapscott's career was Bryant, per above, first joining Tapscott on 'The Giant Is Awakened'. Bryant provided bass on multiple Tapscott LPs, including the Pan African People's Arkestra, to 'Horace Tapscott Octet Live' in September 1987. Tapscott's Pan African People's Arkestra (PAPA) was an ambitious project with a vague history as to its earliest formation in Los Angeles, perhaps as early as 1961 in association with the UGMAA per above. PAPA was definitely performing, or resurrecrted, by 1977, recording its first LPs in 1978: 'Flight 17' and 'The Call'. 'Live at I.U.C.C.' went down at the United Church of Christ in June of '79. Among what Wikipedia lists as 17 albums by Tapscott was his suite of solos on 'Songs of the Unsung' on February 18, 1978. Other solos went down from '82 to '85, issued as Volumes 1 through 11 of 'The Tapscott Sessions'. His last studio release is thought to have been 'Thoughts of Dar es Salaam' in 1997, recorded in July 1996. The other members of that trio were Ray Drummond (bass) and Billy Hart (drums). Prior to that in June that trio had put down 'Caravan' to be found on the album by various, 'What Is Jazz? 1966'. Tapscott died on February 27 of 1999 of lung cancer. Others on whose recordings he can be found include Bob Thiele, Elaine Brown and Nelly Pouget. It was with Brown that Tapscott composed the Black Panthers' (black revolution organization) anthem, 'The Meeting', that included on Brown's 'Seize the Time: Black Panther Party' in 1969. Per below, PAPA refers to the Pan African People's Arkestra (also called The Ark).

Horace Tapscott   1963

   New Frontier

      Lou Blackburn album: 'Jazz Frontier'


      Lou Blackburn album: 'Jazz Frontier'

  Two-Note Samba

      Lou Blackburn album: 'Two Note Samba'

Horace Tapscott   1968

   The Golden Pearl

      Album: 'Sonny's Dream (Birth of the New Cool)'

      Alto Sax: Sonny Criss

Horace Tapscott   1969

   The Giant Is Awakened

      Album   Horace Tapscott Quintet

Horace Tapscott   1978

   Peyote Song No III

      Album: 'The Call'   With PAPA

Horace Tapscott   1979

   Desert Fairy Princess

      Album: 'Live At I.U.C.C.'   With PAPA

  Village Dance

      Album: 'Live At I.U.C.C.'   With PAPA

Horace Tapscott   1991

   Piano Solo

      Filmed live

Horace Tapscott   1995

   Live in Moers

      With PAPA

Horace Tapscott   1998

   If You Could See Me Now

      Filmed live   Bass: Roberto Miranda



Birth of Modern Jazz: Cedar Walton

Cedar Walton

Cedar Walton was born in 1934 in Dallas. He is thought to have first recorded in July and August sessions in 1958 with Kenny Dorham, those for the Riverside label. Those saw release on Dorham's album, 'This Is the Moment!'. Dorham and Walton would see one another on several occasions to 1967, Walton backing Dorham toward 'Blue Spring' in '59 and 'Last But Not Least 1966 Vol 2' in '66. Dorham would contribute to a couple titles on Walton's 'Cedar!' in July of '67. On the same date as Walton's second session with Dorham above in August he held an important session for Blue Mitchell which included drummer, Art Blakey. Blakey would become an important element in Walton's career, they working together again in 1960, Walton to become one of Blakey's Jazz Messengers to 1964, later in 1972-73, 1980 and, finally, April 11 of 1982 for 'Art Blakey & The All Star Jazz Messengers'. Mitchell would be a significant figure as well, backing each other's projects on several occasions. Walton would contribute to Mitchell's 'The Cupbearers' in '62, 'Boss Horn' in '66, 'Stratosonic Nuances' in '75 and 'Summer Soft' in 1977. Mitchell participated in Walton's 'Spectrum' in '68, 'The Electric Boogaloo Song' in '69 and 'Beyond Mobius' circa 1975. Their last visit together may have been in 1978 in Berkeley in support of Philly Joe Jones' 'Advance!'. After Walton's Dorham session in '59 per 'Blue Spring' above, he fell in with trombonist, JJ Johnson, in March for 'Really Livin''. Their last of several sessions were in August of 1960 for 'J.J. Inc.'. They would reunite years later in March of '88 to support Milt Jackson's 'Bebop'. On March 26 of '59 Walton had joined tenor saxman, John Coltrane's, Quartet including Paul Chambers (bass) and Lex Humphries (drums) for 'Alternate Takes'. One reason for Walton's prolific 415 sessions was becoming a studio musician for Prestige in the latter sixties. We need limit this account, then, to some of the more significant figures with whom he recorded on multiple occasions over a period of at least two decades. That would include tenor saxophonist, Stanley Turrentine, with whom he first recorded in November of '59 for Abbey Lincoln on titles like 'Afro Blue' and 'Let Up'. Turrentine projects to which Walton later contributed were 'Another Story' in 1969, 'Inflation' and 'Use the Stairs' in 1980, 'More Than a Mood' in 1992 and 'Christmas Waltz' recorded the next day (Valentine's Day) to be found on Turrentine's 'A Jazz Christmas'. Walton would see considerably more of trumpeter, Freddie Hubbard, their first titles together on August 1, 1960, for JJ Johnson's 'J.J. Inc.' above. Hubbard and Walton would see a great deal of one another, both backing other operations, especially Art Blakey's, and supporting each other. Hubbard Projects to which Walton contributed were 'Hub Cap' in 1961, 'Here to Stay' in 1962, 'The Body and The Soul' in 1963, 'Extended' and 'Intrepid Fox' circa 1974 and 'Bolivia' in 1990. Hubbard supported Walton on 'Reliving the Moment: Live at The Keystone Korner' in 1978 and 'Soundscapes' in 1979. Their last session together is thought to have been with Turrentine on February 13, 1992, for the latter's 'More Than a Mood' per above. Walton's first session with Hubbard above on August 1 of 1960 also included tenor saxophonist, Clifford Jordan. Like Hubbard, Jordan and Walton's paths merged numerously through the years, both backing other ensembles and each other. Jordan projects to which Walton contributed were 'Spellbound' in 1960, Starting Time' in 1961, 'Bearcat' in 1962, 'These Are My Roots' in 1965, 'Half Note' in 1974, 'Night of the Mark VII', 'On Stage Vol 1 & 2' and 'Firm Roots' in 1975, and 'The Pentagon' in 1976. Walton albums to which Jordan contributed were 'Spectrum' in 1968, 'The Electric Boogaloo Song' in 1969, 'A Night at Boomer's Vol 1 - 3' in 1973 and 'Plays the Music of Billy Strayhorn' in 1988. Returning to Walton's earlier career, another significant date was September 16, 1960, he joining the Jazztet run by trumpeter, Art Farmer, and tenor saxophonist, Benny Golson, for 'Big City Sounds'. Walton would accompany Farmer on a number of occasions to as late as April 1982 for 'Voices All', again with Golson and their Jazztet. Golson and Walton had recorded into 1961 but aren't found on any sessions together until April 11, 1982, with Art Blakey's All Star Jazz Messengers for such as 'Moanin' and 'City Bound'. Their last session is thought to have been for Golson's 'This Is For You, John' in December 1983. Returning to the early sixties, come trumpeter, Lee Morgan, on April 15, 1964, for Blakey's 'Indestructible'. Morgan and Walton hung tight for four years, backing other bands when Walton wasn't working on Morgan's projects: 'Charisma' and 'The Rajah' in 1966, 'Sonic Boom' and 'The Sixth Sense' in 1967, 'Caramba!' in 1968. Nigh thirty years later Walton would participate in the December 1994 recording of 'Tribute to Lee Morgan' with Eddie Henderson (trumpet), Grover Washington Jr (soprano sax), Joe Lovano (tenor sax), Peter Washington (bass) and Billy Higgins (drums). September 22 of 1964 saw Walton's first titles with tenor saxman, Eddie Harris, toward 'Cool Sax from Hollywood to Broadway'. Harris' 'Here Comes the Judge' was recorded in December, 'The In Sound' and 'Mean Greens' in 1965, 'The Tender Storm' in 1966. Nigh ten years later Harris would support Walton's 'Beyond Mobius' circa 1975. Walton's first titles with drummer, Billy Higgins, had been on August 9, 1965, to back Harris' 'The In Sound'. Higgins and Walton kept to much the same rail for another thirty-five years into the new millennium, they backing other bands when Higgins wasn't supporting Walton. They would appear on countless recordings together, such that it was a good guess that where the one was the other would be also. Walton backed Higgins on 'The Soldier' in 1979 and 'Once More' in 1980. They last recorded together on September 15, 2000, for Walton's 'Manhattan After Hours', Higgins to die the next year on May 3 of 2001. Vibraphonist, Milt Jackson, was another musician requiring mention in Walton's career, Walton first joining Jackson on August 12, 1965, at the Museum of Modern Art in NYC for 'Milt Jackson at the Museum of Modern Art'. For another thirty years one could almost bet that when Jackson released an album Walton would on it, including concerts in Tokyo in 1976. Their final session together is thought to have been in Hollywood in 1994 for Jackson's 'The Prophet Speaks'. Highlighting the seventies was Walton's first 'Eastern Rebellion' December 10, 1975, with George Coleman (tenor sax), Sam Jones (bass) and Billy Higgins (drums). With the exception of Higgins personnel in that ensemble would change for six more volumes recorded to May of 1994, that last being 'Just One of Those . . . Nights at The Village Vanguard'. Also highlighting the seventies was a concert at the Karl Marx Theatre in Havana, Cuba, on March 3, 1979, with the CBS Jazz All-Stars for what got released as 'Havana Jam'. Later on November 15 Walton put down 'Cedar's Blues' in Bologna, Italy. Highlighting the eighties was the Aurex Jazz Festival in Japan (that held at various venues) to get issued on 'Aurex Jazz Festival '80 - Battle of the Horns'. Highlighting the nineties was Walton's first session with vocalist, Etta James, in Los Angeles in 1994 for 'Mystery Lady: Songs of Billie Holiday'. 'Blue Gardenia' followed in the winter of 2000-01. Prior to that in 2000 Walton contributed to eleven titles on 'The Legacy Lives On'. Walton issued a number of albums in the new millennium until his final recordings for Houston Person's 'Naturally' on July 5, 2012. He was made an NEA Jazz Master in 2010. Walton died on August 19, 2013, at his home in Brooklyn. Per below, all undescribed tracks for 1958 and 1959 are with Kenny Dorham on trumpet. Dorham also performs vocals on all tracks for '58.

Cedar Walton   1958

 Angel Eyes

 Autumn Leaves

 Golden Earrings

 I Remember Clifford

Cedar Walton   1959

  Giant Steps

     Tenor sax: John Coltrane

 It Might as Well Be Spring

 Passion Spring

 Poetic Spring

 Spring Cannon

Cedar Walton   1960

  Blues On Down

      Tenor sax: Benny Golson

      Trumpet: Art Farmer

Cedar Walton   1961


      Trombone: JJ Johnson

Cedar Walton   1962


     Trumpet: Blue Mitchell


     With the Jazz Messengers

Cedar Walton   1967

  Turqoise Twice

Cedar Walton   1975

  Blue Trane

Cedar Walton   1976

  Blue Monk

      Live performance

 The Girl With Discotheque Eyes

  Low Rider

     Original composition: War

Cedar Walton   1982

  God Bless the Child

      Live performance

      Trumpet: Freddie Hubbard

  Midnight Waltz

Cedar Walton   1986


      Live performance

      Trumpet: Freddie Hubbard


Birth of Modern Jazz: Charles Earland

Charles Earland

Source: Last FM

Charles Earland, was born in 1941 in Philadelphia. He began began playing sax in high school and it's tenor with which he began his recording career in 1959, appearing on 'Gold Coast Saturday Night' (Elektra 167), an album by Saka Acquaye and His African Ensemble. In 1960 Earland popped up on Jimmy McGriff's 'Foxy Do 1 & 2'. Taped for the White Rock label, those were never issued. Though Earland played tenor sax on those, it was with McGriff, who played the Hammond B3, that Earland switched from saxophone to organ, the Hammond B3. It was with that instrument that he issued 'Daily Double 1 & 2' in 1964 (per 45cat). 'Walking with Feets 1 & 2' may have been recorded at the same session for Quaker Town, but no issue is discovered. 45cat has 'Rescue Me and 'The Midnight Hour' issued in 1965 by the Greezie label. Earland produced a couple tracks by Jean Wells in '65: 'Song of the Bells' and 'Sharing Your Love', but isn't known to have performed on them. He did appear on organ with Wells in 1966 on 'I Know That She Loves Me' and 'All This Madness'. Those were recorded with the vocal group, the Butlers. Titles with Wells were for the Quaker Town label. Earland got attached to a big name in 1968 when he joined Lou Donaldson on the latter's 'Say It Loud', issued in 1969. Thre more albums ensued with Donaldson that year: 'Boss Organ', 'Hot Dog' and 'Everything I Play Is Funky'. He is thought to have released his own albums in 1969 for the Choice label as well: 'Boss Organ' and 'Soul Crib' (both per Jazzlists). He may have issued 'Black Power' for Rare Bird as early as 1969, but Billboard puts it at 1971. Also in '69 Earland issued 'Cherie Amour' b/w 'Yes Suh'' (Charlie Earland's Erector Set on Eldorado) and 'My Cherie Amour' b/w 'One For Lee' (Rare Bird label). Earland may have issued a live recording for Trip Records eponymously titled, 'Charles Earland' in 1969. However, the 'Goldmine Record Album Price Guide' has that obscurity recorded in 1969 but not issued until 1974. Earland broached the seventies with the Prestige label and two albums released in 1970: 'Black Talk!' and 'Black Drops'. He began using the synthesizer per 'The Dynamite Brothers', issued in 1974. By the eighties Earland had achieved the national spotlight and would tour heavily into the nineties until his premature death of heart failure in December of 1999. His last issue of some forty LPs had been 'Cookin' with the Mighty Burner' that year. Posthumous releases in 2000 were 'The Almighty Burner' and 'Stomp!'. Per 1971, below, 'Living Black!' contains the track, 'Killer Joe'.

Charles Earland   1965

  The Midnight Hour

   Rescue Me

Charles Earland   1969


      Lou Donaldson LP: 'Say It Loud'

  Cherie Amour

      With Erector Set

  My Cherie Amour

  One For Lee

  Six Twice

      LP: 'Boss Organ'

  Soul Crib


  Yes Suh'

      With Erector Set

Charles Earland   1970

  More Today Than Yesterday

      LP: 'Black Talk'

Charles Earland   1971

  Living Black!


Charles Earland   1972

  Black Gun

      LP: 'Live at the Lighthouse'

  'Cause I Love Her

      LP: 'Intensity'

  Happy 'Cause I'm Goin' Home

      LP: 'Intensity'

  Soul Story


Charles Earland   1974

  The Dynamite Brothers


  Leaving This Planet

      LP: 'Leaving This Planet'

Charles Earland   1976


      LP: 'The Great Pyramid'

  In the Land of Mu

      LP: 'The Great Pyramid'



Charles Earland   1980

  Coming To You Live

      LP: 'Coming To You Live'

Charles Earland   1998

   Let the Music Play

      LP: 'Slammin' & Jammin'



Shirley Horn, a vocalist as well as pianist, formed her first band, a trio, in 1954. Born in Washington D.C. in 1934, Horn's first known recordings are thought to be with violinist Stuff Smith on August 7, 1959, in Washington DC, contributing piano and vocals to 'Cat on a Hot Fiddle'. She released her first album, 'Embers and Ashes', the next year. Among her most important associates in the music business were Miles Davis and Quincy Jones. The latter's orchestra backed her for the issue of 'Shirley Horn With Horns' in 1964. More than two thirds of Horn's 90 sessions were her own as a leader. She released her last album, 'May the Music Never End', in 2003. Her final recordings are thought to have been live at Le Jazz Au Bar in NYC in January 2005: 'Jelly Jelly', 'Loads of Love' and 'I Didn't Know What Time It Was'. Horn had lost a foot to diabetes in 2000, dying of the same in 2005. More Shirley Horn in Modern Jazz Song.

Shirley Horn   1960

   I Thought About You

Shirley Horn   1992

   Here's to Life

Shirley Horn   2005

   Jelly Jelly


Birth of Modern Jazz: Shirley Horn

Shirley Horn

Photo: John O'Hara

Source: SF Gate


Birth of Modern Jazz: Jack McDuff

Jack McDuff

Source: Wax MP3

Born in 1926 in Champaign, Illinois, organist, Jack McDuff, originally played bass in the bands of Joe Farrell and Willis Jackson. He switched to organ before making his first recordings with Shakey Jake in NYC in 1959 ftoward the latter's album, 'Good Times', issued in 1960. On May 5 of 1959 he backed Jackson for the album, 'Please Mr. Jackson'', issued that year. Multiple recordings with Jackson in 1959 affected the release of several albums from 1960 to 1966. McDuff released his debut album, 'Brother Jack', in 1960, recorded for Prestige Records in January. Engraving more tracks that July wrought the album, 'Tough 'Duff', in 1960 as well. The second major contributor to McDuff's early career was Gene Ammons, with whom he recorded three albums in 1961. Lord's disco has McDuff good for 145 sessions, above 90 of those his own as a bandleader. McDuff released above fifty albums, his last posthumously in June 2001: 'Brotherly Love'. McDuff had toured Japan in 2000, then died of heart failure in Minneapolis, Minnesota, in January 2001

Jack McDuff   1959

   Come Back To Sorrento

      Album: 'Profile'

   Memories Of You

      Album: 'Profile'

   Please Mr. Jackson

      Album: 'Profile'

Jack McDuff   1960

   Brother Jack


Jack McDuff   1962


      With Gene Ammons & Sonny Stitt

Jack McDuff   1963

   Jive Samba

      Guitar: George Benson

Jack McDuff   1964

   Live in Antibes 1

      Filmed live

      Drums: Joe Dukes

      Guitar: George Benson

      Tenor sax: Red Holloway

   Live in Antibes 2

      Filmed live

      Drums: Joe Dukes

      Guitar: George Benson

      Tenor sax: Red Holloway

Jack McDuff   1966

   A Change Is Gonna Come


   Do It Now

   The Shadow Of Your Smile

      Album: 'Tobacco Road'

Jack McDuff   1969

   Chicken Feet

      Album: 'Steppin' Out'

      Album recorded 1961-66

      'Chicken Feet' recorded February 1966

   Moon Rappin'


Jack McDuff   1970

   Classic Funke

      Album: 'Who Knows What Tomorrow's Gonna Bring?'

Jack McDuff   1972

   Soul Yodel

      Album: 'Check This Out'

Jack McDuff   1994

   Our Miss Brooks

      CD: 'Crash!'   Guitar: Kenny Burrell



Born in 1932 in Atlanta, Duke Pearson is thought to have first recorded to issue in October 1959 with the Donald Byrd Quintet for Blue Note, alto saxophonist, Jackie McLean, on that session toward 'Fuego'. Pearson made his first name recordings for Blue Note later the same month as the Duke Pearson Trio, releasing the album, 'Profile', that year. His second album, 'Tender Feelin's', was recorded in '59 and released in 1960. Among his more important musical associates in the sixties was Donald Byrd. with whom he stuck into 1964, including another session involving McLean on July 10 of 1960 for titles like 'Bo' and 'My Gal Shirl'. Byrd would contribute Pearson's albums 'Hush!' on January 12 of '62, 'Wahoo!' on November 21 of '64 and 'Baltimore 1969' on April 22 of '69. Tenor saxophonist, Stanley Turrentine, had joined Byrd's Brass and Voices in December of 1964 toward 'I'm Trying to Get Home'. He next found himself with Turrentine on September 22 of 1966 toward the latter's 'The Spoiler. Pearson and Turrentine worked together for a couple of years to spring of 1968, such as Pearson's 'The Right Touch' with trumpeter, Freddie Hubbard, along the way on September 13, 1967. His last tracks with Byrd were on December 4 of 1970 ('Elmina' et al) before quitting to tour with both Carmen McRae and Joe Williams in the early seventies. One result of his time with McRae was contributions to her album, 'Carmen', recorded in Hollywood, issued in '72. Lord's Disco lists that as Pearson's final recording, presumably due that he was diagnosed with multiple sclerosis in the early seventies. Pearson had headed the A&R division at Blue Note since 1963, switching to teach at Clark College in '71. He died relatively young at age 48 of multiple sclerosis at the Atlanta Veterans Hospital on August 4, 1980. He had been highly prolific on disc, attending above seventy sessions during his brief career of perhaps 13 years, above thirty of those his own projects. Clearly, this account of such is rudely truncated. 960 below, all undescribed tracks were recorded in October 1959 with the Donald Byrd Trio and released in 1960 on the album, 'Fuego'.

Duke Pearson   1959

  Black Coffee

     Album: 'Profile'

 I'm Glad There is You

     Album: 'Profile'


     Album: 'Profile'

Duke Pearson   1960



  I Love You

     Album: 'Tender Feelin's'

 Funky Mama

  I'm a Fool to Want You

     Album: 'Tender Feelin's'


 Low Life

Duke Pearson   1961


     Album: 'Dedication!'

  Number Five

     Album: 'Dedication!'


     Album: 'Bag's Groove'

  Say You're Mine

     Album: 'Angel Eyes'

Duke Pearson   1968

  The Moana Surf

 Say You're Mine

 Tones for Joan's Bones


Birth of Modern Jazz: Duke Pearson

Duke Pearson

Source: Jazz WCLK



We pause this Birth of Modern Jazz Piano with Duke Pearson. By the time Pearson arrives jazz is well developed beyond big swing orchestra, largely via the introduction of sounds from without the United States in the thirties, then bebop and individualists such as Nat King Cole in the forties. The fifties will have commenced with "cool" jazz ('Birth of the Cool' by Miles Davis representative of such, recorded in 1949-50 though not released until 1957) and be a decade of experiment giving passage to prominent compositions in the sixties announcing that modern jazz had arrived (such as 'Take Five' by Brubeck above). Keyboardists who began their careers in the sixties are found at Modern Jazz 8.




Early Blues 1: Guitar

Early Blues 2: Vocal - Other Instruments

Modern Blues 1: Guitar

Modern Blues 2: Vocal - Other Instruments

Modern Blues 3: Black Gospel Appendix


Medieval - Renaissance


Galant - Classical

Romantic: Composers born 1770 to 1840

Romantic - Impressionist

Expressionist - Modern

Modern: Composers born 1900 to 1950




Country Western


Early Jazz 1: Ragtime - Bands - Horn

Early Jazz 2: Ragtime - Other Instrumentation

Early Jazz 3: Ragtime - Song - Hollywood

Swing Era 1: Big Bands

Swing Era 2: Song

Modern 1: Saxophone

Modern 2: Trumpet - Other Horn

Modern 3: Piano

Modern 4: Guitar - Other String

Modern 5: Percussion - Other Orchestration

Modern 6: Song

Modern 7: Latin Jazz - Latin Recording

Modern 8: United States 1960 - 1970

Modern 9: International 1960 - 1970

Rock & Roll

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Doo Wop

The Big Bang - Fifties American Rock

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British Invasion

Total War - Sixties American Rock

Other Musical Genres - Popular Music Appendix

Musician Indexes

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Classical - Baroque to Classical

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The Blues

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Jazz Modern - 1960 to 1970

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UK Beat - British Invasion

Sixties American Rock - Popular

Latin Recording - Europe

Latin Recording - The Caribbean - South America


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