A Birth of Jazz

Django Reinhardt

Source: Relative Esoterica

Guitarist Django Reinhardt was a swing (era) musician born in Belgium in 1910. Burn injuries via candle early in his career had left Reinhardt with two paralyzed fingers such that he could strum chords with four fingers but could play melody with only two. Though a swing musician spanning that era, Reinhardt's was a move apart from his contemporaries in the States, his swing having a strong gypsy and Romani flavor. Nor was he a big band musician. Though he toured with Duke Ellington in 1946 he felt a little out of place. Nor was song so much the thing with Reinhardt as was instrumental virtuosity. So we place him in a seminal location here at the roots of modern jazz much characterized by global influence from without the United States and the breakaway from big bands toward smaller ensembles more affording emphasis on the skills of individuals. Thanks to such as Reinhardt & Grappelli jazz would become an increasingly higher bar for young musicians to hurdle. Just when Reinhardt first appeared on disc at a record shop is a good trick to determine, which we've not. JazzTechs notes his first recording about 1926 with a singer possibly named Chabel, that unlikely to have been issued. And that's that. Tom Lord's sessionography differs from Paul Vernon's. Both are employed by other sources, so to both I refer. Lord begins with a date of 15 March 1928 for Django at banjo with Jean Vaissade (Vissade) at accordion which Vernon gives a date of 20 June for the same matrices which are BT4115-1 for 'Ma Reguliere' and BT4116-1 per 'Griserie'. Lord points to later issues by Pathe, 'Griserie' not issued until 1971 on the compilation, 'Djangologie 1' per Pathe CO54-16001. Vernon points to 'Ma Reguliere' issued on Gramophone K-5469, and 'Griserie' on Gramophone K-5454 which 45 Worlds has issued in 1928 backed by 'Parisette' of the same session for which Lord hasn't traced release data. Probably because it's not real relevant to jazz, Lord doesn't list where Hikaru Hasegawa's sessionography begins, possibly as early as May of '28 (circa June '28 in Vernon) with Reinhardt performing banjo with Maurice Alexander at accordion for 'Parisette' issued on Henry 848 on an unidentified date. Unless the Henry was issued before the Gramophone, 'Griserie' w 'Parisette' looks like Reinhardt's first appearance on record. Reinhardt also recorded in 1928 with accordion player, V. Marceau. It was the orchestra of accordion player, Louis Vola, in 1931. Reinhardt recorded with Jean Sablon, among others, in 1933. ('Parce Que Je Vous Aime', below, also features vocalist Eliane De Creus.) More sessions with Sablon ensued into 1934 until a name session by Reinhardt in August for 'Tiger Rag', 'After You've Gone' and 'Confessin'' with Joseph Reinhardt (guitar) and Juan Fernandez (bass). In 1934 Reinhardt founded the Quintette du Hot Club de France with Stephane Grappelli. On December 28 they recorded such as 'Dinah' and 'Tiger Rag' with Reinhardt's Quintette du Hot Club de France. Reinhardt would also support Grappelli's Hot Four on several occasions. Lord's disco has Grappelli and Reinhardt last stringing titles together in Rome in early 1949 for such as 'What a Difference a Day Made' and 'Pigalle'. He recorded numerously thereafter until his death in Samois-sur-Seine, France, on May 16, 1953. Django was the father of guitarist, Babik Reinhardt [1944 -2001/ 1, 2, 3]. References for Django encyclopedic: 1, 2, 3, 4; musical: 1, 2, 3, 4, 5, 6; Reinhardt, jazz and Nazi Europe: 1, 2, 3. Brief list of compositions w and without Grappelli. Sessionographies: DAHR, RHJ, Lord (leading 94 of 241). Discographies: 1, 2, 3, 4. Compilations: 'Djangologie'; 'Integrale' 1, 2, 3; 'The Hot Jazz'. Reinhardt in visual media. Gear. Further reading: 1, 2, 3, 4, 5, 6, 7, 8. Who enjoy the contemporary gypsy sound in the Reinhardt tradition see the Hot Club of San Francisco with vocalist Isabelle Fontaine at Brookhill77, thunderstick5775, sleepovershows or WilliamsburgSwings. As Reinhardt and Grappelli are most famous for their collaborations together, several of the Reinhardt samples below feature Grappelli as well. Reinhardt also plays on several of tracks under Grappelli. Per below, all tracks for 1928 are with Jean Vaissade.

Django Reinhardt   1928

Stephane Grappelli was born in Paris in 1908. Though he was also a pianist (see Coleman Hawkins) he is most famous for his skill with violin. Albeit one could well categorize Reinhardt and Grappelli as swing musicians, they are placed on this page as forerunners of early modern jazz due their emphasis on individual instrumental virtuosity, a characteristic of modern jazz which big bands didn't so much afford. Another characteristic of modern jazz was its international flavor (bossa nova, etc.). Though jazz had strongly developed in Great Britain in the twenties England was more a sibling than foreign nation to the States. Grappelli and Reinhardt mark the first importation of major foreign influence to the States, that much due to Coleman Hawkins who had first toured to Europe to work with the pair in 1934, opening the door to "there's a whole globe out there" in the days of early swing. Grappelli is thought to have recorded his first tracks circa May 3 of 1929 with Gregor et Ses Gregoriens for the Edison Bell and Wolverine labels, titles like 'Sally of My Dreams' and 'L'amour ca n'a l'air de rien'. The partnership between Grappelli and Reinhardt to 1949 was something of the French version of the collaboration between guitarist Eddie Lang and violinist Joe Venuti in America that had begun some eight years earlier in 1926. As to index one is much to index the other for fifteen years, guitar in several of the samples below is by Reinhardt. Grappelli and Reinhardt first recorded together in Paris on January 15 of 1934 with the Andre Ekyan Orchestre for vocalist, Jean Sablon, such as 'Le jour ou je te vis' and 'Un sou dans la poche'. They worked with a few more ensembles together before their first date with Reinhardt's Quintette du Hot Club de France on December 28 of '34 at the Hot Club de France to put down such as 'Dinah' and 'Tiger Rag'. Grappelli's group, the Hot Four, amounted to a quintet with Reinhardt on its first recordings as such in latter 1935 for 'St. Louis Blues', 'Chinatown', 'Limehouse Blues' and 'I Got Rhythm'. Lord's disco has Grappelli and Reinhardt last stringing titles together in Rome in early 1949 for such as 'The Man I Love' and 'The Peanut Vendor'. Of Grappelli's accredited 375 sessions, more than half were his own. The year after Reinhardt's death in 1953 he recorded 'Piano a Gogo' in May of '954 with Guy Pedersen (bass) Andre Baptiste Reilles (drums). Among highlights in his latter career was a 1984 session with Indian violinist, Lakshminarayana Subramaniam, resulting in 'Conversations'. That same year he recorded 'For All Seasons' with violinist, Yehudi Menuhin, in London. Grappelli died [1, 2] in Paris after a hernia operation on December 1 of 1997. He had put down 'Spirit of Django: Years Apart' with the Martin Taylor Quintet in Scotland in March of 1996. That was followed by 'Celebrating Grappelli' in 1997 with the Spirit of Django Band and Taylor at guitar. References encyclopedic: 1, 2; musical 1, 2, 3. Brief list of compositions w and without Reinhardt. See also 'Hommage a Django Reinhardt' 1972. Sessionographies: DAHR, Lord's. Discographies: 1, 2, 3. Collaborations. Grappelli in visual media. Interviews 1970/74. Grappelli also features on several tracks under Reinhardt. Who enjoy contemporary violin in the Hot Club tradition of Reinhardt and Grappelli see the Hot Club of San Francisco, featuring violinists Julian Smedley or Evan Price, at Steve Ramirez, jasonfarmon, mething, lifewatcher101, 1001human, MP32U or sleepovershows.

Stephane Grappelli   1935

  Believe It Beloved

      Composition: George Whiting

  China Boy

      Composition: Phil Boutelje/Dick Winfree

  Confessin'

  I Got Rhythm

      Composition: George & Ira Gershwin

  I've Had My Moments

  Limehouse Blues

  Moon Glow

     Composition: Will Hudson

Stephane Grappelli   1937

  The Sheik of Araby

  Sugar

Stephane Grappelli   1939

  J'attendrai Swing

     French version of Italian 'Tornerai':

Stephane Grappelli   1949

  All the Things You Are

Stephane Grappelli   1956

  Someone to Watch Over Me

      Composition: George & Ira Gershwin   1926

Stephane Grappelli   1973

  Autumn Leaves

      With Oscar Peterson

       Lyrics English: Johnny Mercer

Stephane Grappelli   1990

  Blue Moon

      Live performance

Stephane Grappelli   1991

  How High the Moon

      Live performance

Stephane Grappelli

Source: NoNaMe

George Van Eps   1935

  Get Rhythm in Your Feet

      With Benny Goodman & Helen Ward

      Composition:

      Bill Livingston/J. Russel Robinson

George Van Eps   1949

 I Wrote It for Jo

      Composition: George Van Eps

  Kay's Fantasy

      Composition: George Van Eps

George Van Eps   1956

  Have You Met Miss Jones

      Music: Richard Rodgers   1937

      Lyrics: Lorenz Hart

George Van Eps   1979

  I've Got a Crush on You

      Composition: Gershwin Brothers

George Van Eps   1991

  Love Walked In

      With Howard Alden

      Music: George Gershwin   1930

      Lyrics: Ira Gershwin 1937

George Van Eps   1993

  Stompin' at the Savoy

      With Howard Alden

      Composition: Edgar Sampson   1934

George Van Eps   1994

  Moon Glow

      With Howard Alden

      Composition:

      Edgar DeLange/Irving Mills/Will Hudson

George Van Eps

Source: Clean Guitar

Bassist Milt Hinton ("the Dean") was born in Vicksburg, Mississippi, in 1910, but was moved to Chicago with his family at age nine. He was given his first violin at age 13, but began playing local gigs on tuba. It was as a tuba player that he hired on with Tiny Parham and His Musicians, but soon switched to upright bass for which his slap bass technique would become notable. He first recorded in Chicago with Parham on November 4 of 1930: 'Doin' the Jug-Jug', 'Rock Bottom', 'Down Yonder', 'Blue Moon Blues' 'Squeeze Me' (Hinton on Tuba), 'Back to the Jungle' 'Nervous Tension' and Memphis Mamie'. November 11 witnessed 'Now That I've Found You', 'My Dreams' and 'After You've Gone', all for Victor. Come Eddie South in Hollywood in late '32 or early '33 with 'Dark Eyes', 'Body and Soul' and 'Throw a Little Salt on the Bluebird's Tail' with Eddie South. A host of titles ensued with South to November of 1934 in NYC per 'Just an Old Banjo' and 'At the Ball, That's All'. In NYC Hinton hired on with Cab Calloway in 1936, his first titles with that orchestra on May 31: 'Love Is the Reason', 'When You're Smiling', et al. Calloway's band was Hinton's potatoes for fourteen years through World War II, his last tracks with that outfit traced in Lord to 1950 in NYC: 'Give Me Twenty Nickels for a Dollar' and 'The Jungle King'. Hinton would reunite with Calloway in 1958, 1973 and 1990. Hinton's first titles as a leader had long since arrived by the time he'd left Calloway in 1950, he having formed an orchestra in New York City, recording 'Broadway Holdover', 'Bass Pandemonium', 'Everywhere' and 'Beefsteak Charlie' on July 6 of '45. He recorded his first album on January 20, 1955, titled 'East Coast Jazz/5'. Joining him were Tony Scott (clarinet), Dick Katz (piano) and Osie Johnson (drums). He had first recorded titles with all three in the summer of 1953, Johnson to support pianist/vocalist, Joe Denise, for 'Joe Denise Sings', Katz and Scott to back vocalist, Jackie Paris, with the Tony Scott Orchestra on 'My Kinda Love' and 'Opus One'. There was a session with Louis Armstrong's All Stars before joining Scott and Kantz again with drummer, Sid Bulkin, in summer of '53 for a couple titles on Scott's 'Jazz for G.I.'s' released in '54. Scott would figure fairly large in Hinton's career, he and Johnson backing Scott in December of '55 for 'Scott's Fling'. Among titles recorded in '56 were Scott's 'The Touch of Tony Scott' and 'The Complete Tony Scott'. Titles followed in '58 and '68 (: 'Swara Sulina'). They had also supported other bands together on occasion in the fifties. Being a studio musician, Hinton was one the most recorded figures in jazz. Lord's disco has him at 1230 sessions, above twenty of those as a leader. This brief account will then be something incomplete, even more so without mention of Mona Clayton who met Milt in 1939 during his Calloway period and became Mona Hinton until Milt's death 61 years later. She Hinton's assistant and Mother Superior of Calloway's touring band arranging such as bed and board. Those with whom Hinton worked over the widest range of time were pianist, Hank Jones, and bandleader, Benny Goodman. His first titles with Jones may have been in 1952 with Tyree Glenn's All Stars, Papa Jo Jones on drums for 'Sidewalks of New York' and 'How Could You Do a Thing Like That to Me?' ('Sultry Serenade'). Hinton and Jones would witness countless sessions together into the nineties in support of various operations, their last recordings together are thought to have been 'Live at the Blue Note' for Lionel Hampton in June of 1991. Some of Jones' albums to which Hinton contributed along the way were 'The Talented Touch' ('58), 'Porgy and Bess' ('59), 'Here's Love' ('63), 'This Is Ragtime Now!' ('64), 'Live in Buffalo 1976' and 'The Trio' ('77), the latter with Bobby Rosengarden at drums. Hinton's first tracks with Goodman are thought to have been in the latter's Octet at Basin Street West in NYC in March of 1955 for such as 'Don't Be That Way' and 'Rose Room', numerous to ensue that year. Hinton joined Goodman again in 1958-59, '67, '69 and '75, that last occasion with Goodman's quintet for 'Benny-Seven Come Eleven' joined by Jones, Bucky Pizzarelli (guitar) and Grady Tate (drums). Some of Hinton's other high impact colleagues were arranger and bandleader, Manny Albam, Helen Merrill, Hal McKusick, Chris Connor and Dinah Washington. Hinton is thought to have worked with Albam as early as 1951, the latter arranging songs on 'My Name Is Ruth Price...I Sing'. Beginning in '55 Hinton and Albam would support numerous operations to 1962, that last occasion thought to be for Curtis Fuller's 'Cabin in the Sky'. Some of Albam's own projects to which Hinton contributed were 'The Jazz Workshop' ('56), two volumes of 'The Jazz Greats of Our Time' ('57), 'The Blues Is Everybody's Business' ('57), 'Sophisticated Lady (The Songs of Duke Ellington)' ('58), 'Jazz New York' ('58), 'Steve's Songs' ('58) and 'I Had the Craziest Dream' ('61). Tracks for 'Steve's Songs' had gone down on 21 and 29 July of '58. At about that same time Hinton was working w Cannonball Adderley, Art Farmer and Barry Galbraith toward John Benson Brooks' 'Alabama Concert', between which sessions the iconic jazz photograph by Art Kane was shot on 18 Aug of '58 called 'A Great Day in Harlem' [1, 2, 3, 4, 5, 6] for publishing in 'Esquire' magazine [1994 documentary by the same title: 1, 2]. Two days after that photograph was snapped arrived the first session for Adderley's 'Jump for Joy'. Hinton himself was a well-known photographer and photo collector with thousands of images of the jazz scene from the thirties to the nineties in his and Mona's archive. Backing up a little, Hinton had been with the Clifford Brown Sextet with Osie Johnson to support Merrill on December 22 of 1954 for such as 'Don't Explain' and 'Born to Be Blue'. Continuing with Merrill into 1955, Hinton would join her again in 1957 and '59, that last occasion on June 11 in NYC for such as 'I'm So Lonesome I Could Cry' and 'My Heart Would Know'. Hinton and McKusick had been with Al Cohn's Charlie's Tavern Ensemble in October of '54 for titles toward 'East Coast - West Coast Scene' (with tunes by Shorty Rogers on side B). They supported other bands together numerously to as late as 1963 for Sammy Spear's 'A Little Traveling Music'. A few of McKusick's albums in which Hinton participated were 'East Coast Jazz Vol 8' ('55), 'In a Twentieth-Century Drawing Room' ('55) and 'The Jazz Workshop' ('56). The next year they backed Charlene Bartley on 'The Weekend of a Private Secretary'. Hinton's initial titles with vocalist, Chris Connor, had been with Osie Johnson on February 8 of '56 for such as 'You Make Me Feel So Young' and 'Anything Goes'. Titles ensued into '57, 1959-60 and, finally, March 11 of 1962 for 'No Strings'. Hinton was with the Quincy Jones Orchestra on November 4 of 1956 to support Dinah Washington's 'I'll Drown in My Tears' and 'You Let My Love Grow Cold'. 'The Swingin' Miss D' ensued in December. Titles followed in February of 1959. Marty Manning was Washington's arranger for titles on October 15 of 1963 like 'That Sunday' and 'They Said You'd Come Back Running'. Among the galaxy of others for whom Hinton recorded, of those unmentioned some of the more impacting Hinton's career were Buck Clayton, Teddy Wilson, Jimmy Rushing, Urbie Green, Bobby Hackett, Erskine Hawkins, Ralph Sutton and Milt Jackson. In addition to leading his own ensembles and working as a studio musician Hinton played in the television bands of Jackie Gleason and Dick Cavett. He was made an NEA Jazz Master in 1993. Hinton died in Queens in 19 December 2000 [obits: 1, 2, 3]. He had issued the album, 'Laughing at Life', in 1994. In 1999 he had participated in pianist, Jay D'Amico's, 'Ponte Novello'. Hinton had also participated in titles by banjo player, Cynthia Sayer, at some indeterminable time shortly before his death. References: 1, 2, 3, 4, 5, 6, 7. Sessions: DAHR, Lord. Discos: 1, 2, 3. Photographic chronology. IMDb. Analysis/ criticism: Jeffrey Kipperman. Interviews: William Taylor 1992 (pdf); Dan Del Fiorentino 1994; w Mona Hinton 1995. Further reading: Gene Lees: 1, 2, 3; NPR. Bibliography of photography by Hinton: 'Bass Line' (Temple U Press 1988), 'OverTime' (Pomegranate 1992), 'Playing the Changes' (Vanderbilt U Press 2008). See also Hinton's biography, solography, discography and photography at Milt Hinton (frames). Collections: 1, 2. Other profiles: 1, 2, 3, 4.

Milt Hinton   1945

 Everywhere

   Composition: Dave Rivera

Milt Hinton   1950

   Filmed live with Cab Calloway

   Composition:

   Calloway/Allen Leroy Gibson

Milt Hinton

Photo: Marc Marnie

Source: Alan Ainsworth

Svend Asmussen   1934

  Jeg har min Chance i Maj

      Guitar: Niels Foss

      Composition:

      Sven Kristensen/Bernhard Christensen

      Composition: Wrubel/John Leflang

      ('Musical Train Ride')

      Film: 'Lattjo med Boccaccio från'

      Guitar: Ulrik Neumann

      Bass: Jesper Lundgaard

      Drums: Aage Tanggaard

Guitarist Les Paul (Lester William Polsfuss) was born in 1915 in Waukesha, Wisconsin. He began getting called "Red" as a teenager due to his red hair. Paul dropped out of high school in October of 1932 and left Waukesha to play professionally as Rhubarb Red at KMOX radio in St. Louis, Missouri [*]. Paul first shows up in Lord per radio transcriptions in February, April and May of 1935 in New York City to back vocalist, Kay Thompson, with Fred Waring & His Pennsylvanians on 'Oh Suzanna, Dust Off the Old Piana', 'It Must Have Been a Devil in the Moon' and 'What's the Reason I'm Not Pleasing You'. Those saw later issue in 2003 on 'Kay Thompson: The Queen of Swing Vocal & Her Rhythm Singers 1933 to 1937' (Baldwin Street Music BJH 313). May 12 of 1936 saw Paul backing Georgia White on 'I'll Keep Sitting on It (If I Can't Sell It)' (Decca 7192) [45Worlds]. Lord has Paul recording as Rhubarb Red and His Rubes on 20 May of '36 in Chicago: 'Just Because', 'Answer to Just Because', 'Deep Elem Blues No. 2' and 'Deep Elem Blues' are given issue numbers MW 8012 and MW 8013 though are said to be unreleased until 1997 on 'The Trio's Complete Decca Recordings 1936-47' on MCA MCAD2-11708. Paul formed the Les Paul Trio in 1937 w Jim Atkins (guitar) and Ernie Darius Newton (bass) [Discogs]. ODP and Praguefrank's have the same recording 'Where Is Love'/'Swanee River' in Oct '39 toward unknown issue on Okeh 6027. Come radio broadcasts from 1939 to 1941 to see issue on 'The Legendary Fred Waring Broadcasts: Historic Live Performances (1939-1941)' by on Cambria CAMCD-1146 in 2004. Sometime in the early forties Paul again transcribed as Rhubarb Red & his Rubes, those broadcasts released on an unknown date in Germany on 'Les Paul's Country Roots' (Bronco Buster CD 9023). Sometime during the early forties the Les Paul Trio had come to consist of Cal Gooden (rhythm) and Clint Nordquist (bass). It was that configuration with which transcriptions were made w pianist, Art Tatum, sometime in 1944, titles like 'Ja-Da' and 'Somebody Loves Me' eventually released in 2008 on 'Art Tatum' 1934-56 (Storyville 108 8603). Paul and partners transcribed numerously in 1944 including for AFRS and McGregor. Titles per the 'California Melodies' radio program have been issued by Collectors Choice. Lord's disco has Paul with Jazz at the Philharmonic on three dates from July 2 of 1944 to May 24 of '47, that last at Carnegie Hall with Roy Eldridge for 'Perdido' (unissued), 'What Is This Thing Called Love?' (unissued) and 'Blues'. Paul's titles w the JATP have been variously issued on Mercury, Clef and Verve. Come a string of transcriptions w his trio (Gooden and Nordquist) for World in January and February of 1945, titles like 'Undecided' and 'Out of Nowhere' getting released in 2010 on 'After You've Gone' (Audiophile ACD-042). Lord has Milt Raskin or Buddy Cole at piano on those. Praguefrank's has Paul privately recording 'Hip-Billy Boogie' and 'What Is This Thing Called Love' circa March 3, 1945, not issued until April of '48 on Capitol 15070 [45Worlds]. Come a session on 12 July w his trio backing Bing Crosby on 'It's Been a Long Long Time'/'Whose Dream Are You' issued in Sep on Decca 18708. He issued 'Rumors Are Flying' w the Andrews Sisters on Decca 23656 in 1946. Paul was famous for his musical partnership with his wife, guitarist, Mary Ford. Their first meeting in 1945 had led to their first performance together in '46, touring in '47. Come recording and marriage in '49, the 'Les Paul Show' in 1950 (NBC Radio) and a number of high charting titles w Ford like 'Tennessee Waltz' ('50), 'How High the Moon' ('51), 'Tiger Rag' ('52) and 'Vaya Con Dios' ('53). Paul collaborated w Ford until their divorce in Dec 1964. Greater detail w references for Paul and Ford at *. Paul's release of 'What is This Thing Called Love?' in '48 had claimed the #11 tier on Billboard that May. Other strong solo titles during his period w Ford were 'Nola' ('50), 'Little Rock Getaway' ('50), 'Whispering' ('51), 'Meet Mister Callaghan' ('52) and 'Lady of Spain' ('52). Other notable issues were 'Lover'/'Brazil' released in 1951 on Capitol 1600 (shellac 78) and F1600 (vinyl 45). Paul's fame as a guitar player was eventually overshadowed by his collaboration w Orville Gibson on the design of the Gibson Les Paul solid body electric guitar first marketed in 1952. Paul had an innovative lean, from assembling a neck brace as a boy so he could play guitar and harmonica at once, to the invention of multi-track recording, overdubbing and, the little black box attached to his guitars called the paulverizer (on a few tracks below). Among results from his early experiments in audio engineering were the bass and percussion on recordings w Ford which were actually Paul's guitar [*]. After his period w Ford, Paul relaxed his pace. He released 'Les Paul Now' in 1968. A couple albums w Chet Atkins followed in 'the seventies: 'Chester and Lester' ('76) and 'Guitar Monsters' ('78). Often performing at the Iridium Jazz Club in NYC in his latter years, Paul issued 'Les Paul & Friends: American Made World Played' in 2006, that consisting of dubbed parts played by various such as Jeff Beck, Keith Richards, Buddy Guy and Steve Miller. Paul died on 12 August 2009 of pneumonia in White Plains, New York [1, 2]. He had given his final performance at the Iridium on his 90th birthday (June 15). References: 1, 2, 3, 4, 5, 6, 7. Discographies: 1, 2, 3, 4. Paul in visual media. Interviews: 1993, 1994. The Les Paul Foundation. Further reading: Paul as inventor: 1, 2, 3; audio engineering and: 1, 2, 3, 4, 5, 6, 7; the paulverizer: 1, 2; Gibson Les Paul electric guitar: *; Books: 'The Early Years of the Les Paul Legacy 1915-1963' by Lawrence (Hal Jeonard 2008); Articles: Cellini, Driscoll, Gress, Maxwell, Tianen. Other profiles: 1, 2, 3, 4, 5. References for Paul and Mary Ford: *.

Les Paul   1936

Mary Ford & Les Paul

Alvino Rey

Source: Big Band Library

Alvino Rey   1937

  Hot Lips

      With the King Sisters

  I'll Take You Home Again Kathleen

      Vocal: Larry Cotton

  It's the Natural Thing to Do

      With the King Sisters

      Composition: Arthur Johnston

  Lovely One

      Vocal: Larry Cotton

      Music: Manning Sherwin

      Lyrics: Frank Loesser

  Rosalie

      Vocal: Lysbeth Hughes

      Composition: Cole Porter

  There's a Gold Mine in the Sky

      Vocal: Larry Cotton

      Composition: Charles & Nick Kenny

  Vieni Vieni

      Vocal: Lysbeth Hughes

      Composition: Rudy Vallee/Vincent Scotto

Alvino Rey   1938

  This Can't Be Love

      Vocal: Larry Cotton

      Music: Richard Rodgers   1938

      Lyrics: Lorenz Hart

  When They Played the Polka

      Vocal: Charles Goodman

      Composition: Lou Holzer/Fabian Andre

Alvino Rey   1940

  My Buddy

      With Luise King

      Composition: Alvino Rey

Alvino Rey   1941

  I Said No!

      Vocal: Yvonne King

      Composition: Jule Styne/Frank Loesser

  Idaho

      Vocal: Yvonne King

      Composition: Jesse Stone

Alvino Rey   1944

  St. Louis Blues

      Rey's speaking steel guitar

      Composition: WC Handy   1914

      Film: 'Jam Session'

Alvino Rey   1946

  Cement Mixer

      Vocal: Rocky Coluccio

      ('Pu-Ti Put-Ti')

      Composition: WC Handy   1914

      Lee Ricks/Slim Gaillard

      Arrangement: Andy Gibson

Alvino Rey   1947

  Bloop Bleep

      Vocal: Rocky Coluccio

      Composition: Frank Loesser

Alvino Rey   1959

  Hindustan

      'Lawrence Welk Show'

      Composition: Frank Loesser

  Rock Gently

      Composition: Warren Barker

  Sentimental Journey

      'Lawrence Welk Show'

      Music: Les Brown/Ben Homer   1944

      Lyrics: Bud Green

Alvino Rey   1961

  Steel Guitar Rag

      Composition: Leon McAuliffe

Alvino Rey   1965

  Medley

      'King Family Show' with the King Sisters

Photo: Francis Wolff

Source: Washington Post

Wilbur Ware   1957

Laurindo Almeida   1938

Drums: Roy Harte

     World Pacific WP-1425

    Filmed Concert

Laurindo Almeida

Source: Shapiro Bernstein

George Barnes

Photo: Jon Sievert

Source: Guitarrista

Born in South Chicago Heights in 1921, George Barnes [1, 2, 3, 4, 5] was among the first to employ the electric guitar. (Others were Alvino Rey, Charlie Christian and T-Bone Walker.) Be as may, Barnes first recorded with blues musician Big Bill Broonzy in Chicago on March 1, 1938 ('It's a Low Down Dirty Shame' and 'Sweetheart Land'). It's said that those were the first commercial recordings of electric guitar, though there are other candidates, such as country western musician, Milton Brown, thought to have employed electric guitar on Decca recordings as of January 1935. Bob Dunn was his guitarist at the time. (The first electric guitar was produced in 1931 by George Beauchamp. The first marketed electric guitar was the Gibson ES-150 with a price tag of $150 in 1936.) Barnes second session is thought to have been with Louis Powell's Jazz Wizards on March 23 for 'Sissy' and 'Mushnouth Blues' issued by Vocalion. Sessions with Merline Johnson (the Yas Yas Girl) followed in spring of 1938 for such as 'Love Shows Weakness' and 'Running Down My Man'. 'I'm Forever Blowing Bubbles' was Barnes' first record release in his own name in 1940 with 'I Can't Believe That You're In Love With Me' flip side. Lord's discography has Barnes at 212 sessions, 31 of those his own. This account of his recording career is therefore necessarily truncated. One important figure with whom Barnes recorded on multiple occasions was cornetist/trumpeter, Jimmy McPartland, with whom he recorded three unissued titles on September 9 of 1949: 'Silence Please', 'I Never Thought I'd Sing the Blues' and 'Keepin' Out of Mischief Now'. They would see one another for issued titles on April 7 of '53: 'Ostrich Walk' and 'Louisiana'. May 14 saw 'I'm Coming, Virgina' and 'Riverboat Shuffle' among others. They would visit again in '55 and '59, that latter occasion resulting in McPartland's 'That Happy Dixieland Jazz'. More significant to his career was Barnes' association with arranger/conductor, Sy Oliver, first working with him in support of vocalist, Don Cherry, on titles like 'Beautiful Madness' and 'Chapel of the Roses' on January 25, 1951. Oliver employed Barnes on numerous occasions throughout the fifties. October 18, 1962, witnessed the recording of Oliver's 'Easy Walker'. That 1951 date with Oliver and Cherry also saw Barnes' first titles with trumpeter, Charlie Shavers. Their paths would interweave often in support of other operations to as late as Shavers' 'Excitement Unlimited' in 1963. Clarinetist, Artie Shaw, was also in that session with Cherry and Oliver above, Barnes to record with Shaw's orchestra the next year. Trumpeter, Yank Lawson, was another important figure in the fifties, they putting down such as 'Beale Street Blues' and 'Gulf Coast Blues' in November of '52. Lawson and Barnes recorded numerously together, supporting other bands when Barnes wasn't backing Lawson, to July 13 of 1959, that with Sy Oliver and Jean Goldkette for such as 'My Pretty Girl' and 'Dinah'. Barnes drew a royal flush on February 23, 1954, when he and Lawson were joined by trumpeter, Louis Armstrong, for titles to 'Louis' Hot 5s and 7s'. Barnes would see multiple sessions with Armstrong in January of 1957, Armstrong's 'A Musical Autobiography' among the results. Come 'Louis and The Good Book' in 1958. Latter 1954 saw multiple sessions with bandleader, Ray Anthony. Barnes began appearing on projects by pianist and 'Tonight Show' host, Steve Allen, in 1955: 'Jazz Tonight'. 'Allen's All Stars' arrived in 1958. Barnes could well be placed in Big Band Swing but that he kept pace with the times as well. Though not an R&B musician per se, he couldn't but observ the development from swing to R&B in the forties and fifties and performed with a few such musicians. One example was Big Joe Turner, Barnes first recording with Turner's All Stars on February 4, 1956, for such as 'Corrine Corrina' and 'Rock a While'. January 22 of 1958 found Barnes in the orchestra of Howard Bigg's to support Turner on such as 'Sweet Sue, Just You' and 'Blues in the Night'. Starting in 1956 Barnes would participate in all six volumes of Enoch Light's 'The Roaring 20's' with the Charleston City All Stars. Come veteran trumpeter, Wingy Manone, in January of 1957 for tracks to 'Trumpet on the Wing'. Clarinetist, Stan Rubin's, 'Dixieland Goes Broadway' followed in July. Six months later it was more R&B with Little Willie John on January 4 of '58 for 'Talk to Me', 'Don't Be Ashamed' and 'Spasms'. 'Let's Rock While the Rockin's Good' and 'You're a Sweetheart' followed on June 11. Come December 9 for 'No Regrets' and 'Made For Me'. Barnes had meanwhile recorded a number of titles in September with Della Reese from 'Good Morning Blues' to 'Stormy Monday'. Highlighting the sixties was cornetist, Bobby Hackett's, 'Jazz Impressions of Oliver' in 1963. Highlighting the seventies were numerous sessions with trumpeter, Ruby Braff. Their first on June 29 of 1973 was a concert at Carnegie Hall with their Quartet consisting of Wayne Wright (guitar) and John Giuffrida (bass) for titles like 'Ooh That Kiss' and 'With Time to Love'. They supported Tony Bennett that year as well for 'Rodgers and Hart Songs' and 'More Great Rodgers and Hart'. Their last session was at Carnegie Hall again on June 29 of 1975 with their Quartet consisting of Vinnie Currao (guitar) and Michael Moore (bass) for such as 'Them There Eyes' and 'I'm Old Fashioned'. Among Barnes' numerous albums were 'Guitars Galore' (1961), 'Gems' (1975), 'Live at The Concord Summer Festival' with Joe Venuti in 1976, 'Blues Going Up' (1977) and 'Plays So Good' released posthumously in 1978. Barnes died on September 5, 1977, in Concord, California. His last titles are thought to have been on July 7 that year at the Willows Theater in Concord, CA, for what would see issue as 'Don't Get Around Much Anymore'. A few more of Barnes' earliest recordings at age 16 under Jazz Gillum in Blues 4. Sessionographies: DAHR, Lord's. Discographies: 1, 2, 3. Mottola in visual media. See also The George Barnes Legacy and Guitar Cave. Per 1940 below, music for 'I'm Forever Blowing Bubbles' had been written in 1918 for the Broadway musical, 'The Passing Show of 1918'. Lyrics were by Jaan Kenbrovin, a collective pseudonym for James Kendis, James Brockman and Nat Vincent.

George Barnes   1938

 It's a Low Down Dirty Shame

    With Big Bill Broonzy

    Composition: Broonzy/Ollie Shepard

 New Sail On, Little Girl

    With Big Bill Broonzy and Jazz Gillum

    Composition: Jazz Gillum

 Sweetheart Land

    With Big Bill Broonzy

  Sweet Sweet Woman

     With Big Bill Broonzy and Jazz Gillum

George Barnes   1940

 I'm Forever Blowing Bubbles

      Composition: See above

George Barnes   1961

 Singin' in the Rain

      Album: 'Guitars Galore'

George Barnes   1971

 Honeysuckle Rose

     Duet with guitarist Bucky Pizzarelli

     Composition: Fats Waller/Andy Razaf

George Barnes   1978

 Theme from the Flintstones

      Album: 'Don't Get Around Much Anymore'

      Composition:

      Larry Goldberg/Lynn Bryson/Peggy Shows

Born in 1917 just north of the border from Mexico in Brawley, California, bassist Howard Rumsey is thought to have made his debut recording in May or June of 1938 in Hollywood with the Vido Musso Orchestra for 'Jig-a-Jive' (Davis & Schwegler 162). (That was released that year with 'I've Been a Fool' by Betty Van flip side per Davis & Schwegler 163.)Rumsey became a member of Stan Kenton's first band in 1941, recording for the Mutual Broadcasting System at the Rendezvous Ballroom in Balboa Beach, CA, on July 25 to yield 'Artistry in Rhythm' (theme) and 'Reed Rapture'. Future sessions with Kenton for radio, studio and transcription ensued into 1942. He next supported Dave Coleman, Freddie Slack, Charlie Barnet and Wingy Manone ('49). It was 1949 when Rumsey was looking for a gig in Hermosa Beach, California, and happened upon the Lighthouse Club (Lighthouse Cafe: 1, 2, 3, 4). His first recorded session with his Lighthouse All Stars was circa December of '51, that featuring Jimmy Giuffre on parts 1 and 2 of 'Big Boy' and 'More Big Boy'. Rumsey's Lighthouse All Stars made the Lighthouse Club a hot spot in West Coast jazz into the early sixties. Ensembles other than the All Stars performed at the Lighthouse as well, such as those of Chet Baker, Miles Davis and Max Roach. The All Stars appeared on the 'Stars of Jazz' television series on 3 Sep of '56 w June Christy. Christy joined the All Stars on 'Stars of Jazz' again on 3 March of '58. The group (minus Christy) had laid out 'Music for Lighthousekeeping' in December of '56 [1, 2,]. Some 75 musicians passed through Rumsey's band to what Lord's disco lists as their last session on May 19 of 1958 for the 'Stars of Jazz' television program yielding 'All the Thing You Are', 'The Nearness of You' and 'Viva Zapata'. They had released the LP, 'Jazz Rolls Royce', that year. A few of the frequent members of the All Stars were Shorty Rogers, Milt Bernhart, Bob Cooper and Frank Rosolino. Frequent drummers were Shelly Manne and Stan Levey. Bud Shank, Jimmy Giuffre and Conte Candoli were also a strong presence. From 1972 to 1986 Rumsey partly owned and operated Concerts by the Sea, a jazz club in Redondo Beach, California. He had largely stopped performing by that time. Rumsey died on July 15, 2015. References for Rumsey: All Music; Wikipedia. Sessions: DAHR; Lord (leading 42 of 70). Discos: 1, 2, 3, 4. Interviews: Rex Butters 2007; Marc Myers 2009; NAMM 2009. Further reading: Donald Clarke; Ken Poston. References for the Lighthouse All Stars: All Music; Jazz Research: 1, 2, 3, 4. Discos: 1, 2, 3. Internet Archive. Further reading: Marc Myers. Per below, 1941 is the recording rather than release year, those not issued before much later compilations.

Howard Rumsey   1941

 Arkansas Traveler

     With Stan Kenton

     Composition:

     Colonel Sanford Faulkner c 1850:

     1, 2, 3

 Congo Clambake

     With Stan Kenton

     Composition: Ralph Yaw

Howard Rumsey   1952

 Out of Somewhere

     Lighthouse All-Stars 2nd group

     Composition: Jimmy Giuffre

Howard Rumsey   1953

 Four Others

     Lighthouse All-Stars 2nd group

     Composition: Jimmy Giuffre

 Sunset Eyes

     Lighthouse All-Stars 2nd group

     Composition: Teddy Edwards

 Witch Doctor

     Lighthouse All-Stars 3rd group with Max Roach

     Composition: Bob Cooper

 At Last

     Lighthouse All-Stars 3rd group

     With Max Roach & Chet Baker

     Composition: Harry Warren/Mack Gordon

Howard Rumsey

Source: Bass Instincts

Slam Stewart

Source: Salitote

Slam Stewart   1938

  Flat Foot Floogie

      Composition:

      Slim Gaillard/Slam Stewart/Bud Green

  Look-a-There

      Composition: Slim Gaillard/Slam Stewart

  That's What You Call Romance

      Composition: Slim Gaillard/Slam Stewart

  Tutti Frutti

      Composition: Slim Gaillard/Slam Stewart

Slam Stewart   1941

  Hellzapoppin'

      Composition: Don Raye/Gene DePaul

      Filmed live with Slim Gaillard

Slam Stewart   1945

  Honeysuckle Rose

      Slam Stewart Quintet

      Composition: Fats Waller/Andy Razaf

  I Got Rhythm

      Tenor sax: Don Byas

      Composition: Gershwin Brothers

  Indiana

      'Back Home Again in Indiana'

      Tenor sax: Don Byas

      Composition: Jack Hanley/Ballard MacDonald

  Slammin' the Gate

      Slam Stewart Quintet

      Composition: Leonard Feather

Slam Stewart   1973

  Oh, Lady Be Good

      With Benny Goodman

      Composition: Gershwin Brothers

Slam Stewart   1977

  Slam Mule

      Bass duet with Major Holley

      LP: 'Two Big Mice'

      Composition: Slam Stewart

Slam Stewart   1981

  Close Your Eyes

      Bass duet with Major Holley

      Piano: Dick Hyman

      Drums: Oliver Jackson

      LP: 'Shut Yo' Mouth!'

Slam Stewart   1986

  Flat Foot Floogie

      Live performance

      Composition:

      Slim Gaillard/Slam Stewart/Bud Green

Tony Mottola   1951

Tony Mottola   1959

Tony Mottola

Source: Space Age Pop Music

Oscar Pettiford

Source: African American Registry

Double bassist and cello player Oscar Pettiford was born in 1922 Okmulgee, Oklahoma. He knew and played with Milt Hinton, double bassist alike, as a teenager. Pettiford began working professionally while living in Minneapolis, MN, he there making his debut recordings at the Harlem Breakfast Club on September 24, 1939, with the Jerry Jerome Quartet consisting of Jerome on tenor sax, Charlie Christian on guitar and Frankie Hines on piano: 'I Got Rhythm #1', 'I Got Rhythm #2', 'Stardust', and 'Tea For Two'. At that point Pettiford wasn't certain if he wished to pursue music, backing off until he decided to go to New York where he fell in with in with the band of Charlie Barnet in 1942. His next sessions were private jams in February of 1943 in Chicago with saxophonist, Charlie Parker, in Room 305 of the Savoy Hotel. One on the 15th included Dizzy Gillespie for 'Sweet Georgia Brown'. One with no date was with trumpeter, Benny Harris, for 'I've Found a New Baby', 'I Can't Give You Anything But Love', etc.. Pettiford's next commercial recordings were in NYC on December 4, 1943, with Leonard Feather's Esquire All Stars in support of saxophonist, Coleman Hawkins. Titles included 'Esquire Bounce' and 'Esquire Blues'. Hawkins, Feather and the Esquire All American All Stars would be of major importance to Pettiford's career for years to come. Pettiford's next three sessions that December of '43 were with Hawkins' orchestra, yielding such as 'Voodle', 'Lover Come Back to Me' and 'The Man I Love'. Pettiford recorded numerously with Hawkins to March 2 of 1945, both in his orchestra and with the Esquire All American All Stars. Their last date was with Hawkins' orchestra in Los Angeles resulting in such as 'Hollywood Stampede' and 'I'm Through with Love'. They reunited on September 23, 1955, as members of the JATP All Stars accompanied by the Stan Kenton Orchestra for a CBS telecast of 'Music 55'. Later visits occurred in '57, '58 and, finally, April 2, 1960, at Grugahalle in Essen toward Hawkins's 'Hawk in Germany'. Hawkins attended nigh all of the numerous Esquire All Stars sessions that Pettiford did, except Pettiford's last on January 16, 1946, that a giant enterprise at the Ritz Theater in NYC titled 'Esquire Third Annual Jazz Concert' with the King Cole Trio and both the orchestras of Duke Ellington and Woody Herman. As for Feather, the Esquire All Stars went on without him. Pettiford's next sessions with him after their first with the All Stars in '43 was on November 20, 1944, in Feather's Hiptet to support Helen Humes on 'If I Could But I Can't', 'Keep Your Mind on Me', etc.. Pettiford filled spot in Feather's orchestras on occasion to as late as December 7 of 1958 for pianist, Dick Hyman's 'Oh, Captain!'. We need return to February 26, 1944, to regard the first that Pettiford recorded in a trio, that pianist, Earl Hines' with guitarist, Al Casey, for such as 'My Fate Is in Your Hands' and 'Honeysuckle Rose'. Pettiford recorded again with Hines that year and in '47. His next trio was with Milt Page and an unknown guitarist in December of 1944 to harvest 'It's Only a Paper Moon' and 'Soda Pop'. It was next his own Trio in October of 1945 with Clyde Hart (piano) and Chuck Wayne (guitar) for an AFRS 'Jubilee' radio broadcast (#151)to bear 'Tea for Two'. Among other trios was one with pianist, Bud Powell, and drummer, Roy Haynes, at the Birdland in NYC on February 7, 1953, to yield such as 'Lullaby of Birdland' (George Shearing/George David Weiss) and 'Tea for Two' (Vincent Youmans/Irving Caesar). Pettiford joined drummer, Art Blakey in the Thelonious Monk Trio on March 17, 1956 for 'Liza' and 'You Are Too Beautiful', et al. On August 2, 1956 it was the Charlie Smith Trio with pianist, Hank Jones, for such as 'Blues for Sal' and 'Body and Soul'. Those got issued that year on an LP shared with the Aaron Sachs Sextet: 'Jazzville Vol 3'. In October of 1957 it was his own Trio again with Eddie Costa (piano) and Ed Thigpen (drums) for 'Taking a Chance on Love'. We need return to July 27, 1944, for Pettiford's first session as a leader, that for solos accompanied by Clyde Hart at piano netting 'Dedicated to JB' and 'Don't Blame Me'. Pettiford led his first orchestra on January 9, 1945, for 'Something for You', 'Worried Life Blues' and 'Empty Bed Blues'. On November 17, 1945, arrived the most significant figure in Pettiford's career, that being pianist, Duke Ellington. Working with Ellington didn't pay a lot, but to be able to say that one did were words of gold. That ABC Broadcast from Radio City Studio 6B in NYC yielded such as 'Walkin' with My Honey' and 'Jack the Bear'. Ellington was Pettiford's main living for another thirteen years to 1958 with countless sessions held, what is thought the last on April 24 that year for 'Hand Me Down Love', 'Duke's Place' and 'Lullaby of Birdland'. Pettiford moved to Copenhagen, Denmark, in 1958, where he died young, age 36, on September 8, 1960, of causes apparently undisclosed if not undetermined. He had recorded 'My Little Cello' in July that year. Amidst the host of others whose tunes Pettiford had learned were Ben Webster, Boyd Raeburn, Frank Wess, Mat Mathews, Tom Talbert, Lucky Thompson, Chris Connor, Nat Pierce, Phineas Newborn Jr. and Lee Konitz. References: 1, 2, 3, 4, 5, 6. Sessions: DAHR (w composers); J-DISC (w comps by Pettiford); Lord (leading 52 of 420). Discos: 1, 2, 3, 4. Compilations: 'Sessions 1958-60' by Delta 1988; 'Germany 1958/1959' by Jazzhaus 2013 (also released as 'Baden-Baden 1958/1959'): 1, 2. Further reading: Erik Friedlander; Marc Myers (reviews); Mark Saltman (analysis): 1, 2; Michael Steinman. Other profiles: 1, 2.

Oscar Pettiford   1939

  Tea for Two

      With the Jerry Jerome Quartet

      Music: Vincent Youmans   1924

      Lyrics: Irving Caesar

Oscar Pettiford   1943

  The Man I Love

      With Coleman Hawkins

      Composition: Gershwin Brothers

Oscar Pettiford   1959

  All the Things You Are

      Sax: Hans Koller

      Guitar: Attila Zoller

      Drums: Jimmy Pratt

      Composition: Jerome Kern

  Blues in the Closet

      Sax: Hans Koller

      Guitar: Attila Zoller

      Drums: Jimmy Pratt

      Composition: Pettiford

  The Gentle Art of Love

      Sax: Hans Koller

      Guitar: Attila Zoller

      Drums: Jimmy Pratt

      Composition: Pettiford

  Laverne Walk

        Tenor Sax: Stan Getz

      Composition: Pettiford

Oscar Moore

Source: Discogs

Oscar Moore   1938

  Jingle Bells

       ('One Horse Open Sleigh')

       With the Nat King Cole Trio

       Radio transcription

       Composition: James Lord Pierpont   1857

  Three Blind Mice

       With the Nat King Cole Trio

       Radio transcription

       Composition: Anonymous

       English nursery rhyme   See Wikipedia

Oscar Moore   1940

  I Like to Riff

       With the Nat King Cole Trio

       Composition: Nat King Cole

  Sunny Side of the Street

       With the Nat King Cole Trio

       Music: Jimmy McHugh

       Lyrics: Dorothy Fields

       Rights possibly sold by Fats Waller

Oscar Moore   1944

  Body and Soul

       With the Nat King Cole Trio

       Composition:

       Johnny Green/Edward Heyman

       Robert Sour/Frank Eyton

Oscar Moore   1946

  It's Better to Be by Yourself

       Film with the Nat King Cole Trio

       Composition:

       Bob Levinson/Howard Leeds/Nat King Cole

 To a Wild Rose

       With the Nat King Cole Trio

       Composition: Edward MacDowell

Oscar Moore   1954

  Buddy, Can You Spare a Dime?

       Oscar Moore Quartet   Piano: Carl Perkins

       Composition: Jay Gorney/Yip Harburg

  Jesse James

       Oscar Moore Quartet   With Kitty White

       Composition: Freed/Livingston

  Roulette

       Oscar Moore Quartet   Piano: Carl Perkins

       Composition: Oscar Moore

  Samson and Delilah Theme

       Oscar Moore Quartet   Piano: Carl Perkins

       Composition: Victor Young

Oscar Moore   1955

Billy Bauer

Source: Jazz Wax

Billy Bauer was a guitarist with an ear for such as bebop and cool jazz. Born in 1915 in New York City, by Bauer's account he began messing with electric guitar in 1935 at age twenty. He had earlier played ukulele, banjo and acoustic. His first professional performances were acoustic with pianist, Harry Raab, in 1936 at the Nash Tavern in South Bronx. In 1937 they performed at the Seabright Yacht Club in New Jersey and the Naughty Naught Cafe in Manhattan. In June of 1940 Bauer joined the Jerry Wald Orchestra. He first recorded on August 27, 1941, as a member of the Carl Hoff Orchestra: 'Swing Low Sweet Chariot' and When Johnny Comes Marching Home'. (Thanks to 'Billy Bauer: A Life in the Bebop Guitar Business' by Steven Beck for above information.) He left tracks with Wald's orchestra on June 25, 1942, for such as 'Strictly Instrumental' and 'Trains in the Night'. Another session in 1943 yielded such as 'Alice Blue Gown' and 'C Jam Blues'. 1944 would be a big year for Bauer, he joining the orchestra of Woody Herman in time for transcriptions by World on April 5 to include such as 'Perfido' and 'Blue Lullaby'. Bauer would become a member of Herman's First Herd, remaining with him into 1946, joining him again from 1955 to '59 and reuniting on November 20, 1976, with Herman's New Thundering Herd for issue as 'The 40th Anniversary Carnegie Hall Concert'. It was with Herman in NYC that Bauer' first recorded with one of his more important musical comrades in the person of bassist, Chubby Jackson. That was April 5, 1944, for such as 'Perdido' and 'Blue Lullaby'. Bauer next joined Jackson's Sextet in Chicago on July 1 for 'I Gotcha Covered', 'Popsie', etc.. Bauer and Jackson would clear much the same path into 1947, recording numerously together with Herman, backing other ensembles and collaborating on Jackson's projects. Bauer last appeared with Jackson for live recordings at the Pied Piper in NYC on August 24, 1947, yielding four parts of 'A Nght in the Village', et al. They reunited on July 30, 1958, for Herman's 'The Herd Rides Again...in Stereo'. Another reunion would occur per above in 1976 for Herman's 'The 40th Anniversary Carnegie Hall Concert'. Another important musical associate arrived with Herman above on April 5, 1944, in pianist/arranger, Ralph Burns. Bauer and Burns worked with Herman until Burns vacated after Herman's Woodchoppers in 1946. They would work together again in 1951 with the Metronome All Stars and variously on several other occasions to May of 1956, Bauer joining Burns' orchestra to support vocalist, Beverly Kenney, on 'Come Swing With Me'. They would reunite in 1976 per above with Herman's New Thundering Herd. Present in Jackson's Sextet above on July 1 of 1944 was another to contribute significantly to Bauers' career in the person of tenor saxophonist, Flip Phillips. Bauer and Phillips left a common wake into the early fifties with Herman, other bands and supporting Phillips's projects. Their first occasion per the latter is thought to have been with Phillips' Fliptet in NYC on October 2, 1944, for such as 'Pappilloma' and '1-2-3-4 Jump'. Their last occasion of that long stretch together is thought have been on August 7 of 1951 with the Chico O'Farrill Orchestra for 'Dance One', 'Bright One', etc.. They would reunite once again, per above, in 1976 with Herman's New Thundering Herd, a final time per below in 1995. Another with whom Bauer worked significantly was blind pianist Lennie Tristano, they joining one another in 1946 in a trio with Chubby Jackson for 'My Ideal'. Bauer first joined Tristano's Trio on October 8 of '46 with bassist, Clyde Lombardi, for 'Out on a Limb', 'I Can't Get Started', et al. Bauer kept tight with Tristano to the Metronome All Stars in 1950 for 'Double Date' and 'No Figs' with Dizzy Gillespie. (Bauer is thought to have first recorded with Gillespie per Barry Ulanov's All Star Modern Jazz Musicians in September of 1947 for a couple 'Bands For Bonds' radio broadcasts yielding such as 'Ko-Ko', 'Fine and Dandy' and 'Tiger Rag'.) Having referred to the Metronome All Stars (MAS) a couple times, it's apt to comment that Bauer was a favorite with that organization of revolving musicians. His first appearance with the MAS was on January 15 of 1946 for 'Look Out' and 'Metronome All Out'. His sixth and last appearance was July 9 of 1953 for two parts each of 'How High the Moon' and 'St. Louis Blues', those with Billy Eckstine. The year after Bauer's first recording with the MAS came vocal giant, Dinah Washington, that with the Chubby Jackson Orchestra in NYC in spring of '47 for 'Stairway to the Stars' and 'I Wanna Be Loved'. 'Mean and Evil Blues' and 'You Satisfy' went unissued. Bauer also backed Sarah Vaughan that year on 'Everything I Have Is Yours' with the Barry Ulanov Orchestra. Bauer was an all-star musician by the time he joined Benny Goodman's Septet on May 24 of 1948 for an NBC radio broadcast from the Click Restaurant in Philadelphia, PA, putting out 'Stompin' at the Savoy', 'Limehouse Blues', etc.. Bauer stuck with Goodman through numerous recordings that year and later in 1958. They would reunite a last time in September of 1961 for sessions with CBS, then NBC, for such as 'Big John's Special' and 'My Reverie'. Bauer wouldn't depart the forties without recording with another who would figure heavily in his career, that alto saxophonist, Lee Konitz, the occasion for Lennie Tristano on January 11 of 1949 for ''Progression', 'Tautology', etc.. Also present were Arnold Fishkin (bass) and Shelly Manne (drums). Bauer and Konitz would stick with Tristano to 1950, they also recording with the MAS that year per Gillespie above. Bauer and Konitz then recorded as a duo on April 7 of 1950 on 'Rebecca', that with others titles per a quartet and quintet. Bauer supported Konitz numerously for the next eight years to the latter's 'An Image' on February 6 of 1958. Another significant figure arrived in cornetist, Bobby Hackett, on May 11, 1953, for 'Soft Lights and Bobby Hackett'. 1957 would find him recording toward Hackett and Jack Teagarden's 'Jazz Ultimate'. 1959 found Bauer participating in Hackett's 'Hawaii Swings'. In the meantime Bauer had recorded his debut album in April of 1955: 'Let's Have a Session'. 'Plectrist' [1, 2, 3], Bauer's single studio LP, ensued on January 26 and March 12 of 1956, issued by Norgran that year, by Verve the next in '57. Bauer's support on that were Andrew Ackers (piano), Milt Hinton (bass) and Osie Johnson (drums). Bauer recorded throughout the sixties into 1969, among final titles in winter that year with trumpeter, Clark Terry, on 'What Is This Thing Called Love' and 'Blues For Fontana'. Woody Herman's 'The 40th Anniversary Carnegie Hall Concert' in 1976 with the New Thundering Herd was one of the few occasions that Bauer recorded in the last 35 years of his life as he concentrated on private teaching. Lord's disco has him one last time in March of 1995 with Flip Phillips at the Hilton in Dearfield Beach, FL, for 'Sweet and Lovely' and 'Perdido'. He published his autobiography, 'Sideman' [1, 2], in 1997. Bauer died on June 16 of 2005 in New York City. References: 1, 2, 3, 4. Synopsis. Sessions: DAHR (w composers); Lord (leading 7 of 258). Discos: 1, 2, 3, 4. Transcriptions & instruction by Bauer *. Further reading: 'A Life in the Bebop Guitar Business' by Steven Beck (Rutgers 2014).

Billy Bauer   1946

      Flip Phillips Hiptet

     Composition:  Cole Porter

George Duvivier, double-bassist, was born in New York City in 1929. Early work places him with Lucky Millinder and Cab Calloway in the forties after a time in the Army. He is thought to have first recorded with the Lucky Millinder Orchestra on November 6 of 1941: 'Hey Huss' and 'Let Me Off Upton' (with vocalist, Trevor Bacon), et al. Duvivier stuck with Millinder for a couple years, their last tracks for V-Disc on November 23 of 1943 gone unissued: 'Macon Flyer', 'Apollo Jump' and 'Shipyard Social Function'. Lord's disco has Duvivier on a remarkable 822 sessions, the high majority of which will see no light here. We jump ahead a few years from Millinder to another orchestra director, Sy Oliver, with whom Duvivier recorded on multiple occasions, beginning on January 9, 1947, for such as 'Hey Daddy-O!' and 'Slow Burn'. His last session on December 20 that year yielded such as 'Scotty' and 'Sad Story Blues'. Sessions in 1949 included Billie Holiday on August 29: 'Keeps on Rainin' and 'Them There Eyes'. Sessions in 1950 included Louis Armstrong on June 26: 'La Vie en Rose', 'C'est Si Bon', et al. A session on January 4 of 1952 for vocalist, Jeri Southern, reaped such as 'Give Me Time' and 'I Thought of You Last Night'. A session on February 13, 1953, for vocalist, Ella Fitzgerald, wrought 'Careless', 'Blue Lou' and 'I Wonder What Kind of Man'. April 5 of 1956 saw vocalist, Connie Boswell's, 'Lullaby in Rhythm', 'Honey', etc.. Duvivier backed Oliver to 1960, including a couple of obscure albums: 'Just a Minute' and 'Annie Laurie' ('Dance Music for People Who Don't Dance Anymore' per Riverside). We need return to 1947 for Duvivier's first titles with one of the more important trumpet players of his career, that Joe Wilder in May that year in the orchestra of Jimmie Lunceford for such as 'Open the Door Richard' and 'One O'Clock Jump'. Duvivier and Wilder worked frequently together supporting other bands, when not a Wilder project, into the seventies. They joined one another in May and June of 1955 to support Lena Horne per the Lennie Hayton Orchestra for 'It's Love', 'Let Me Love You' and 'It's All Right With Me'. 1956 found Duvivier backing Wilder's 'Of Thee I Sing', a suite of Gershwin titles with Hank Jones (piano), Mundell Lowe (guitar) and Max Roach (drums). They backed vocalist, Peter Dean's, 'Four Or Five Times' in 1974, to reunite in 1980 for Helen Humes' 'Helen'. Wilder was present at what is thought to have been Duvivier's final session on March 5 of '85 in Manhattan for Benny Carter's 'The Cosmic Eye Suite'. We need back up to 1949 for Duvivier's first session with guitarist, Mundell Lowe, that in the Mary Lou Williams Orchestra on March 18 for such as 'Tisherome' and 'Knowledge'. Lowe would be one of Duvivier's more important associates for decades to come, often backing other bands together when not working on Lowe's projects. Early 1956 found them with pianist, Billy Taylor, recording tracks for what would get released in 2007 as Taylor's 'Meets the Jazz Greats (Know Your Jazz)'. Saxophonist, Al Cohn, and drummer, Percy Brice, were also part of that project. Lowe and Duvivier's next session, thought in April, was a trio with Jack Greenberg on reeds for 'This Could Lead to Love', 'Wonderful One', et al. 1961 saw Lowe's album, 'Satan in High Heels'. Their last recordings together are thought to have been in Tokyo in April of 1978 with pianist, Nat Pierce, for such as 'Blues for Terry' and 'Blues for Buddy'. They would reunite in Los Angeles in April of '84 for Barry Manilow's '2:00 AM - Paradise Cafe'. We return to 1949 for Duvivier's first session with one the more important saxophonists to grace his career, that Eddie Lockjaw Davis on April 19 to support vocalist, Jesse Stone, on 'Cole Slaw', 'Do It Now' and 'Easy Walkin''. On June 17 of 1949 they backed vocalist, Fats Thomas, on 'Oo-Bob-Aloo-Bo' and 'I Give You My Love'. December of 1957 found them recording 'Count Basie Presents the Eddie Davis Trio + Joe Newman'. Other albums by Davis on which Duvivier appeared were his three volumes of 'The Eddie "Lockjaw" Davis Cookbook' from '58 to '60, 'Very Saxy' ('59), 'Jaws in Orbit' ('59), 'Bacalao' ('60) and 'The Fox and the Hounds' ('67). Their last recordings together may have been in January of 1970 in the Count Basie Orchestra for 'Chicago', 'Have You Met Miss Jones?', et al. We return to August of 1952 for Duvivier's first session with pianist, Hank Jones, that in the Leroy Kirkland Orchestra to support Ella Fitzgerald on 'Trying', 'The Greatest There Is', etc.. Duvivier and Jones interweaved numerously throughout Duvivier's career in support of various bands. January of 1977 found them in the Hank Jones Trio with Ben Riley on drums for 'Bop Redux'. Another trio in Paris with drummer, Oliver Jackson, on July 28 of 1977 saw Jones' 'I Remember You'. July 17 of '78 saw them in France again with drummer, Alan Dawson, recording Jones' 'Compassion' in Brignoles. Another trio in April of 1979 in Tokyo with drummer, Shelly Manne, came to Jones' 'Easy to Love'. Jones' 'Live in Japan' followed the next month in Kagoshima. Back in Tokyo several days later that May they supported vocalist, Junko Mine, on 'Once in the Evening'. Come Jones' 'Bluesette' in London on June 22 of 1979 with drummer, Alan Dawson. Another trip to Tokyo in October 1980 found them backing Mine again. Their last recording together is thought to have been Duvivier's final, that in NYC on March 5 of 1985 to back Benny Carter's 'The Cosmic Eye Suite'. Another important pianist was Bud Powell, for which first session we return to August 14 of 1953 per Powell's Trio with drummer, Art Taylor: 'Autumn in New York' and 'Reets and I', et al. Numerous trios with Powell occurred to January 30 of 1958, again with drummer, Art Taylor, for such as 'Big Foot' and 'Barbados'. Another significant figure was Benny Goodman, commencing on November 8 of 1954 with a Goodman quintet and sextet for 'Air Mail Special', 'Ain't Misbehavin', 'Get Happy' and 'Slipped Disc', with guitarist, Steve Jordan, on the latter two. Duvivier recorded numerously with Goodman off and on in the fifties and sixties. Their last date together may have been for the 'Timex All Star Swing Festival' television special on October 23 of 1972 in NYC for 'Avalon', 'I'm a Ding Dong Daddy' and 'Moonglow'. Another significant bandleader was Count Basie. Duvivier had first worked with Basie upon the latter arranging the soundtrack to 'The Benny Goodman Story' in August of 1955. Come December of '57, per above with Eddie Lockjaw Davis for 'Count Basie Presents the Eddie Davis Trio + Joe Newman'. Duvivier stuck with Basie through numerous sessions to 1960 ('String Along with Basie'). 1966 found Duvivier contributing to 'Basie Swingin', Voices Singin' with Davis and the Alan Copeland Singers. January of 1970 witnessed titles like ' 'Chicago' and 'Have You Met Miss Jones?', again with Davis. We back up to 22 May of 1956 in Paris for what Lord lists as Duvivier's only session as a leader, putting down such as ''Rue Dauphine' and 'Nautilus' w Martial Solal (piano), Michel Hausser (vibes) and Charles Saudrais (drums). Recorded for Coronet, Lord shows no releases and none are found. It was with Basie that Duvivier first recorded with another keyboardist significant in his career, that organist, Shirley Scott, their first titles thought to have occurred on December of 1957 per above for 'Count Basie Presents the Eddie Davis Trio + Joe Newman'. Duvivier and Scott drove much the same bumper car into the latter sixties, often supporting Davis when not working on Scott's projects. In March of 1958 Duvivier participated in 'Eddie Davis Trio Featuring Shirley Scott'. Other among Scott's projects were 'Scottie Plays The Duke' on April 24 of '59, and 'Soul Sister' in 1960. 1960 also saw 'Like Cozy', per a trio with drummer, Arthur Edgehill. August 19 of 1966 witnessed 'Soul-Duo' with Clark Terry on flugelhorn and Mickey Roker on drums. 'Girl Talk' was recorded January 12, 1967. Another important pianist, John Lewis, had come knocking on May 8, 1959, with Connie Kay on drums for 'My Heart Stood Still' and 'Now's the Time', et al. Duvivier supported Lewis numerously to late 1960, later reuniting in France in '77 and '78. That last occasion in Brignoles on July 19 resulted in Lewis' 'Mirjana'. Another important saxophonist was Oliver Nelson, the latter's 'Screamin' the Blues' recorded on May 27, 1960, with Eric Dolphy. Another Nelson LP with Dolphy was 'Straight Ahead' recorded on March 1 of 1961. Nelson began arranging and conducting his own orchestra in 1952, Duvivier to fill a spot in that in August of '62 in support of Johnny Hodges' 'Eleventh Hour'. The first album by Nelson and his orchestra on which Duvivier appeared was 'Full Nelson', recorded October 19, 1962. Nelson kept Duvivier quite busy to 1967, both backing other organizations and recording Nelson LPs. Their last recordings of that long stretch were with Nelson's Jazz Interactions Orchestra for 'Jazzhattan Suite' in November of 1967. They would see one another again in May of 1970 to support 'Louis Armstrong and His Friends'. Backing up to 1960, a vocalist important to Duvivier's career came knocking on June 21, that Etta James for 'Don't Go to Strangers'. Duvivier would also appear on 'So Warm' (1961), 'Lonely and Blue' (1962), 'Save Your Love for Me' (1980) and 'Love Me with All Your Heart' (1983). Another important organist requires mention, returning to 1962 for titles with Jimmy Smith backed by the Oliver Nelson Orchestra: 'In a Mellow Mood' and 'Step Right Up'. Duvivier backed Smith heavily into 1964, again on December 17 of 1965 for 'Got My Mojo Working', 'C Jam Blues', etc.. Highlighting some of the other recordings to which Duvivier contributed were albums by violinist, Andre Hodeir ('American Jazzmen Play Hodeir's Essais' 1957), Oscar Brown Jr. ('Sin and Soul' 1960), Jeanne Lee ('The Newest Sound Around' 1961), Aretha Franklin ('Unforgettable: A Tribute to Dinah Washington' 1964) and Toots Thielemans ('Contrasts' 1966). Among the host of others with whom Duvivier recorded were Bob Scobey, Frank Wess, Pearl Bailey, Louie Bellson, Lionel Hampton, Bob Brookmeyer, Dinah Washington, Quincy Jones, Kai Winding, Illinois Jacquet, Sonny Stitt, Stanley Turrentine and Joe Farrell. Per above, Duvivier's final recordings are thought to have been for Benny Carter's 'The Cosminc Eye Suite' on March 5 of 1985. He died of cancer at home in Manhattan on July 11 that year. References: 1, 2. Sessions: DAHR, J-Disc, Lord (leading 1 of 841). Discos: 1, 2, 3, 4. IMDb. IA. Discussion. Biblio: 'Bassically Speaking: An Oral History of George Duvivier' by Edward Berger & David Chevan (Scarecrow Press 1993).

George Duvivier   1943

  Autumn in New York

      Piano: Bud Powell

      Drums: Art Taylor

      Composition: Vernon Duke   1934

George Duvivier   1955

  Conception

George Duvivier   1957

  She

George Duvivier   1960

  After Midnight

      Clarinet: Bob Wilber

      Composition: Wilber

George Duvivier   1984

  Blues for Harry Carney

      Filmed live

      Guitar: Johnny Smith

      Drus: Alan Dawson

George Duvivier

Source: Jazz Lead Sheets

Barry Galbraith

Barry Galbraith was born in 1919 in Pittsburgh, PA. He began his professional career upon ending up in New York City in time for his first session in the Claude Thornhill Orchestra on August 25, 1941, for such as 'Kim' and 'Concerto for Two'. While with Thornhill he also laid tracks with an orchestra run by Teddy Powell in support of vocalist, Ruth Gaylor, on November 11: 'I Used to Love You', 'Honey', et al. Thornhill's operation was Galbraith's engine that could into the fifties, numerous sessions held to December 17 of '47 for such as 'Yardbird Suite' and 'Let's Call It a Day'. Which they did until April of 1953 for such as 'Adios' and 'Rose of the Rio Grande', Gerry Mulligan arranging the latter. Galbraith joined Thornhill again on February 26 of 1958 for 'Claude on a Hill'. 'Dance to the Sound of Claude Thornhill and His Orchestra' saw recording on February 3 of 1959 for December issue by Decca. Other than working with Thornhill, Galbraith was a studio musician with sessions well exceeding 600. We'll pull the reins on this account of such, then, by commenting on only a couple of the more important figures in his career, those trombone player, Urbie Green, and bandleader, Manny Albam. Galbraith may have first recorded with Albam for Charlie Ventura on December 28 of 1949, Albam on baritone sax for such as 'Take the 'A' Train' and 'Prelude to a Kiss'. Beginning with Galbraith's next session with Albam the latter would be working as an arranger for Don Elliott's 'Mellophone' in early 1955. It was next the Manny Albam Orchestra supporting Milt Hinton on February 1 for such as 'Prelude to a Kiss' and 'Fump'. On Galbraith's numerous future sessions with Albam the latter would be working as an arranger and/or conductor both in mixture with other enterprises and his own projects. Albam albums on which Galbraith appeared were 'Sophisticated Lady (The Songs of Duke Ellington)' in 1958, 'I Had the Craziest Dream' in 1961 and 'Brass On Fire' in 1966. Lord's disco shows them last working on titles together in summer of 1967 for Jimmy McGriff's 'A Bag Full of Blues', Albam arranging. As for Green, the next year after wrapping up with Thornhil in '53, Galbraith joined Green in the Aaron Sachs Quintette in November of '54 to record the album by the same name. The next year they would begin another 13 years of continually interweaving sessions in support of other enterprises as well as each other, the career of the one much reflecting that of the other. On January 16, 1958, Green backed Galbraith's 'Guitar & the Wind' [1, 2]. Galbraith supported Green on 'The Message' and 'Best of the New Broadway Show Hits!' in 1959. Galbraith appeared on both volumes of Green's 'Persuasive Trombone' issued in '60 and '62, become available on CD in 2007 as 'The Complete Persuasive Trombone'. Galbraith backed 'The Urbie Green 6-Tet' in 1963 before what may have been their last recordings together, Green's '21 Trombones' in 1968. Among the hundreds of albums to which Galbraith contributed were such as Paul Quinichette's 'Moods' and Joe Puma's 'Joe Puma' in 1954. He also contributed to Puma's 'Like Tweet' in 1961. Jackie Paris' 'Paris in Swingtime' went down in November of '55. Other Paris titles in which Galbraith participated were 'The Jackie Paris Sound' in 1957, 'Jackie Paris Sings the Lyrics of Ira Gershwin' in 1960 and 'The Song Is Paris' in 1962. Lurlean Hunter's 'Night Life' arrived in 1956, followed by Tommy Shepard's 'Shepard's Flock' the same year. Come Cannonball Adderley's 'Jump For Joy' in 1958 and Helen Merrill's 'You've Got a Date with the Blues' in '59. Galbraith had earlier held numerous sessions with Merrill in 1954-56. Ted McNabb's 'Big Band Swing' went down in November of '59, Johnny Griffin's 'White Gardenia' in 1961, Jack Teagarden's 'Think Well of Me' in 1962. Amidst the galaxy of those on whose titles Galbraith appeared were the Sauter-Finegan Orchestra, Stan Kenton, Dinah Washington, Tex Beneke, Joe Newman, Coleman Hawkins, Lee Wiley, Wild Bill Davison, Billie Holiday, Joe Saye, Boyd Raeburn, Sam "The Man" Taylor, Kenny Burrell and Jimmy Smith. Galbraith died in Bennington, Vermont, on January 13, 1983. He had issued 'Guitar Improve' the year before with guitarist, Mark Slifstein, and Milt Hinton on bass. References: 1, 2. Sessions: DAHR (205 w composing credits), J-Disc, Lord (leading 4 of 616). Discos: 1, 2, 3, 4. IMDb. Books by Galbraith: JGL (instruction): 1, 2, 3, 4; 'Jazz Guitar Study Series'; other.

Barry Galbraith   1955

 Blue Gardenia

    With Dinah Washington

      Composition:

      Lester Lee/Bob Russell   1953

      For the film 'The Blue Gardenia'

  You're Crying

      Composition: Quincy Jones

    Paul Quinichette album: 'Moods'

Barry Galbraith   1956

 He Was Too Good to Me

      Music: Richard Rodgers   1930

      Lyrics: Lorenz Hart

 Warmeland

      ('Dear Old Stockholm')

     Piano: John Lewis

      Composition: See Wikipedia

      LP: 'The John Lewis Piano'

Barry Galbraith   1958

 Love Is for the Very Young

      Composition: David Raskin

       LP: 'Guitar and the Wind'

Barry Galbraith   1962

  Barry's Tune

      Gil Evans Orchestra

      Composition: John Carisi

      Evans LP 'Into the Hot'

      All arrangements: Evans

Herb Ellis

Photo: Vernon Hyde

Source: Wikipedia

Like novelist, Henry Miller, who wrote because he was too poor to pursue anything else, so it was with guitar and Herb Ellis. Born in 1921 in Farmersville, Texas, then raised in Dallas, Ellis was unable to finish college when not long later he was hired by Glen Gray. He may have first recorded with Gray in October 1943 with the Casa Loma Orchestra for Decca in support of vocalist, Eugenie Baird: 'My Heart Tells Me' and 'My Shining Hour', with the instrumentals, 'Birmingham Special' and 'Just an Old Manuscript'. Ellis stuck with the Casa Loma for a couple years, his final titles with that outfit thought to have been on May 3 of 1945 for 'Counting the Days' and 'While You're Away' with vocalist, Skip Nelson, and 'Gotta Be This or That' with vocalist, Fats Daniels. While with the Casa Loma Ellis attended several sessions with the V-Disc All Stars in December of 1944, yielding a string of titles from 'Jack-Armstrong Blues' to 'I'm Confessin' with jazz greats, Louis Armstrong and Jack Teagarden. On March 12 of 1945 Ellis joined the Dorsey Brothers Orchestra for a broadcast of 'Saturday Night' on the 'Spotlight Bands' radio program. A V-Disc session on the 15th yielded 'Brotherly Jump' and 'More Than You Know' before Jimmy and Tommy Dorsey separated to run each their own orchestras. Ellis went with Jimmy's band to record 'Dream' and 'There I've Said It Again' on March 28 with vocalist, Teddy Walters, after which he would exchange the Casa Loma for Jimmy's operation. Ellis' first recorded solos were with Jimmy, the earliest known being 'J.D.'s Boogie Woogie' in 1945. Others followed in 1946 such as 'Perdido', 'J.D.'s Jump', 'Super Chief' and 'Sunset Strip'. Ellis stayed with Jimmy to January 8 of 1947 for such as 'Heartaches' and 'No Greater Love' with vocalist, Bob Carroll, and 'Pots and Pans' with 'A Sunday Kind of Love' with vocalist, Dee Parker. In 1946 Ellis had formed the trio, the Soft Winds, with pianist, Lou Carter, and bassist, Johnny Frigo, both whom he had met while with Jimmy. Tom Lord and Scott Yanow have the Soft Winds recording from 1947 to 1949, along w a reunion half a century later in November of 1995 aboard the SS Norway in the Caribbean with Frigo on violin and Keter Betts on bass. Titles from both periods are available on the CD, 'Then and Now: 1946 · 1996' released in 1997 on Chiaroscuro 342. Three of Ellis' more important musical associates entered his space in 1953, those in the persons of Norman Granz, Oscar Peterson and Ella Fitzgerald. Granz was the founder, impresario and producer of Jazz at the Philharmonic (JATP). He had founded Clef Records in 1946, formed Norgran Records in 1953 and would establish Verve Records in 1956. Ellis' initial JATP session was at the Bushnell Memorial Auditorium in Hartford, CT, in May, 1953, for such as 'Cotton Tail' and 'Air Mail Special'. Ellis would hold 18 dates with the JATP to May 1, 1958, in Paris for the soundtrack to 'Les Tricheurs'. His first sessions with the JATP in '53 included Peterson on piano, from which point onward they were constant partners into the sixties supporting other operations, such as the JATP, and each other. The first Oscar Peterson Trio with Ray Brown on bass was a JATP affair at Carnegie Hall on September 19 of 1953 for such as 'Lollobrigida' and 'Pompton Turnpike'. Peterson and Brown backed Ellis' on the latter's debut album, 'Ellis in Wonderland', on December 28 of 1955. Brown, another important figure in Ellis career, mostly in association with Peterson, supported Ellis on his second album, 'Nothing But the Blues', on October 11 of 1957. Also in on that were Roy Eldridge, Stan Getz and Stan Levey. Ellis and Peterson recorded countless titles together, their last sessions with the Oscar Peterson Trio, yet with Brown, held on December 27 of 1972 toward Peterson's two volumes of 'History of an Artist'. Guitarists, Irving Ashby and Barney Kessel, also participated in that. March of 1990 saw a reunion with drummer, Bobby Durham, for 'Live at the Blue Note', 'Encore at the Blue Note', 'Saturday Night at the Blue Note' and 'Last Call at the Blue Note'. June 11 of 1991 saw them recording 'In the Key of Oscar' at the Bermuda Onion in Toronto, Ontario, with drummer, Jeff Hamilton. 'Side by Side' ensued in Astoria, New York, in April of 1994 with violinist, Itzhak Perlman, and drummer, Grady Tate. 'A Tribute to Oscar Peterson' followed on October 1, 1996, at Town Hall in NYC with drummer, Lewis Nash. Brown was in on that, though Niels-Henning Ørsted Pedersen as well. As for Ella Fitzgerald, Ellis' first titles with her in 1953 were a JATP affair in November in Tokyo, also with Brown and JC Heard on drums. Titles from their first session with Raymond Tunia on piano were such as 'On the Sunny Side of the Street' and 'Body and Soul'. Peterson was at piano for a second session. During that tour Ellis, Brown and Heard also backed pianist, Toshiko Akiyoshi, on her debut album, 'Toshiko's Piano'. From that date onward Ellis might as well have moved in with Fitzgerald, numerous sessions ensuing into the early sixties, largely in association with JATP, Louis Armstrong or Peterson. Ellis' last recordings with Fitzgerald are thought to have been in 1970 for several sessions stretching from January 4 to December 22, that last date yielding 'I Heard It Through the Grapevine' and 'Things Ain't What They Used to Be'. Those dates per Lord's disco are contradicted, however, by Wikipedia, wanting session dates of May 26–30 of 1969 for the 1970 issue of the album, produced by Norman Granz, 'Things Ain't What They Used to Be (And You Better Believe It)'. Discogs has that recorded on an unknown date in 1970, copyrighted and released in 1971. Howsoever, that was released on Frank Sinatra's label, Reprise Records. Other unmentioned notable figures arriving in the fifties were such as Lester Young, Dizzy Gillespie, Blossom Dearie and Coleman Hawkins. During the sixties it were Peggy Lee, the Dukes of Dixieland and Lou Rawls. During the eighties Ellis worked with pianist, Monty Alexander, on multiple occasions for several years from 1980 to '87. In 1999 he and blues guitarist, Duke Robillard, recorded 'Conversations in Swing Guitar' and 'More Conversations in Swing Guitar'. The new millennium found him supporting Ray Brown in February of 2000 on a couple tracks to 'Some of My Best Friends Are...Guitarists'. Ellis died of Alzheimer's disease at his home in Los Angeles on March 28, 2010 [obits: 1, 2, 3, 4, 5, 6]. References: 1, 2, 3. Sessions: DAHR (60 1944-1968), Lord (leading 47 of 449 1943-2000). Discos: 1, 2, 3, 4. IMDb. IA. Further reading: Gene Lees; Marc Myers (Ellis w Oscar Peterson). Other profiles: *.

Herb Ellis   1946

With Jimmy Dorsey:

      Jimmy Dorsey/Sonny Burke

      Jimmy Dorsey/Ellis/Louis Carter

Herb Ellis   1955

      Music: Victor Schertzinger   1941

      Ben Bernie/Maceo Pinkard   1925

Tiny Grimes

Source: Jazz Wax

Lloyd Tiny Grimes   1943

  Tiny's Exercise

      With the Art Tatum Trio

      Composition: Grimes

Lloyd Tiny Grimes   1944

  Tiny's Tempo

      Saxophone: Charlie Parker

      Piano: Clyde Hart

      Composition: Hart

Lloyd Tiny Grimes   1947

  Profoundly Blue

      Composition: Meade Lux Lewis

Lloyd Tiny Grimes   1950

  Frankie & Johnny Boogie

      Composition: Grimes [45Cat]

  St. Louis Blues

      Composition: W.C. Handy   1914

Lloyd Tiny Grimes   1951

  Hawaiian Boogie

      Composition: Grimes

Lloyd Tiny Grimes   1972

  Watermelon Man

      Composition: Herbie Hancock   1962

Guitarist Barney Kessel first recorded with the Chico Marx Orchestra in Decmber of 1942. (Marx, of the comedy group, the Marx Brothers, was a pianist.) Those titles weren't issued until 1992 on a CD shared with titles by Desi Arnaz per 'Big Bands of Hollywood'. His next session was in December of '43 for 'Bring Enough Clothes for Three Days' with Timmie Rogers and his Excelsior Hep Cats, that issued in May of '45. Come Jack McVea in April of '44 for an AFRS 'Jubilee' radio broadcast including 'St. Louis Blues' with Helen Humes, issues unknown until the 1980 LP, 'Jack McVea & His Combo: Open The Door, Richard 1944-1947'. Lord's disco has Kessel's first session as a leader, 'Tea For Two', included on that. Kessel's first appearance on record shop shelves was per 'Sam's Got Him' with the King Guion Orchestra for vocalist, Johnny Mercer, that recorded on June 21 of '44, released in August. Kessel's next session was for V-Disc, also issued in '44, that with the band of Charlie Barnet in July for titles like 'Redskin Rumba' and 'Pompton Turnpike'. He was also featured in the jazz film, 'Jammin' the Blues', released in 1944 (below). With Kessel attending about 530 sessions, more than seventy of those his own as a leader, we jump ahead a touch to Kessel's first major band, that of Artie Shaw, joining the latter's orchestra in time for such as 'Accentuate the Positive' and 'Let's Take the Long Way Home' in November of 1944 with vocalist, Imogene Lynn. Kessel remained with Shaw to April 28 of 1946 to record 'The Pied Piper'. Later that year he joined the Benny Goodman Orchestra in time record such as 'Under the Double Eagle' and 'Rattle and Roll' in October for an AFRS 'Magic Carpet' broadcast (#514). Lord's disco has Kessel with Goodman to January of '47 for broadcasts of 'The Benny Goodman Show' from Hollywood for such as 'Lonely Moments' and 'I'll Always Be in Love with You', the latter a quintet. Reunions with the Benny Goodman Quintet were held in September of '58, the last for the 'Music of Benny Goodman' television special for Johnny Green: 'Poor Butterfly', 'Avalon' and 'It's All Right With Me'. Those were released much later in 1976 on an LP titled 'Orchestras & Groups' (Rarities 30). Among notable vocalists to early come Kessel's way was Mel Tormé who had sang 'Abraham' during Kessel's first recording session per above with Chico Marx. Multiple sessions  with Tormé followed in '44, '49, '57, '64 and, finally, February 1 of 1968 for 'A Day in the Life of Bonnie and Clyde'. Among Kessel's more important musical associates was arranger and bandleader, Billy May. They first recorded together when May played trumpet for Johnny Mercer per above in June of 1944. 'Conversation While Dancing' followed on September 11 that year. They would see one another again in 1946-47 with May arranging for Charlie Barnet. Kessel joined May's orchestra in time for titles on October 26, 1950, like 'Mambo con Catalina' and 'Fat Man Mambo', et al. Kessel worked with May on multiple occasions to 1958, either in May's orchestra or with May arranging for others such as Bing Crosby in August of '58, yielding 'It Happened in Monterey', 'Love Won't Let You Get Away', etc.. After titles with Mercer above in 1944 Kessel recorded his first issued tracks as leader of the All Stars on June 7, 1945: "Atom Buster', 'What Is This Thing Called Love', 'Slick Chick' and 'The Man I Love'. Kessel was well-known for his work with major vocalists, one being Anita O'Day whom he first supported on December 23 of 1946 as a member of Benny Goodman's orchestra: 'The Christmas Song'. Kessel backed O'Day on occasion, though numerously, with various orchestras to as late as 1961, that last session to yield 'Remember', 'Some Other Spring', et al. Another important associate was pianist, Oscar Peterson, they recording their first trio with bassist, Ray Brown, on November 25, 1951, in Los Angeles, coming to such as 'Turtle Neck' and 'Pooper'. Peterson's trios, quartets on occasion, would also make Brown one of the more important of Kessel's associates, the three of them recording numerously to December 7 of 1953 for such as 'Without a Song', 'Sometimes I'm Happy', et al. The three got together again in '57, later in 1972 for both volumes of Peterson's 'History of an Artist'. Another major vocalist was Billie Holiday, Kessel supporting her for a Jazz at the Philharmonic (JATP) concert at the Shrine Auditorium in Los Angeles on October 7, 1946, for a rendition of 'Trav'lin' Light'. Kessel would see Holiday again in 1952 in her orchestra for 'East of the Sun', 'Blue Moon', etc.. They thereafter recorded numerously together to January 9 of 1957 for 'They Can't Take That Away From Me', 'Embraceable You', et al. Another big name vocalist came Kessel's way via the person of Ella Fitzgerald, that with Peterson, Brown, et al, at the Theatre de Beaulieu in Lausanne, Switzerland, for a JATP concert on March 14, 1953, yielding such as 'It's Only a Paper Moon', 'Someone to Watch Over Me', etc.. Kessel backed Fitzgerald numerously in 1956 and '58, later in October of 1964 for 'Ella Fitzgerald Sings the Johnny Mercer Song Book'. Kessel had meanwhile recorded in '52 or '53 what would get issued on 'Swing Guitars' in 1955 on an album shared with Tal Farlow and Oscar Moore. His first album, 'Easy Like', was taped in latter 1953, 'Barney Kessel Plays Standards' in '54 and 'To Swing Or Not To Swing' in 1955. Important in Kessel's latter career was guitarist, Herb Ellis, who had joined Kessel and guitarist, Mike Deasy, in the band of Mel Tormé per above for 'A Day in the Life of Bonnie and Clyde' in '68. Ellis participated in Peterson's 'The History of an Artist' per above in 1972 before joining Kessel and guitarist, Charlie Byrd, in their first trios at the Concord Jazz Festival in California on July 28, 1974, those included on 'Great Guitars'. Several of the projects on which Ellis and Kessel worked together were Byrd's, including their their last in Washington, D.C. in August of 1982 for 'At Charlie's Georgetown'. Others of the horde with whom Kessel recorded through the years were Howard McGhee, Bing Crosby, Billy Eckstine, Ray Anthony and Buddy DeFranco. Kessel died on May 6, 2004. His last album is thought to have been recorded in March of '88: 'Red Hot and Blues'. A stroke in 1992 had ended his professional career [obits: 1, 2, 3, 4, 5]. References: 1, 2, 3. Discos: 1, 2, 3, 4, Lord (leading 72 of 535 sessions). Audio archives: Internet Archive, Muskogee 1982 (podcast). Interviews: Les Tomkins 1969-88, NAMM 1999. Further reading: Cynthia Benedetto (alt), Spectropop, Matt Warnock (instruction). Bibliography: 'Barney Kessel: A Jazz Legend' by Maurice Summerfield (Ashley Mark Publishing 2008). Other profiles: 1, 2.

Barney Kessel   1944

  Jammin' the Blues

      Short film   Tenor sax: Lester Young

      1: 'Midnight Symphony'

      Composition: Lester Young

      2: 'On the Sunny Side of the Street'

      Music: Jimmy McHugh

      Lyrics: Dorothy Fields

      3: 'Jammin' the Blues'

      Composition: Lester Young

      Scripts & Grooves

Barney Kessel   1955

  That's All

      Recorded 1953

      Piano: Claude Williamson

      Bass: Red Mitchell

      Composition: Alan Brandt/Bob Haymes

  A Foggy Day

      Recorded 1954

      Composition: Gershwin Brothers

  Jeepers Creepers

      Recorded 1954

      Composition: Harry Warren/Johnny Mercer

  You Stepped Out of a Dream

      Recorded 1954

      Music: Nacio Herb Brown   1940

      Lyrics: Gus Kahn

Barney Kessel   1958

  Angel Eyes

      Bass: Ray Brown

      Drums: Shelly Manne

      Composition: Earl Brent/Matt Dennis

Barney Kessel   1959

  Jersey Bounce

      Music:

      Tiny Bradshaw

      Eddie Johnson

      Bobby Plater

      Lyrics: Robert Wright (Buddy Feyne)

Barney Kessel

Source: Jazz Labels

Jimmy Raney

Source: Cover Jazz

Born in 1927 in Louisville, Kentucky, Jimmy Raney (father of guitarist, Doug Raney, and pianist, Jon Raney) first recorded professionally on May 24 of 1944, having traveled to NYC for a couple months to work with the Jerry Wald Orchestra. That was the tune, 'Two Heavens', with Al Haig at piano. He made another trip in 1945 to join a few sessions with Wald in February and March. In 1946 he decided Chicago was the place to be, there joining the Max Miller Quartet at Elmer's. Raney drew a royal flush when he joined Woody Herman's Second Herd in California in time for his first session on February 2, 1948, for soundtrack titles, 'Caledonia' and 'Northwest Passage'. Raney stuck with Herman's orchestra to August 8, 1948, ending up in New Jersey for an AFRS 'One Night Stand' radio broadcast (#1769) bearing 'Fan It', 'No Time', etc.. Present during Raney's first session with Herman in '48 had been tenor saxophonist, Stan Getz. Come October that year Raney joined Getz' Quintet in NYC to put down such as 'Pardon My Bop' with 'As I Live and I Bop', et al. Getz was Raney's main train to 1953, recording numerously to April that year for 'Jimmy Raney Plays'. Come Al Haig again in April of 1948 with the Buddy Stewart Quintet in NYC to put down such as 'You Wear Love So Well' and 'If Love Is Trouble'. Haig would be a strong presence in Raney's career for the next few years, both backing other bands, like Getz', and working on Haig's projects, the first of which was a quartet in late summer of '48 to support 'Bopelbaby' sung by Dave Lambert. Sessions were frequent with Haig to October 28 of 1951 in the Stan Getz Quintet at the Storyville Club in Boston, MA, for 'Budo', 'The Song Is You', etc. A reunion in 1974 resulted in their joint LP, 'Special Brew'. Another, 'Strings Attached', followed in '75. We need step back to April 23, 1953, for Raney's first session as a leader, that to be issued as 'Jimmy Raney Plays'. Another strong presence in Raney's career followed a couple years later, that valve trombonist, Bob Brookmeyer, on June 30, 1955, for 'The Dual Role of Bob Brookmeyer'. The next year on May 14 Brookmeyer backed Raney on 'Jimmy Raney in Three Attitudes'. It was 'Jimmy Raney Featuring Bob Brookmeyer' on July 23. Come December of '57 it was Brookmeyer's 'The Street Swingers' with Jim Hall (guitar), Bill Crow (bass) and Osie Johnson (drums). Brookmeyer's 'Trombone Jazz Samba' went down in August of '62, 'Samba Para Dos' on February 7 of '63. In the meantime Brookmeyer and Raney backed other enterprises together, such as Mary Ann McCall's 'Detour to the Moon'. Raney's career had been good for a minimum of 200 sessions, 37 his own as a leader. Among the host of others whom Raney supported were Buddy DeFranco, Artie Shaw, John Carisi and Cal Tjader. Raney had issued numerous albums leading smaller ensembles from duos to a sextet. Among the latter was 'Strings & Swings' released in 1972, recorded in '57. Come 'Two Jims and a Zoot' in May of '64 w a gang of Zoot Sims (tenor sax), Jim Hall (guitar), Steve Swallow (bass) and Osie Johnson (drums). Raney issued 'Solo' in 1978. 'Stolen Moments' went down on 19 April 1979 with his guitarist son, Doug Raney [b '56/d '16: 1, 2, 3, 4, 5, 6, 7]. Two days later they recorded 'Duets for issue in 1980. Jimmy's last album is thought to have been 'But Beautiful' recorded December 5 of 1990 with George Mraz (bass) and Lewis Nash (drums). He had contributed to Tramaine Hawkins' 'To a Higher Place' issued in 1994 before his death on 9 May 1995 in Louisville [obit]. Raney is survived by his second son, pianist, Jon Raney [1, 2], born in 1961. References: 1, 2, 3, 4, 5, 6. Synopses: 1, 2. Discos: 1, 2, 3, 4, Lord (leading 37 of 201 sessions). Compilations: 'Complete Recordings 1954-1956' by Fresh Sound 2001: 1, 2. Compositions. Transcriptions. Select recordings (Jon Raney). Workshops 1993 (see Teachings). Discussion. Further reading: Zachary Streeter.

Jimmy Raney   1948

 Talk a Little Bop

     Sittin' In With 509

     Vocal: Terry Swope

     Piano: Al Haig

     Bass: Don Russo

     Drums: Charlie Perry

     Composition: Robert Ellen

Jimmy Raney   1949

 Sugar Hill Bop

     Seeco 10002

     Piano: Al Haig

     Composition: Leon Wexler

     See 'Billboard'

Jimmy Raney   1952

 Thou Swell

     Recorded 28 Oct 1951

     Live at the Storyville Club

     Boston, MA

     Royal Roost EP312

     Tenor sax: Stan Getz

     Piano: Al Haig

     Bass: Teddy Kotick

     Drums: Tiny Kahn

     Music: Richard Rodgers   1927

     Lyrics: Lorenz Hart

Jimmy Raney   1952

 Parker 51

     Sax: Stan Getz

     Composition: Raney

     Recorded 1952

     Issues unidentified

Note: 'The issue of 'Parker 51' above is left unidentified w personnel as documented. Getz and Raney had first recorded 'Parker 51' at the Storyville Club on 28 Oct 1951. They recorded it 'again at the Birdland on 15 April 1952 w Horace Silver (piano), Charles Mingus (bass) and Connie Kay (drums) toward issue on Alto AL704 and Fresh Sound FSRCD149 [Lord]. Jazz Discography Project (JDP) prefers 5 April w Gene Ramey at bass. Fresh Sound prefers April 5 w Mingus. Discogs prefers 15 April w either Mingus or Nelson Boyd ['Birdland Sessions 1952']. Getz and Raney recorded 'Parker 51' again at Carnegie Hall on 14 Nov 1952 with Bill Crow at bass and Frank Isola on drums toward issue on Fresh Sound FSCD1003. JDP and Lord have them recording it at the Birdland again on 18 Nov of '52 w the same ensemble toward Natasha Imports 4005. All to say that I myself can find no instance of Boyd and Phil Brown backing Getz and Raney together on 'Parker 51'. Otherwise, JDP explains the subtitling of 'Cherokee' in Lord w 'Parker 51' as a labeling error, the tune based on Charlie Parker's 'Ko Ko' of 1945 which was itself based on Ray Noble's 'Cherokee' of 1938.

Jimmy Raney   1953

From 'Jimmy Raney Plays'

Recorded 23 April 1953

(Other issues below may substitute)

Tenor sax: Sven Coolson (Stan Getz)

Piano: Hall Overton

Bass: (Keith) Red Mitchell

Drums: Frank Isola

  Motion

     Composition: Raney

  'Round Midnight

     Composition: Thelonious Monk

  Signal

     Composition: Raney

Jimmy Raney   1956

 No Male for Me

     Valve trombone: Bob Brookmeyer

     Composition: Brookmeyer

     LP: 'Jimmy Raney featuring Bob Brookmeyer'

Jimmy Raney   1975

 Just Friends

     Recorded 21 July 1972   NYC

     Composition: John Klenner/Sam Lewis

     LP: 'Momentum'

Note: RateYourMusic has MPS ULS-1619-P issued in 1975. Discogs 1978.

Jimmy Raney   1987

 Out of Nowhere

     Live performance

     Composition: John Green

Source: Umbria 24

     Composition: John Green

     Album: 'Jazzin' with Cerri'

Columbia SEMQ 153

Curtis Counce   1945

 Harlem Nocturne

    With Johnny Oti

    Composition:

    Earle Hagen/Dick Rogers   1939

Curtis Counce   1953

With Shelly Manne and His Men:

 Gazelle

    Composition: Bill Russo

    Arrangement: Bill Russo

 Mallets

    Composition: Shorty Rogers

  You and the Night and the Music

    Music: Arthur Schwartz   1934

    Lyrics: Howard Dietz

Curtis Counce   1956

 Margo

    Recorded 31 Aug 1953

    Composition: Teddy Charles

       Teddy Charles LP: 'Collaboration West'

      Recorded Dec '52 & Aug '53

Curtis Counce   1957

From 'The Curtis Counce Group'

Recorded 8 & 15 Oct '56

 Landslide

    Composition: Harold Land

 From 'You Get More Bounce!'

Recorded 8 & 15 Oct '56

 How Deep Is the Ocean?

    Composition: Irving Berlin

 Stranger in Paradise

    Composition:

    Alexander Borodin

    George Forrest

    Robert Wright

 Too Close for Comfort

    Composition:

    Jerry Bock

    Larry Holofcener

    George David Weiss

Curtis Counce   1958

From 'Exploring the Future'

 Exploring the Future

    Composition: Harold Land

  Move

    Composition: Denzil Best

 So Nice

    Composition: Elmo Hope

Curtis Counce   1960

 Nica's Dream

    Composition: Horace Silver

    LP: 'Carl's Blues'

        Recorded 1957-58

Curtis Counce   1989

 A Night in Tunisia

      Composition: Dizzy Gillespie

     LP: 'Sonority'

        Recorded 1956-58

        Posthumous release

Source: Jazz Profiles

Bill DeArango  1945

 I'd Rather Have a Memory Than a Dream

      With Sarah Vaughan

      Composition:

      Jessyca Russell/Leonard Feather

  Jim Dawgs

      Tenor sax: Ike Quebec

      Composition: Quebec

 What More Can A Woman Do?

      With Sarah Vaughan

      Composition:

      Dave Barbour/Peggy Lee

Bill DeArango  1946

 52nd Street Theme

      With Dizzy Gillespie

      Composition: Thelonious Monk

 Anthropology

      With Dizzy Gillespie

      Composition: Charlie Parker

      Credited: Dizzy Gillespie

 Lockjaw

      With Eddie Lockjaw Davis

      Composition: Davis

Bill DeArango  1981

 Improv A 1

    Drums: Jeff Papez

Bill DeArango

Source: Bill DeArango

Charles Mingus

Photo: Andy Freeberg

Source: Arts Fuse

Another musician at the avant-garde of modern jazz was phenomenal bassist and composer Charles Mingus who studied classical before leaving his home in Nogales, Arizona, to play with Barney Bigard and tour with Louis Armstrong (1943). Mingus' first completely dated recordings in Lord were on 12 February of 1945 in Los Angeles with Billie Holiday and Jazz at the Philharmonic: 'Body and Soul'/'Strange Fruit' (Clef MGC718). He also recorded in Los Angeles in early 1945 on an uncertain date with Russell Jacquet and his All Stars: 'Penny's Worth Of Boogie'/'Look What You've Done To Me' [see also JDP]. Lord's disco lists a title that year without a date with vocalist, Pearl Traylor, for 'Lonesome Gal'. Mingus recorded 'Deep Meditation' with the Howard McGhee Sextet in May of '45 before his first name session the next month as the Charles Mingus Sextet for the Excelsior label: 'The Texas Hop', 'Baby, Takes a Chance With Me', 'Lonesome Woman Blues' and 'Swingin' an Echo'. He spent a momentous year with Stan Kenton from latter '47 to latter '48. May 3 of 1950 brought his first session with the Red Norvo Trio including guitarist, Tal Farlow, for such as 'Swedish Pastry' and 'Cheek to Cheek'. That trio recorded numerously to April of 1951 for such as 'If I Had You' and 'I'm Yours'. In 1951 Mingus decided New York City was the place to be, his first sessions there with Miles Davis' All Stars at the Birdland on September 29 for such as 'Jumpin' with Symphony Sid' and 'Move'. A session in October yielded such as 'Conception' and 'Out of the Blue'. Mingus would see Davis again in '53 and '55, that last with a quintet for 'Nature Boy' and 'Alone Together', et al, on July 8. September 20 of 1952 had found Mingus with the Charlie Parker Quartet at the Birdland for 'Ornithology' and '52nd Street Theme'. Mingus collaborated with Parker on numerous occasions to a trio with Billy Taylor circa August of '53 for multiple takes of 'Bass-ically Speaking'. Another early trio was Bud Powell's with drummer, Roy Haynes, they recording Powell's 'Inner Fires' on April 5 of 1953. Future sessions into summer would come to employ drummers, Max Roach, then Art Taylor. In September of '53 Mingus contributed to JJ Johnson's 'Trombone Rapport' with Kai Winding. August of 1954 brought 'Reflections'. September of '54 saw 'The Eminent Jay Jay Johnson' with Winding out. On May 5 of '59 Mingus recorded 'Original Faubus Fables' (below) as an instrumental titled 'Fables of Faustus' because Columbia Records found the lyrics questionable (LP: 'Mingus Ah Hum': 1, 2). The vocal version ('Original Faubus Fables') was released the next year on the Candid label (LP: 'Mingus Presents Mingus'). Mingus had a worse problem with passion than than did Buddy Rich. Rich was known to rag on his band, using its members to vent. But Mingus dispensed with bark and simply bit, punching members of his band upon his displeasure on two known occasions in the early sixties. Mingus recognized his problem with anger and may well have cursed it, being such that only his enormous talent saved him from destruction by it. Sedation by drugs wasn't his manner, he disliking that aspect of the jazz climate, so he attempted solutions in other ways. Howsoever, he met and married Sue Graham Ungaro [1, 2, 3, 4] in 1964 and 1966, he doing so richly the latter year that he was evicted from his apartment [Wikipedia]. Charles and Sue remained together until his death thirteen years later. Mingus issued his memoir, 'Beneath the Underdog: His World as Composed by Mingus', in 1971 w Alfred A. Knopf. Feb 13 of 1973 saw a concert at the Strata Concert Gallery in Detroit that eventually saw issue in 2018 on 'Jazz in Detroit/Strata Concert Gallery/46 Selden' by BBE [criticism: 1, 2, 3, 4, 5, 6]. Mingus was working with Joni Mitchell on her album, 'Mingus' [*], when he died in 1979 in Cuernavaca, Mexico [obit]. He had put down 'Me, Myself an Eye' in 1978. His ashes were spread over the Ganges. In 1988 Andrew Homzy discovered Mingus' composition of 500 pages, 'Epitaph' [1, 2, 3, 4, 5, 6], in a trunk of manuscripts belonging to Mingus' widow, Sue, and contacted Gunther Schuller to put it on record. A shorter version of 'Epitaph' had been released in 1962 per Parts 1 and 2 on 'The Complete Town Hall Concert'. Those coming to twelve minutes, Schuller's later extended version required an hour and a half to perform. References: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11. Sessions: J-Disc; JDP; Lord (leading 127 of 260). Discographies: 1, 2, 3, 4, 5. Compilations: 'Charles 'Baron' Mingus: West Coast 1945-49' by Uptown Records 2000: 1, 2, 3; 'The Complete Columbia & RCA Albums Collection' 1959-72 + Schuller's 1989 'Epitaph' 2012 *. Mingus in visual media. Documentaries: 'Triumph of the Underdog' by Don McGlynn 1997: 1, 2. Reviews. Mingus and composition: 1, 2, 3. Authorship: 1, 2. Further reading: articles: 'A Musician Beyond Category' by Hentoff, 'What About Mingus?' by Hentoff, 'Requiem for the Underdog' by Goldsher, 'Charles Mingus in the 1950s' by Jones; books: 'Better Git It in Your Soul: An Interpretive Biography of Charles Mingus' by Krin Gabbard (U of CA Press February 8, 2016) [*].

Charles Mingus   1945

 Baby, Takes a Chance with Me

      Composition: Mingus

  Lonesome Woman Blues

      Composition: Jack Griffin

  Swingin' an Echo

      Composition: Mingus

  Penny's Worth of Boogie

      With Russell Jacquet

      Issued on Globe 105

      Composition: Mingus

  The Texas Hop

      Composition: Mingus/Jack Griffin

Charles Mingus   1951

 This Can't Be Love

     Red Norvo Trioo

     Guitar: Tal Farlow   Vibes: Red Norvo

     Composition: Richard Rodgers

Charles Mingus   1954

 Intrusions

     Album

Charles Mingus   1956

 Jump Monk

      Composition: Mingus

      Recorded 23 Dec 1955

      LP: 'Mingus at the Bohemia'

Charles Mingus   1957

 The Clown

     Album

Charles Mingus   1959

 Mingus Ah Um

       Album

      Recorded 5/12 May 1959

Charles Mingus   1960

 My Jelly Roll Soul

     Recorded 4 Feb 1959

     Composition: Mingus

     LP: 'Blues & Roots'

Charles Mingus   1961

 Original Faubus Fables

     Recorded 1959

      Composition: Mingus

     LP: 'Mingus Presents Mingus'

     See 1, 2, 3

Charles Mingus   1962

 Monk, Bunk and Vice Versa

      ('Osmotin')

      Composition: Mingus

Charles Mingus   1963

 The Black Saint and the Sinner Lady

      Album

Charles Mingus   1964

  Charles Mingus Quintet + Max Roach

    Album recorded 23 Dec 1955

Note: Personnel on the above are George Barrow (tenor sax), Eddie Bert (trombone) and Mal Waldron (piano). Roach plays drums on 'Drums' and 'I'll Remember April'. Drummer all other titles is Willie Jones.

 Peggy's Blue Skylight

     Live performance

     Composition: Mingus

 Take the 'A' Train

     Filmed live

  Tour 1964

     Filmed in Belgium, Norway & Sweden

Charles Mingus   1972

Born Charles Jagelka in 1923 in NYC, guitarist Chuck Wayne returned to New York Citty after two years in the military to work the 52nd Street clubs. He is thought to have first recorded as early as November 20 of 1944 with pianist, Leonard Feather's, Hiptet in support of Helen Humes' 'I Would if I Could' (Savoy 5513), 'Keep Your Mind on Me' (Savoy 5514), etc.. Feather's Hiptet also supported Lloyd Thompson's 'I Wonder' (Savoy 5512) on that date. Feather and Wayne would back other enterprises on multiple occasions into the latter forties. On November 29th, 1944, Wayne joined Joe Marsala (clarinet) and Joe Thomas (trumpet) to support Linda Keene on 'Unlucky Woman' and 'Blues in the Storm' (Black & White 1203) , et al. Sessions followed that year with Wingy Manone, Clyde Hart, Etta Jones and Barney Bigard until Wayne backed Sarah Vaughan with Dizzy Gillespie on New Year's Eve of 1944: 'Signing Off' (Continental 6024), 'No Smokes Blues' (alt take Continental 6061), et al. Wayne followed that in January the next year with Marsala and Gillespie for 'Perdido' (Phoenix LP16), 'Cherokee' (Black & White 18), et al. Wayne's next tracks with Gillespie were on February 9 of 1945 for 'Groovin' High' and 'Blue n Boogie' (Guild 1001). Other of the more important figures in Wayne's career were Woody Herman and  George Shearing. We fast forward to Wayne replacing guitarist, Billy Bauer, in Woody Herman's First Herd in 1946. His first session with Herman was May 31 that year in Chicago for an AFRS radio broadcast ('Wildroot' #34) of 'Crazy Rhythm', 'Strange Love', et al. Wayne didn't travel with Herman long (Michigan, Texas, California, back to NYC), only into early '47, but it was a tour de force of recording sessions to March of that year for 'My Desire'. As for pianist, George Shearing, Wayne joined his Quintet in time to participate in 'George Shearing Quintet' on January 31, 1949, issued in 1950 by Discovery. Wayne spent a good three years with Shearing, recording numerously for MGM to December 8 of 1951 in NYC for 'Appreciation' (MGM 11545), 'Over the Rainbow' (MGM 30625), etc.. On April 13 of 1953, Wayne held his first sessions as a leader, the first with tenor saxophonist, Brew Moore, the second with tenor saxophonist, Zoot Sims, those toward the album, 'Chuck Wayne Quintet', Discogs estimating release of that in the UK in 1956. They would later be found on 'The Jazz Guitarist' in 1992. Other of Wayne's albums and the years in which he recorded them were 'The Fourmost Guitars' (1956), 'String Fever' (1957: 1, 2), 'Tapestry' (1963: trio w Ernie Furtado on bass and Jimmy Campbell on drums), 'A Christmas Gift' (1964), 'Morning Mist' (1964: trio w Joe Williams on bass and Ronnie Bedford on drums), 'The Guitar Album' (1971: trio w Joe Williams on bass and Ronnie Bedford on Al Harewood), 'Interactions' (1973: duo with Joe Puma on guitar) and 'Skyliner' (1976). Among the highlights of Wayne's career was five appearances on the 'Art Ford's Jazz Party' television program in 1958. Wayne had also authored a few instructional books. In 1965 he and Ralph Patt published 'Guitar Arpeggio Dictionary' via H. Adler. Shortly before his death thirty years later he began his School of Chuck Wayne Guitar Studies series w the publishing of 'Scales' by Second Floor Music in 1996, co-authored by Agostino DiGiorgio. The latter also assisted w 'Chords' published posthumously (for Wayne) in 1998 by Hal Leonard. Among the many others on whose work Wayne can be found are Phil Napoleon, Miles Davis, Terry Gibbs, Music Minus One, Gil Evans and Warren Chiasson. Wayne died on July 29, 1997 [obit]. Lord's disco has last recordings with Tom Butts for 'Alberta Clipper' circa 1996. References: 1, 2. Sessions: Craftone; JDP; Lord (leading 14 of 152). Discos: 1, 2, 3, 4. IBDB. Discussion. Other profiles: * (alt). Wayne is also the guitarist on tracks by Tony Bennett in Jazz Song. Per 1945 below, all but 'Blue n Boogie' were recorded in late 1944.

Chuck Wayne   1945

 Blue 'n Boogie

      With Dizzy Gillespie

      Composition:

      Dizzy Gillespie/Frank Paparelli

  Cherokee

      Joe Marsala Sextet

      Composition: Ray Noble   1938

  Interlude (A Night in Tunisia)

      With Dizzy Gillespie & Sarah Vaughan

      Composition: Dizzy Gillespie

  Signing Off

      With Dizzy Gillespie & Sarah Vaughan

      Composition:

      Leonard Feather/Jessyca Russell

  Unlucky Woman

      With Linda Keene & Joe Marsala

      Composition:

      Leonard & Carol Feather

Chuck Wayne   1950

 Cherokee

     Piano: George Shearing

      Composition: Ray Noble   1938

  Conception

     Film   Piano: George Shearing

      Composition: Shearing

  I'll Be Around

     Film   Piano: George Shearing

      Composition: Alec Wilder   1942

Chuck Wayne  1953

Chuck Wayne

Photo: Tom Marcello

Source: Wikipedia

Ray Brown

Source: Journal of Life

Upon graduating from high school bassist Raymond Matthews Brown was born in 1926 in Pittsburgh, PA. He toured with such as Snookum Russell, until he thought it time to go to New York City, where he was hired in 1945 (age 19) by Dizzy Gillespie. Brown's first recording experience in Lord's sessionography was in Hollywood on December 17, 1945, for a radio broadcast from NBC Studios with a sextet led by Gillespie and Charlie Parker, that backed by Boyd Raeburn's orchestra for "I Waited For You', 'How High the Moon' and '52nd Street Theme' [see also J-Disc: Gillespie]. Personnel filling that sextet were Milt Jackson (vibes), Al Haig (piano) and Stan Levey (drums). His next recording followed with the same gang on the 29th for an AFRS (Armed Forces Radio Service) 'Jubilee' radio broadcast in Hollywood: 'Shaw Nuff', 'Groovin' High', 'Dizzy Atmosphere' and 'A Night in Tunisia' ('Tunisia' moot, possibly recorded at another session). Gillespie would become one of Brown's most important musical associates for another quarter century. Brown's earliest period with Gillespie was a busy two years in New York City recording titles like 'Ow!' and 'Stay On It", et al, on August 22, 1947. Lord's disco has Brown's last sessions of that period with Gillespie in Barry Ulanov's All Star Modern Jazz Musicians including Parker in September of '47 for a couple 'Bands For Bonds' broadcasts yielding such as 'Hot House' and 'On the Sunny Side of the Street'. He next joined Gillespie for a Norman Granz jam session with trumpeter, Roy Eldridge, on September 2 of 1953, bearing such as 'Jam Blues' and 'Blue Lou', those for Clef (founded by Granz in 1946). He finished that year with Gillespie on December 9, 1953, for 'Diz and Getz' with Stan Getz, the latter also to become one of the more important figures in Brown's career for a couple decades to come into the early eighties. 1954 found Brown and Gillespie supporting Ben Webster's 'New Jazz Sounds' before a few more sessions for Granz with Eldridge, including Jazz at the Philharmonic (JATP), and another jam session on October 30 yielding 'Stompin' at the Savoy', Lullaby in Rhythm' and 'Funky Blues No. 2'. 1955 found Brown touring Scandinavia, Europe and the United States with Gillespie, Eldridge and Granz' JATP. Brown was also with Gillespie and  Eldridge for 'Gene Krupa Meets Buddy Rich', 'Tour De Force' and, Eldridge out, 'Around the Horn with Maynard Ferguson in '55. 1956 saw another trip to Europe and sessions in Seattle with  Eldridge and the JATP. Brown also backed Gillespie on 'For Musicians Only' in '56. It was Gillespie, Eldridge and the JATP again in 1958, Brown joined Gillespie's Big Four in 1974 with Joe Pass (guitar) and Mickey Roker (drums) for such as 'Tango' and 'Hurry Home'. 1975 found him with Gillespie, Eldridge and Roker on 'Jazz Maturity ... Where It's Coming From'. Gillespie, Roker and Brown joined Count Basie in Las Vegas on February 3 of 1977 for 'The Gifted Ones'. 1977 saw a tour to the Montreux Jazz Festival with Milt Jackson resulting in 'Dizzy Gillespie Jam'. 1980 found Brown backing Gillespie, Freddie Hubbard and Clark Terry in Oscar Peterson's Big Four 'The Trumpet Summit Meets The Oscar Peterson Big 4' and 'The Alternate Blues'. Come Gillespie's 'Concert of the Century' with Jackson in Montreal, Ontario, the same year. Returning to 1945 with Gillespie and Charlie Parker, it's apt to mention that Brown backed Parker numerously to 1952, with a few JATP sessions between in 1949. As for JATP, that organization was one of the more important gears in Brown's transmission, attending about 25 dates between 1946 and 1972. His first JATP was June 3 of '46 with Buck Clayton on trumpet at Carnegie Hall for unissued titles of 'How High the Moon' and 'I've Found a New Baby'. His first issued performance was September 27, 1947, at Carnegie Hall with Howard McGhee on trumpet for 'Perdido', 'Mordido', 'Endido' and 'I Surrender Dear'. His last on June 2 of 1972 was at the Civic Auditorium in Santa Monica, CA, with Sweets Edison and Roy Eldridge on trumpet for 'In a Mellow Mood' 'Loose Walk', et al. Brown's first session as a leader arrived on September 25, 1946, with His Be Bop Boys including Dizzy Gillespie for 'For Hecklers Only', 'Smokey Hollow Jump', 'Boppin the Blues' and 'Moody Speaks', et al. His next in November and December of 1947 at the Royal Roost in NYC were in support of vocal giant, Ella Fitzgerald, on such as 'Love That Boy' and 'Heat Wave'. Another session with Fitzgerald on 20 December of '47 for Decca resulted in 'My Baby Likes to Re-Bop', 'No Sense' and three takes of 'How High the Moon'. That was 10 days after Brown's marriage to Fitzgerald on the 10th. Adopting Ray Brown Jr. along the way in 1949, they divorced in 1953. Fitzgerald would remain, however, among the more important figures in Brown's career, recording with her numerously for more than three decades to as late as March of 1989 for 'All That Jazz'. Another figure requiring mention in any account of Brown was pianist, Oscar Peterson, with whom he first recorded at Carnegie Hall with Roy Eldridge on trumpet: 'Fine and Dandy', 'I Only Have Eyes For You' and 'Carnegie Blues'. Their next tracks were as a duo in March, 1950, for the Clef label bearing such as 'Debut' and 'They Don't Believe Me'. A like session in August yielded such as 'Easy to Love' and 'Air Mail Special'. Another duo at Carnegie Hall in September wrought 'Carnegie Blues' ('Air Mail Special'), 'Gai', etc.. Brown and Peterson were a partnership of half a century nigh to the new millennium, they appearing on numberless titles together, usually in smaller ensembles like trios when not backing other operations such as JATP. Peterson supported Brown on the latter's 'This Is Ray Brown' in February of 1958. He also filled a couple tracks on Brown's 1994 'Some of My Best Friends Are...the Piano Players'. Their last recordings together are thought to have been September 24-26, 1998, at the Blue Note in NYC with Peterson's Very Tall Band to result in the latter's 'Live at the Blue Note' and 'What's Up?'. Also in attendance were Milt Jackson on vibes and  Karriem Riggins on drums. Jackson had long been one of Brown's more important comrades since the latter's first recordings in 1945. Another figure of major importance in Brown's career was guitarist, Herb Ellis. Brown was already a big shot in the jazz domain when he first recorded with Ellis in May of 1953 for JATP at the Bushnell Memorial Auditorium in Hartford, CT, for such as 'Cotton Tail' and 'Air Mail Special'. Theirs was a partnership on strings for nigh half a century, found on numberless titles together. They supported other operations together, particularly JATP and Oscar Peterson, as well as each other. Brown first backed Ellis on December 28 of 1955 in Los Angeles for 'Ellis in Wonderland'. Ellis joined the Walter Paich Orchestra in Hollywood on November 21 of '56 to support Brown's 'Bass Hit!'. They recorded 'Bass Ball' as a trio with Stan Levey on drums for Playboy Records in Los Angeles on July 31, 1957. Ellis also joined Peterson per above in 1958 for 'This Is Ray Brown'. Other personnel were Jerome Richardson (flute) and Osie Johnson (drums). Ellis filled a couple titles on Brown's 2000 'Some of My Best Friends Are...Guitarists', thought to be their last recordings together: 'I Want to Be Happy' and 'Blues For Junior'. Brown's album, 'Some of My Best Friends Are...the Trumpet Players', was recorded during those sessions. Brown's career was a virtual history of jazz as one of the most prolific recording artists well exceeding 900 sessions, 71 of those his own projects. Much of that was due to being a favored session musician also working in television orchestras. It was also due to forming important relationships with such as Coleman Hawkins, Bud Powell, Lester Young, Count Basie, Louis Armstrong, Johnny Hodges, Ben Webster, Quincy Jones and Cannonball Adderley. Other significant associations and events included Max Roach, Ray Anthony, Billie Holiday, Blossom Dearie, Stuff Smith, André Previn, Willie Ruff, Carmen McRae, the Aurex Jazz Festival in Japan in September of 1981, the L.A. Four, Joe Pass, Gene Harris, Sheena Easton, the Carnegie Hall Jazz Band, the Manhattan Transfer, Diana Krall, Dee Dee Bridgewater and Stanley Turrentine. Among more recent titles prior to his death was the first live music session held at a Starbucks coffee shop, that at 23rd and Jackson in Seattle on 22 and 23 of Nov 1999 toward 'Live at Starbucks' w Geoffrey Keezer (piano) and Karriem Riggins (drums). Lord's discography traces Brown to as late as March of 2002 with Monty Alexander at piano and Russell Malone on guitar for 'Ray Brown Monty Alexander Russell Malone'. Brown was blessed to die at sleep after a game of golf before a performance in Indianapolis on July 2, 2002 [obits: 1, 2]. References: 1, 2, 3, 4, 5, 6, 7, 8. Discos: 1 (strike Ray Brown and the Whispers), 2, 3, 4. Brown in visual media. Interviews: 1963-80 w Les Tompkins, 1996 w Ted Panken, 1999 w Willard Jenkins. Further reading: 'A Walking Sound' by Cerra. Other profiles: 1, 2. Per below, all titles 1946 and '47 are w Dizzy Gillespie.

Ray Brown   1946

  Confirmation

     Composition: Charlie Parker

 Dizzy Atmosphere

     Composition: Dizzy Gillespie

  Jivin' in Be-Bop

      Composition: Dizzy Gillespie/Charlie Parker

      Film

  Ol' Man Rebop

       Composition: Leonard Feather

  One Bass Hit

     Film: 'Jivin' in Be-Bop'

       Composition:

       Ray Brown/Gil Fuller/Dizzy Gillespie

  'Round About Midnight

       Composition: Thelonious Monk

 Shaw 'Nuff

      Composition: Dizzy Gillespie

Ray Brown   1947

 Emanon

     Recorded 10 Nov 1946 [Lord]

     Issued on Musicraft 447

     Composition: Dizzy Gillespie/Milton Shaw

Ray Brown   1977

 Montreux 1977

    Concert   Filmed live with Oscar Peterson

Ray Brown   1992

 Honeysuckle Rose

      Filmed live in France

      Piano: Gene Harris

    Trumpet: James Morrison

    Music: Fats Waller   1929

    Lyrics: Andy Razaf

 Summertime

      Filmed live in France

      Piano: Gene Harris

    Music: George Gershwin   1934

    Lyrics: Ira Gershwin/DuBose Heyward

    Aria for the opera 'Porgy & Bess'

Ray Brown   2001

 Black Orpheus

      'Orfeu Negro'

    Filmed live

      Composition: Luis Bonfa   1959

      For the film same title

 Jazzwoche Burghausen

      Filmed concert

 Lady Be Good

      Jazzwoche Burghausen

     Violin: Regina Carter  

       Composition: Gershwin Brothers   1924

       For the Broadway musical 'Oh, Lady Be Good!'

Mundell Lowe

Photo: Trigger Alpert

Source: Mundell Lowe

Mundell Lowe   1948

Toots Thielemans  1959

  Confirmation

     Piano: Ray Bryant

     Composition: Charlie Parker

  Nuages

     Piano: Ray Bryant

     Composition: Django Reinhardt 1940

  You Are My Sunshine

     Piano: Ray Bryant

     Composition: Jimmie Davis/Charles Mitchell   1939

Toots Thielemans  1961

  Le Trottoir

      Composition: Thielemans

Toots Thielemans  1962

  Bluesette

      Composition: Thielemans

Toots Thielemans  1964

  Falling in Love with Love

Toots Thielemans  1967

  Hot Toddy

      Composition: Ralph Flanagan/Herb Hendler

  Talk to Me

      Composition:

      Eddie Snyder/Rudy Vallee/Stanley Kahan

  Try a Little Tenderness

      Composition:

      Harry M. Woods/Jimmy Campbell/Reginald Connelly

Toots Thielemans  1970

  Dirty Old Man

     With Mads Vinding

     Composition: Thielemans

Toots Thielemans  1998

Toots Thielemans

Source: Enciclopedia del Jazz

Source: Discogs

Wendell Marshall   1951

With Duke Ellington:

 Hoppin' John

     Composition: Duke Ellington

 Jumpin' with Symphony Sid

     Composition: Lester Young

 Sultry Serenade

     Composition: Duke Ellington/Tyree Glenn

Wendell Marshall   1953

 B Sharp Blues

     Piano: Duke Ellington

     Composition: Duke Ellington

     Recorded 13 April '53   Hollywood

     Issued 1972: 'Piano Reflections'

Wendell Marshall   1955

 Get Happy

     Piano: Ray Bryant

     Music: Harold Arlen

     Lyrics: Ted Koehler

  I Married an Angel

      Music: Richard Rodgers

      Lyrics: Lorenz Hart

      Nat Adderley LP: 'That's Nat'

Wendell Marshall   1956

From 'Wilder 'n' Wilder'

Joe Wilder LP

Recorded 19 Jan '56   NYC

Reissued as 'Softly with Feeling'   '88

Joe Wilder Quartet

Trumpet: Joe Wilder

Piano: Hank Jones

Drums: Kenny Clarke

  Darn That Dream

     Composition: 1939

     Jimmy Van Heusen/Eddie DeLange

     For the musical 'Swingin’ the Dream'

  My Heart Stood Still

      Music: Richard Rodgers

      Lyrics: Lorenz Hart

Wendell Marshall   1957

From 'Easy Living'

Mary Ann McCall LP

Recorded Aug '56   NYC

Vocal: Mary Ann McCall

 You Can Depend on Me

     Composition: Richard Carpenter

From 'The Warm Sound'

Francis Wayne LP

Recorded 27 April '57   NYC

Vocal: Frances Wayne

 In Other Words

     Composition: Bart Howard

  My One and Only Love

     Composition: Guy Wood/Robert Mellin

Wendell Marshall   1958

  Cairo After Dark

      Composition: Gene Bianco/Norman Beatty

     Album: 'Harp, Skip & Jum...P'

       Harp: Gene Bianco

       Guitar: Mundell Lowe

       Vibraphone: Joe Venuto

       Drums: Don Lamond

Wendell Marshall   1959

  I Hadn't Anyone Till You

      Composition: Ray Noble   1938

      Coleman Hawkins LP: 'Soul'

      Recorded 7 Nov '58

      Tenor sax: Hawkins

      Piano: Ray Bryant

      Guitar: Kenny Burrell

      Drums: Osie Johnson

Wendell Marshall   1960

  Haunted House

      Composition: Lonnie Johnson

       Johnson LP: 'Blues & Ballads'

      Electric guitar/vocals: Johnson

      Acoustic guitar: Elmer Snowden

Percy Heath

Photo: Richard Laird

Source: All About Jazz

Born in 1923 in Wilmington, North, Carolina, bassist Percy Heath was older brother to tenor saxophonist, Jimmy Heath (b '26), and drummer, Albert Heath (b '35). After a time in the Army (drafted 1944) Percy enrolled at the Granoff School of Music in Philadelphia where he played clubs and is thought to have first recorded on December 1 of '47 with the band of Al Steele per Hi-Lite 503: 'Down' and 'D.M.F'. He is next found in Chicago in the latter week of December '47 with the Howard McGhee Sextet featuring Milt Jackson for such as 'Merry Lee' and 'Short Life'. Heath would see multiple dates with McGhee into the sixties. Their first occurred to May of '48 in Paris with McGhee's Boptet. The last was on the 18th for titles like 'Denise' and 'Nicole'. Upon returning to the States Heath joined trumpeter, Joe Morris, on a few dates, including with vocalists, Lucille Little and Stick McGhee. But with 335 sessions accredited to him, we'll not pursue a session-by-session account of Heath's career and focus on only those peers more important to his career. At the spearhead was vibraphonist, Milt Jackson, who we saw above with Howard McGhee in December of '47. After McGhee, Heath and Jackson next recorded together with the Dizzy Gillespie Sextet on December 16, 1950, that yielding 'She's Gone Again', 'Nice Work If You Can Get It', 'Thinking of You' and 'Too Much Weight'. They both bopped with Gillespie until February 29 of '52 with another sextet, putting down such as 'Dizz' Tune' and 'Love Is Here to Stay'. Along the way Heath had supported titles like 'Autumn Breeze' and 'Bluesology' for Jackson's Quartet on September 18, 1951, consisting of John Lewis (piano) and Al Jones (drums). Some mark that as the inception of the Modern Jazz Quartet (MJQ) but the name came later. Heath joined Jackson again for sessions in April of 1952. In years to come the two would back other operations together, such as Miles Davis, as well as record numerous Jackson titles. The major portion of their relationship together was membership in the MJQ. They are thought to have first recorded by that name (Modern Jazz Quartet) on December 17, 1951, per Lord's discography, Sonny Rollins one of its members on several tracks with Kenny Drew (piano) and Art Blakey (drums). It would be well here to cite Wikipedia concerning that session included on 'Sonny Rollins with the Modern Jazz Quartet' released in 1956. The MJQ definitely went by that name when it recorded 'MJQ' on December 22, 1952, consisting of Jackson, Heath, John Lewis (piano) and Kenny Clarke (drums). Connie Kay [1, 2, 3, 4] replaced Clarke in 1955. The quartet appeared on the television special, 'Belafonte, New York', in 1960 [IMDb]. The MJQ remained in business until 1974 when Jackson dropped out due to too much touring. They reformed in 1981 and recorded numerously to what is thought their final session on July 16, 1993, at the Montreux Jazz Festival in Switzerland with tenor saxophonist, Nino Tempo. As ever since '55 the Quartet consisted of Jackson, Heath, Lewis and Kay for a rendition of 'Darn That Dream'. That would be included with prior sessions in NYC on 'MJQ & Friends: A 40th Anniversary Celebration' in 1994. Lewis and Heath had gone back to before the MJQ to Pairs, above, with Howard McGhee on May 14, 1948, for such as 'Maggie's Drawers' and 'Out of Nowhere'. They had recorded with both Miles Davis and Dizzy Gillespie before a Jackson quintet with Lou Donaldson on alto sax and Kenny Clarke on drums, on April 7, 1952, for such as 'Tahiti' and 'Lillie'. That was elementally the MJQ with Donaldson guesting. They recorded with Charlie Parker at Lewis' first session with the official MJQ on November 1 of 1952 for 'How High the Moon', Embraceable You' and '52nd Street Theme'. Through the decades to their last sessions with the MJQ per above in 1993 Heath and Lewis had also recorded numerously with other ensembles, one such instance being Jazz at the Philharmonic in Seattle on October 11 of '56 for such as 'Groovin' High'. An earlier session that day as the MJQ yielded such as 'D & E' with Kay again at drums. Future JATP sessions were held in '57. Heath supported Lewis' albums, '2 Degrees East / 3 Degrees West' ('56 w Chico Hamilton at drums), 'Afternoon In Paris' ('56), 'The John Lewis Piano' ('56) and 'European Windows' ('58). They are thought to have last recorded together per above with the MJQ in '93 in Montreux, Switzerland. Sonny Rollins also weighed heavily in Heath's career, their first tracks together on January 17, 1951, with the Miles Davis Sextet for such as 'Morpheus' and 'Down'. A session later that day with the Sonny Rollins Quartet wrought 'I Know' with Davis at piano and Roy Haynes on drums. Heath held numerous sessions with Rollins into the latter fifties backing other operations, like those of Davis, when not supporting Rollins' projects. In August of '58 Heath contributed to Rollins' 'At Music Inn / At Falcon's Lair', followed seven years later by 'In Europe', recorded in Berlin on October 30, 1965. As might be indicated thus far, Miles Davis was also a major figure in Heath's early career, their first session together per above with Rollins in December of '51. Heath worked with Davis nigh continuously to November 12, 1956, in Freiburg, Germany, recording 'How High the Moon' and 'Lester Leaps In' for German television station, SWF. Requisite to mention per Heath's latter career is the Heath Brothers with Albert and Jimmy. That tripartite first recorded on October 22, 1975, with Stanley Cowell at piano in Oslo, Norway, resulting in 'Marchin On'. Numerous albums ensued to May 29-31, 1998, for 'Jazz Family'. Others with whom Heath recorded on multiple occasions were Art Farmer, Cannonball Adderley and Bill Evans. Heath's last recordings are thought to have been his album, 'A Love Song', on May 1 of 2002. Beyond music, Heath loved to fish striped bass, he an expert surfcaster. Montauk Point at the tip of Long Island was his favorite spot. He died April 28, 2005, of bone cancer in Southampton, New York. References for Percy Heath: 1, 2, 3, 4, 5. Sessions: JDP, Lord. Discographies: 1, 2. Interviews: Smithsonian Jazz 2001 (pdf) 2001, Myers 2009. Documentaries: 'Brotherly Jazz' 2005: 1, 2. Further reading: Cerra/ JazzProfiles. References for MJQ: 1, 2, 3, 4. Sessions: JDP, Lord. Discographies: 1, 2, 3, 4, 5. Compilations: 'The Modern Jazz Quartet: Lost Tapes: Germany 1956-1958': 1, 2, 3, 4, 5, 6, YouTube. MJQ in visual media. Criticism: Steven Cerra at JazzProfiles, Carla Marie Rupp at CUNY. Further reading: Eric Levin at People. Other profiles: 1, 2. References for the Heath Brothers: 1, 2. Sessions. Discographies: 1, 2, 3, Documentaries: 'Brotherly Jazz' 2005 directed by Jesse Block, produced by Danny Scher.

Percy Heath   1949

 Boogie Woogie March

     Recorded 22 Dec 1948

     Trumpet: Joe Morris

      Composition: Joe Morris

Percy Heath   1952

 The Best Things in Life Are Free

     Alto sax: Lou Donaldson

      Composition:

      Lew Brown/Buddy DeSylva/Ray Henderson

     Recorded 1952   Issue unidentified

Percy Heath   1954

 Confab in Tempo

     Tenor sax: Sonny Rollins

     Trumpet: Art Farmer

     Piano: Horace Silver

     Drums: Kenny Clarke

     Composition: Art Farmer

     Recorded 1954   Issue unidentified

 I'll Take Romance

     Tenor sax:   Sonny Rollins

     Trumpet: Art Farmer

     Piano: Horace Silver

     Drums: Kenny Clarke

     Composition:

     Ben Oakland/Oscar Hammerstein II

     Recorded 1954   Issue unidentified

 Tune-Up

     Miles Davis Quartet

     Piano: John Lewis

     Trumpet: Miles Davis

     Drums: Max Roach

     Composition: Miles Davis

     LP: 'Miles Davis Quartet'

     Recorded 1953

 Wisteria

     Tenor sax: Sonny Rollins

     Trumpet: Art Farmer

     Piano: Horace Silver

     Drums: Kenny Clarke

     Composition: Art Farmer

     Recorded 1954   Issue unidentified

Percy Heath   1955

 Stupendous Lee

     Saxophone: Gigi Gryce

     Trumpet: Art Farmer

     Piano: Horace Silver

     Drums: Kenny Clarke

     Composition: Art Farmer

     LP: 'When Farmer Met Gryce'

Percy Heath   1960

 East of the Sun (And West of the Moon)

      Alto sax: Paul Desmond   Guitar: Jim Hall

      Composition: Brooks Bowman

      LP: 'First Place Again'

 Time After Time

      Alto sax: Paul Desmond   Guitar: Jim Hall

      Composition: Jule Styne/Sammy Cahn

      LP: 'First Place Again'

Modern Jazz Quartet   1966

 Ralph's New Blues

      Composition: Milt Jackson

Modern Jazz Quartet   1983

 Bag's Groove

       Composition: Milt Jackson   1952

 True Blues

      Composition: Milt Jackson

Born in 1923 in Indianapolis, guitarist, Wes Montgomery, was younger brother to Monk Montgomery born in 1921. Even younger to Monk than Wes was vibraphonist, Buddy Montgomery, born in 1930. Wes received his first big break in 1948, touring with the Lionel Hampton Orchestra. Hampton is said to have hired Montgomery for his ability to play pieces by Charlie Christian. He is thought to have first recorded with Hampton in 1948, a series of radio broadcasts beginning from an undeterminable location on June 5: 'Giddyup', 'Midnight Sun', etc.. Those are available on a Hampton CD titled 'Live in 1948'. His first name recording took place in June 1955 for Columbia with his brothers, Buddy (piano) and Monk (bass guitar): 'Love for Sale'. The debut vinyl of trumpeter, Freddie Hubbard, was in support of 'The Montgomery Brothers and 5 Others' on December 30, 1957. Among those in whose projects Montgomery participated were Jon Hendricks, Nat Adderley, Cannonball Adderley, Wynton Kelly and Jimmy Smith. Montgomery recorded steadily until his early death of heart attack on 15 June of 1968 in Indianapolis, only 45 years of age. His last titles are thought to have been recorded in May that year for 'Road Song'. References for Wes Montgomery: 1, 2, 3, 4, 5, 6, 7 (Japan). Sessionographies: Cohen, JDP, Gould, Lord, WMFC (Japan). Discos: 1, 2, 3, 4. Compilations: 'Beginnings' 1957-59 by Blue Note 1975; 'In the Beginning' 1949-58 by Resonance 2015: 1, 2, 3, 4, 5. Compositions. Chords/tabs; transcriptions: 1, 2 (Japan). Instruction: analysis; guitar licks. Interviews: w Ira Gitler 1964, w Valerie Wilmer 1965, w Crescendo Magazine 1965. Awards. Gear. Further reading: John Duarte, Aravind Iyer, Marc Myers, Chuck Stewart, Josef Woodard. References for the Montgomery Brothers: 1, 2. Discos: 1, 2, 3. With George Shearing. Per '49 and '50 below, Montgomery is listed on those sessions, though you wouldn't know it. Earlier '48 solos by Montgomery with Hampton exist at YouTube (as of this writing): recorded in July in Geneva, they're half-minute rough edits from 'Adam Blew His Hat' and 'Brant Inn Boogie'.

Wes Montgomery   1949

 Hamp's Gumbo

       With Lionel Hampton

       Composition:

       Hampton/Curley Hamner/Melvln White

       With Lionel Hampton

       Composition:

       Composition:

       Wes Montgomery Trio

       Album

       Piano: Tommy Flanagan

       Bass: Percy Heath

Wes Montgomery   1961

 So Much Guitar!

       Album

       Piano: Hank Jones

       Bass: Ron Carter

       Music: Harry Warren   1942

        Lyrics: Mack Gordon

       Album

        Composition:

        Recorded 22 April 1963

       Film

       Album

       Composition: John & Michelle Phillips

       Composition:

        Piano: Herbie Hancock

Wes Montgomery

Source: All Music

Johnny Smith   1951

  Temptation Rag

      With Benny Goodman

        Composition: Henry Lodge

Johnny Smith   1952

  Moonlight in Vermont

      Tenor sax: Stan Getz

       Music: Karl Suessdorf   1944

       Lyrics: John Blackburn

Johnny Smith   1953

  Cherokee

      Tenor sax: Stan Getz

        Composition: Ray Noble   1938

Johnny Smith   1954

  Walk, Don't Run!

       Composition: Johnny Smith

Johnny Smith   1957

  Deep Night

       Composition:

       Charles Henderson/Rudy Vallée

Johnny Smith   1961

From 'The Sound of the Johnny Smith Guitar'

Piano: Hank Jones

Bass: George Duvivier

Drums: Ed Shaughnessey

  As Long as There's Music

       Composition:

       Jule Styne/Sammy Cahn

  Embraceable You

       Composition: Gershwin Brothers

  Misty

       Composition:

       Erroll Garner/Johnny Burke

Johnny Smith   1965

  Shiny Stockings

       Music: Frank Foster   1955

       Lyrics: Ella Fitzgerald

Johnny Smith   1984

  What Are You Doing for the Rest of Your Life? *

       Music: Michel Legrand   1969

       Lyrics: Alan & Marilyn Bergman

       For the film 'The Happy Ending'

Johnny Smith

Source: Johnny Smith

Debut LP