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A Birth of Jazz

A YouTube History of Music

Modern Jazz 4

Bass - Guitar - Harp - Violin

Group & Last Name Index to Full History:

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

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

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

Not on this page? See history tree below.

     

Alphabetical

Laurindo Almeida    Art Ensemble Chicago    Dorothy Ashby    Svend Asmussen

 
George Barnes    Billy Bauer    Max Bennett    George Benson    Luiz Bonfá    Ray Brown    Vinnie Burke    Kenny Burrell    Charlie Byrd
 
Franco Cerri    Paul Chambers    Joe Cinderella    Curtis Counce    Bob Cranshaw    Bill Crow
 
Richard Davis    Bill DeArango    George Duvivier
 
Herb Ellis
 
Tal Farlow    Malachi Favors
 
Barry Galbraith    Hank Garland   Jimmy Garrison    Stephane Grappelli    Henry Grimes    Lloyd Tiny Grimes
 
Charlie Haden    Jim Hall    Percy Heath    Milt Hinton
 
Sam Jones
 
Barney Kessel
 
Scott LaFaro    Herbie Lewis    Liberation Music Orchestra    Lighthouse All Stars    Mundell Lowe
 
Wendell Marshall    Grady Martin    Lou Mecca    Charles Mingus    Red Mitchell    Monk Montgomery    Wes Montgomery    Oscar Moore    Tony Mottola
 
Calvin Newborn    Ulrik Neumann
 
Gary Peacock    Les Paul    Oscar Pettiford
 
Jimmy Raney    Ernest Ranglin    Django Reinhardt    Alvino Rey    Howard Roberts    Howard Rumsey
 
Sal Salvador    Johnny Smith    Slam Stewart    Gabor Szabo
 
Masayuki Takayanagi    Toots Thielemans
 
George Van Eps    Leroy Vinnegar
 
Wilbur Ware    Doug Watkins    Chuck Wayne
 
Attila Zoller

 

Chronological

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

Names are alphabetical, not chronological, per year:

 

1927

George Van Eps

   
1928

Django Reinhardt

   
1929 Stephane Grappelli
   
1930 George Van Eps
   
1931 Milt Hinton
   
1934 Svend Asmussen
   
1935 Stephane Grappelli
   
1936 Ulrik Neumann    Les Paul
   
1937 Alvino Rey    Wilbur Ware
   
1938 Laurindo Almeida    George Barnes    Oscar Moore    Howard Rumsey    Slam Stewart
   
1939 Tony Mottola    Oscar Pettiford
   
1941 Billy Bauer    George Duvivier    Barry Galbraith
   
1943 Herb Ellis    Lloyd Tiny Grimes
   
1944 Barney Kessel   Jimmy Raney
   
1945 Franco Cerri    Curtis Counce    Bill DeArango    Charles Mingus    Chuck Wayne
   
1946 Luiz Bonfá    Ray Brown    Mundell Lowe    Toots Thielemans
   
1947 Wendell Marshall
   
1948 Percy Heath   Wes Montgomery
   
1949 Tal Farlow   Red Mitchell    Calvin Newborn
   
1950 Hank Garland    Grady Martin   Johnny Smith    Attila Zoller
   
1951 Max Bennett    Kenny Burrell    Sam Jones    Sal Salvador
   
1952 Lighthouse All Stars     Howard Roberts
   
1953 Vinnie Burke    Bill Crow    Malachi Favors    Monk Montgomery
   
1954 George Benson    Joe Cinderella    Richard Davis    Lou Mecca    Masayuki Takayanagi    Leroy Vinnegar
   
1955 Paul Chambers    Jim Hall    Doug Watkins
1956 Scott LaFaro    Gabor Szabo
   
1957 Dorothy Ashby    Charlie Byrd    Henry Grimes    Gary Peacock
   
1958 Bob Cranshaw    Jimmy Garrison    Charlie Haden    Herbie Lewis    Ernest Ranglin
   
1969 Art Ensemble Chicago    Liberation Music Orchestra

 

  One might think of the history of jazz a little like the ka-boom of string-theory cosmology (or one such version): in the beginning was the big bounce of small bands (Ka . . . call Buddy Bolden the elusive string), next the inflation of full swing orchestras (Boom . . . Hi!-de-ho!), then the jazz universe as we know it, of solo stars in small clusters of all variety. This page concerns the birth of modern jazz via various string instruments, intended to index bands and musicians releasing their first recordings before 1960. Swing musicians not noted for playing in big bands are also on this page. Latin guitarists will be found in Early Modern Latin Jazz.

 

 

Birth of Modern Jazz: Django Reinhardt

Django Reinhardt

Source: Relative Esoterica

Guitarist Django Reinhardt was a swing (era) musician born in Belgium in 1910. Burn injuries via candle as a boy 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. Nor was song so much the thing with Reinhardt as was instrumental virtuosity. So we place him 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. Due to such as Reinhardt and Grappelli jazz would become an increasingly higher bar for musicians to hurdle, soon to rival master classical musicians in musicianship and such. 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 (per Reinhardt somewhere) about 1926 with a singer possibly named Chabel, that unlikely to have been issued. And that's that. Discographies agree that Reinhardt's first recordings were otherwise in 1928. Documentation of actual timely issues, however, by the various labels for which Reinhardt recorded in his early years (Pathe, Henry, HMV, Gramophone, Odeon and Columbia) isn't easy to find despite assigned catalogue numbers. So we give 1928 as the year of his first possible issue. Howsoever, Reinhardt's first recordings on banjo and guitar were a quaint step apart from jazz. Going by Lord's disco (see also djangoreinhardt, JazzTechs and djangopedia) he recorded that year with accordion player, Jean Vaissade, the orchestra of accordion player, Maurice Alexander, and 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 'Pigaller'. He recorded numerously thereafter until his death in Samois-sur-Seine, France, on May 16, 1953. 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 the tracks under Stephane Grappelli lower on this page. (Incidentally, who may 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.) Per below, all tracks for 1928 are with Jean Vaissade.

Django Reinhardt   1928

  Abaude Charmeuse

  Deception D'Amour

  Griserie

  Môme a la Gratiche

  L'Ondee

Django Reinhardt   1933

  Parce Que Je Vous Aime

    'Because I Love You'

      With Jean Sablon

  Si J'Aime Suzy

      With Jean Sablon

Django Reinhardt   1935

  Anything Goes

  It Don't Mean a Thing

  I've Found a New Baby

  Sheik of Araby

  St. Louis Blues

Django Reinhardt   1936

  Georgia On My Mind

  Magic Strings

Django Reinhardt   1937

  In a Sentimental Mood

  Steven's Blues

Django Reinhardt   1939

  The Man I Love

Django Reinhardt   1940

  Nuages

      Acoustic guitar

Django Reinhardt   1953

  Nuages

      Electric guitar

Django Reinhardt   1950

  Honeysuckle Rose

 

 
 

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 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. Grappelli also features on several of the tracks under Django Reinhardt higher on this page. (Side note: who may 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

   China Boy

   Confessin'

   I Got Rhythm

   I've Had My Moments

   Limehouse Blues

   Moon Glow

Stephane Grappelli   1937

   The Sheik of Araby

   Sugar

Stephane Grappelli   1939

   J'attendrai Swing

Stephane Grappelli   1949

   All the Things You Are

Stephane Grappelli   1956

   Someone to Watch Over Me

Stephane Grappelli   1973

   Autumn Leaves

      With Oscar Peterson

Stephane Grappelli   1990

   Blue Moon

      Live performance

Stephane Grappelli   1991

   How High the Moon

      Live performance

 

Birth of Modern Jazz: Stephane Grappelli

Stephane Grappelli

Source: NoNaMe

 

Born in 1913, seven-string guitarist George Van Eps was the son of banjoist, Fred Van Eps. He is thought to have first recorded banjo in 1927, at age fourteen, which is easier to quote from multiple sources than to determine anything more about such. (Elvispelvis comments that such was with banjo-playing brothers, Fred and Bob. George did have three musicians for brothers: pianist Bobby, trumpeter Freddy and tenor saxophonist Johnny. His mother played piano as well. It's yet possible that recording was with his father, Fred.) Howsoever, the first Van Eps recording that saw a record shop was in the orchestra of Smith Ballew on October 14, 1930, playing guitar on 'You Were Only Passing Time' and 'You're Simply Delish' (Columbia 2320). Eddie Lang, Joe Venuti and Bobby Van Eps (piano) were also in on that. A few more sessions were held with Ballew and both Dorsey brothers in his band to February 3, 1931, for 'I Hate Myself'. A session with Eddie Scat Davis in October 1932 yielded 'Sugar'. He had begun working with Freddy Martin in 1931 but didn't record with him until January 16, 1933, with his brother, Bobby, and vocalist, Elmer Feldkamp: 'When the Morning Rolls Around', 'A Tree Was a Tree' and 'Why Can't This Night Go on Forever?'. With 243 sessions to Van Eps' name we fast forward through several sessions with Martin into May, then the Tasty Bread Winners and Chick Bullock in '34, to arrive to the Benny Goodman Orchestra on August 16 that year for such as 'Take My Word'' and 'Nit Wit Serenade'. Numerous sessions with Goodman were held to July of '35, there later reunions in '47 and the early fifties. Meanwhile another important orchestra in the thirties was Ray Noble's, Van Eps joining that operation in 1935 to record 'Down By the River' in February. Van Eps worked with Noble into 1936, later from '39 into 1941. Among others Van Eps supported in the thirties were Louis Prima, Adrian Rollini ('Somebody Loves Me' '34) and Frank Trumbauer. We fast forward into the forties to one of Van Eps more frequent partners through the years, that clarinetist, Matty Matlock. Their first session together had been with Charles LaVere's Chicago Loopers on November 1 of 1944 for such as 'Lazy River' and 'Very 8'n Boogie'. Matlock and Van Eps were nigh continual partners through numerous outfits, such as Paul Weston's, for another sixteen years. Along the way Van Eps backed several of Matlock's albums from 'Sports Parade' ('54) to 'Gold Diggers in Dixieland' ('60). They recorded together to as late as 1960 to back Louis Armstrong and Bing Crosby's 'Bing and Satchmo'. Lord's disco has them reuniting circa 1963 with Wild Bill Davison and His Dixie Cats toward 'Do It with Dixie' issued in Germany circa '69/'70. Two more important figures in Van Eps career were vocalist, Johnny Mercer, and bandleader, Paul Weston, Van Eps joining the latter's orchestra on September 27 of 1945 for titles with the Pied Pipers: 'If I Knew Then' and 'Personality'. Van Eps spent two years recording numerously with Mercer and Weston, often with the Pied Pipers, to December 29, 1947, for 'Down Among the Sheltering Palms' and 'Would Ya?', also with the Pied Pipers. Van Eps would see Mercer again in 1951 and '60, that last occasion in August with Bobby Darin and the Billy May Orchestra for 'Two of a Kind'. Van Eps would be back with Weston in 1949 to back Dean Martin, they to work with one another numerously to November 12 of 1953 to back trumpeter, Harry James, on "Oh Mein Papa' and 'Serenata'. Van Eps contributed to Weston's 'Mood for 12' in 1955 and 'Solo Mood' in '56. Later in August Weston conducted titles for Van Eps' first album, 'Mellow Guitar'. Van Eps' first sessions as a leader had preceded that by six years, those in trios in April and June of 1949, the first with Jack Ryan (bass) and Nick Fatool (drums) to bear 'I Wrote It for Joe' and 'Tea for Two', the latter with Fatool and Phil Stephens on bass to yield 'Once in a While' and 'Kay's Fantasy'. Van Eps waited ten years after 'Mellow Guitar' to record his next album in 1966 with Frank Flynn on vibes, 'My Guitar'. 'Seven-String Guitar' ('67) was a trio, 'Soliloquy' ('68) was a suite of solos, 'Hand-Crafted Swing' ('92) was a quartet, 'Seven and Seven' ('93) was a duo with Howard Alden, 'Legends' ('94) was an album shared with Johnny Smith performing a separate suite of solos, and 'Keepin' Time' ('94) was a quartet. Among the host of others Van Eps supported through the years were Wingy Manone, Peggy Lee, Jess Stacy, the Rampart Street Paraders, Frank Sinatra, Glen Gray's Casa Loma, the Four Freshmen, the Blue Angel Jazz Club and the Kings of Dixieland. Van Eps died in 1998 of pneumonia in Newport Beach, California. His last recordings are thought to have been in 1997 toward John Pisano's 'Guitar Night' issued in December 2006.

George Van Eps   1935

  Get Rhythm in Your Feet

      With Benny Goodman & Helen Ward

George Van Eps   1949

 I Wrote It For Jo

  Kay's Fantasy

George Van Eps   1956

  Have You Met Miss Jones

George Van Eps   1979

  I've Got a Crush on You

George Van Eps   1991

  Love Walked In

      With Howard Alden

George Van Eps   1993

  Stompin' at the Savoy

      With Howard Alden

George Van Eps   1994

  Moon Glow

      With Howard Alden

 

Birth of Modern Jazz: George Van Eps

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 thought to have been in 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 of will then be something incomplete. 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/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). Hinton was 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 December 2000. 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.

Milt Hinton   1945

  Everywhere

Milt Hinton   1950

  Calloway Boogie

   Filmed live with Cab Calloway

Milt Hinton   1976

  How High the Moon

  Softly As In A Morning Sunrise

     Piano: Hank Jones

Milt Hinton   1990

  I'm Just a Lucky So and So

     Original composition: Duke Ellington

     Saxophone: Jay McShann

Milt Hinton   1992

  Old Man Time

 

Birth of Modern Jazz: Milt Hinton

Milt Hinton

Photo: Marc Marnie

Source: Alan Ainsworth

 

  Though Svend Asmussen wasn't known well in the United States he joins such as Joe Venuti, Stephane Grappelli and Stuff Smith as one of the finest swing jazz violinists of the 20th century. His virtuosity, however, was individualistic in smaller formations than the big band, thus his place on this page rather than Swing Jazz. Born in 1916 in Copenhagen, Denmark, Asmussen took up his instrument at age seven. He went pro as a trick fiddler in 1933. Performing in Copenhagen would put him contact with American musicians visiting Europe such as Fats Waller and the Mills Brothers. His recording career on 78s began in 1934, releasing 'Jeg har min Chance i Maj' and 'Damen fra Villavejen' on His Master's Voice (X 4330 per August 21 session). Numerous issues were made in 1935 by HMV as well. 'Fiddler Magazine' notes a collection of 15 CDs containing recordings from 1935 to 1955 on the now nonexistent Swan and Thora labels. Nothing more about that is known. Be as may, Asmussen recordings from 1935 to 1940 have been issued on 'Musical Miracle Vol 1' per 1994 by Phontastic. Recordings from 1941 to 1950 were issued in 1995 on 'Phenomenal Fiddler Vol 2', also Phontastic. Recordings from 1937 to 1944 have been collected on 'Danish Jazz Vol 6' (Storyville). Asmussen also performed in swing bands on cruise ships, which is how he met Josephine Baker in 1938. Three tunes of his were used in the 1939 film, 'En Lille Tilfaeldighed'. World War II, however, put a jail cell across his upwardly mobile path when he was arrested by the Gestapo as a so-called prominent citizen in 1943 and detained in Berlin. His release was somehow managed before the War ended and he began to tour Europe upon the end of the War itself (May 1945). In the late fifties Asmussen formed the Swe-Danes, a trio with guitarist, Ulrik Neumann, and  singer, Alice Babs. That ensemble's first session is thought to have been held in Stockholm, Sweden, on April 27 of 1959 for 'Side By Side'. The Swe-Danes toured the United States as well. Neumann and Asmusssen went back to 1936 for an unissued recording "Honeysuckle Rose' in Copenhagen, Denmark. Neumann backed Asmussen numerously through the years. In October of 1959 they recorded a suite of duets in Hollywood to get issued as 'Danish Imports' in 1961. Asmussen and Babs would issue 'Äntligen!' as late as 1972. Asmussen had made another rare appearance in the States in 1967 at the Monterey Jazz Festival following the release of 'Violin Summit' the previous year with Stephane Grappelli, Stuff Smith and Jean-Luc Ponty. Asmussen and Grappelli had first recorded together in Paris in February of 1963 upon a tour to Europe by Duke Ellington, those titles to find issue in 1976 on 'Duke Ellington's Jazz Violin Session'. The next year ('64) Asmussen and Grappelli co-led 'Two of a Kind'. On January 24 of 1988 Asmussen supported Grappelli with pianist, Martial Solal, on 'Olympia 1988'. As for Smith, he and Asmussen would co-lead 'Hot Violins' in 1966 in Copenhagen. May 18 of 1972 found Asmussen performing on Swedish television with conductor, Eric Ericson, titles to get issued on 'Kammarkoren & Eric Ericson Moter Sven Asmussen'. Another such performance on June 5 of '73 witnessed 'Kammarkören & Eric Ericson Möter Svend Asmussen Igen'. November of 1972 had seen Asmussen and Toots Thielemans co-leading 'Toots & Svend'. November of 1986 found them at Fat Tuesdays' in NYC with the David Grisman Quintet to record 'Svingin' with Svend'. The seventies found Asmussen working closely with clarinetist, Putte Wickman. They issued 'Musik I Kyrkan' in 1975 and 'Spelar För Er' in 1977. Asmussen is the father of guitar player, Claus Asmussen. In 1999 Asmussen laid tracks for 'Still Fiddling', released in 2002. 'Makin' Whoopee...and Music!' appeared in 2009. Having turned 100 years of age in February 2016, Asmussen is one of the few musicians yet alive who can speak of jazz in the days before World War II and during that conflict with personal experience.

Svend Asmussen   1934

   Jeg har min Chance i Maj

      Guitar: Niels Foss

Svend Asmussen   1935

   My Blue Heaven

   Sangen om Larsen

Svend Asmussen   1937

   Det er min stille Bøn

   Jazz Potpourri 1

   Jazz Potpourri 2

Svend Asmussen   1938

   Søde Drømme (Good-Night Angel)

      Vocal: Peter Sørensen

   Sweet Sue

      Guitar: Oscar Aleman

Svend Asmussen   1940

   Honeysuckle Rose

Svend Asmussen   1947

   Five Minutes More

Svend Asmussen   1949

   Untitled

      Film: 'Lattjo med Boccaccio från'

      Guitar: Ulrik Neumann

Svend Asmussen   1962

   Lonely Woman

      LP: 'European Encounter'

      Piano: John Lewis

   New York

      LP: 'European Encounter'

      Piano: John Lewis

Svend Asmussen   1963

   Don't Get Around Much Anymore

      Piano: Duke Ellington

Svend Asmussen   1981

   String Swing

      Filmed in Copenhagen

Svend Asmussen   1986

   It Don't Mean a Thing

      Filmed in Copenhagen

Svend Asmussen   1994

   Live in Aalborghallen

      Bass: Jesper Lundgaard

      Drums: Aage Tanggaard

      Guitar: Jacob Fischer

 

Birth of Modern Jazz: Svend Asmussen

Svend Asmussen

Source: Wall Street Journal

Birth of Modern Jazz: Gerda Neumann

Gerda Neumann

Source: Stichting Groenegraf

Danish guitarist, Ulrik Neumann, is peripheral on this page, included because we've no category for early Scandinavian popular music, and due his partnerships with violin virtuoso, Svend Asmussen, and singer, Alice Babs. An obscure figure per the latter decades of his life, though Neumann jazzed it up it was largely as an comedy performer who also played guitar, his a repertoire of light and happy tunes. Born in 1918 in Copenhagen, Denmark, when Neumann was eighteen (1936) he kept rhythm on a couple tracks with Benny Carter and Kai Ewans, 'Blue Interlude' and 'Memphis Blues', those for the Danish HMV label. In 1940 he appeared in the film, 'En ganske almindelig pige', with his sister, Gerda. Gerda had been working in films since 1936 but her career was a brief one, she dying in a plane crash in Denmark in 1947. Ulrek, making nineteen films between 1940 and 1966, was a member of the Swe-Danes for a couple years, starting in 1959. The Swe-Danes consisted of the above-mentioned Babs and Asmussen. Neumann was father of guitarist, Mikael Neumann. He died in Denmark in June of 1994. Neumann appears on a few jazz tracks below, but the list is largely a better example of Danish popular music than jazz. Be as may, Gerda Neumann is featured on all from 1939 through 1945. Per 1939, 'Jeg Hørte En Sang I En Taxi' is an early sample of Gerda, not Ulrik, Neumann. Kai Ewans leads the band of which Neumann was a member in those days, but personnel is unkown. Per 1940 below, all edits are from the film, 'En ganske almindelig pige', unless otherwise indicated.

Ulrik Neumann   1936

  Blue Interlude

    With Benny Carter & Kai Ewans

 Memphis Blues

    With Benny Carter & Kai Ewans

Gerda Neumann   1939

  Jeg Hørte En Sang I En Taxi

Ulrik Neumann   1940

  Futtoget

    Vinyl

  Hønsefødder og gulerødder

    Film

  En lille melodi

    Film

  Den lille lysegrønne Sang

    Vinyl

  Jeg elsker dig

    Film

  Piger piger piger

    Film

  Tordenskjold

    Vinyl

  Tonernes ABC

    Film

Ulrik Neumann   1941

  Amapola

  Kiss the Boys Good Bye

Ulrik Neumann   1942

  Don´t Sit Under the Appletree

Ulrik Neumann   1945

  Tysk Genfortælling

    With Svend Asmussen

Ulrik Neumann   1949

  Medley

    Film: 'Lattjo med Boccaccio från'

    With Svend Asmussen

The Swe-Danes   1958

  Untitled

    Television broadcast

The Swe-Danes   1959

  Medley

    Television broadcast

  Skandinavien Igen

    Television broadcast

The Swe-Danes   1960

  Scandinavian Shuffle

Ulrik Neumann   1961

  Minuet

    Television broadcast

    With Svend Asmussen

Ulrik Neumann   1967

  Henriette

    Television broadcast

    With Ulla Neumann

 

Birth of Modern Jazz: Ulrik Neumann

Ulrik Neumann

Source: Ulrik Neumann

 

Guitarist Les Paul (Lester William Polsfuss) quit high school to play professionally at KMOX radio in St. Louis, Missouri. He first recorded at age twenty in February, April and May of 1935 to back vocalist, Kay Thompson, with Fred Waring & His Pennsylvanians: '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 aren't thought to have been issued at the time. In 1936 he recorded with Georgia White, 'I'll Keep Sitting On It (If I Can't Sell It)', available for purchase (remastered). Paul next formed the Les Paul Trio and released his first album the next year under the name Rhubarb Red and His Rubes. Titles were 'Just Because', 'Answer to Just Because', 'Deep Elem Blues No. 2' and 'Deep Elem Blues'. 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 with Roy Eldridge for 'Perdido', 'What Is This Thing Called Love?' and 'Blues'. Paul was famous for his musical partnership with his wife, guitarist, Mary Ford. They married on December 29, 1949, and began performing together the next year in trios on the NBC radio program, 'The Les Paul Show'. Paul's fame as a fabulous guitar player, as well as his collaborations with Mary Ford, was eventually overshadowed by his contribution to Orville Gibson's design of the Gibson Les Paul electric guitar. 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 (the effects of which can be heard in a few of the tracks below). Born in 1915 in Waukesha, Wisconsin, Paul died in 2009 of pneumonia in White Plains, New York. He had performed up to a few weeks before his death.

Les Paul   1936

   I'll Keep Sitting On It (If I Can't Sell It)

Les Paul   1944

   Begin the Beguine

   Dark Eyes

   Dream Dust

Les Paul   1950

   Nola

   Jealous

      With Mary Ford

Les Paul   1955

   Caravan

Les Paul   1988

   Over the Rainbow

      Live performance

 

Birth of Modern Jazz: Mary Ford with Les Paul

Mary Ford & Les Paul

Source: Gibson

Birth of Modern Jazz: Alvino Rey

Alvino Rey

Source: Big Band Library

Born Alvin McBurney in 1908 in Oakland, California, steel guitarist Alvino Rey began his professional career in 1927 with the Ev Jones band. Rey is said to have invented the steel guitar at age fifteen (1923), a 1927 version of which he started playing in 1928 upon joining the Phil Spitalny Orchestra. The next year he changed his name to better align with Latin jazz. ("Rey" is "king" in Spanish.) In 1934 Rey joined the Horace Heidt Orchestra. The following year he issued his prototype to the Gibson Guitar Corporation, resulting in Gibson's first commercially successful electric guitar, the ES-150. Rey's earliest determinable recordings occurred in 1937 with Heidt, also the year he married Luise King of the King Sisters. In 1939 Rey formed his first orchestra. He also invented the singing guitar, later known as the Sonovox, in 1939 (see 'My Buddy' listed below). Rey's band celebrated the grand opening of Disneyland's first season on July 18, 1955, which festivity he performed each year into the latter eighties. In the latter fifties Rey began issuing comical recordings for Warner Brothers as Ira Ironstrings. In 1965 Rey became musical director for the King Sisters, as well as for the 'King Family Show' for its run of five seasons. He formally joined the Church of Jesus Christ of Latter-day Saints in 1969. 1980 saw the recording of 'Dance With Me'. Rey gave his last public performance in 1994, retiring with his wife, Luise, in Salt Lake City, where he died in 2004. All tracks below through year 1939 are with the Horace Heidt Orchestra.

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

  Lovely One

      Vocal: Larry Cotton

  Rosalie

      Vocal: Lysbeth Hughes

  There's A Gold Mine In The Sky

      Vocal: Larry Cotton

  Vieni Vieni

      Vocal: Lysbeth Hughes

Alvino Rey   1938

  This Can't Be Love

      Vocal: Larry Cotton

  When They Played the Polka

      Vocal: Charles Goodman

Alvino Rey   1939

  Tomorrow Night

Alvino Rey   1940

  My Buddy

      With Luise King

Alvino Rey   1941

  I Said No!

      Vocal: Yvonne King

  Idaho

      Vocal: Yvonne King

Alvino Rey   1944

  St. Louis Blues

      Filmed live

Alvino Rey   1946

  Cement Mixer

      Vocal: Rocky Coluccio

Alvino Rey   1947

  Bloop Bleep

      Vocal: Rocky Coluccio

Alvino Rey   1959

  Hindustan

      'Lawrence Welk Show'

  Rock Gently

  Sentimental Journey

      'Lawrence Welk Show'

Alvino Rey   1961

  Steel Guitar Rag

Alvino Rey   1965

  Medley

      'King Family Show' with the King Sisters

 

 
Birth of Modern Jazz: Wilbur Ware

Wilbur Ware

Photo: Francis Wolff

Source: Washington Post

Born in 1923 in Chicago, double bassist Wilbur Ware is thought to have made his recording debut in 1939 with Big Bill Broonzy in Chicago. Those tracks for Vocalion and Columbia were 'Let Me Dig It', 'W.P.A. Rag', 'I'm Going Back to Arkansas.' and 'Rider Rider Blues'. Ware isn't thought to have entered the recording studio again until latter 1949 for the Rondo label with Johnny Perry in Chicago, those tracks: 'Tails and Limas', 'Doggin' Me Blues', 'J.P. Boogie' and 'Got Good News for Ya, Baby'. Sessions in 1955 are obscure in date. At some time he privately recorded 'Can This Be Love?' with Sun Ra at piano at Sun Ra's apartment in Chicago. That saw release in 2001 on 'Standards'. He also put down 'Piano Interlude' and 'Can This Be Love?' with Sun Ra for Saturn. Those saw issue on 'Deep Purple' in 1973. Come titles for Music Minus One some time that year as well, issued on an unknown date on 'Jazz Rhythm Records - Music Minus One Guitar Vol 3'. 1955 also saw sessions with drummer, Jimmy Chapin, tracks eventually released in 1977 on 'Profile of a Jazz Drummer'. Titles in 1956 with Clifford Brown and Johnny Griffin are of unknown dates as well. The one with Brown was a private session bearing 'Diggin' Diz' eventually released on CD by Philology on an unknown date. That with Griffin resulted in the album, 'Johnny Griffin' (aka 'JG Tenor') issued in 1958. One finally arrives to a session with a date per Art Blakey on June 25, 1956 for 'Lil'T' and 'The New Message'. Those would see issue on Blakey's 'Drum Suite' in 1957. Among Ware's musical associates the combination of saxophonist, John Coltrane, with pianist, Thelonious Monk, was among the significant. Their first date together was a trio on April 16, 1957, putting down two takes of 'Monk's Mood'. The three would get together again in June in a septet with Art Blakey for two takes of 'Crepuscule with Nellie'. The same septet recorded 'Monk's Music' the next day. An unknown date in '57 saw them in a quartet with Shadow Wilson on drums for 'Nutty', Ruby My Dear' and 'Trinkle Tinkle'. 1957 also brought forth Ware's single name album, 'The Chicago Sound'. During the sixties Ware spent an undetermined period of time in jail in association with narcotics. 1968 found him recording titles with Don Cherry, Clifford Jordan and Ed Blackwell that would get issued on 'Super Bass' in 2012. Lord's disco shows last recordings in 1976 for Jordan's 'Remembering Me-Me'. Among others Ware supported were Rita Reys ('56), Zoot Sims ('56) and Sonny Rollins ('57). Ware died in Philadelphia on September 9, 1979, of emphysema.

Wilbur Ware   1938

 Let Me Dig It

     With Big Bill Broonzy

Wilbur Ware   1954

 Monk's Mood

     Piano: Thelonious Monk

Wilbur Ware   1956

 Beauteous

     Tenor sax: JR Montrose

 Checkmate

     Alto sax: Ernie Henry

 Lil 'T

     Drums: Art Blakey

 The New Message

     Drums: Art Blakey

 Taking A Chance On Love

     Zoot Sims Quintet

Wilbur Ware   1957

 Be-Ware

     Album: 'The Chicago Sound'

 I Could Write A Book

     Kenny Drew Trio

 Latin Quarters

     Drums: Art Blakey

 Mamma-Daddy

     Drums: Art Blakey

 The Man I Love

     Zoot Sims Quintet

 Softly as In a Morning Sunrise

     Tenor sax: Sonny Rollins

 Sweet and Lovely

     Baritone sax: Gerry Mulligan

     Drums: Shadow Wilson

     Piano: Thelonious Monk

Wilbur Ware   1961

 Dhyana

     Tenor Sax: Tina Brooks

 

 
  Classical guitarist Laurindo Almeida began his professional career as a radio artist and nightclub performer in São Paulo, Brazil while a teenager. Born in Santos, São Paulo, in 1917, at age 19 (1936) he worked his way to Europe by playing guitar in a cruise ship orchestra. While in Paris, Almeida was able to witness Django Reinhardt and Stephane Grappelli play at the Hot Club, thereupon a major influence. Almeida is thought to have made his first recordings in May of 1938 for Odeon, 'Inspiracao', with Gaston Bueno Lobo playing Hawaiian guitar. The flip side is a solo by Almeida titled, 'Saudade Que Passa', a waltz composed by himself. Those recordings were released in October of 1938. In 1947 Almeida immigrated to the United States and found employment as a film studio musician, working on the soundtrack to 'A Song Is Born'. He afterward joined the Stan Kenton Band as a featured guitarist in time for titles on September 27 like 'Elegy for Alto' and 'Soothe Me'. Almeida kept with Kenton into 1948 and would record with him numerously into 1965 through both volumes of 'New Horizons'. Almeida's first album, 'Laurindo Almeida Quartet Featuring Bud Shank', was released in 1955 with saxophonist Bud Shank. In 1961 that got issued as 'Brazilliance'. Almeida had first recorded with Shank when the latter joined Kenton's orchestra on January 30, 1950, for 'Salute' at the Philharmonic Auditorium in Los Angeles. He and Shank would run similar paths into the eighties, both supporting other bands (like Kenton's) and each other. in 1959 they issued 'Holiday in Brazil'', that to get reissued in 1962 as 'Brazilliance Vol 2'. The two would find reasons to record together numerously into the eighties, their last session thought to have been with Ray Brown's L.A. Four in San Francisco in June of 1982 for 'Executive Suite' with Jeff Hamilton on drums. Brown's L.A. Four had originally employed Shelly Manne on drums in 1974 for 'The L.A. Four Scores' recorded at the Concord Music Festival on July 27. The L.A. Four recorded once or twice a year together, including tours to Europe, throughout the seventies into the early eighties. As for the remainder of Almeida's some 140 sessions, well above 100 of them were in support of other musicians which can't see a lot of discussion here. Another orchestra with which he recorded on multiple occasions was Ray Anthony's in 1957. From 1960 to 1964 Almeida won 5 Grammy Awards, four in classical and one in jazz. He played Carnegie Hall in 1988. Almeida performed and recorded up to the time of his death on July 26, 1995, of leukemia in Los Angeles. He had supported Danny Welton that year on 'The Naked Sea'. His final recordings that year were three titles to appear on the album by various, 'A Tribute to Carl Jefferson', in 1996. (Carl Jefferson had been the founder of the Concord Jazz Festival in 1969 and Concord Records in 1972.) Almeida had put his name to more than a thousand compositions, including some 800 scores for film and television. More Almeida in 1966 under Sammy Davis Jr..

Laurindo Almeida   1938

 Saudade Que Passa

Laurindo Almeida   1953

 Inquietacao

     Album: 'Brazilliance 1'

      Saxophone: Bud Shank

 Stairway to the Stars

     Album: 'Brazilliance 1'

      Saxophone: Bud Shank

Laurindo Almeida   1954

 Noctambulism

      Saxophone: Bud Shank

Laurindo Almeida   1958

  Duets with Spanish Guitar

     Album

  'Round Midnight

     Album: 'Brazilliance 2'

     Saxophone: Bud Shank

Laurindo Almeida   1959

  Duets with Spanish Guitar

    Album 

     Flute: Martin Ruderman  

    Mezzo soprano: Salli Terri

 Pavane Op 50

     Flute: Martin Ruderman  

    Mezzo soprano: Salli Terri

Laurindo Almeida   1962

 Lazy River Bossa Nova

 Petite Fleur

  Ramblin' Rose

Laurindo Almeida   1963

 Lovely to Look At

Laurindo Almeida   1964

 Sarah's Samba

Laurindo Almeida   1967

 Cause I Love Her

Laurindo Almeida   1990

 Just the Way You Are

Laurindo Almeida   1992

 Leverkusener Jazztage

    Filmed Concert

 

Birth of Modern Jazz: Laurindo Almeida

Laurindo Almeida

Source: Shapiro Bernstein

 

Birth of Modern Jazz: George Barnes

George Barnes

Photo: Jon Sievert

Source: Guitarrista

 

Born in South Chicago Heights in 1921, George Barnes 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 his earliest recordings at age 16 can be found under Jazz Gillum in Blues 4.

George Barnes   1938

 It's a Low Down Dirty Shame

    With Big Bill Broonzy

 Sail On, Little Girl

    With Big Bill Broonzy and 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

George Barnes   1961

 Singin' in the Rain

   Album: 'Guitars Galore'

George Barnes   1971

 Honeysuckle Rose

   Duet with guitarist Bucky Pizzarelli

George Barnes   1978

 Theme from the Flintstones

    lbum: 'Don't Get Around Much Anymore'

 

 

Birth of Modern Jazz: Oscar Moore

Oscar Moore

Source: Discogs

Born in 1916, guitarist Oscar Moore became an original member of the Nat King Cole Trio in 1937, with which he remained for a decade. Lord's disco estimates his first recordings with Cole to have been in October of '38, if not such as 'Mutiny in the Nursery' and 'F.D.R. Jones', then 'Don't Blame Me' and 'Lullaby in Rhythm'. He also worked with such as Lionel Hampton ('40), Charlie Parker ('46) and Lester Young ('46) during that time. Moore left Cole to play with his guitarist brother, Johnny, in the Three Blazers until the mid fifties, first recording with that band in 1945: 'Fugue in C Major' and 'Melancholy Madeline'. Pianists, Charles Brown and Floyd Dixon, both served time in that ensemble. With the exception of a Cole tribute album recorded in April of 1965 ('We'll Remember You, Nat'), Moore had left the music industry to become a bricklayer in the latter fifties. Lord's disco lists lasts tracks per two sessions in Hollywood on May 27, 1957, the first with vocalist, Inez Jones (: 'Too Marvelous for Words', et al), the second with bassist, Leroy Vinnegar (: 'I Can't Get Started', et al). Moore died on October 8, 1981. Moore is the guitarist on tracks between '37 and '47 in Nat King Cole Piano and Nat King Cole Song.

Oscar Moore   1938

  Jingle Bells

     With the Nat King Cole Trio

  Three Blind Mice

     With the Nat King Cole Trio

Oscar Moore   1944

  Body and Soul

     With the Nat King Cole Trio

Oscar Moore   1946

  It's Better To Be By Yourself

     Film with the Nat King Cole Trio

 To a Wild Rose

     With the Nat King Cole Trio

Oscar Moore   1954

  Buddy, Can You Spare a Dime?

     Oscar Moore Quartet   Piano: Carl Perkins

  Jesse James

     Oscar Moore Quartet   With Kitty White

  Roulette

     Oscar Moore Quartet   Piano: Carl Perkins

  Samson and Delilah Theme

     Oscar Moore Quartet   Piano: Carl Perkins

Oscar Moore   1955

  Oscar's Blues

     Oscar Moore Quartet   Piano: Carl Perkins

Oscar Moore   1965

  That's All

     Oscar Moore Trio

 

 
 

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. 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. 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. 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

  Congo Clambake

     With Stan Kenton

Howard Rumsey   1952

  Out of Somewhere

     Lighthouse All-Stars 2nd group

Howard Rumsey   1953

  Four Others

     Lighthouse All-Stars 2nd group

  Sunset Eyes

     Lighthouse All-Stars 2nd group

  Witch Doctor

     Lighthouse All-Stars 3rd group with Max Roach

  At Last

     Lighthouse All-Stars 3rd group

     With Max Roach & Chet Baker

 

Birth of Modern Jazz: Howard Rumsey

Howard Rumsey

Source: Bass Instincts

 

Birth of Modern Jazz: Slam Stewart

Slam Stewart

Source: Salitote

Born in 1914 in Englewood, New Jersey, bassist Slam Stewart is thought to have first recorded in NYC with guitarist, Slim Gaillard, on January 19, 1938, as the other half of the duo, Slim and Slam: The Flat Foot Floogie', 'Chinatown', 'That's What You Call Romance' and 'Lady Be Good'. Originally a violinist, Stewart had switched to bass at age twenty and began vocalizing with it. He and Gaillard remained a team recording numerously to April 2 of 1942 and the Flat Floogie Boys: 'Palm Springs Jump', 'Ra-da-da-da', etc.. On January 3 of 1943 he joined pianist, Fats Waller, in Hollywood on the soundtrack to 'Stormy Weather' before his first session with the Art Tatum Trio on March 22. That was for an AFRS 'Jubilee' broadcast (#17) with Tiny Grimes at guitar yielding such as 'Tiny's Exercise', 'Melody in F', etc.. That Trio was good for several sessions to June 21, 1944, in New York City for such as 'Soft Winds', 'Topsy', et al. On July 8 Tatum and Stewart performed a couple duets for NBC Radio that would get included on 'Live 1944-52 Vol 9' in 2005. Slam's next trio with Tatum was with Everett Barksdale on guitar in 1951 for VOA transcriptions in NYC yielding 'Tenderly', 'The Man I Love', etc.. That Trio recorded on multiple occasions to as late as March 25 of 1956 for NBC Radio, bearing 'Sweet Lorraine' and 'September Song'. We need step back to July 28, 1944, for one of the more important figures in Stewarts early career, that being tenor saxophonist, Don Byas, whose tracks on that date went toward 'Savoy Jam Party' in 1976. Stewart stayed with Byas for more than a year into latter '45, they last recording on November 1: 'Humoresque', 'Slamboree', etc.. By that time Stewart had held his first session as a leader on January 30 of '45 with a quartet consisting of Erroll Garner (piano), Mike Bryan (guitar) and Harold Doc West (drums) for 'Play Fiddle Play', 'Dark Eyes', Laff, Slam, Laff' and 'Jumpin' at the Deuces'. Garner would become a fairly important figure in Stewart's early career, both backing each other and other ensembles. Their first session had been with Garner's All Stars on December 26 of '44 for such as 'Gaslight', 'Red Cross', etc.. Garner was also in the Slam Stewart Trio with West on September 7 of '45 for 'Sherry Lynn Flip', 'Three Blind Micesky', etc.. Stewart's second session as a leader had been on May 28 with a quintet including vibraphonist, Red Norvo, for such as 'Honeysuckle Rose', 'Mood to Be Stewed', et al. Stewart preferred smaller ensembles from duos to trios and quartets. Among his duos was Slam & Bam in 1946 with Bam Brown on piano for 'Candy'. Another was 'Dialogue' in 1978 with guitarist, Bucky Pizzarelli. We need step back to February 4 of '45 for another major figure in Stewart's early career, that Benny Goodman, first contributing to Goodman's Sextet on that date for such as 'After You've Gone', 'Slipped Disc', etc.. Numerous recordings went down that year to September 24 for such as 'Liza', 'China Boy' and 'My Daddy Rocks Me'. Reunions nigh thirty years later occurred in NYC and Germany in 1973, another in '75 in NYC and, finally, a PBS telecast from the Marriott Marquis Hotel in NYC on October 7, 1985, for Goodman's 'Let's Dance - A Musical Tribute'. Among others with whom Stewart recorded were Rose Murphy, the Newport Jazz Festival All Stars and Helen Ward. Stewart taught bass at Binghampton University and Yale. He died on December 10, 1987. He had recorded 'European Tour' in May in Bern, Switzerland, and 'The Cats Are Swingin'' on November 25. All tracks for 1938 below are the duo, Slim and Slam. More Slam Stewart under Slim Gaillard in Modern Jazz Song.

Slam Stewart   1938

   Flat Foot Floogie

   Look-A-There

   That's What You Call Romance

   Tutti Frutti

Slam Stewart   1941

   Hellzapoppin'

      Filmed live with Slim Gaillard

Slam Stewart   1945

   Honeysuckle Rose

      Slam Stewart Quintet

   I Got Rhythm

      Tenor sax: Don Byas

   Indiana

      Tenor sax: Don Byas

   Slammin' the Gate

      Slam Stewart Quintet

Slam Stewart   1973

   Oh, Lady Be Good

      With Benny Goodman

Slam Stewart   1977

   Slam Mule

      Bass duet with Major Holley

Slam Stewart   1981

   Shut Yo' Mouth!

      Piano: Dick Hyman

Slam Stewart   1986

   Flat Foot Floogie

      Live performance

 

 
  Born in 1918 in Kearny, New Jersey, session guitarist Tony Mottola made his recording debut in 1939 with the George Hall Orchestra ('Shine', unfound). He began working in the CBS radio studio orchestra in 1941, playing as an accompanist to musicians such as Frank Sinatra comprising most of his early career. Lord's disco gives Mottola's first titles as leader with a certain date on October 18 of 1946: 'Guilty', 'Coquette' and 'Trigger Fantasy'. He also backed vocalist, Rosemary Calvin, that year on 'Mama, Do I Gotta?' and 'You Don't Learn That in School' during a session with the instrumental, 'Tony's Touch'. Mottola is credited with the first soundtrack for a television show, 'Danger', premiering in 1950 with Yul Brynner. MGM released a soundtrack LP for that show in 1951 (E-111). Among the host whom Mottola supported were Cliff Edwards, Pearl Bailey, Sarah Vaughan, Will Bradley, Benny Goodman, Urbie Green and Dick Hyman. Mottola's first album, 'Let's Put Out the Lights', was issued in 1956. His album, 'Mr. Big', was released in 1959, also containing 'Danger'. He backed Sinatra in the seventies and eighties. He participated in Irv Cottler's 'I've Got You Under My Skins' in '82 or '83. Mottola began heading U.S. operations for Sony Music in 1988 (Sony having swallowed Columbia/CBS Records the prior year). In 1990 he became CEO, which position he kept until 2003. Mottola died in Binghampton, New York, in 1987, having appeared on thousands of sessions and releasing more than 50 albums.

Tony Mottola   1951

 Danger Theme

     With the Ray Charles Singers

Tony Mottola   1959

 Mr. Big

     Album

Tony Mottola   1960

 Arrivederci Roma

Tony Mottola   1964

 The Poor People of Paris

 Roman Guitar

Tony Mottola   1966

 The Shadow of Your Smile

     With Perry Como

Tony Mottola   1967

 Lush and Lovely

 Samba De Orfeu

 So Nice

 What Now My Love

 Yesterday

     Original composition: Lennon/McCartney

 

Birth of Modern Jazz: Tony Mottola

Tony Mottola

Source: Space Age Pop Music

Birth of Modern Jazz: Oscar Pettiford

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. Pettiford's brief career had been packed with above 400 sessions, 45 his own projects. 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.

Oscar Pettiford   1939

   Tea for Two

      With the Jerry Jerome Quartet

Oscar Pettiford   1943

   The Man I Love

      With Coleman Hawkins

Oscar Pettiford   1959

   All the Things You Are

      Drums: Jimmy Pratt   Guitar: Attila Zoller

      Sax: Hans Koller

   Blues In the Closet

       Drums: Jimmy Pratt   Guitar: Attila Zoller

       Sax: Hans Koller

   The Gentle Art of Love

       Drums: Jimmy Pratt   Guitar: Attila Zoller

       Sax: Hans Koller

   Laverne Walk

      Tenor Sax: Stan Getz

 

 

Birth of Modern Jazz: Billy Bauer

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' ensued on January 26, 1956. 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', in 1997. Bauer died on June 16 of 2005 in New York City.

Billy Bauer   1946

 I Can't Get Started

    Piano: Lennie Tristano

  Swingin' For 'Popsie'

    Flip Phillips Hiptet

  Why Shouldn't I?

     Flip Phillips Hiptet

Billy Bauer   1947  

 Groovin' High

     Sax: Allen Eager

Billy Bauer   1949

 Rebecca

     Sax: Lee Konitz

  Cross Current

     Lennie Tristano Sextet

Billy Bauer   1956

 It's a Blue World

     Album: 'The Plectrist'

 

 
 

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. 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.

George Duvivier   1943

   Autumn In New York

      Piano: Bud Powell   Drums: Art Taylor

George Duvivier   1957

   She

      Piano: Bud Powell   Drums: Art Taylor

George Duvivier   1960

   After Midnight

George Duvivier   1984

   Blues for Harry Carney

      Guitar: Johnny Smith

 

Birth of Modern Jazz: George Duvivier

George Duvivier

Source: Jazz Lead Sheets

 

Birth of Modern Jazz: Barry Galbraith

Barry Galbraith

Source: Jazz Wax

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'. 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.

Barry Galbraith   1955

  Blue Gardenia

    With Dinah Washington

  You're Crying

    Paul Quinichette album: 'Moods'

Barry Galbraith   1956

  He Was Too Good to Me

  Warmeland

     Piano: John Lewis

Barry Galbraith   1958

  Love Is For The Very Young

      Album: 'Guitar and the Wind'

 

 

 

Birth of Modern Jazz: Herb Ellis

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 guitarist 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. Lord's disco has the Soft Winds recording from 1947 to 1949, a much later reunion 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' released in 1997. 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.

Herb Ellis   1946

  Sunset Strip

     With Jimmy Dorsey

  Super Chief

     With Jimmy Dorsey

Herb Ellis   1955

  Ellis in Wonderland

     Album

Herb Ellis   1958

  Soft Winds

     Trumpet: Dizzy Gillespie

     From the album 'Nothing But the Blues'

Herb Ellis   1969

   Blues for H. G.

     Piano: Oscar Peterson

      Bass: Sam Jones   Drums: Bob Durham

  Naptown Blues

     Piano: Oscar Peterson

      Bass: Sam Jones   Drums: Bob Durham

  Seven Come Eleven

     Piano: Oscar Peterson

      Bass: Sam Jones   Drums: Bob Durham

Herb Ellis   1979  

  Tangerine

     Duet with Barney Kessel   Filmed live

Herb Ellis   1986

  Medley

     Live performance with Dave Maslow

  Sweet Georgia Brown

     Live performance with Dave Maslow

 

 

Birth of Modern Jazz: Lloyd Tiny Grimes

Tiny Grimes

Source: Jazz Wax

Guitarist Lloyd Tiny Grimes was born in 1916 in Newport News, Virginia. He is thought to have played drums professionally before switching to electric guitar in 1938. He joined the Cats and a Fiddle in time for titles in NYC on January 20, 1941, such as 'I'll Always Love You Just the Same' and 'I Am Singing', et al. A couple sessions with that group followed in October. On March 22 of 1943, he was in Los Angeles as one of the Art Tatum Trio with Slam Stewart on bass for AFRS 'Jubilee' broadcasts in March and June. Numerous sessions with that trio were held, including transcriptions for World, to June 21 of 1944 in NYC for such as 'Boogie' and 'Soft Winds'. On September 13 Grimes held his first session as a leader, recording 'Tiny's Tempo', 'Red Cross', et al. The sorts of circles Grimes helped to populate were those of Ike Quebec, Billie Holiday and Earl Hines, etc.. Among albums released by Grimes were 'Blues Groove', co-led in February of 1958 with Coleman Hawkins, and 'One Is Never Too Old to Swing' in 1977 with trumpeter, Roy Eldridge. Grimes died of meningitis on March 4, 1989. More of Tiny Grimes, with bassist Slam Stewart, will be found under Art Tatum in Jazz 2.

Lloyd Tiny Grimes   1943

   Tiny's Exercize

      With the Art Tatum Trio

Lloyd Tiny Grimes   1944

   Tiny's Tempo

      Piano: Clyde Hart   Saxophone: Charlie Parker

Lloyd Tiny Grimes   1947

   Profoundly Blue

Lloyd Tiny Grimes   1950

   Frankie & Johnny Boogie

   St. Louis Blues

Lloyd Tiny Grimes   1951

   Hawaiian Boogie

Lloyd Tiny Grimes   1972

   Watermelon Man

 

 
 

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.

Barney Kessel   1945

   Jammin' the Blues

      Recorded 1953

      Bass: Red Mitchell   Piano: Claude Williamson

Barney Kessel   1955

   That's All

      Recorded 1953

      Bass: Red Mitchell   Piano: Claude Williamson

   A Foggy Day

      Recorded 1954

   Jeepers Creepers

      Recorded 1954

   You Stepped Out Of a Dream

      Recorded 1954

Barney Kessel   1958

   Angel Eyes

      Bass: Ray Brown   Drums: Shelly Manne

Barney Kessel   1959

   Jersey Bounce

 

Birth of Modern Jazz: Barney Kessel

Barney Kessel

Source: Jazz Labels

Birth of Modern Jazz: Jimmy Raney

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 former was 'Duets' in 1979 with his guitarist son, Doug Raney. 'Strings & Swings' released in 1972 was a sextet recorded in '57 and a quintet recorded in '69. Raney issued 'Solo' in 1978. His last album is thought to have been 'But Beautiful', recorded December 5 of 1990 with George Mraz (bass) and Lewis Nash (drums). Raney died in 1995 in Louisville. He had contributed to Tramaine Hawkins' 'To a Higher Place' issued in 1994. An extensive Raney biography.

Jimmy Raney   1948

 Talk a Little Bop

     Piano: Al Haig   Vocal: Terry Swope

Jimmy Raney   1949

 Sugar Hill Bop

     Piano: Al Haig

Jimmy Raney   1951

 Storyville

     Album   Sax: Stan Getz

Jimmy Raney   1952

 Parker 51

     Sax: Stan Getz

Jimmy Raney   1953

  Motion

     Sax: Stan Getz

  'Round Midnight

     Sax: Stan Getz

  Signal

     Sax: Stan Getz

Jimmy Raney   1956

 No Male for Me

     Valve trombone: Bob Brookmeyer

Jimmy Raney   1972

 Just Friends

Jimmy Raney   1987

 Out of Nowhere

     Live performance

 

 
Birth of Modern Bill DeArango

Franco Cerri

Source: Umbria 24

Born in 1926 in Milan, Italy, Franco Cerri began his vocation with guitar rather late, he seventeen and working as a mason when his father gave him one. He studied under Italian guitarist, Michael Ortuso. He swiftly got hired into orchestras (Gorni Kramer's his first) and moved on to radio while it was yet World War II. Not even Italians can escape my eye for Latin talent, though with Cerri they tried. Because his early discography is murder I must write this posthumously. Cerri seems to have begun his recording career in 1945. Lord's disco would appear to have him recording in 1945 with the orchestra of Bruno Martelli: 'Learn to Croon', 'Shoe Shine Boy', etc., those issued by VdP at an unknown time. Cerri continued with Martelli into 1946, meanwhile recording such as 'South Avenue Express' and 'Tuxedo Junction' with pianist, Giampiero Boneschi on June 5 of '45. Cerri would also back Boneschi on 'Stringendo' in '49. Other early recordings were made with the Quartet Galli ('48), Natalino Otto ('Donkeys Classroom' '48) and the aforementioned Kramer ('49). The Cerri website also has Cerri recording as Franco Cerri and his Orchestra in 1950, titles in Lord's listed as 'Caravan', 'Gavottin del nonni', Cherokee' and 'E l'alba' in October and November for the HMV imprint, Voce del Padrone, issues unknown. (Cerri would release an album titled 'Voce del Padrone' in 1981.) In late 1950 Cerri would record such as 'September Song' and 'Le tue mani' with the Quartetto d'Archi, Voce del Padrone issue again unknown.      The Franco Cerri Quintet put down a string of titles on August 2, 1952, including 'Don't Blame Me' and 'Where or When' for the Musica label. Cerri's first confirmable release wasn't until 1958: 'Jazzin' with Franco Cerri', an EP (Fox EPF 114). He'd meanwhile spent the fifties touring with his Franco Cerri Quintet. That was after an opportunity to play for a couple of weeks in 1949 at the Astoria in Milan with Django Reinhardt and Stephane Grappelli. The fifties found Cerri entering into television in the capacity of a conductor for various jazz programs. Among Cerri's more important associates in the fifties was alto saxophonist, Flavio Ambrosetti. There first session is thought to have been on September 25, 1953, for such as 'There's a Small Hotel' and 'Tenderly'. in that quartet were Francis Burger (piano) and Gilberto Cuppini (drums). Ambrosetti and Cerri would collaborate on numerous projects in the early and latter fifties. Ambrosetti participated in Cerri's 'Franco Cerri and his European Jazz Stars' on December 19, 1959. June of 1961 saw him contributing to Cerri's 'International Jazz Meeting'. They would reunite as late as 2006 with the Bocconi Jazz Business Unit for 'Jazz & Movies'. Cerri supported touring American trumpeter, Chet Baker, on a number of occasions in 1959 and 1962. Their first occasions in September of '59 wrought 'Chet Baker in Milan'. Their last occasion in Brussels, Belgium, resulted in Baker's 'Stella By Starlight'. Another American musician Cerri hosted was saxophonist, Buddy Collette, in 1961, recording titles that would include La Scala Quartet ('Soft Touch', 'Skylark', et al). Lord's disco has Cerri recording with pianist, Enrico Intra, as early as 1964 in Milan: 'Polkadots and Moonbeams', 'Blues deui framasteni' and 'Star Dust'. Cerri would later collaborate with Intra on multiple projects from the eighties into the new millennium like 'Omaggio a Bill Evans' ('81), 'From: Milan To: Frankfurt/Main' ('85), 'Pregiata Ditta Dal' ('89), '3e Rossegna Jazz Franciacorta' ('90), 'From Milan to Brussels' ('97) and 'Double Trio' ('07). Cerri made his first journey to the United States in 1966 to perform at Lincoln Center in NYC. He filled out his career with a variety of musicians in the sixties as a session musician, the meanwhile composing. In 1982 Cerri wrote a sixty lesson guitar instruction manual with classical guitarist, Mario Gangi, handled by Fabbri Publishing and said to currently be in its fifth edition. Having issued nigh forty albums as a leader or co-leader, in addition to backing others, Cerri's latest issue as of this writing was 'La Sera A Casa Con Te' in 2014. Per 1960 below, the full title of the LP for 'East of the Sun' is 'Franco Cerri And His European Jazz Stars'.

Franco Cerri   1948

  Donkeys Classroom

     Vocal: Natalino Otto

Franco Cerri   1958

  Blues Italiano

     Album: 'Jazzin' with Cerri'

Franco Cerri   1960

  Blues for Franco

     LP: 'Franco Cerri Quartet'

  Darn That Dream

     LP: 'Franco Cerri Quartet'

  East of the Sun

     LP: 'Franco . . . Stars'

  Foxology

     LP: 'Jazz In Italia: 4 Dimensions'

  Just Friends

     LP: 'Franco Cerri Quartet'

  Stella by Starlight

     LP: 'Franco Cerri Quartet'

Franco Cerri   1961

  Blues for Nicola

     LP: 'The Polyhedric Buddy Collette'

Franco Cerri   1967

  Corcovado

     Telecast

  Pennies From Heaven

     Filmed with Stephane Grappelly

Franco Cerri   1968

  Azzurro/Leggenda

     Telecast

Franco Cerri   1976

  A Foggy Day

     LP: 'Nuages'

Franco Cerri   1977

  Scat

     Televized with Tony Scott

Franco Cerri   2001

  Look for the Slver Lining

     Filmed live

Franco Cerri   2005

  Live in San Remo

     Filmed with Nicola Arigliano

Franco Cerri   2011

  Umbria Jazz Winter 1

     Filmed live

  Umbria Jazz Winter 2

     Filmed live

Franco Cerri   2015

  Take the A Train

     Filmed at the Blue Note Milano

 

 
  Curtis Counce was born in Kansas City, Missouri, in 1926, moving to Los Angeles in 1945. He began his career on double bass as a studio musician, thought to have seen his first sessions on September 13 of 1945 with Johnny Otis for such as 'My Baby's Business' and 'Preston Love's Mansion'. Another session on October 15 for an AFRS 'Jubilee' broadcast (#152) resulted in what would get issued in 1986 as 'Start to Jump Because It's Jubilee'. Counce would see more of Otis in the latter fifties. In 1953 Counce joined a circle of musicians including drummer, Shelly Manne, and trumpeter, Shorty Rogers. Rogers was arranger for the April taping of Manne's 'You and The Night and The Music'/'Gazelle' and 'Mallets'/'La Mucura'. Later that August they j
oined Teddy Charles on vibes for volumes 3 and 4 of 'New Directions' issued that year. Other tracks that month would appear on 'Collaboration West' in 1956 and 'Evolution' in 1957. Counce and Rogers also contributed titles to Jack Millman's 'Jazz Studio 4' in 1955. Counce had been in Frank Rosolino's Sextet on March 12 of 1954 for 'Stan Kenton Presents Jazz: The Frank Rosolino Sextet'. In that operation was pianist, Claude Williamson, whom Counce would join on multiple future occasions in support of various bands. June 26 of 1954 found him in Williamson's Trio with Stan Levey at drums for 'Stan Kenton Presents Jazz: The Claude Williamson Trio'. In 1955 Counce appeared on a couple albums by pianist, Pete Jolly: 'Jolly Jumps In' and 'I Get a Kick Out of You' (a 7" 45). Counce and Jolly had earlier worked with Rogers and Manne since 1954. Counce joined Stan Kenton's orchestra at the Sweets Ballroom in Oakland, CA, on January 30 of 1956 for titles like 'Artistry in Rhythm' and 'Stompin' at the Savoy'. Sessions ensued to May for 'Cuban Fire', a couple more unissued titles in 1957 with the Modern Men: 'Women Usually Do' and 'Opus in Chartreuse'. Counce backed Clifford Brown on August 11 of 1954 for 'The Boss Man'. In latter '56 Counce recorded his debut LP, 'The Curtis Counce Group', for release the next year. The Curtis Counce Group consisted of Frank Butler (drums), Harold Land (tenor sax), Jack Sheldon (trumpet) and Carl Perkins (piano). Upon Perkins' death of drug overdose at age 29 in March of '58 he was replaced by Elmo Hope. (Perkins had done a lot of side work, particularly with Buddy DeFranco in the latter fifties, but had issued only one album, 'Introducing Carl Perkins', in 1957.) December of 1958 found Counce in the orchestra of Maxwell Davis recording titles like 'Loch Lomond', 'My Wild Irish Rose', 'School Days' and 'Lonesome Road' for Crown Records. Albums on which Counce appeared with Davis were 'Music by Lionel Hampton and Others' ('59), 'Persistent Percussion' ('60) and 'Compositions of Duke Ellington' ('60). Counce died unexpectedly of heart attack in Los Angeles in July of 1963, only 37 years of age, leaving a legacy of 110 sessions to include five of his own albums. His last, 'Exploring the Future', had been recorded in April of 1958.

Curtis Counce   1945

 Harlem Nocturne

    With Johnny Otis

Curtis Counce   1953

 Gazelle

    Shelly Manne and His Men

 Mallets

    Shelly Manne and His Men

  You and the Night and the Music

    Shelly Manne and His Men

Curtis Counce   1956

 Margo

    Recorded 1953

       Teddy Charles LP: 'Collaboration West'

Curtis Counce   1957

 How Deep Is the Ocean?

    LP: 'You Get More Bounce'

 Landslide

    LP: 'The Curtis Counce Group'

 Stranger in Paradise

    LP: 'You Get More Bounce'

 Too Close for Comfort

    LP: 'You Get More Bounce'

Curtis Counce   1958

 Exploring the Future

    LP: 'Exploring the Future'

  Move

    LP: 'Exploring the Future'

 So Nice

    LP: 'Exploring the Future'

Curtis Counce   1960

 Nica's Dream

    LP: 'Carl's Blues'

        Recorded 1957-58

Curtis Counce   1989

 A Night in Tunisia

    LP: 'Sonority'

       Recorded 1956-58

       Posthumous release

 

Birth of Modern Jazz: Curtis Counce

Curtis Counce

Photo: William Claxton

Source: Jazz Profiles

  Born in Cleveland in 1921, Bill DeArango played in Dixieland bands while attending Ohio State University before serving in the army for a couple years. Upon release from active duty in 1944 he headed for New York City where he quickly found himself working with some of the top names in jazz (Don Byas, Ben Webster, Charlie Parker, Ike Quebec, Slam Stewart, to name a few). It is thought that DeArango first recorded with Sarah Vaughan in May of 1945. Those tracks were 'What More Can A Woman Do?', 'I'd Rather Have A Memory Than A Dream' and 'Mean to Me'. Sessions with Slam Stewart, Ike Quebec and Eddie Lockjaw Davis followed before DeArango led his initial name session for the Haven label on May 3, 1946, with Webster on tenor sax. Those included the Ellington compositions, 'The Jeep Is Jumpin'' and 'I Got It Bad', and the Webster compositions, 'Dark Corners' and 'Blues Mister Brim'. After a concert at Carnegie Hall on April 5 of 1947 with Charlie Ventura, DeArango suddenly left NYC for Cleveland to perform only locally the rest of his career, recordings in which he otherwise participated sparse (Barry Altschul in '78, Kenny Werner in '81 and '83). DeArango had recorded the album, 'De Arango', in May of 1954 with pianist, John Williams, titles also found on a 7" EP called 'The Gypsy in My Soul'. Nigh forty years later he emerged again on 'Anything Went' in 1993. His last titles are thought to have been in support of poet, Daniel Thompson, for the 1998 issue of 'Even the Broken Letters of the Heart Spell Earth'.    DeArango had to enter a nursing home in 1999 where he lived with dementia until his death on December 26, 2005.

Bill DeArango  1945

 I'd Rather Have a Memory Than a Dream

    With Sarah Vaughan

  Jim Dawgs

    Tenor sax: Ike Quebec

 What More Can A Woman Do?

    With Sarah Vaughan

Bill DeArango  1946

  2nd Street Theme

    With Dizzy Gillespie

 Anthropology

    With Dizzy Gillespie

 Lockjaw

    With the Eddie Lockjaw Davis

Bill DeArango  1981

 Improv A 1

    Drums: Jeff Papez

 

Birth of Modern Bill DeArango

Bill DeArango

Source: Bill DeArango

Birth of Modern Jazz: Charles Mingus

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 recordings may have been in February of 1945 in Los Angeles with Billie Holiday and Jazz at the Philharmonic: 'Body and Soul'/'Strange Fruit'. 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'. 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'). 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, Mingus was working with Joni Mitchell on her album, 'Mingus', when he died in 1979 in Cuernavaca, Mexico. He had put down 'Me, Myself an Eye' in 1978. His ashes were spread over the Ganges.

Charles Mingus   1945

  Baby, Takes a Chance with Me

  Lonesome Woman Blues

  Swingin' an Echo

  Penny's Worth of Blues

  The Texas Hop

Charles Mingus   1951

  This Can't Be Love

     Guitar: Tal Farlow   Vibes: Red Norvo

Charles Mingus   1954

  Intrusions

     Album

Charles Mingus   1955

  Jump Monk

Charles Mingus   1957

  The Clown

   Album

Charles Mingus   1959

  Mingus Ah Um

     Album

Charles Mingus   1960

  Original Faubus Fables

     Recorded 1959

Charles Mingus   1962

  Monk, Bunk and Vice Versa

Charles Mingus   1963

  The Black Saint and the Sinner Lady

     Album

Charles Mingus   1964

  Peggy's Blue Skylight

     Live performance

  Take the 'A' Train

     Filmed live

  Tour 1964

     Filmed in Belgium, Norway & Sweden

Charles Mingus   1972

  Live in Berlin   [Part 1]

  Live in Berlin   [Part 2]

Charles Mingus   1974

  Flowers For a Lady

     Live performance

Charles Mingus   1975

  Pork Pie Hat

     Live performance

  Remember Rockefeller at Attica

Charles Mingus   1993

  Moanin'

  Open letter to Duke

 

 
 

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', 'Keep Your Mind on Me', etc.. Feather's Hiptet also supported Lloyd Thompson's 'I Wonder' 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', 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', 'No Smokes Blues', et al. Wayne followed that in January the next year with Marsala and Gillespie for 'Perdido', 'Cherokee', et al. Wayne's next tracks with Gillespie were on February 9 of 1945: 'Groovin' High' and 'Blue n Boogie' for the Guild label. Wayne is credited with about 150 sessions so we reduce this account to a couple of the more important figures of his career, those 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', 'Over the Rainbow', 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), '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. 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. Lord's disco has last recordings with Tom Butts for 'Alberta Clipper' circa 1996. 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 Boogi

      With Dizzy Gillespie

  Cherokee

     Joe Marsala Sextet

  Interlude (A Night In Tunisia)

     With Dizzy Gillespie & Sarah Vaughan

  Signing Off

     With Dizzy Gillespie & Sarah Vaughan

  Unlucky Woman

     With Linda Keene & Joe Marsala

Chuck Wayne   1950

 Cherokee

    Piano: George Shearing

  Conception

    Film   Piano: George Shearing

  I'll Be Around

    Film   Piano: George Shearing

Chuck Wayne  1953

 Sidewalks of Cuba

 Tasty Pudding

     Tenor sax: Zoot Sims

 You Brought a New Kind of Love

 

Birth of Modern Jazz: Chuck Wayne

Chuck Wayne

Photo: Tom Marcello

Source: Wikipedia

 

 

  Luiz Bonfa   See Luiz Bonfá.



 

Birth of Modern Jazz: Ray Brown

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 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 (per Columbia U's J-DISC) by Boyd Raeburn's orchestra for "I Waited For You', 'How High the Moon' and '52nd Street Theme'. 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 GillespieEldridge 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 December of '47 for Decca resulted in 'My Baby Likes to Re-Bop', 'No Sense' and three takes of 'How High the Moon'. Fitzgerald would be 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. Will Durant wrote 'The Story of Civilization' in eleven large volumes. Brown wrote a virtual history of jazz as one of the most prolific of jazz musicians 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. Lord's discography shows Brown's last recordings in 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.

Ray Brown   1946

  Confirmation

     With Dizzy Gillespie

  Dizzy Atmosphere

     With Dizzy Gillespie

   Ol' Man Rebop

     With Dizzy Gillespie

   One Bass Hit

     Film: 'Jivin' in Be-Bop'

   'Round About Midnight

     With Dizzy Gillespie

  Shaw 'Nuff

      With Dizzy Gillespie

Ray Brown   1947

  Emanon

     With Dizzy Gillespie

   Jivin' in Be-Bop

      Film 

Ray Brown   1964

  C Jam Blues

      Filmed live with Oscar Peterson

Ray Brown   1970

  Jazz on Stage

      Film

Ray Brown   1976

  Pavane Pour Une Infante Defunte

      Album with the L.A. Four

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

  Summertime

      Filmed live in France

      Piano: Gene Harris

Ray Brown   2001

  Black Orpheus

    Filmed live 

  Jazzwoche Burghausen

      Filmed concert

  Lady Be Good

      Jazzwoche Burghausen

     Violin: Regina Carter  

 

 

Birth of Modern Jazz: Mundell Lowe

Mundell Lowe

Photo: Trigger Alpert

Source: Mundell Lowe

Born in 1922 in Laurel, Mississippi, guitarist Mundell Lowe is thought to have first recorded on February 28 of 1946 with Ray McKinley, that an AFRS 'One Night Stand' broadcast (#940) from the Hotel Commodore in NYC to yield such as 'Have You Got Any Gum, Chum' and 'No Baby, Nobody But You', et al. Sessions rapidly ensued with McKinley into the fifties. Lord's disco has Lowe on 365 sessions, 35 of those his own as a leader, so we leap past numerous sessions with McKinley and others such as Helen Humes, Cootie Williams and Dinah Washington to arrive to the Benny Goodman Septet on November 2 of 1948 for 'Stealin' Apples' with Fats Navarro on trumpet. Lowe joined Goodman's orchestra in 1952 and recorded with the latter's Sextet that year as well. We leap past sessions with various others in the forties to a clarinetist with whom Lowe's path interweaved fairly often during the fifties, that being Tony Scott whose first session with Lowe was in March of 1950 for a 'Cafe Society' radio broadcast with Charlie Parker on '52nd Street Theme' and Kenny Dorham on 'Lullaby in Rhythm'. They met on a couple more occasions to back other bands until Lowe participated in 'Both Sides of Tony Scott' on January 26 of 1956. 'The Touch of Tony Scott' ensued on July 2. Scott participated in Lowe's 'Porgy & Bess' in July of '58 and the first volume of 'TV Action Jazz' in '59. That same year Lowe contributed to Scott's 'Gypsy'. Among the higher impact names Lowe backed in the fifties was Sarah Vaughan, their first occasion on May 19 of 1950 in an ensemble with Miles Davis at trumpet for such as 'Mean to Me', 'Come Rain Or Shine', etc.. Lowe packed that year with Vaughan and would reunite with her on multiple occasions in '61, '71 and '84, that last in April for 'Blue' on Barry Manilow's '2:00 AM Paradise Cafe'. Another fairly important figure during the fifties was pianist, Billy Taylor, whose quintet Lowe joined on November 1, 1951, for such as 'Cuban Caper' and 'Cu-Blue', et al. They happened along a couple more times to back projects for others until Taylor participated in Lowe's 'A Grand Night For Swinging' on March 7 of '57. A session followed the next month with Lowe's quintet resulting in 'Blues Before Freud', 'Love Me or Leave Me', et al. Lowe joined Taylor's band in April of '58 for a couple segments of 'The Subject Is Jazz' television program. Lowe's major meal ticket through the fifties was the Sauter-Finegan Orchestra which he had joined in 1952 in time for a session on July 14 yielding 'Moonlight on the Ganges' and 'Camptown Races'. Lowe recorded numerously with that operation to June 15, 1961, in NYC for 'Messin' Around', 'You Can Depend on Me' and 'That Old Black Magic'. A couple of years into that outfit Lowe held his first session as a leader per a septet including guitarist, Sal Salvador, on February 12, 1954, for 'Spring Is Here' and 'There Goes Rusty'. His next couple sessions in March resulted in his first album, 'The Mundell Lowe Quintet'. His third album, 'The Mundell Lowe Quartet', went down in August and October. Another high impact name with whom Lowe recorded on multiple occasions in the fifties was Carmen McRae, their first date on October 6, 1954, for her debut LP, 'Carmen McRea'. Lowe would join McRae again in '55, '58, '61 and, finally, May 20 of 1964 for McRae's 'Bittersweet'. It was Lowe who introduced pianist, Bill Evans, to Riverside Records to record his first name LP in 1956. Recording well into the new millennium, projects have included 'Mundell's Moods' issued in 2000, and a session in latter 2008 in a trio with guitarist, Gene Bertoncini, and bassist, Bob Magnusson, for an album called '2+2=1'. As of this writing Lowe has returned to his birthplace in Laurel, Mississippi, where he's lived since 2009. Amidst the horde of others for whom Lowe had learned titles were Billie Holiday, Lee Wiley, Georgie Auld, Chris Connor, Ruby Braff, Helen Merrill and Ella Fitzgerald.  Tracks below begin with one from Lowe's third album, 'Guitar Moods', in 1956. Lowe doesn't do much but contribute to rhythm in the tracks for '48 and '49 below.

Mundell Lowe   1948

 Stealin' Apples

     With Benny Goodman

Mundell Lowe   1949

  Baby Get Lost

     With Billie Holiday

  My Man

     With Billie Holiday

Mundell Lowe   1955

  I'll Never Be the Same

     Album: 'The Mundell Lowe Quartet'

Mundell Lowe   1956

  Our Waltz

     Album: 'Guitar Moods'

Mundell Lowe   1957

  It's a Grand Night for Swinging

Mundell Lowe   1985

  Seven Come Eleven

      Duet with Johnny Smith

Mundell Lowe   1990

  Limehouse Blues

Mundell Lowe   2005

  Blue Monk

      With Joe Byrd & Vince Lewis

Mundell Lowe   2010

  Theme From The Bad & The Beautiful

 

 
  It is thought Toots Thielemans, guitarist and harmonica player born in Belgium in 1922, first recorded in March of 1943 in Brussels, those titles with the Het Trio unissued: Les Yeux Noirs', Solitude', etc.. He played guitar on those with Gilbert DeLange on drums. His next recordings are thought to have been with the Robert De Kers Orchestra in early 1946, those for Animated Cartoons which Lord's disco links to the Belgian film, 'Modern Moods'. February 8 of 1946 found Thielemans in the band of Rud Wharton for titles like 'Don't Fence Me In' and 'Amor, Amor'. Theielemans was a prolific recording career of some 470 sessions, nigh a couple hundred of those his own. We'll not attempt to squeeze that into this pill box, and mention but a very few of its more significant events. Among the first would be his debut recording on harmonica rather than guitar. Thielemans was host to not a few American jazz musicians who toured to Europe during his career. Benny Goodman was the first visiting American with whom Thielemans recorded, that on harmonica for BBC Radio in London on July 16, 1949, with the Benny Goodman Quintet for 'After You've Gone'. Thielemans would see Zoot Sims, more of Goodman and Leonard Feather as well before moving to the United States in 1951 (citizenship in '57). His last recordings in Europe had been in October in Brussels that year for 'High School Cadets March', 'Michigan' and 'Birds and Bees'. His first in the States was a trio with Dick Hyman (organ) and Harry Reser (banjo) in NYC on June 12 of 1952 for 'The Jazz Me Blues', 'Smoke Rings', et al. His next session would be one of his more important in that it was for pianist, George Shearing, who would become a major figure in Thieleman's career. That was at the Birdland on December 6 of '52 for such as 'Pick Yourself Up' and 'Tenderly', et al. Thielemans spent the next seven years in countless sessions with Shearing to October, 1959, for Shearing's 'Satin Brass'. Among highlights in the early sixties was a trip to Europe in June 1962 to perform at the Ruhr Festival in Germany with Hans Koller and Rolf Ericson, et al, that to be found on 'Jazz Workshop - Ruhr Festival 1962'. Another important figure in Thielemans career was bandleader, Quincy Jones. Thielemans contributed harmonica, guitar and whistling to Jones' 'Explores the Music of Henry Mancini' on February 5 of 1964. He was with Jones again on May 21 of 1966 to support Peggy Lee's 'Happy Feet', 'The Shining Sea' and 'Stay With Me'. Albums with Jones followed from 1969 to 1972, 'Mellow Madness' in '75, 'The Dude' in 81 and 'Live at Budokan' in '85 in Tokyo. Thielemans contributed to numerous soundtracks during his career from 'The Pawnbroker' in 1964 to 'French Kiss' in 1995. He also worked in television, such as the theme to 'Sesame Street' in 1969 ('Can You Tell Me How to Get to Sesame Street?' Joe Raposo). He appeared on Billy Eckstine's last album in 1984: 'I Am a Singer'. Thielemans was made an NEA Jazz Master in 2009. He recorded as late as '90 Years' in 2011, also contributing to 'Grégoire Maret' that year. Thielemans died on August, 22, 2016. Among the host of others on whose recordings Thielemans can be found are Bill Ramsey, JJ Johnson, Dannie Richmond, Sylvia Vrethammar, Monica Zetterlund, Pat Metheny and Shirley Horn. Toots Thielemans on harmonica.

Toots Thielemans  1959

  Confirmation

     Piano: Ray Bryant

  Nuages

     Piano: Ray Bryant

  You Are My Sunshine

     Piano: Ray Bryant

Toots Thielemans  1961

  Le Trottoir

Toots Thielemans  1962

  Bluesette

Toots Thielemans  1964

  Falling In Love With Love

Toots Thielemans  1967

  Hot Toddy

  Talk To Me

  Try a Little Tenderness

Toots Thielemans  1970

  Dirty Old Man

     With Mads Vinding

Toots Thielemans  1998

  Mooch Sesjun

     Filmed live

 

Birth of Modern Jazz: Toots Thielemans

Toots Thielemans

Source: Enciclopedia del Jazz

Birth of Modern Jazz: Wendell Marshall

Wendell Marshall

Source: Discogs

Born in 1920 in St. Louis, Missouri, double bassist Wendell Marshall, studied at Lincoln University and performed briefly with Lionel Hampton's orchestra in 1942 before serving in the military during World War II. Upon release from service he returned to St. Louis where he made a number of recordings in December of 1946 with violinist, Stuff Smith: 'Won't You Take a Lesson in Love?', 'Take a Walk', 'Night Falls Again' and 'Up Jumped the Devil'. He then headed for NYC where he eventually recorded some tracks in February of 1950 with Chubby Kemp and the Johnny Hodges Sextet, among them: 'Hello Little Boy' and 'The Greatest There Is!'. On the 21st of September he joined Hodges and trumpeter, Red Rodney, on numerous recordings with the Ellingtonians (Duke and/or Mercer Ellington). Vocalists included Chubby Kemp, Al Hibbler and Sara Forde. Duke Ellington's long-time partner, Billy Strayhorn, provided piano on a number of those tracks. Marshall continued with Ellington until 1955, meanwhile recording the first four tracks of Carmen McRae's debut album, 'Carmen McRae', in '54 ('55 release). He also contributed to a couple tracks by Gene Krupa in December of '54: 'Undecided' and 'Gene's Bass Blues'. By the time Marshall stepped outside Ellington's square he was well in business. He recorded three albums with Milt Jackson in '56. In 1957 he joined Gigi Gryce and Herbie Mann on three albums each. His first of six with Gene Ammons, 'Twisting the Jug', was released in December of '59 if not 1960. He participated in three LPs by Coleman Hawkins in 1960. His first of eight with Willis Jackson was 'Cool "Gator"' in 1959, issued the next year. In 1966 Marshall recorded three albums with Johnny Hammond Smith. Those were only a portion of the musicians Marshall backed in the decade after he left Ellington. He seems to have never put down his instrument until 1968 when he up and became an insurance salesman back in St. Louis, permanently retiring from the exhausting music business for hard labor with better hours. Marshall died of colon cancer in February 2002 in St. Louis, Missouri. Per 1951 below, the presentation at YouTube is confusing. Ellington's 'Diminuendo in Blue' has nothing to do with those tracks recorded April 17th in NYC for Vogue, not in June. Both tracks are with Duke Ellington and his Ellingtonians.

Wendell Marshall   1951

  The Happening

  Night Walk

Wendell Marshall   1955

  Get Happy

     Piano: Ray Bryant

   I Married an Angel

     Nat Adderley album: 'That's Nat'

Wendell Marshall   1956

  You Can Depend On Me

     Vocal: Mary Ann McCall

Wendell Marshall   1957

  In Other Words

     Vocal: Frances Wayne

   My One and Only Love

     Vocal: Frances Wayne

Wendell Marshall   1958

   Cairo After Dark

      Harp: Gene Bianco

     Album: 'Harp, Skip & Jum P'

   Darn That Dream

     Joe Wilder Quartet

   I Hadn't Anyone Till You

     Coleman Hawkins album: 'Soul'

   My Heart Stood Still

     Joe Wilder Quartet

Wendell Marshall   1960

   Haunted House

      With Lonnie Johnson

      Album: 'Blues & Ballads'

 

 

Birth of Modern Jazz: Percy Heath

Percy Heath

Photo: Richard Laird

Source: All About Jazz

Born in 1923 in Wilmington, North, Carolina, bassist Percy Heath was brother to drummer, Albert Heath, and tenor saxophonist, Jimmy Heath. After a time in the Army (drafted 1944) he 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). The MJQ remained in business another forty years, its final session thought to have been July 16, 1993, at the Montreux Jazz Festival in Switzerland with tenor saxophonist, Nino Tempo. As ever, the Quartet consisted of Jackson, Heath and Lewis, though now with Connie Kay on drums 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.

Percy Heath   1948

  Boogie Woogie March

     Trumpet: Joe Morris

Percy Heath   1952

  The Best Things In Life Are Free

     Alto sax: Lou Donaldson

Percy Heath   1953

  Tune-Up

     Piano: John Lewis   Trumpet: Miles Davis

Percy Heath   1954

  Blue Concept

     Piano: Horace Silver   Trumpet: Art Farmer

  I'll Take Romance

     Piano: Horace Silver   Trumpet: Art Farmer

Percy Heath   1959

  East Of The Sun (And West Of The Moon)

     Alto sax: Paul Desmond   Guitar: Jim Hall

  Time After Time

     Alto sax: Paul Desmond   Guitar: Jim Hall

Percy Heath   1966

  Ralph's New Blues

     Modern Jazz Quartet

Percy Heath   1983

  Bag's Groove

     Piano: John Lewis   Vibes: Milt Jackson

  True Blues

     Piano: John Lewis   Vibes: Milt Jackson

 

 
 

Born in 1923 in Indianapolis, guitarist, Wes Montgomery, was younger brother to Monk Montgomery. Even younger to Monk than Wes was vibraphonist, Buddy Montgomery. 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 in 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'. 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

Wes Montgomery   1950

   I Wish I Knew

     With Lionel Hampton   Vocal: Jimmy Scott

Wes Montgomery   1958

  Falling in Love with Love

   Album: 'Far Wes'

    With Buddy & Monk Montgomery

   Old Folks

   Album: 'Far Wes'

   With Buddy & Monk Montgomery

Wes Montgomery   1959

   Satin Doll

Wes Montgomery   1961

    So Much Guitar

     Album

  There Will Never Be Another You

     Album: 'Live at Jorgies Jorgie's Jazz Club'

     With Buddy & Monk Montgomery

Wes Montgomery   1965

   Live in Holland

     Film

   Smokin' at the Half Note

     Album   Piano: Wynton Kelly

     Bass: Paul Chambers   Drums: Jimmy Cobb

Wes Montgomery   1966

   California Dreaming

Wes Montgomery   1967

   A Day In the Life

Wes Montgomery   1968

   My Favorite Things

     Piano: Herbie Hancock

     Bass: Richard Davis   Drums: Ed Shaughnessy

Wes Montgomery   1976

   Beginnings

      Album

 

Birth of Modern Jazz: Wes Montgomery

Wes Montgomery

Source: All Music

 

 

Born in 1921 in Greensboro, North Carolina, Tal Farlow didn't start playing guitar until age 20 or 21. He is said to have manufactured his own electric guitar because he couldn't afford to buy one. He was working professionally in NYC by 1945 where he made his first recordings with pianist, Dardanelle Breckenridge. The first of three sessions in July wrought 'Gold Braid', 'Oh, What a Beautiful Morning' and 'C Jam Blues'. Titles from those sessions would be issued in 1956 as 'Gold Braids' by the Dardanelle Trio with Paul Eldenfield (bass). It was around that period that he had worked in NYC with bassist, Marshall Grant. He also performed with pianist, Teddy Napoleon, at the Hickory Log Cabin. He is thought to have worked in a trio with Marjorie Hyams and Charlie Parker at the Three Deuces for a brief stint in 1948. His next sessions don't appear in Lord's disco until the Buddy DeFranco Orchestra on April 23, 1949, for titles thought to have been issued (unconfirmed) by Capitol (80853): 'A Bird In Igor's Yard'/'This Time the Dream's On Me'. Farlow would later contribute to DeFranco's 'Sweet and Lovely' ('55), 'Cookin' the Blues' ('55) and 'Like Someone in Love' ('77). A bit later Red Norvo, upon Mundell Lowe''s recommendation, then drove Farlow to California where they were joined by Charles Mingus for Farlow's next session in Hollywood on May 3 of 1950, resulting in such as 'Swedish Pastry' and 'Cheek to Cheek'. From that point onward Norvo would be the most important of Farlow's musical associates to October 2 of 1955, that with bassist, Red Mitchell, for titles toward the album, 'Red Norvo Trio', issued by Fantasy Records that year. In February 1969 Farlow and Norvo backed pianist, George Wein's, 'Newport All-Stars'. In August, 1976, they recorded 'On Stage' at the Concord Pavilion in California with Hank Jones (piano), Ray Brown (bass) and Jake Hanna (drums). February 20 of 1983 saw them participating in 'Swingin' the Forties with The Great Eight' recorded in Berlin. Farlow had formed his own group in 1953 and released his first album, 'The Tal Farlow Quartet', in 1954 with Don Arnone (guitar), Clyde Lombardi (bass) and Joe Morello (drums). That debut album was followed by 'The Tal Farlow Album' the same year. Farlow retired from the national scene to Sea Bright, New Jersey, in 1958, playing only locally after albums released in 1960. He released the LP, 'The Return of Tal Farlow', in 1969, but didn't reemerge until the latter seventies. His last issue during his lifetime is thought to have been a suite of duets with guitarist, Lenny Breau,  'Chance Meeting', in 1997. Farlow died of esophageal cancer in 1998 in NYC. Per below, all tracks for 1950 are with vibes player, Red Norvo. All tracks for year 1954 are from Farlow's first album, 'The Tal Farlow Quartet'.

Tal Farlow   1950

  Move

  Night and Day

  Swedish Pastry

  Time and Tide

Tal Farlow   1953

  This Can't Be Love

     Bass: Charles Mingus

     Vibes: Red Norvo

Tal Farlow   1954

  All Through The Night

  Rock n' Rye

  Splash

  Tina

Tal Farlow   1978

  Autumn Leaves

Tal Farlow   1982

  All Of Me

      Vibes: Red Norvo

Tal Farlow   1983

  Undecided

      Trumpet: Billy Butterfield

      Vibes: Red Norvo

 

Birth of Modern Jazz: Tal Farlow

Tal Farlowfont>

Source: All About Jazz

 

Born in New York City in 1927, bassist Red Mitchell is thought to have first recorded in 1948 with trumpeter Tony Fruscella, for release by Spotlite the next year. Those included such as 'Foo's' and 'Flues'. Lord's disco next estimates him with the Chubby Jackson Big Band in May of 1949 for 'Three Men on a Bass' (Red Kelly also on bass). Recordings followed on July 21 with Joe Roland: 'Leaving Town Tonight' and 'A Fool and His Love'. Come the orchestra of Charlie Ventura in August and September before joining Woody Herman's Woodchoppers, first recording with Herman in January 6 of 1950, for 'Tasty' and 'The Old Pail'. Mitchell then joined Herman's larger orchestra. He also began working as a session musician about that time, later to work at film and television studios in Los Angeles as well. which goes toward explaining his prolific number of sessions at 577 per Lord's disco. Mitchell was among the towering figures in jazz in the 20th century whose career to pace is a marathon of relays from one significant figure to the next, not a few requiring mention. After Herman, then, in '51, we jump past Tony Fruscella and Gil Mellé to arrive to Gerry Mulligan on June 10, 1952, in a trio with drummer, Chico Hamilton, for 'Get Happy', ''S Wonderful' and 'Godchild'. Mitchel supported Mulligan numerously, often in quartets, through 1954, to reunite again in 1958 for Mulligan's 'I Want to Live'. In 1959 they joined André Previn for the soundtrack to the film, 'The Subterraneans'. At some time in '52 Mitchell joined Jimmy Dorsey in a short film titled 'Varieties' with vibraphonist, Red Norvo, released in September that year. Mitchell and Norvo recorded their first trio with Tal Farlow on guitar on July 1 of 1952: 'Tenderly' and 'Aren't You Glad You're You?'. Mitchell hung tight with Norvo for another five years, supporting other bands together when not working on Norvo's projects including future trios to include both Jimmy Raney and Farlow. In the meantime Mitchell had toured to Great Britain with Mulligan and Shorty Rogers to record with the orchestra of British bandleader, Vic Lewis: 'Begin the Beguine', 'Stop Short', etc.. Mulligan arranged the former, Rogers the latter. Mitchell played piano on all. A similar tour ensued in '55 for more tracks with Lewis at Royal Festival Hall in London for 'Progressive Jazz Vol 1'. Mitchell again contributed piano, Mulligan, Rogers, et al, arrangements, including a title arranged by Pete Rugolo: 'The Peanut Vendor'. Reason to the madness of mentioning such is that both Rogers and Rugolo were important figures in Mitchell's career to 1961. Mitchell and Rogers interweaved frequently in the support of various bands when Mitchell wasn't backing Rogers on such as 'Shorty Rogers Plays Richard Rodgers' ('57), 'An Invisible Orchard' ('61) and 'The Fourth Dimension In Sound' ('61). Likewise, Rugolo was the arranger or conductor of numerous orchestras with which Mitchell recorded, such as Stan Kenton's in '58 or in support of Patti Page earlier that year. Some of Rugolo's projects on which Mitchell appeared were 'The Music from Richard Diamond' ('59), 'Jack the Ripper' ('59), 'Thriller' ('60), 'Ten Trombones Like Two Pianos' ('60) and 'Ten Saxophones and Two Basses' ('62). We need return to January 22, 1954, to regard another important figure in Mitchell's career, that being vocalist, Billie Holiday. On that date Mitchell joined Holiday on their first session during a tour to Europe, that in Cologne, Germany, for such as 'Billie's Blues' and 'All of Me'. Several sessions were held during that tour including Belgium and Switzerland. Mitchell would see Holiday again in Los Angeles for numerous sessions in 1956-57, a last session on January 9 yielding such as 'They Can't Take That Away From Me' and 'Gee Baby, Ain't I Good to You?'. Another important associate had arrived on March 8, 1955, in pianist, André Previn, the latter arranging titles with Shorty Rogers for Milt Bernhart, Previn contributing to 'Hillside' and 'Looking for a Boy'. IMitchell's next sessions with Previn were with Al Hendrickson (guitar) and Irv Cottler (drums) April of 1955 for such as 'Let's Get Away From It All', 'San Francisco' and 'Sidewalks of Cuba'. From 'Pal Joey' in 1957 to 'My Fair Lady' in 1964 Mitchell supported Previn on too many LPs to here list. Along the way they supported Shelly Manne, a frequent partner of theirs, on 'The Bells Are Ringing' on April 15 of 1958. Mitchell was also with Previn in support of other groups, such as that of violinist, Itzhak Perlman, in what are thought Mitchell's last with Previn in May of 1980 for Perlman's 'It's a Different Kind of Blues' and 'It's a Breeze'. Manne was also in on those. We need return to February 1, 1955, for Mitchell's first session as a leader, that with Conte Candoli (trumpet), Bob Brookmeyer (valve trombone), Zoot Sims (tenor sax), Claude Williamson (piano) and Stan Levey (drums) for titles that would appear on side B of an LP shared with Oscar Pettiford: 'Jazz Mainstream'. Mitchell released his first album titled simply 'Red Mitchell' in 1955 as well. Another major player in Mitchell's career was guitarist, Barney Kessel, whose septet he joined on March 28 of 1955 (Manne on drums) for 'To Swing or Not to Swing'. Tenor saxophonist, Bill Perkins, was in on that, who would also figure big in Mitchell's career. When Mitchell wasn't backing Kessel they were maneuvering through numerous sessions together in support of other operations to as late as Dean Martin's 'Dream of Me'. They joined one another again in 1967 to back 'Hugh Masekela's Latest'. Their last recordings together may have been in Stockholm on October 2, 1973, for the duo, 'Two Way Conversation'. As for Perkins, Mitchell's next tracks with him were with Bud Shank (also a strong presence in Mitchell's career) on May 2 of 1955 for such as 'Fluted Columns' and 'I Hear Music'. When Mitchell and Perkins weren't backing other bands Mitchell was supporting Perkins on such as 'On Stage' ('56), 'Tenors Head On' ('56) and 'Just Friends ('56). They worked together frequently to Pete Rugolo's 'Ten Saxophones and Two Basses' on November 8 of 1961. Five years later Mitchell backed Perkins' 'Quietly There'. A session followed in 1967 for vibraphonist, Tommy Vig. Twelve years later they backed vocalist, Junko Mine, on 'You're the Top'. Another strong partnership was that with pianist, Hampton Hawes, they first recording per the tune, 'I Hear Music', in a trio with drummer, Mel Lewis, on May 2 of 1955. When they weren't supporting other enterprises together Mitchell appeared on too many of Hawes' projects to here list, those from 'Hampton Hawes Trio Vol 1' with Chuck Thompson on drums in June of 1955 to 'The Seance' and 'I'm All Smiles' in 1966 with Donald Bailey on drums. Sessions with Hawes in November of 1956 for three volumes of 'All Night Session' had been joined by guitarist, Jim Hall. January of 1957 saw Mitchell participating in Hall's 'Jazz Guitar'. They got mixed together a couple more times before April 1 of 1980 witnessed the Modern Jazz Trio with Red Kelly on bass because Mitchell played piano, that for 'Good Friday Blues'. Hall and Mitchell worked variously together on occasion over the years. 1973 saw them in Hanover, Germany, recording 'Body and Soul' in a trio with Daniel Humair on drums. Recordings as a duo followed in 1976 (unissued) and 1978 ('Valse Hot'). They last recorded together per violinist, Itzhak Perlman, above in 1980 in Pittsburgh at Heinz Hall. We need return to July 12, 1957, for titles like 'Yesterdays' and 'Mine' by the Four Freshman. Mitchell held about twenty sessions with that vocal group to February 1 of 1960 for 'Polka Dots and Moonbeams', 'First Affair', etc.. On October 14, 1961, Mitchell collaborated with Harold Land in a quintet to record 'Hear Ye! Hear Ye!'. In 1968 he moved to Stockholm. His latter career would thus be filled with recordings in collaboration with Scandinavian musicians like vocalist, Alice Babs, with whom he held several sessions from 1972 to 1978. Among the more notable figures of Mitchell's latter career was pianist, Roger Kellaway. They had actually first recorded together in 1966: 'Stride!'. On February 10 of 1987 they recorded 'Fifty-Fifty', a duo with whistler, Brad Terry. Numerous duos and trios ensued to 'Life's a Take' in May of 1982. In 1992 Mitchell returned to the U.S., settling in Salem, Oregon, where he died on November 8 that year. He had recorded the duo, 'Live at Salishan', with guitarist, Joe Beck, in March that year. His final tracks are thought to have been per 'Live at Port Townsend' on July 25. Amidst the horde of others with whom Mitchell recorded were June Christy ('57, '58, '61), Bob Thompson ('58, '59), the Soundstage All Stars ('More Peter Gunn' '59), Frank Sinatra ('60) and Berndt Egerbladh ('68, '74). Per 1954 below, all undescribed tracks are with the Gerry Mulligan Quartet (Mulligan baritone sax). All undescribed tracks 1955 through 1958 are with pianist, Hampton Hawes.

Red Mitchell   1949

 Flues

     Tony Fruscella Quintet

  Out of Nowhere

     Tony Fruscella Quintet

Red Mitchell   1950

 Starlight Souvenirs

     With Woody Herman's Second Herd

Red Mitchell   1954

  Bark for Barksdale

  Bernie's Tune

  The Red Door

     Gerry Mulligan Quintet

  Soft Shoe

  Turnstile/Utter Chaos

Red Mitchell   1955

  Blues the Most

  The Champ

 Scrapple From The Apple

    Red Mitchell Sextet

  I Got Rhythm

  Steeplechase

Red Mitchell   1956

 Groovin' High

  Happy Times

    Lennie Niehaus Quintet

  Oleo

  Somebody Loves Me

Red Mitchell   1958

  Bow Jest

 It Could Happen To You

     With André Previn

Red Mitchell   1961

 Somara

     Drums: Leon Petties   Piano: Frank Strazzeri

     Sax: Harold Land   Trumpet: Carmell Jones

Red Mitchell   1974

 Just One Of Those Things

     Composition: Cole Porter   Alto Sax: Lee Konitz

Red Mitchell   1980

 Ornithology

     Tenor sax: Warne Marsh

Red Mitchell   1986

 Shiny Stockings

     Trumpet: Clark Terry

Red Mitchell   1987

 Sophisticated Lady

     Filmed live with Clark Terry

 

Birth of Modern Jazz: Red Mitchell

Red Mitchell   1992

Photo: Gordon Blanz

Source: Plas Johnson

 

  Born in 1933 in Whiteville, Tennessee, Calvin Newborn was brother to pianist, Phineas Newborn. He first recorded in 1949 with his brother and BB King. He also laid early tracks with Big Walter Horton. Newborn began to become more jazz oriented upon playing with his brother, Phineas, in the early fifties. In 1953 he recorded a couple duos with Phineas in Houston on which he played guitar, bass and drums: 'How High the Moon' and ''Round Midnight'. They recorded together numerously to 1958 (: 'Fabulous Phineas'), then put down 'Down Home Reunion' on January 30 of 1959 with the Young Men From Memphis. They reunited in May of 1979 for Cybill Shepard's 'Vanilla'.    Newborn began recording with Earl Hines in 1959, he thereafter supporting all number of jazz luminaries from Lionel Hampton to Wild Bill Davis, Ray Charles and Count Basie. Newborn co-led 'Centerpiece' with pianist/saxophonist, Hank Crawford, in 1980. Crawford supported 'From the Hip' in 1982. 'UpCity' arrived in 1998, 'New Born' in 2005 and 'Clazz' in 2011. As of this writing Newborn yet performs, living in Jacksonville, Florida. Edits below from 2006 to 2010 are live performances.

Calvin Newborn   1949

   She's Dynamite

       Backing BB King

Calvin Newborn   1951

   Hard Hearted Woman

       Mouth harp: Big Walter Horton

Calvin Newborn   1958

   I'll Remember April

       Piano: Phineas Newborn

Calvin Newborn   1959

   Things Ain't What They Used To Be

      Album: 'Down Home Reunion'

      Piano: Phineas Newborn   Trumpet: Booker Little

Calvin Newborn   1978

   I Had A Dream

      With Hank Crawford

Calvin Newborn   2006

  Georgia On My Mind

  Misty

  Sugar

Calvin Newborn   2010

   A Frame for the Blues

      Live in Memphis

 

Birth of Modern Jazz: Calvin Newborn

Calvin Newborn

Source: EU Jacksonville

 

Jazz guitarist Hank Garland got his start in country music at age fourteen, joining Paul Howard's Georgia Cotton Pickers with whom he played at the Grand Ole Opry. At age nineteen Garland's career got a major boost upon composing 'Sugarfoot Rag' and recording it with Red Foley for release in 1950. (See Hank Garland at A Birth of Country Western.) Garland was a popular session guitarist, perhaps most notably with Elvis Presley. In 1961 he released his first two (jazz) albums: 'Jazz Winds From a New Direction' and 'Velvet Guitar'. Among Garland's more important musical associations was Chet Atkins who, as one who would know, regarded Garland as the best guitarist ever to arrive at Nashville. In 1961 Garland's car left the highway near Springfield, Tennessee. The result was brain damage and inability to play his instrument. Though he spent years in the endeavor he wasn't able to attain to his former abilities. He dropped away from the music industry, eventually settling in Orange Park, Florida. He died in 2004 of a staph infection. Recordings below from 1990 onward are live.

Hank Garland   1960

  Move

Hank Garland   1961

  Autumn Leaves

     From 'Velvet Guitar'

  Blame It On My Youth

     From 'Velvet Guitar'

  Ed's Place

     From 'Velvet Guitar'

  Riot Chous

     From 'Jazz Winds From a New Direction'

 

Birth of Modern Jazz: Hank Garland

Hank Garland

Source: Jazz Wax

 

Born in 1929 in Chapel Hill, Tennessee, phenomenal jazz guitarist Thomas Grady Martin was also a country western musician who liked to work in both genres. Martin got his professional break early, performing regularly for WLAC radio in Nashville at age fifteen. Several years later in '49 he joined Red Foley on 'Chattanoogie Shoe Shine Boy' for release in January of 1950. In 1951 Martin put together a band called the Slew Foot Five and made his first recordings as a leader that year ('Bully Of the Town', below, among them). The early fifties saw sessions with such as Bing Crosby and Burl Ives, as well as recordings with his band now called the Winging Strings. During the latter fifties Martin became a Nashville A-Team session guitarist, thereat to participate in titles by such as Marty Robbins and Johnny Horton. In 1964 he contributed to jazz trombonist, Kai Winding's 'Modern Country'. Others employing his talents in '64 were Roy Orbison and Lefty Frizzell. 1966 found him on clarinetist, Pete Fountain's, 'Mood Indigo'. He appeared on Joan Baez' 'Any Day Now' in '68 and 'David's Album' in '69. In the seventies he worked with such as J J Cale, Sammi Smith, Loretta Lynn, Conway Twitty and Kris Kristofferson. In 1978 Martin traded session work for the road to tour with Jerry Reed. He's also said to have joined Willie Nelson's band that year, with which he worked until retirement in 1994 for health reasons. In the meantime he'd supported the jazz group, the Four Freshmen, on 'Graduation Day' in 1982, then shifted back to country the next year on Merle Haggard's 'That's the Way Love Goes'. Martin died of heart attack in 2001 in Lewisburg, Tennessee, leaving a legacy of nearly 400 sessions. Most of the tenor sax on the recordings below is by Dutch McMillin. (See also Grady Martin Country and Grady Martin Rock.)

Grady Martin   1950

   Chattanoogie Shoe Shine Boy

      With Red Foley

Grady Martin   1951

   Bully Of the Town

Grady Martin   1955

   Hot Lips

Grady Martin   1957

   Nagasaki

Grady Martin   1959

   St. Louis Blues

      Original composition: William Handy

 

Birth of Modern Jazz: Grady Martin

Grady Martin

Source: From the Vaults

  Born in 1922 in Birmingham, Alabama, upon leaving military service in 1946 guitarist Johnny Smith began his music career as a trumpeter for WCSH Radio in Portland before crossing the States to work for NBC, first as a freelancer until he obtained his union card (Local 802), then as a staff musician. That was 1946, and on just what recordings he first appeared at the time is a good trick determine. Lord's disco doesn't pick him up until circa 1949 with the Sanford Gold Orchestra for 'It's Christmas Every Day', nor is there a known issue date for Wheeler P100. Lord's puts Smith with Jerry Jerome some time in 1950 for 'Winston Cigarettes Montage', that not issued until Jerome's '‎Something Old, Something New' in 1997. Not until Smith joined Benny Goodman's Sextet is there a likely timely release by Columbia, recording 'Oh Babe', 'You're Gonna Lose Your Gal' and 'Walking with the Blues' on October 10, 1950. Smith spent a year of rapidly successive sessions with Goodman to September of '51 for 'When Buddha Smiles', 'Sunrise Serenade' and 'You Can't Pull the Wool Over My Eyes'. Smith's first session as a leader was March 11, 1952 with a quintet of Stan Getz (tenor sax), Sanford Gold (piano), Eddie Safranski (bass) and Don Lamond (drums) to result in 'Where or When', 'Tabu', 'Moonlight in Vermont' and 'Jaguar'. Those would get issued in 1953 with titles from a session in April of '52 on Roost 410: ''Johnny Smith Quintet "jazz n.b.c." series featuring Stan Getz''. Sessions on November 9 of '52 and August of '53 resulted in 'Johnny Smith Quintet featuring Stan Getz Roost 413', thought issued that year. Those would get reissued with future recordings on Smith's 'Moonlight in Vermont' in 1956. Among his compositions was 'Walk Don't Run' in 1954, rendered by Chet Atkins in '57, the Ventures in '60, the Shadows in '61. Smith withdrew from the big city (NYC) in the early sixties upon the death of his second wife to Colorado Springs, Colorado, to raise his daughter, teach and run a music shop. The last album of his career in the big time in NYC was 'The Sound of the Johnny Smith Guitar' issued in 1961. He recorded on rare occasions thereafter both in Colorado Springs and NYC. His first session in Colorado Springs was a suite of solos in early '62 resulting in 'The Man with the Blue Guitar'. Several albums followed to a suite of solos on February of 1976, not issued until 'Legends' in 1994, a CD shared with George Van Eps, recorded four years before his death in '98. Lord's disco has Smith in final sessions in Mysen, Norway, and London, England, in 1977 with Joe Bushkin toward '100 Years of Recorded Sound'. Smith died decades later on June 11, 2013.

Johnny Smith   1951

   Temptation Rag

      With Benny Goodman

Johnny Smith   1952

   Moonlight in Vermont

      Tenor sax: Stan Getz

Johnny Smith   1953

   Cherokee

      Tenor sax: Stan Getz

Johnny Smith   1954

   Walk, Don't Run!

Johnny Smith   1957

   Deep Night

Johnny Smith   1961

   As Long as There's Music

   Embraceable You

   Misty

Johnny Smith   1965

   Shiny Stockings

Johnny Smith   1984

   What Are You Doing For The Rest Of Your Life?

 

Birth of Modern Jazz: Johnny Smith

Johnny Smith

Source: Johnny Smith

Birth of Modern Jazz: Attila Zoller

Attila Zoller

Source: Just Jazz Guitars

Born in 1927 in Visegrád, Hungary, guitarist Attila Zoller began his professional career playing in Budapest nightclubs. He managed to leave Hungary for Vienna on foot with his guitar in 1948, just prior to the Soviet blockade. His first recordings are thought to have occurred in 1950 with accordion player, Vera Auer, on the Harmona label: 'Nachts Ruft Ein Lied' and 'Meine Augen Sagen Ja'. Tittles with Auer ensued into 1951, such as 'Apple Honey' and 'Pick Yourself Up'. Zoller had also privately recorded 'How High the Bach' in 1950 in the Roland Kovac Quartet. Lord's disco has Zoller possibly recording 'Say Si Si' for Tempo with Auer in 1950, which would have been his first title in Germany. His first session with a date was on March 12 of 1953 in Germany with Albert Mangelsdorff on trombone: 'I Can't Get Started'. Mangelsdorff would become among the more important figures in Zoller's career, they recording numerously for the next six years in Germany before Zoller's immigration to the United States in '59. There would be later reunions in '64, '67 and '86 on Zoller's return visits to Germany. Albert's brother, Emil Mangelsdorff, saw a few of Zoller's sessions with Albert. Zoller also backed pianist, Jutta Hipp, in Germany in '55. Zoller's first sessions as a leader were on July 28 of 1955: 'You Go to My Head' and 'Autumn in New York', those available on a compilation with other German artists like Hipp and Hans Koller issued in 2000 titled 'Cool Jazz Made in Germany'. Koller was another important figure in Zoller's career, they putting down 'Blues for Joe' on May 1 of 1956 for SWF Radio (Südwestfunk). Numerous sessions ensued with reunions in '62, '65 and '79 ('Trinity' w Roland Hanna) on Zoller's revisits to Germany. Much contributing to Zoller's move to the United States was a tour to Europe in 1958 by bassist, Oscar Pettiford. Going down in November and December that year were 'We Get the Message' and 'Blues in Mind'. 'The Legendary Oscar Pettiford' ensued in January of 1959. Zoller's second session as a leader had been a trio with Pettiford and drummer, Kenny Clarke, yielding 'Willow Weep for Me' for an Austrian telecast on November 15 of 1958. Lord's disco shows Zoller's last recordings in Germany (not counting later tours) on February 24 of '59 with the Pettiford/Koller Qunitet, issued in 1963 on Koller's 'Exclusiv'. Pettiford convinced Zoller, who had already toured to the States a couple times in '56 and '58, that he would do well there. So upon being accepted on scholarship to the Lenox School of Jazz in Massachusetts Zoller moved across the pond in 1959, that something of an exchange since Pettiford had decided to live in Copenhagen where he died in 1960. Zoller's first tracks in the United States were with the Lenox School on August 28, 1959: 'Monk's Sphere' and 'Jingles'. Upon hooking up with drummer, Chico Hamilton, and saxophonist, Bobby Jaspar, they made private unissued recordings at the Vanguard in NYC in 1960. Zoller's revisit to Germany in 1962 for NDR Jazz Workshops #24 and #25 (recorded) also resulted in a string of titles with pianist, Carlos Diernhammer, to be eventually issued in 2000 as 'Night Bounce'. Frequent revisits to Germany would mean numerous soundtracks such as for the 1962 release of 'The Bread of Our Early Years'. A collection of such was issued in 2013 as 'Jazz Soundtracks: Original Music from the Arthouse Films of Hans Jurgen Pohland 1962-67'. Among Zoller's more important associates in the States was flautist, Herbie Mann, first backing him on July 7 of 1963 for 'Live at Newport'. Multiple sessions ensued to March 22, 1966, for 'Do Wah Diddy Diddy', The Oud and the Pussycat'' and 'Rhythm in 9/8' (unissued). Also in that session at the Newport Jazz Festival was pianist, Don Friedman, among Zoller's more important comrades for the next several years. Zoller supported Friedman's 'Dreams and Explorations' in 1964. On March 15 of '65 Friedman backed Zoller's 'The Horizon Beyond'. They joined Albert Mangelsdorff at the Newport Jazz Festival in July. On February 22, 1966, it was Friedman's 'Metamorphosis'. They recorded in Germany for an NDR Jazz Workshop in 1967. They would visit again as late as 1995 in Switzerland for a session on March 30 to support Lee Konitz' 'Thingin''. Zoller also joined sessions with such as Cal Tjader and Benny Goodman in the sixties. Frequently visiting Europe during his career, Zoller also toured to Japan in June of 1970, recording 'Guitar Genius in Japan' in Tokyo with Larry Ridley (bass), Lenny McBrowne (drums), Jim Hall (guitar) and Kenny Burrell (guitar). He also left 'Duologue' with pianist, Masahiko Sato, that month. In 1971 Zoller patented a bi-directional pickup (transducer: device that converts string vibrations into electric signals). He also designed his own signature line of guitars. Zoller founded the Vermont Jazz Center in 1985 where he taught until 1998. Lord's disco gives his last tracks on January 7, 1998 in a trio with Tommy Flanagan (piano) and George Mraz (bass) for 'There Will Never Be Another You', 'Lament' and 'I Love You'. He passed away not three weeks later on the 25th of 1998 in Townshend, Vermont.

Attila Zoller  1959

   Blues In the Closet

      Bass: Oscar Pettiford   Drums: Kenny Clarke

   The Gentle Art of Love

      Television performance with Oscar Pettiford

Attila Zoller  1965

   After Glow

      Piano: Martial Solal   Tenor sax: Hans Koller

   All The Things You Are

      Piano: Martial Solal   Tenor sax: Hans Koller

Attila Zoller  1967

   The Birds And The Bees

      Duet with Jim Hall

Attila Zoller  1971

   Sazo

      Piano: Masahiko Satoh

Attila Zoller  1973

   Blues In the Closet

      Filmed live   Duet with Jim Hall

   Extensions

      Filmed live   Duet with Jim Hall

   Where I Have You

      Filmed live   Duet with Jim Hall

Attila Zoller  1992

   When It's Time

      Filmed Live

Attila Zoller  1995

   When It's Time

Attila Zoller  1997

   Another Xanthippe

      Filmed Live

   Waltz For Joy

 

 

Birth of Modern Jazz: Max Bennett

Max Bennett

Source: Brian & Kaye Runner

Born in 1928, bassist and bass guitarist, Max Bennett grew up in Kansas City and Oskaloosa, Iowa, he attending college in that state. His first professional gigs were with clarinetist, Herbie Fields, in 1949. Bennett is thought to have first recorded with Fields in November of 1949, a live session at the Flame Club in St. Paul (available on CD) for unissued titles such as 'Ow!' and 'Indiana'. One of the more important figures in Bennett's career was in on that session, trombone player, Frank Rosolino. Bennett and Rosolino would clear much the same path as studio musicians throughout the fifties, appearing on countless titles together, finally backing Peggy Lee on 'Blues Cross Country' in April 1961. They would reunite in 1974 for Quincy Jones' 'Body Heat' and '75 for Jones' 'Mellow Madness'. On January 26 of 1951 Bennett backed the Georgie Auld Quintet in NYC for 1951 Roost releases of such as 'Seh! Seh!' and 'New Airmail Special' (also available on CD). Come Flip Phillips on March 3 for 'Love Come Back to Me' and 'Everything Happens to Me'. Come Charlie Ventura on May 5 of '53 for titles like 'The Great Lie' and 'Turnpike' with Jackie Caiin and Roy Kral (piano) on vocals. Bennett joined the Sauter-Finegan Orchestra (founded 1952 by Eddie Sauter and Bill Finegan) later that year in time for a September 30 session for 'Doodletown Races', 'Of Thee I Sing' and 'What Is This Thing Called Love?' Bennett hung with that orrchestra into February of 1954 for 'Inside Sauter-Finegan'. With Bennett filling well above two hundred sessions during his career this account needs skip like a stone across a watery surface, touching upon only a few of Bennett's major contributions. We jump ahead a touch to Stan Kenton who had made a career of breaking in new talent. Bennett's first recorded titles with Kenton were on  September 21, 1954, in Portland, OR, for such as 'Saxonia' and 'Cuba Jazz'. Bennett stuck with Kenton into 1955, last in that band for NBC radio broadcasts from the Birdland in NYC for a two-week engagement beginning November 24 and ending December 7, recording such as 'Imagination' and 'I Hear Music' with Ann Richards at vocals. Bennett's first experience with vocal giant, Ella Fitzgerald, had been with Kenton on August 2 of '55: 'How How the Moon', 'Someone to Watch Over Me', etc.. Bennett joined Fitzgerald on a tour to Europe in 1958 to record 'Ella In Rome: The Birthday Concert'. He toured to Europe with her again in summer of '59 for a Jazz at the Philharmonic performance in Cannes, France, on July 1, bearing such as 'Lover Come Back to me' and 'Angel Eyes'. Bennett was a draw for vocalists. He first recorded with Mel Tormé (Porgy) in 1956 on the huge production of 'The Complete Porgy and Bess' with Russell Garcia arranging titles from George Gershwin's original opera in 1951. Bennett also supported Tormé on 'Sings Fred Astaire' that year. 1957 saw Bennett on Tormé's 'Songs for Any Taste', 'At the Crescendo' and 'Dedicated to the Golden State'. Considerably more significant to Bennett's career was vocalist, Peggy Lee, Bennett first supporting her in June of 1956 for her album, 'Dream Street'. April sessions in Hollywood in 1957 went toward Lee's album, 'The Man I Love'. 1960 witnessed 'Pretty Eyes' and 'Christmas Carousel'. 1961 saw 'Basin Street East', 'Peggy at Basin Street East', 'Blues Cross Country' and 'If You Go'. Come 'Sugar 'n' Spice' with 'Mink Jazz' in 1962, followed by 'I'm a Woman' and 'In Love Again' in 1963. Further titles followed in '66 and '67, they to reunite in 1979 for 'Close Enough For Love'. Another talent Bennett supported in the latter fifties was vibraphonist, Terry Gibbs, first recording with Gibbs in September of '57 for 'A Jazzband Ball'. Come 'More Vibes On Velvet' in November of '58, 'Launching a New Band' in February of '59, 'Dream Band' and 'Flying Home' the next month, and 'One More Time' recorded between March and November. 1962 saw Bennett participating in titles toward Gibbs' 'Straight Ahead'. Highlighting the sixties were saxophonist, Charlie Barnet, and guitarist, Laurindo Almeida. Bennett's first titles with Barnet were in Hollywood on May 24 and 25 of '62 for such as 'Cherokee Raid', 'Mood Indigo', 'Indianapolis' and 'I Love Paris'. Tracks for Barnet's 'Wings Over Manhattan' followed on September 13. A few sessions followed in 1966, they to reunite on December 1 and 2 of '69 for such as 'The Beat Goes On' and 'The Girl From Ipanema', those for Reader's Digest. As for Almeida, Bennett first supported him in October of '62 for 'Viva Bossa Nova!'. The next month saw 'Ole! Bossa Nova!'. Bennett is thought to have first traded upright bass for electric bass guitar per Bob Thiele's 'Light My Fire' on August 11, 1967. It was on bass guitar that Bennett backed blues giant, T-Bone Walker, in Los Angeles on August 18 of 1969 for the latter's album, 'Everyday I Have the Blues'. Titles in Hollywood and NYC in 1973 went toward Walker's 'Very Rare'. Bennett also supported Frank Zappa's 'Hot Rats' in August and September of 1969. He was with Tom Scott's L.A. Express in 1974 to back Joni Mitchell on the title, 'Love Poem', that on the album, 'Tom Cat'. Bennett assumed leadership of the L.A. Express in 1975 to record the album by the same name, 'L.A. Express', he to later from the group, Freeway. Bennett's first couple albums as a band leader had been released in 1955: 'Max Bennett Quintet' with Frank Rosolino, and 'Max Bennett Plays', the latter a quartet. Bennett is yet active, leading the band, Private Reserve. He released 'Max Is the Factor' in 2006. Per below, all 1949 tracks are with the Herbie Fields Septet at the Flame Club, including Frank Rosolino.

Max Bennett   1949

  Indiana

  Lemon Drop

  Tiny's Blues

  The Way You Look Tonight

  Zing Went the Strings

Max Bennett   1955

  Rubberneck

  Sweet Sue, Just You

Max Bennett   1993

  Let's Say Goodbye

Max Bennett   2010

  Reflections/Fever

     Live performance

     Guitar: Mike Miller   Vocal: Amber Whitlock

Max Bennett   2012

  Twisted

     Live performance   Guitar: Mike Miller

     Original composition: Wardell Gray

    Lyrics: Annie Ross

 

 

Birth of Modern Jazz: Kenny Burrell

Kenny Burrell

Source: Al Morton

 

Guitarist Kenny Burrell was born in 1931 in Detroit. He began his recording career on March 1, 1951 with Dizzy Gillespie in Detroit: 'Love Me', 'We Love to Boogie', 'Tin Tin Deo' and 'Birk's Works'. In 1952 Burrell formed a group called the Four Sharps, his first name recordings thought to have been in Detroit circa 1953 with that group (including Tommy Flanagan and Yusef Lateef): 'Kenny's Sound'/'My Funny Valentine' (JVB #58). That (per 'The Gentle Giant' by Yusef Lateef), however, is moot, Lord's disco and JAZZDISCO lending circa 1950. We've also seen 1957 at organissimo. 'Before Motown' by Lars Bjorn has that issued on 78 as very rare. Which murky waters we abandon because Burrell's recording career of well above 600 sessions, 140 his own, is going to have to get condensed into a very small and heavy space here. Looking for a wormhole to another universe, we blast off where we started with Gillespie above: Also in that ensemble were John Coltrane, Percy Heath and Milt Jackson. Burrell's next session with Coltrane was for Paul Chambers' 'Whims of Chambers' on September 21 if 1956. The next year he and Coltrane joined tenor saxophonist, Bobby Jaspar, toward 'Interplay For 2 Trumpets and 2 Tenors'. April of '57 found them recording 'The Cats' with Idrees Sulieman (trumpet) and Tommy Flanagan (piano). March of '58 found them co-leading 'Kenny Burrell & John Coltrane'. Returning to Gillespie above, Burrell's next date with Heath was on July 9, 1956, in the Thad Jones Sextet for 'The Magnificent Thad Jones'. The next year they joined Jaspar on flute for Milt Jackson's 'Bags and Flutes'. Also in on that were Flanagan and  Art Taylor (drums). April 10 of '58 found them supporting Ray Charles' 'Soul Meeting', also with Jackson. Burrell went on with Jackson to record 'Bean Bags' on September 12 of '58. Among Burrell's more frequent partners from '56 to as late as 1962 was saxophonist/flautist, Frank Wess. Their first session together is thought have been in Frank Foster's Septet on March 5, 1956, for 'No Count'. Two days later Burrell was backing Wess for titles like 'What D'ya Say?' and 'Salvation'. Burrell participated in Wess' 'Opus in Swing' on June 20, 1956, and 'Jazz for Playboys' on January 5, 1957. They found themselves together several more times backing other bands until Shirley Horn's 'Loads of Love' with the Jimmy Jones Orchestra in 1962(?). Burrell had recorded his debut album, 'Introducing Kenny Burrell', in May of 1956, the month before vocal giant, Billie Holiday, came his way with the Tony Scott Orchestra in June of '56 for titles like 'Trav'lin' Light' and 'I Must Have That Man', etc.. A few more occasions with Holiday followed to March 3 of '59 with the Ray Ellis Orchestra for 'All the Way', 'It's Not for Me to Say', et al. Dinah Washington had come along the prior month on February 19, 1959, with the Belford Hendricks Orchestra for such as 'I Won't Cry Anymore' and 'Time After Time'. Burrell would see Washington a few more times to August 22 of 1962, yielding 'There Must Be a Way' and 'What's New', etc. Among male vocalists whom Burrell supported was Jimmy Witherspoon with the Jesse Stone Band on June 21 of 1957 for 'I Can't Stand It' and 'Many Things', et al. December 4 found him with Witherspoon again in Jay McShann's Band: 'Jumpin' the Blues', 'Hootie Blues', etc.. Albums by organist, Jimmy Smith, to which Burrell contributed were 'House Party' (1957), 'Softly as a Summer Breeze' (1958), 'On the Sunny Side' (1958), 'Six Views of the Blues' (1958) and 'Home Cookin'' (1959). Other projects in which he participated during his early career were such as Illinois Jacquet's 'The Cool Rage' in '58, Erskine Hawkins' '25 Golden Years of Jazz Vol 1 & 2' in '62 and Ike Quebec's 'Bossa Nova Soul Samba' the same year. Jacquet contributed to Burrell's 'Bluesin' Around' on November 21, 1961. Stanley Turrentine added moonlight to Burrell's 'Midnight Blue' in '63. Gil Evans arranged titles on Burrell's 'Guitar Forms' issued in 1965. Duke Ellington, who held Burrell in high esteem, contributed by legacy to Burrell's 'Ellington Is Forever' in 1975, Ellington having died the year before on May 24, 1974. Burrell began teaching at UCLA in 1978. He was made Director of Jazz studies at UCLA in 1996, and an NEA Jazz Master in 2005. With his work appearing on several hundred albums, including no few number of his own, Burrell is yet active pumping them out, having released 'The Road to Love' as recently as 2015. More Burrell under Ike Quebec in Modern Jazz Saxophone. Stanley Turrentine plays tenor sax on a number of tracks for 1963 below.

Kenny Burrell   1951

  Tin Tin Deo

     Trumpet: Dizzy Gillespie

  We Love to Boogie

     Trumpet: Dizzy Gillespie

Kenny Burrell   1956

  Introducing Kenny Burrell

     Album   Piano: Tommy Flanagan

Kenny Burrell   1957

  I'll Close My Eyes

     Duet with Jimmy Raney

Kenny Burrell   1959

  Birk's Works

Kenny Burrell   1963

  Blue Bash

     Organ: Jimmy Smith

  Chitlins Con Carne

  Kenny's Sound

  Midnight Blue

  Saturday Night Blues

  Soul Lament

Kenny Burrell   1964

  What Child Is This?

Kenny Burrell   1966

  Isabella

Kenny Burrell   1979

  Blue Bossa

Kenny Burrell   1984

  Organ Grinder's Swing

     Organ: Jimmy Smith   Sax: Frank Foster

Kenny Burrell   1990

  Jeanine

Kenny Burrell   1992

  Daydream

     Album: 'Soft Sounds For A Summer Night'

   With Grover Washington Jr.

Kenny Burrell   2009

  Billy Jean

Kenny Burrell   2011

  Stormy Monday

     Catalina Jazz Club   With Stevie Wonder

 

 
Birth of Modern Jazz: Sam Jones

Sam Jones

Source: Blue Note
Born in Jacksonville, Florida, in 1924, double bassist, Sam Jones is thought to have first seen vinyl in 1951 per a sessions for saxophonist, Paul Williams, on July 25 resulting in 'Rockin' Chair Blues' and part 1 of 'Sinner's Hop', other titles unissued. A couple more sessions were held with Williams before those with Tiny Bradshaw from 1953 to '55. On Nat Adderley's 1956 issue of 'To the Ivy League from Nat'. He also recorded with Kenny Dorham in '56, toward the January 1957 issue of 'Round About Midnight at the Cafe Bohemia', Kenny Burrell also appearing on that LP. Jones released a couple more albums with Nat into the sixties, but it's Cannonball Adderley with whom he issued above fifteen albums between 1958 and 1975, the first being 'Somethin' Else', the last, 'Phenix'. Jones recorded prolifically, much in demand as a sideman. We mention only those with whom he recorded at least three albums: Jone's first of four with Lou Donaldson was 'The Time is Right' in 1959. He also appeared on the first of three Red Garland LPs that year. Jones released his first of more than ten LPs as a leader in early 1960: 'The Soul Society'. His first of seven albums with Bobby Timmons emerged in 1960, 'This Here is Bobby Timmons'. Jone's first of seven albums with Oscar Peterson was 'Blue Etudes' in 1966. His first of five with Art Farmer arrived in 1971: 'Homecoming'. His first of five with Gene Ammons was 'Jug & Dodo' the next year, though recorded ten years earlier in 1962. Also in '72 Jones released the first of three LPs with Charles McPherson: 'Siku Ya Bibi (Day of the Lady)'. Jones and Cedar Walton issued eleven albums together, their first two being the two volumes of Walton's 'A Night At Boomers' in 1973. He issued eight albums with Clifford Jordan, beginning with 'Glass Bead Games' in '74. The next year Jones released the first of three albums with Duke Jordan, 'Misty Thursday'. Three albums with Al Cohn commenced in 1976 with 'Al Cohn's America'. Of the 414 sessions ascribed to Jones, 14 of those were as a leader. His first on March 8, 1960, resulted in 'The Soul Society'. His last LP was 'Somethin' New' put down on June 4, 1979. He had recorded 'The Bassist' the day before with Kenny Barron at piano and Keith Copeland on drums. Jones' last recordings may have been on January 23, 1981, in Tokyo at Yubin Chokin Hall in a quartet for Kenny Drew with Junior Cook (tenor sax) and Jimmy Cobb (drums). He died on December 15, 1981. Others notable in Jones' career had been Dizzy Gillespie, Abbey Lincoln, Thelonious Monk and Blue Mitchell.

Sam Jones   1951

   Rockin' Chair Blues

      With Paul Williams

   Sinner's Hop

      With Paul Williams

Sam Jones   1956

   Sam's Tune

      Album: 'To the Ivy League From Nat Adderley'

   Sam's Tune   Alt

      Album: 'To the Ivy League From Nat Adderley'

Sam Jones   1958

   Minority

      Cannonball Adderley Quintet

Sam Jones   1960

   Del Sasser

      Cannonball Adderley Quintet

   Open Sesame   Alt

      Freddie Hubbard album: 'Open Sesame'

  The Soul Society

      Album

Sam Jones   1961

   Suite

      'Jazz Casual' television broadcast

Sam Jones   1962

   Unit 7

      Album: 'Down Home'

Sam Jones   1963

   Live in Switzerland & Germany

      Filmed live with Cannonball Adderley Sextet

Sam Jones   1967

   Suite

      Live with Oscar Peterson Trio

Sam Jones   1976

   Double Bass

      Album

   Live in Tokyo

      Album by guitarist Jimmy Raney

 

 

Birth of Modern Jazz: Sal Salvador

Sal Salvador

Source: Blue Note

 

Born in Monson, Massachusetts in 1925, guitarist Sal Salvador may have first recorded with Phil Woods and Joe Morello in late 1947 at Wood's home in Springfield, MA. Those tracks are said to exist on a CD called 'Bird's Eyes', cut, owned or in the care of the Philology label (perhaps Philology Jazz Records in Italy). Howsoever, those rare tracks aren't offered to YouTube. In 1949 Salvador left Springfield, MA, for New York City where he was employed at Radio Music Hall as a staff guitarist together with Johnny Smith. July 2, 1951 found him recording with the Cabineers for Prestige, such as 'Each Time', 'Lost', etc.. On August 28 it was the Terry Gibbs Sextet for 'Swing's the Thing', 'Begin the Beguine', et al. Come the Eddie Bert Quintet on March 19 of 1952 for 'Mol-Shaja', 'First Day of Spring', et al, before Salvador's first titles with Stan Kenton, on June 15: 'Love for Sale', 'Delicado', etc.. Salvador remained with Kenton only three years, though in that time not a few sessions were held to September 3 of 1955, that with the JATP All Stars for a telecast of 'Music 55' by CBS: 'Artistry in Rhythm' (theme), 'This Can't Be Love', etc.. Salvador had released his debut album, 'Sal Salvador Quintet' in 1954, briefly before the album 'Stan Kenton Presents Sal Salvador'. He later taught at a couple universities in Connecticut. He recorded steadily into the early eighties, occasionally thereafter. Lord's disco has him down for only two sessions in the nineties, those at the Carriage House in Stamford, CT, in 1994 and '95 for 'The Way of the Wind' and 'Lorinda's Kitchen'. Salvador died in Stamford on September 22 of 1999. All undescribed tracks for 1954 below are from Salvador's first album, 'Sal Salvador Quintet'. All tracks for 1963 are from the album, 'Music to Quit Smoking By'.

Sal Salvador   1952

   Improvisation

      With Stan Kenton

Sal Salvador   1953

   Harlem Nocturne

      With Stan Kenton

Sal Salvador   1954

   All the Things You Are

      Album: 'Stan Kenton Presents Jazz: Sal Salvador'

   Gone with Wind

   My Old Flame

   Get Happy

   This Can't Be Love

   Too Marvelous For Words

Sal Salvador   1956

   All The Things You Are

   The Carioca

   Delighted

   I Hadn't Anyone But You

   Salaman

   They Say It's Wonderful

   Two Sleepy People

   You Could Swing for That

   You're Driving Me Crazy

Sal Salvador   1958

   Colors In Sound

      Album

Sal Salvador   1963

   I'm Beginning To See The Light

   You Do Something to Me

   You Go to My Head

Sal Salvador   1978

   Daddy O

      Album: 'Juicy Lucy'

 

 

Birth of Modern Jazz: Howard Roberts

Howard Roberts

Photo: Andrea Augé

Source: Vintage Guitar Magazine

Howard Roberts was largely a session guitarist. Born in 1929 he left Phoenix, Arizona for Los Angeles as a teenager where he began to play gigs with musicians such as Jack Marshall, Chico Hamilton and Barney Kessel. His earliest known session was in May of 1952, recorded live at the Haig in Los Angeles with Gerry Mulligan: 'Out of Nowhere', 'Our Delight', etc.. He also recorded with Wardell Gray at the Haig in September that year, that to be found on 'Live in Hollywood'. In 1953 he laid tracks in August with Bobby Troup for Capitol. His next sessions in January of '54 with June Christy saw 'Lonely House', 'I Should Care', etc.. That was a significant occasion in the Pete Rugolo Orchestra with Shorty Rogers and Bud Shank. Christy, Rugolo, Rogers and Shank would be important figures in Roberts' career. He supported Christy numerously in the fifties in Rugolo's orchestra, also backing her 'The Cool School' in 1960 with the Joe Castro Quartet. Rugolo's big band was a major vehicle for Roberts to as late as 1961, both backing Rugulo's projects and other enterprises. After supporting Christy in January of '54 he participated in 'Introducing Pete Rugolo and His Orchestra' on February 8. Numerous dates ensued to as late as November of 1961 for Rugolo's 'Ten Saxophones and Two Basses'. Future dates with Rogers in support roles included Christy with Rugolo, the Pete Jolly Sextet and Patti Page until Rogers' 'Chances Are It Swings' went down in December of 1958. Rogers participated in Roberts' 'Somethin's Cookin'' in July of 1964. They later recorded with Carmen McRae in '67. Shank continued with Christy and Rugolo as well, he and Roberts also backing other operations, like Patti Page, until Shank's 'Flute 'n Oboe' with the Bob Cooper Quintet on November 29 of 1956. Shank's 'The Swing's to TV' went down on January 21 of '58, they in the meantime supporting Christy, Rugolo and other enterprises together. The sixties saw multiple supporting roles together until Shank's 'The Windmills of Your Mind' in 1969 and 'Let It Be' in 1970. Their last sessions are thought to have been in 1971 with Gerry Mulligan for the latter's 'The Age of Steam'. Between the two sessions it took to make that, Mulligan, Shank and Roberts also contributed to 'Gandharva' by Beaver and Krause. We need step back to October 22, 1956, for Robert's first session as a leader resulting in 'Velvet Groove'. Between that and 'Turning to Spring' in 1979 Lord's disco has Roberts recording about eighteen more albums. His second was 'Mr. Roberts Plays Guitar' in '57, his third 'Good Pickin's' in '59, his next to last 'The Real Howard Roberts' in 1977. Roberts also recorded themes for television, his most memorable likely the theme to 'The Twilight Zone' (Marius Constant) in 1959 (below). During the sixties Roberts designed the Epiphone Roberts guitar and founded Benson, an amplifier company. He let the guitar breathe a little in the seventies as he founded Playback Music Publishing Company, wrote instructional books and toured giving seminars. The latter led to his co-founding of the Guitar Institute of Technology, now the Musician's Institute. He died of prostate cancer in 1992 in Seattle. Michael Evans lists Roberts' possible final tracks per guitarist, Michael Tomlinson's, 'Living Things' in 1991. With well above 300 sessions to his name, among others Roberts supported were Buddy DeFranco, Jack Marshall, Peggy Lee, Bob Thompson, Gary Crosby, the Four Freshmen, Jack Sheldon, Willie Ruff, Bob Thiele, Chico Hamilton and Barney Kessel. Per 1952 below, all tracks were recorded with Wardell Gray at the Haig in Los Angeles.

Howard Roberts   1955

  Ladybird

   Out of Nowhere

   The Squirrel

Howard Roberts   1955

  Love's Got Me In a Lazy Mood

Howard Roberts   1957

  Interlude

Howard Roberts   1959

  The Twilight Zone

    Television theme 

Howard Roberts   1961

  Watermelon Man

      With Herbie Hancock

Howard Roberts   1964

  Charade

Howard Roberts   1965

  Chim Chim Cher-ee

      Album: 'Goodies'

  Fly Me To The Moon

      Album: 'Goodies'

Howard Roberts   1966

  Mr. Lucky

  On A Clear Day

Howard Roberts   1968

  Angel Eyes

Howard Roberts   1969

  More Today Than Yesterday

 

 
  Born Vincenzo Bucci in 1921 in Newark, New Jersey, bassist Vinnie Burke played with Joe Mooney, Tony Scott, Cy Coleman (3 years) and the Sauter-Finegan Orchestra before what may have been his first recordings in New York City in October of '53 with pianist, Marian McPartland. Those tracks were released on 'Jazz at the Hickory House' by Savoy that year. Burke left McPartland's trio that December, they apparently not getting along. On June 10 of 1954 Burke recorded with pianist, Johnny Mehegan: 'Taking a Chance on Love', 'Sirod', 'Uncus' and 'Stella by Starlight'. He also recorded his first name session as the Vinnie Burke Quartet in 1954 on an undetermined date. Those saw issue in 1957 on an album with Oscar Pettiford on side A called 'Bass by Pettiford/Burke'. They also saw issue in 2000 on 'East Coast Jazz/2'. Others Burke sided in 1954 were George Handy ('Handyland USA'), Chris Connor, Eddie Shu ('I Only Have Eyes For Shu') and Joe Puma. Burke's first session in 1955 was March 25 with the Lou Mecca Quartet for such as 'You Go to My Head' and 'Bernie's Tune' (Bernie Miller). On September 25 of 1955 he recorded 'Jazz- Young Blood' with Ole Hansen (trombone), Chuz Alfred (tenor sax), Chuck Lee (piano) and Kenny Clarke (drums). His next date with Mehegan was a trio with pianist, Eddie Costa, for 'A Pair of Pianos'. Burke and Costa next backed tenor saxophonist, Mike Cuozzo, for 'Mighty Mike' on November 22 of '55. They formed another trio with Nick Stabulas (drums)for the Jubilee label in February of '56 to see issue as 'Eddie Costa Vinnie Burke Trio'. Another of the more well-known musicians with whom Burke worked was guitarist, Tal Farlow, with whom he and Costa formed a trio in 1956 to put out 'The Swinging Guitar of Tal Farlow' and 'Tal'. That December they recorded what would get issued as 'Fuerst Set' in 1975 and 'Second Set' in 1977. In the meantime Costa had supported Burke for ''The Vinnie Burke All-Stars', consisting of Joe Puma (guitar) and Jimmy Campbell (drums), on July 22 of '56. They had also recorded 'Gil's Guests' with Gil Mellé, on August 10. Burke and Costa would record some more titles together until joining Manny Albam's orchestra in 1957 to participate in 'The Blues Is Everybody's Business', another bassist, Milt Hinton, also employed. On December 5 of 1957 Burke joined baritone saxophonist, Gerry Mulligan, in NYC for such as 'May-Reh' and 'The Preacher'. In 1958 he appeared on the 'Art Ford's Jazz Party' radio and television program sixteen times, the incipient on May 15 for titles like 'Basin Street Blues' and 'Muskrat Ramble', the last on November 6 for 'Ballin' the Jack', 'Runnin' Wild', et al. Burke followed those with a December session resulting in 'Chet Baker Introduces Johnny Pace'. Another well-known name Burke sided was cornetist, Bobby Hackett, recording 'Jazz Impressions of Oliver' in February of 1963. He then disappeared into obscurity, though continuing to perform into the eighties. Lord's disco assigns Burke only 69 sessions. He died on February 1, 2001.

Vinnie Burke   1953

 Jazz at the Hickery House   [Suite]

     Piano: Marian McPartland

Vinnie Burke   1954

 The Continental

     Guitar: Barry Galbraith

 A Cottage for Sale

     Vocal: Chris Connor

 Crazed Lady

     Piano: George Handy

 Honeysuckle Rose

     Guitar: Barry Galbraith

 Lean To

     Piano: George Handy

 On the Alamo

     Guitar: Marian McPartland

 Softly As A Morning Sunrise

     Guitar: Joe Cinderella

 Sprong

     Piano: George Handy

 Time Out

     Guitar: Barry Galbraith

 Uncas

     Guitar: Chuck Wayne

Vinnie Burke   1955

 What Is this Thing Called Love

     Tenor sax: Mike Cuozzo

Vinnie Burke   1956

 Blue Jeans

     Trombone: Urbie Green

 Fascinating Rhythm

     Piano: Eddie Costa

 I'm Getting Sentimental Over You

     Trombone: Urbie Green

 Let's Do It

     Piano: Eddie Costa

 Lover Man

     Tenor sax: Mike Cuozzo

Vinnie Burke   1960

 Night Beat

 

Birth of Modern Jazz: Vinnie Burke

Vinnie Burke

Source: Blue Sounds

Birth of Modern Jazz: Bill Crow

Bill Crow

Source: Jazz Profiles

Born in 1927 in Othello, Washington, in the living space behind his grandmother's novelty shop, double bassist, Bill Crow, hauled about a sousaphone (type of tuba) as a student at the University of Washington Seattle. He played baritone horn, trombone and drums in the military, having joined the US Army in 1946. He returned to UW after his service was up and gigged in a quartet, playing bongos for Buzzy Bridgeford. He thought NYC the place to be in 1950, performing on valve trombone with Lennie Tristano. Crow didn't begin playing double bass until 1950. His first was a $75 Key which took a long time to purchase, he renting basses for gigs until he could make his final payment. He would replace that in '53 with an old  upright made in France, the same he's used ever since. Crow's website has him recording two untitled sides in 1950 with Mary Lou Williams, but no releases with her are known. In October of 1952 he joined  Claude Thornhill's band at Hotel Statler in NYC for such as 'Come Rain or Come Shine' and 'Sorta Kinda' in support of Chris Connor. Those wouldn't appear to have been issued at the time. Nor would titles from his next session with the Stan Getz Quintet on November 13 of '52 for a radio broadcast from the Birdland in NYC of 'Sweetie Pie' and 'Moonlight in Vermont'. Numerous of Crow's early sessions were delayed in release. He recorded with Getz at Carnegie Hall ('At Carnegie Hall' '91), put in a couple more appearances at the Birdland, and recorded at the Hi-Hat in Boston before arriving to tracks on December 12 of 1952 that would see issue in 1953 as 'Stan Getz Plays'. Titles for Clef on April 16, 1953, took until 1954 to issue: 'Cool Now', 'Rustic Hop', 'Have You Met Miss Jones?' and 'Erudition' (Clef MGC 143). Crow would also contribute a track ('Fools Rush In') to Getz' 1954 release of 'Split Kick'. After Getz Crow joined Al Haig on March 13, 1954, for 'Jazz Will O' the Wisp', not issued until 1957. A second session the same day, also including Lee Abrams on drums, saw more timely issue that year ('54) as 'The Al Haig Trio'. A session with guitarist, Jimmy Raney, on August 11 of '54 doesn't seem to have seen issue until CD, titles like 'Stella by Starlight' and 'Jo Anne'. Come pianist, Marian McPartland, for 'At the Hickory House' in September of '54, issued the next year before the recording of 'After Dark'. Crow would see more of Marian McPartland with husband, Jimmy McPartland in 1958, the year after recording 'Jummy McPartland's Dixieland'. In January and September of 1956 Crow recorded tracks for Gerry Mulligan's 'Mainstream of Jazz', released that year. Mulligan was a major figure in Crow's career into the mid sixties. They recorded 'Holliday with Mulligan' in April of 1961 with vocalist, Judy Holliday. Another important associate was valve trombonist, Bob Brookmeyer, with whom he recorded 'Whooeeee' in February of '56. Crow had worked with Brookmeyer since Getz in 1952 at the Hi-Hat in Boston. They would partner often, particularly with Mulligan, into the sixties. Lord's disco shows them working together as late as 1965 toward 'Suitably Zoot'. Crow found himself in Benny Goodman's orchestra in 1962, first for 'The Bell Telephone Hour' television program in April, next a tour to Russia from May to July. Crow also supported several Broadway shows. Among the highlights in his latter career was the publishing of his autobiography, 'Jazz Anecdotes', in 1991. He contributed to titles for Bob Dorough and Barbara Lea's 'Hoagy's Children' in 1993. Having appeared on more than 110 albums including his own, Crow's first was 'From Birdland to Broadway' recorded in November of '95. 'Jazz Anecdotes' was put down a year later. Among Crow's latest issues was 'Bill Crow Sings' in 2011 with guitarist, Armand Hirsch. He also issued 'Embraceable You' about that time with a trio of Hiroshi Yamazaki (piano) and John Cutrone (drums), that followed by 'You and the Night and the Music' a couple years later. Per 1952 below, tracks were recorded that year but not issued until later. Release years begin with 1953.

Bill Crow   1952

  Autumn Leaves

    Stan Getz LP: 'Chamber Music'

     Not issued until 1989

  Parker 51

    Stan Getz LP: 'At Carnegie Hall'

    Not issued until 1991

  Stan Getz Plays

    Album   Side A

    Not issued until 1955

  Stan Getz Plays

    Album   Side B

     Not issued until 1955

  Stella by Starlight

    Stan Getz LP: 'At Carnegie Hall'

     Not issued until 1991

  Sweetie Pie

    Stan Getz LP: 'At Carnegie Hall'

     Not issued until 1991

  These Foolish Things

    Stan Getz LP: 'Chamber Music'

     Not issued until 1989

Bill Crow   1953

  Fools Rush In

    Stan Getz LP: 'Split Kick'

Bill Crow   1955

  Chelsea Bridge

    Marian McPartland LP: 'After Dark'

  How Long Has This Been Going On

    LP: 'Marian McPartland at the Hickory House'

  Struttin' With Some Barbecue

    LP: 'Marian McPartland at the Hickory House'

Bill Crow   1963

  Festive Minor

    Gerry Mulligan LP: 'Night Lights'

 Night Lights

    Gerry Mulligan LP: 'Night Lights'

 Prelude in E Minor

    Gerry Mulligan LP: 'Night Lights'

Bill Crow   1964

  Relax!

    Album by Gerry Mulligan

Bill Crow   1989

  The Fastest Bossa Nova

    Filmed live

    With Chris Potter & Red Rodney

  Untitled

    Filmed live

    With Chris Potter & Red Rodney

Bill Crow   1996

  From Birdland to Broadway

    LP: 'From Birdland To Broadway'

Bill Crow   2012

 The Preacher

    Filmed in Long Island NY

Bill Crow   2013

 Sweet Georgia Brown

    Marty Napoleon Quartet

 When It's Sleepy Time Down South

    Marty Napoleon Quartet

 

 
  Born in 1927 in Lexington, Mississippi, Malachi Favors began playing double bass at age fifteen, to play professionally upon graduation from high school. Figuring Chicago the place he ought to be, he relocated there, where his first recording would be as a member of Paul Bascomb's group in 1953. Those are thought to have been Bascomb's band backing Dinah Washington on 'My Man's an Undertaker' with 'Mean and Evil' for the Mercury label. Favors also joined Bascomb on both parts of 'Jan' for the Parrot label (Cat 792) that year. 1956 found him taping 'So In Love' with Andrew Hill (piano) and James Slaughter (drums), issued in 1960 (Hill's debut album). Favors continued gigging in Chicago, working with such as Dizzy Gillespie and Freddie Hubbard. He was attending Wilson Junior College in 1963 when he met the most important musical associate of his career, saxophonist, Roscoe Mitchell. In 1965 they taped tracks for what would be released in 2011 as 'Before There Was Sound'. Favors had also joined Muhal Richard Abrams's Association for the Advancement of Creative Musicians (AACM) in '65. In 1966 Favors appeared on Mitchell's debut album, 'Sound', with the Roscoe Mitchell Sextet. That group which included Lester Bowie, another of Favor's major partners over the years, would undergo various formations, recording several albums along the way, until the debut LP by Mitchell's Art Ensemble appeared in 1969: 'Congliptious'. That band, including Bowie, would become the Art Ensemble of Chicago (AEC), of which Favors was a member throughout his career, participating in well above forty albums by that band, issuing seven in 1969 alone. Along with the AEC Favors recorded with others such as the Kahil El'Zabar Ritual Trio from the latter eighties throughout the nineties and Wadada Leo Smith in the early 21st century. Though Favors had issued several albums as a co-leader, his only name solo album was 'Natural & Spiritual' in 1978 as Brother Malachi Favors Magoustous. Favors died of pancreatic cancer in 2004 in Chicago.

Malachi Favors   1953

  Jan 1 & 2

      With Paul Bascomb

  My Man's an Undertaker

      With Dinah Washington

Malachi Favors   1960

  So In Love

      Recorded 1956

      Drums: James Slaughter

      Piano: Andrew Hill

Malachi Favors   1966

  Sound

      LP by the Roscoe Mitchell Sextet

Malachi Favors   1968

  Jazz Death?

      LP: 'Congliptious'

      Roscoe Mitchell Art Ensemble

Art Ensemble of Chicago   1969

  Part 2

      LP: 'People In Sorrow'

Art Ensemble of Chicago   1970

  Thème De Yoyo

      LP: 'Les Stances À Sophie'

Art Ensemble of Chicago   1974

  Live in Sardegna

      Filmed live

Art Ensemble of Chicago   1975

  The Paris Session

      Album

Malachi Favors   1976

  Rope-A-Dope

      Lester Bowie LP: 'Rope-A-Dope'

  Sightsong

      Album by Muhal Richard Abrams

Art Ensemble of Chicago   1978

  Willisau Jazz Festival

      Album

Malachi Favors   1978

  Amina

      Lester Bowie LP: 'African Children'

Art Ensemble of Chicago   1979

  597–59

      LP: 'Nice Guys'

  Ja

      LP: 'Nice Guys'

Malachi Favors   1979

  African Magic

      Album with Sunny Murray

Art Ensemble of Chicago   1980

  Odwalla (Theme)

      LP: 'Urban Bushman'

Art Ensemble of Chicago   1987

  No Woman No Cry

      'Ancient in the Future Vol 1'

  Purple Haze

      'Ancient in the Future Vol 1'

Malachi Favors   1987

  Live at Saalfelden

      Percussion/Voice: Kahil El'Zabar

      Trumpet: Lester Bowie

Art Ensemble of Chicago   1991

  Ohnedaruth

      Filmed at the Berlin Jazzfest

Art Ensemble of Chicago   1995

  Budapest 1

      Filmed live

Art Ensemble of Chicago   1998

  Malachi

      LP: 'Coming Home Jamaica'

Malachi Favors   2001

  Bass Solo

      Filmed at the Knitting Factory

Art Ensemble of Chicago   2003

  Radio Concert

 

Birth of Modern Jazz: Malachi Favors

Malachi Favors

Photo: Lauren Deutsch

Source: One Final Note

  Born in 1921 in Indianapolis, William Monk Montgomery was older brother to Wes Montgomery by about a year and a half. His much younger brother, by some eight years, was vibraphonist, Buddy Montgomery. He didn't begin his career as a professional musician, though, until much later when he was age thirty. His brother, Wes, had just finished two years with Lionel Hampton when Monk joined Hampton's organization in 1951, he among the first to successfully introduce the electric bass guitar to the jazz ensemble (Fender's technology with that instrument having trailed that of their guitar). However, before leaving on tour to Europe with Hampton's outfit in latter 1953 he recorded four tracks with Art Farmer that would end up on 'The Art Farmer Septet' (tracks 1 -4), released in 1956. His next recordings were during a number of engagements in Europe in Hampton's outfit in latter 1953, both concert and studio recordings in Stockholm in September (including Annie Ross and George Wallington) with tracks issued that year, a concert in Basel with tracks issued, and further recordings in Paris and Basel as well. Monk began recording with his brother, Buddy and Wes, as the Montgomery Brothers in 1955, the three of them releasing 'Almost Forgotten'. They performed and recorded variously as the Montgomery Brothers into the early sixties. In 1957 Monk and Buddy got together with drummer, Benny Barth, and pianist, Robert Cranshaw, to form the Mastersounds, releasing both 'Jazz Showcase' and 'The King and I' that year. More recordings by the Mastersounds followed into the early sixties, including one with Wes, 'Kismet', released in 1958. Montgomery worked as a sideman until his first release as a leader in 1969, 'It's Never Too Late'. An interest in African rhythms began in 1970 with trumpeter, Hugh Masekela, they recording 'Reconstruction' that year. Montgomery's fourth and last album, 'Monk Montgomery in Africa...Live!', would be recorded in Soweto, South Africa in 1974, released the next year. He spent his latter years in Las Vegas, forming the Las Vegas Jazz Society and hosting a radio show before his death of cancer in 1982. Per 1953 below, 'September in the Rain' was recorded in 1953 but its original release is unknown. It appears on 'Lionel Hampton – The Complete Paris Session 1953' released in 1983.

Monk Montgomery   1953

  September In the Rain

      Album

Monk Montgomery   1956

  Mau Mau

      Recorded 1953

      Album: 'The Art Farmer Septet'

Monk Montgomery   1961

  Groove Yard

      Album by the Montgomery Brothers

      Drums: Bobby Thomas

Monk Montgomery   1971

  Foxy Gypsy

      Album: 'Bass Odyssey'

Monk Montgomery   1974

  Girl Talk

      Album: 'Reality'

  Reality

      Album: 'Reality'

  Sister Lena

      Album: 'Reality'

 

Birth of Modern Jazz: Monk Montgomery

Monk Montgomery   1953

Source: Wikipedia

  Born in 1943 in Pittsburgh, PA, guitarist George Benson (not to be mistaken with the Detroit saxophonist) wouldn't come to prominence until the sixties. But he'd been attempting to play professionally since seven years old and released a couple early singles at age eleven in 1954: 'She Makes Me Mad' followed by 'It Should Have Been Me'. Eight years later he recorded 'Godchild' in 1962 with a quintet, not issued until 'I Giganti Del Jazz 72' in 1981. The next year he began recording with Jack McDuff, first appearing on McDuff's '63 release of 'Brother Jack McDuff Live!'. Benson worked at McDuff's side steadily into 1965 issuing seven more albums with him to that year, and eight more afterward until 'Bringin' It Home' in 1999. 'The New Boss of Guitar George Benson' was Benson's debut album, recorded in May of 1964 with McDuff and issued that year. Benson would issue more than forty studio and live albums during his career. He co-led another nine and backed enough musicians in the studio to populate Andromeda with stars. It was in the latter seventies that Benson came to no uncertain international recognition with the song, 'Masquerade' in 1976. Composed by Leon Russell, that song would send Benson's containing album, 'Breezin', platinum, the first jazz release ever to do so. Benson's 1977 album, 'In Flight', also went platinum. 'Weekend in L.A.', containing 'On Broadway', was issued in 1978, also going platinum. Benson was baptized as a Jehovah's Witness in 1979, then was entered into the periodic table of chemical elements as number 78 thanks to his 1980 album, 'Give Me the Night', that going platinum as well. To a total of four platinum LPs. As his silvery white aura was getting him mistaken for Jehovah, Jehovah made him knock it off, not permitting any more. Benson toured internationally the remainder of his remarkable career. Among the more important of Benson's musical associates was organist, Dr. Lonnie Smith, who had been with him in 1962 for 'Godchild'. They would see one another again in December of 1965 to support Red Holloway's 'Red Soul'. Other Benson albums on which Smith appeared were 'It's Uptown' in '66 and Benson Burner' the next year, the same year they supported Lou Donaldson's 'Alligator Bogaloo' followed by 'Midnight Creeper' in 1968. Smith albums to which Benson contributed were 'Finger Lickin' Good' in '66, and 'Live At Club Mozambique' recorded in Detroit on May 21, 1970. Benson appeared on Miles Davis' 'Miles In the Sky in 1968. He, Davis and Dizzy Gillespie joined Quincy Jones for 'Back on the Block' circa 1989. Another important personality was flautist, Hubert Laws, Benson backing Laws on 'Crying Song' in 1969. Benson and Laws backed other bands, particularly Freddie Hubbard's, and each other numerously to as late as 1993. Benson appeared on Laws' 'The Chicago Theme' in 1975. Laws appeared on Benson's 'White Rabbit' in 1971, 'George Benson In Concert In Carnegie Hall' in 1975 and 'Pacific Fire' in 1984. Hubbard was also figured significantly in Benson's career, Hubbard first joining Benson for the latter's 'Body Talk' in 1969. Benson and Hubbard interweaved often into the latter eighties backing other operations when Benson wasn't supporting Hubbard's projects. Hubbard albums to which Benson contributed were 'Straight Life' in November of 1970, 'First Light' in 1971, 'Sky Dive' in 1972, 'Polar AC' in 1974, 'Super Blue' in 1978 and 'Life Flight' in 1987. Come Stanley Turrentine in November of 1970 for tracks to the latter's 'Sugar'. Benson participated in a couple titles on Turrentine's 'The Sugar Man' in February of 1971: 'More' and 'Just as I Am'. Benson and Turrentine backed other operations together on multiple occasions to as late as Lou Rawls' 'At Last' in 1989. Among those occasions was at the Hollywood Palladium on July 18, 1971, with the CTI All Stars for 'California Concert' for CTI Records. They would also appear together on the first three volumes of 'CTI Summer Jazz at The Hollywood Bowl Live' recorded in 1972, released in 1977. Other highlights in Benson's career included Roberta Peck's 'Extraordinary' in 1966, Jimmy Smith's 'The Boss' in 1968 and 'Off the Top' in 1982, Helen Humes' 'Talk of the Town' in 1975, and the Harlem Underground Band in 1976 for 'Harlem Underground'. In 2009 Benson was made a Jazz Master by the National Endowment of the Arts. Benson's most recent album was released in 2013: 'Inspiration'.

George Benson   1954

  It Should Have Been Me #2

  She Makes Me Mad

George Benson   1963

  Rock Candy

      Album: 'Brother Jack McDuff Live!'

  Sanctified Samba

      Album: 'Brother Jack McDuff Live!'

  Whistle While You Work

       Album: 'Brother Jack McDuff Live!'

George Benson   1964

  Easy Living

      Album: 'The New Boss of Guitar'

  Live in Antibes 1

      Brother Jack McDuff Quartet

      Filmed live

      Drums: Joe Dukes

      Tenor sax: Red Holloway

   Live in Antibes 2

      Brother Jack McDuff Quartet

      Filmed live

      Drums: Joe Dukes

      Tenor sax: Red Holloway

  Shadow Dancers

      Album: 'The New Boss of Guitar'

George Benson   1966

  Newport Jazz Festival

      Filmed live

George Benson   1968

  Low, Down and Dirty

      Album: 'Giblet Gravy'

George Benson   1972

  The Shadow Of Your Smile

      Album: 'Giblet Gravy'

George Benson   1975

  Tribute to John Hammond

      Filmed live with Red Norvo

George Benson   1976

  Breezin'

      Album

George Benson   1978

  On Broadway

      Filmed live

  Weekend in L.A.

      Album

George Benson   1980

  Give Me the Night

      Album: 'Give Me the Night'

George Benson   1981

  Turn Your Love Around

George Benson   1983

  Lady Love Me

      Album: 'In Your Eyes'

George Benson   1985

  Nothing's Gonna Change My Love For You

      Album: '20/20'

George Benson   2006

  Givin´ It Up

      Album with Al Jarreau

George Benson   2011

  Java Jazz Festival

      Filmed live

George Benson   2012

  Walkin'

      Filmed live   Piano: Herbie Hancock

George Benson   2013

  Too Young

      Album: 'Inspiration'   With Judith Hill

  Unfogettable

      Album: 'Inspiration'

 

Birth of Modern Jazz: George Benson

George Benson

Photo: Marco Glaviano

Source: All Music

  Guitarist Joe Cinderella, brother of bassist Don Cinderella, is thought to have first recorded with the Vinnie Burke Quartet in 1954 and vocalist Chris Connor on April 21, 1954: 'Lush Life', 'Out of This World', etc.. Largely an uncredited studio musician, the relatively few examples featuring Cinderella at YouTube belie his reputation among musicians as a brilliant guitarist who also worked the 52nd St jazz clubs in New York City performing with such as Billie Holiday, Sarah Vaughan, Bill Evans, Charlie Parker, Miles Davis. Among the few recording credits Cinderella was made were with Gil Mellé, found on 'Patterns in Jazz' ('56), 'Melle Plays Primitive Modern' ('56), 'Gil’s Guests' ('56) and 'Quadrama' ('57). He appeared on Tony Argo's 'Jazz Argosy' in 1960. He also backed such as Warne Marsh, Conte Candoli, Donald Byrd, Zoot Sims, Pepper Adams, Clark Terry, Judy Garland, Neil Diamond, Barry Manilow, the Beach Boys, Billy Joel and John Cage. Cinderella also worked as a staff guitarist for various television stations. Beginning in 1969 he taught jazz guitar at Paterson State College (William Paterson University). In 1983 he published 'Jazz Arpeggios for Guitar'. In 1990 he published 'Chord Melody Playing'. Cinderella played a Gibson but in 2000 began to customize his own eight-string guitars. He died on October 27 of 2012.

Joe Cinderella   1954

   A Cottage for Sale

      Vocal: Chris Conners

  Softly As A Morning Sunrise

      With Vinnie Burke

Joe Cinderella   1956

   Dominica

       With Gil Melle

Joe Cinderella   1957

   A Cottage for Sale

      Vocal: Chris Conners

Joe Cinderella   1998

   Fox's Lair

 

Birth of Modern Jazz: Joe Cinderella

Joe Cinderella

Source: Discogs

 

  Born in 1930 in Chicago, Richard Davis began playing double bass in high school. Upon taking his bachelor's in music in 1952 from Vandercook College Davis played with dance bands until recording with the Ahmad Jamal Trio in January of 1954 with Ray Crawford on guitar: 'But Not For Me', 'Seleritus', et al. Upon moving to NYC with pianist, Don Shirley, in 1954 they recorded the duo album, 'Tonal Expressions. 'Piano Perspectives' ensued in 1955, 'Improvisations' in 1956, the year Davis joined the Sauter-Finegan Orchestra. Come a Charlie Ventura quintet in July of 1956 for 'Plays Hi-Fi Jazz' and on September 13 for 'The New Charlie Ventura in Hi-Fi'. In 1957 Davis appeared on a couple of albums by Sarah Vaughan: 'Swingin' Easy' and 'At Mister Kelly's'. Vaughan would be an important figure to 1961. Davis also put down several unissued tracks with the Jimmy Jones Trio in 1957 with Roy Haynes at drums: 'Ill Wind', 'Lush Life', 'A Foggy Day', et al. Davis showed up on Kenny Burrell's 'A Night at the Vanguard' in 1959, a trio again with Haynes on drums. Davis has appeared on the albums of all number of largely jazz musicians. In 1963 Davis would record albums with Booker Ervin, Brother Jack McDuff and Andrew Hill. He would record five more albums with Ervin, two more with McDuff and seven more with  Hill. 1963 had also seen the recording of 'New Dimensions' with the American Jazz Ensemble. 1964 saw Davis' first album with Cal Tjader: 'Soul Sauce', followed by 'Soul Bird' ('65) and 'Soul Burst' '66). 1965 saw Davis' first release with three more important musical associations: Clifford Jordan with whom he issued three albums, Elvin Jones with whom he recorded six, and Shirley Scott with whom three LPs would result. Davis' first of three albums with pianist, Jaki Byard, was 'Freedom Together' in 1966. Davis recorded three LPs with guitarist, Pat Martino, beginning in 1968 with 'Baiyina'. Davis had issued his debut album, 'Heavy Sounds', in 1967 with Elvin Jones. 'Muses For Richard Davis' was recorded in Villingen, Germany, in December of '69, a duo with drummer, Sir Roland Hanna. Davis' LP, 'The Philosophy of the Spiritual', ensued in 1971. Davis would issue nearly thirty more LPs as a leader into the new millennium. His latest was recorded in 2007 with pianist, Junior Mance, 'Blue Monk', for issue in 2015. Having led a prolific recording career of nigh 600 sessions, Davis was made an NEA Jazz Master in 2014. He has taught at the University of Wisconsin Madison for a quarter of a century. Davis is thought to be working on his memoirs as of this writing.

Richard Davis   1957

   Swingin' Easy

      Album by Sarah Vaughan

   Thou Swell

      Sarah Vaughan album: 'At Mister Kelly's'

Richard Davis   1964

   Flight 19

      Andrew Hill album: 'Point of Departure'

   Short Story

      Joe Henderson album: 'In n Out'

Richard Davis   1967

   Raunchy Rita

      Album: 'Heavy Sounds'

Richard Davis   1970

   Tax Free

      With Tax Free

Richard Davis   1972

   Now's the Time

   Summertime

      Guitar: Ted Dunbar    Filmed live

Richard Davis   1974

   Dealin'

Richard Davis   2014

   Solo

    Filmed live at the NEA Jazz Masters Concert

 

Birth of Modern Jazz: Richard Davis

Richard Davis

Photo: Brian McMillen

Source: Mediander

Birth of Modern Jazz: Lou Mecca

Lou Mecca

Source: Jazz Music Archives

 

Born in 1923, guitarist Lou Mecca is thought to have first recorded in September of 1954 with Gil Mellé, replacing Tal Farlow (LP: 'New Faces-New Sounds' by Blue Note.) Mecca released his first recordings as a leader the next year on a 10" for Blue Note: 'Lou Mecca Quartet'. Something astonishingly, Mecca was unable to make a living as a musician. So he studied chiropractics, which he pursued professionally in 1967, music taking backseat. Mecca released the album, 'Bridging the Gap', in 1999. He died in June 2003. Unfortunately, what little there was to be found of Mecca at YouTube, especially with Mellé, has been removed. Records by Mecca, who did very little recording, are rare. It's known that a copy of one of his two ten inchers for Blue Note are valued well above $1000.

Lou Mecca   1955

   All the Things You Are

   Just One Of Those Things

   Stan's Invention

 

 
  Jazz noise guitarist, Masayuki Takayanagi was born in 1932 in Tokyo, Japan. He first surfaced on vinyl in 1954 on Shotaro Moriyasu's album, 'Memorial'. He formed the Swing Journal Ninetet and Swing Journal All-Star Orchestra in 1956, found on 'Jazz in Japan'. He formed the New Directions Quartet in 1957. Lord's discography has him leading the All Stars in November of 1957 for 'April in Paris'. 1959 found Takayanagi in the Jazz Academy Quartet. In 1964 he formed the Jazz Contemporary Quintet. In 1965 he assisted in the formation of New Century Music Laboratory, then formed King's Roar. He released a couple bossa nova albums in '67 and '68: 'Flower Girl' and 'The Smile I Make'. Takayanagi put together the Jazz Contemporary in the latter year. In 1969 he formed a quintet with guitarist, Masahiko Togashi, then led the group, New Directions. 1972 saw Takayanagi performing with the Gil Evans Orchestra on tour to Tokyo for the albums 'Satin Doll' ('72) with Kimiko Kasai and 'Masabumi Kikuchi with Gil Evans' ('72). In '71 he formed New Direction for the Arts. 1972 found him with Jazz Contemporary again, then New Direction Unit in '75, recording two volumes of 'Axis: Another Revolable Thing'. 1977 saw multiple sessions with Tee & Company. In 1978 he put together Second Concept. 1983 saw him leading the Angry Waves. Among the more important figures in Takayanagi's career was alto saxman, Kaoru Abe. Takayanagi died on June 23 of 1991. He had issued 'Reason for Being' and 'Inanimate Nature' in 1990, the former with Masayuki Takayanagi (guitar). He had released above twenty albums. Other than Wikipedia see also Masayuki Takayanagi and Kazutaka. His career doesn't see coverage at YouTube until 1970 when he was already composing free jazz.

Masayuki Takayanagi   1970

 The Galactic System

    LP: 'Independence'

 Mass Projection

    LP: 'Independence'

 Piranha

    LP: 'Independence'

Masayuki Takayanagi   1971

 La Grima (Tears)

    Album

Masayuki Takayanagi   1972

 Sun in the East

    LP: 'Free Form Suite'

Masayuki Takayanagi   1975

 Second Session (Mass Projection)

    LP: 'Eclipse'

Masayuki Takayanagi   1982

 Lonely Woman

    LP: 'Lonely Woman'

 Sketches

    LP: 'Lonely Woman'

 Song for Che

    LP: 'Lonely Woman'

Masayuki Takayanagi   1983

 Mass Hysterism 1

    LP: 'Mass Hysterism'

 Outer Pulsation

    LP: 'Pulsation'

Masayuki Takayanagi   1984

 Kushiro 3

    LP: 'Meta Improvisation'

Masayuki Takayanagi   1985

 We Have Existed

    LP: 'April Is The Cruellest Month'

Masayuki Takayanagi   1987

 Loop Road

    LP: 'Action Direct'

 Reaction

    LP: 'Action Direct'

 

Birth of Modern Jazz: Masayuki Takayanagi

Masayuki Takayanagi

Source: Perfect Sound Forever

Birth of Modern Jazz: Leroy Vinnegar

Leroy Vinnegar

Source: Longshot's Blog

 

Born in 1928 in Indianapolis, double bassist Leroy Vinnegar was self-taught in Chicago and would become known for his walking bass style. Beginning his professional career in 1948, he was became a member of the house band at the Bee Hive in 1952. In 1954 he left Illinois for Los Angeles where his first recordings occurred with saxophonist, Herb Geller, in Los Angeles in 1954 in a trio with Eldridge Freeman (drums) for 'At the Piano' issued that year by Dot. He would see Geller again in '55 for 'Vone Mae', 'Tardi at Zardi's', 'Owl Eyes' and 'Gin for Flugelhorns' on August 22, and 'Days I Never Knew', 'Domestic Harmony', 'Love Is Like a Turtle' and 'Sweet Vinnegar' on the 24th. Vinnegar was with Stu Williamson on January 20, 1955, for 'Shu's Due Blues' and 'The Lady Is a Tramp', et al. Come Frank Morgan on March 31 for 'The Champ' and 'Get Happy', et al. Vinnegar completed well above 250 sessions during his career, meaning this brief account of such will be largely abbreviated. Vinnegar held sessions with both Bill Holman and Conte Candoli in '55 before arriving to Lionel Hampton that year on August 1 for 'Hamp and Getz' featuring Stan Getz. Drumming on that was Shelly Manne, one of the more important figures in Vinnegar's career. Manne and Vinnegar cleared much the same path for the next six years, recording numerously together in support of other bands when not working on Manne's projects, the first of which was 'Concerto for Clarinet and Combo' in December of '55. Several albums ensued to 'My Fair Lady' in 1956, a trio with André Previn at piano, after which support roles for such as Helen Humes followed to Howard McGhee's 'Maggie's Back in Town' in '61. The reunited in 1967 in a trio with organist, Rieber Hovde, for 'Rieber Hovde and Associates', again in December of 1975 with trumpeter, John Rinaldo, for 'Jazz Is a Four Letter Word'. We step back to April 1, 1956, to a session for Zoot Sims in Beverly Hills, CA, toward 'Live at Falcon Lair' (2004). That was with pianist, Joe Castro and drummer, Ron Jefferson, both of whom would figure big in Vinnegar's career. Castro would join Vinnegar's Quartet in December of 1958 for the 'Stars of Jazz' television program with Teddy Edwards (tenor sax) and Billy Higgins (drums) for 'Love for Sale', 'Old Folks' and 'Walk On'. Edwards and Higgins would also be among Vinnegar's more important musical associates. In January of 1959 Vinnegar backed Castro on such as 'Billie's Bounce' and 'Feeling the Blues' with Edwards and Higgins. Sometime in 1959 they supported Edwards on 'Billie's Bounce' and 'A Foggy Day' with Higgins. Those got issued on an LP shared with Sonny Rollins titled 'Sonny Rollins at Music Inn/Teddy Edwards at Falcon's Lair with Joe Castro' that if not the next year. That quartet then recorded Castro's 'Groove Funk Soul' in July of '59. It was Edwards' 'It's About Time' in August, Jefferson replacing Higgins. Edwards and Vinnegar had first recorded together on July 15 of '57, that for Vinnegar's debut album, 'Leroy Walks'. Vinnegar and Higgins had fallen in together in 1958 with Fred Katz and His Jammers for such as 'Old Folks' and 'Ruby My Dear'. Vinnegar, Castro, Jefferson, Edwards and Higgins made a full hand in one combination or another into the sixties, Edwards and Higgins much later, they both thought to have last recorded with Vinnegar in March of 1991 for Edwards' 'Mississippi Lad' featuring Tom Waits. Another important pianist was Les McCann, joining Jefferson in support of Edwards' 'It's About Time' in August of 1959. McCann, Vinnegar, and Jefferson for several years, would be tight for another decade, Vinnegar backing McCann when they weren't both supporting other operations. Vinnegar is thought to have first supported McCann in latter 1959 in a trio with Jefferson yielding such as 'Little Girl from Caspar' and 'Vakushna'. The next ten years saw one session upon the next to the Montreux Jazz Festival in Switzerland on June 21, 1969 with Benny Bailey (trumpet) Eddie Harris (tenor sax) and Donald Dean (drums) for 'Swiss Movement'. Vinnegar moved to Portland, Oregon, in 1986, there dying of heart attack on August 3, 1999. Joining the long list of other musicians Vinnegar supported are Cy Touff, Dexter Gordon, Kenny Drew, Gerry Mulligan, Benny Goodman, Lee Konitz, Sonny Stitt, the Jazz Crusaders ('Live at The Lighthouse '66'), Shorty Rogers, Chet Baker, Serge Chaloff and Red Garland. Per 1955 below, all unannotated tracks are with the Cy Touff Octet. Per 1969 below it's Eddie Harris at tenor sax and Les McCann at piano.

Leroy Vinnegar   1955

   Gin For Flugelhorns

      Herb Geller Sextet'

   Keester Parade

   Prez-Ence

   Primitive Cats

   TNT

   What Am I Here For?

Leroy Vinnegar   1963

   I'll String Along With You

      Album: 'Leroy Walks Again!'

Leroy Vinnegar   1969

   Compared to What

      Audio

   Compared to What

      Film

Leroy Vinnegar   1970

   Blues For J L

      Piano: Hampton Hawes

Leroy Vinnegar   1973

   Damn! Somebody Stole My Pants

 

 

Birth of Modern Jazz: Paul Chambers

Paul Chambers

Source: Wikipedia

Born in 1935 in Pittsburgh, PA, bassist Paul Chambers began playing professional gigs in New York City where he met such as pianist Barry Harris and trumpeter Thad Jones. Chambers would later appear on albums by Jones: 'After Hours' in '57 and 'Motor City Scene' in 1960. Chambers' first session in Boston in 1954 with the Toshiko Akiyoshi Trio included drummer, Ed Thigpen. That resulted in the album, 'Toshiko', estimated to have been issued in 1956 with titles like 'Between Me and Myself', 'Manhattan Address' and 'Blues for Toshiko'. Chambers would record with Akiyoshi again in Tokyo in 1964 ('Toshiko Mariano and Her Big Band') and '65 ('From Japan With Jazz'). Chambers is thought to have first recorded with Paul Quinichette in NYC on November 4, 1954, for the EP, 'Moods', with an estimated release of 1955. His third and last session of 1954 was on December 7 in the Quincy Jones Band for King Pleasure, bearing such as 'Don't Get Scared' and 'I'm Gone'. Chambers' first certain date in 1955 was June 6 for JJ Johnson (who had been with the Quincy Jones Band): 'The Eminent Jay Jay Johnson Vol 3' issued that year. Chambers would have occasion to work with Jones a few times in the fifties. He saw more of Johnson in the sixties with both Miles Davis and Elvin Jones. Come 1955 Chambers would have only 14 more years to perform, during which time, however, he attended above 350 sessions (averaging out to a couple per month). As first recording with Akiyoshi might indicate, a great many of those were top rank jazz artists. Among the first was Cannonball Adderley with whom Chambers first recorded on June 28, 1955, toward Kenny Clarke's 'Bohemia After Dark'. His next session was with the Cannonball Adderley Quintet on July 14 for 'Spontaneous Combustion', 'Still Talkin' to Ya', 'Caribbean Cutie', 'A Little Taste', 'Flamingo' and 'We'll Be Together Again'. Multiple sessions followed that year as well as in 1958-59. His last titles with Adderley may have been for Miles Davis at the Birdland in NYC on August 25 of '59 for a version of 'So What'. Chamber's career was very much a career with Davis, first siding for the latter in Davis' Quintet in NYC on October 26, 1955 for such as 'Two Bass Hit' and 'Ah-leu-cha', et al. Chambers would hang with Davis for another eight years, including the Newport Jazz Festival in 1958. They recorded numerous titles while touring in Europe in 1960, such as those per a radio broadcast in Manchester on September 27 resulting in 'Free Trade Hall Vol 1 & 2'. Lord's disco has Chambers recording with Davis to as late as April of 1963 on 'So Near, So Far'. Among saxophonists with whom Chambers frequently worked was Jackie McLean. They first fell into a session together at the Cafe Bohemia in NYC on September 9 of 1955 as members of the George Wallington Quintet for the latter's 'Live ! At The Cafe Bohemia'. On August 31 of 1956 Chambers supported 'Jackie's Pal' featuring trumpeter, Bill Hardman. Chambers appeared on numerous McLean albums into the sixties, also joining each other in the support of other ensembles, particularly Lee Morgan's, Morgan himself among the more important figures in Chambers' career. McLean and Chambers are thought to have last recorded together on September 29, 1966, for Morgan's 'Charisma'. As for Morgan, he and Chambers had first seen a studio together on November 25 of 1956 in the Hank Mobley Sextet with Donald Byrd for such as 'Double Whammy' and 'Barrel of Funk'. 'Lee Morgan Volume 2' followed on December 2, 'Lee Morgan Volume 3' on March 24 of '57. Chambers and Morgan found numerous occasions to record together in support of other ensembles, particularly Mobley's. Chambers also appeared on numerous Morgan albums to as late as 'The Rajah' in 1966. Among pianists Chambers worked with numerously was Red Garland, their first tracks together per Davis above in October of '55. Chambers and Garland partnered often with Davis and John Coltrane. Chambers also sided numerous of Garland's projects, starting with the Red Garland Trio on May 11, 1956, with Philly Joe Jones on drums for 'Ahmad's Blues'. The first Garland album Chambers supported was 'A Garland of Red' on August 17, 1956. The two would participate in countless titles together to as late as a radio broadcast with the Miles Davis Sextet at the Birdland on January 3, 1959, for 'Bag's Groove' (with Cannonball Adderley) and 'All of You'. Another trumpeter Chambers saw a lot of was Donald Byrd, their first tracks together per above in June of '55 for Kenny Clarke's 'Bohemia After Dark'. Byrd and Chambers' paths interweaved often for another six years, both supporting each other and other ensembles. On September 29, 1955, Chambers backed 'Byrd's Word'. A year later on September 21 Byrd contributed to 'Whims of Chambers'. May 19 of 1957 witness Byrd participating in 'Paul Chambers Quintet'. Two months later Chambers began backing Byrd's 'New Formulas from the Jazz Lab'. 1960 saw Chambers contributing to Byrd and Art Pepper's 'Motor City Scene'. They last recorded together for pianist, Tadd Dameron, on December 14, 1961, for titles that would get issued in 1999 on 'The Lost Sessions'. In the meantime Chambers had recorded his first album, 'Chamber's Music', on March 2 of '56. In that quartet were John Coltrane (tenor sax) Kenny Drew (piano) and Philly Joe Jones (drums). Another important pianist in Chambers' career was Wynton Kelly, they first putting down tracks together on March 24, 1957 for Lee Morgan's 'Lee Morgan Vol 3'. Kelly and Chambers traveled similar paths both supporting other operations and each other. They are thought to have first recorded as a trio in NYC in January of 1958 with Kenny Burrell on guitar for the simply titled, 'Piano'. Kelly would support Chambers' album, 'Go!', on February 2 of 1959 with Freddie Hubbard (trumpet) Cannonball Adderley (alto sax) and Jimmy Cobb (drums). Among projects by Kelly was 'Kelly at Midnight' on April 27, 1960. Chambers and Kelly would often record together as a trio to 1968. Another important figure was, Gil Evans. Evans arranged and directed the Miles Davis Orchestra on May 6 of 1957 for 'Miles Ahead'. Evans then employed Chambers for 'Gil Evans and Ten' on September 6, 1957. One reason Chambers and Evans worked so often together was that Evans was Davis' arranger and bandleader for some years. Chambers and Evans also worked with other operations together. On April 9, 1958, Chambers sided Evans for 'New Bottle, Old Wine'. Chambers' last titles for Evans may have been at Webster Hall in NYC on May 25 of 1964 for 'Concorde' and 'Spoonful'. Among the more important drummers of Chambers career was Art Taylor. They first recorded at the Birdland in NYC in September of 1955 in a trio with pianist, Bud Powell: 'That Old Black Magic', 'Star Eyes', et al. Chambers and Taylor laid much the same rail nigh like hammer and stake into the sixties. They were together as late as 1963 to back 'Phil Porter and His Organ'. Chamber's last session is thought to have been with the Wynton Kelly Trio including Jimmy Cobb on drums in Chicago on August 4 of 1968 for 'Powertree'. His was an untimely death in his prime at age 33 of tuberculosis on January 4, 1969. Among others with whom Chambers recorded titles were pianist, Horace Silver, and saxophonist, Jimmy Heath. Per 1956 below, John Coltrane plays tenor sax on all tracks except 'Tale of the Fingers'. Per 1957, all tracks are from Chamber's album, 'One Bass Hit', with drummer, Art Taylor, guitarist, Kenny Burrell and pianist, Hank Jones. Per 1959, all undescribed tracks are from Chambers' album, 'Go...'.

Paul Chambers   1954

 Shorty Georgie

     Tenor saxophone: Paul Quinichette

Paul Chambers   1955

 Bohemia After Dark

     Clarke album: 'Bohemia After Dark'

  Caribbean Cutie

  Chasm

  Hurricane Connie

  Late Entry

  A Little Taste

  Still Talkin' To Ya

  We'll Be Together Again

     Clarke album: 'Bohemia After Dark'

  Willow Weep for Me

     Clarke album: 'Bohemia After Dark'

  With Apologies

     Clarke album: 'Bohemia After Dark'

Paul Chambers   1956

 Dear Ann

     Album: 'Whims of Chambers'

  Dexterity

      Album: 'Chambers' Music'

  Eastbound

      Album: 'Chambers' Music'

 John Paul Jones

     Album: 'Chamber's Music'

  Just for the Love

      Album: 'Whims of Chambers'

  Nita

      Album: 'Whims of Chambers'

 Stablemates

     Album: 'Chamber's Music'

  Tale of the Fingers

      Album: 'Whims of Chambers'

  Visitation

      Album: 'Chambers' Music'

  We Six

      Album: 'Whims of Chambers'

  Whims of Chambers

      Album: 'Whims of Chambers'

Paul Chambers   1957

 Confessin'

 Dear Old Stockholm

 Yesterdays

Paul Chambers   1959

 Awful Mean

 Ease It

 Kind of Blue

     Album   Trumpet: Miles Davis

  I Got Rhythm

  I Heard That

  Julie Ann

  Just Friends

  There Is No Greater Love

 

 
 

Born in Buffalo, New York, in 1930, Jim Hall received instruction from the Cleveland Institute of Music. after which he left for California in 1955 to begin his professional career. He first recordings were that year in April and May with the Ken Hanna Orchestra, appearing on the album, 'Jazz for Dancers'. In January 1956 he recorded 'Chico Hamilton Quintet featuring Buddy Collette'. Hall saw multiple sessions with Hamilton and Collette to Hamilton's 'Ellington Suite' in January of 1959. Among them had been titles to 'Chico Hamilton in Hi-Fi' put down in January 1956. The next month he contributed titles like 'Blues on the Rocks' (George Duvivier) to the album, 'Chico Hamilton Trio' with George Duvivier at bass. Hall and Hamilton supported Collette's 'Tanganyika Jazz' in September of '56. It was Louie Bellson on drums for Buddy Collette's 'Porgy and Bess' in July of 1957. On January 10 of 1959 Hall participated in Collette's 'At the Cinema'. Their last recordings together may have been in 1963 to support 'The Sensational Pete Jolly Gasses Everybody'. Another important associate was pianist, John Lewis, Hall first backing him with bassist, Percy Heath, on titles toward 'Grand Encounter: 2 East/3 West' on February 10 of 1956. Hall and Lewis found numerous occasions to mix things up into the sixties, both backing other operations and working on projects for Lewis such as 'Odds Against Tomorrow' ('59), 'The Wonderful World of Jazz' ('60) and 'Essence' ('62). Their last recordings together may have been to back Sonny Stitt's 'Stitt Plays Bird' on January 29 of 1963. Hall's first sessions with bassist, Red Mitchell, are thought to have been in the Hampton Hawes Quartet with Bruz Freeman (drums) for three volumes of 'All Night Session' in November of 1956. Hall and Mitchell wove much the same chord to 1960 is support of other ensembles. Of interest along the way was a trio for Jimmy Giuffre's '7 Pieces' in February and March of 1959. The Modest Jazz Trio followed with Red Kelly on drums on April1 of 1960 for 'Good Friday Blues'. Mitchell's 'Rejoice!' was recorded at the Renaissance Cafe in Hollywood in October of 1960. They would reunite on multiple occasions in the seventies, thought to have last strung titles together at Heinz Hall in Pittsburgh, PA in May of 1980 with Itzhak Perlman (violin) André Previn (piano) and Shelly Manne (drums) for ' It's a Different Kind of Blues' and 'It's a Breeze'. Clarinetist, Jimmy Giuffre, was also a frequent companion beginning with 'The Jimmy Giuffre 3' on December 3 and 4 of 1956 with drummer, Ralph Pena. Hall worked numerously with Giuffre into the sixties, notably in Giuffre's trios employing various third men. Their last such combo is thought to have been with Wilfred Middlebrooks at bass in Paris in February of 1960 for what would get issued in 1999 as 'Olympia 23 Fevrier 1960 - 27 Fevrier 1965'. Hall's first session as a leader employed pianist, Carl Perkins, and bassist, Red Mitchell in January of 1957 for 'Jazz Guitar'. Drums by Larry Bunker are thought to have been dubbed in 1963. Another important comrade was valve trombonist, Bob Brookmeyer, with whom he first fell in at the loft of artist, David X Young, for titles that would get issued as 'Jazz Loft' in 2000. The first of Brookmeyer's albums on which Hall appeared was 'Traditionalism Revisited' in July of 1957. Brookmeyer and Hall often partnered in other operations as well, notably projects by both Giuffre and Gerry Mulligan. Working together frequently into the latter sixties, they reunited on July 14, 1979, for 'Live at the North Sea Jazz Festival' at the Hague in Netherlands. 1990 found Brookmeyer contributing to a couple titles on Hall's 'Live at Town Hall Vol 1'. In 1959 Hall toured a bit with Jazz at the Philharmonic, but isn't thought to have recorded with that enterprise. He did record fairly often, however, with pianist, Bill Evans. Hall and Evans are thought to have first strung titles together the same year in July in the John Lewis Orchestra for 'Odds Against Tomorrow'. They backed both Lee Konitz and Gunther Schuller on projects before recording their duo album, 'Undercurrent', in 1962. They mixed on several occasions backing other operatiions until their duo album, 'Intermodulation', went down in February of 1966. Evans died in 1980, but Hall joined the Kronos Quartet in 1985 for 'Music of Bill Evans'. Another important sax player came along in Paul Desmond in September of 1959 for 'First Place Again'. Hall worked with Desmond fairly steadily to 1965, numerous sessions yielding several albums. April 29 of 1969 saw them attending Duke Ellington's 70th birthday party with Gerry Mulligan at the White House in Washington D.C., that getting issued in 2002 as '1969 All-Star White House Tribute'. Desmond later contributed to a few titles on Hall's 'Concierto' in April 1975. Sax player, Sonny Rollins, was also a significant figure, Hall supporting Rollins' 'The Bridge' in early 1962. Multiple sessions ensued to 'The Standard Sonny Rollins' in 1964. Forty-six years later Hall contributed to 'In a Sentimental Mood' for Rollins' 'Road Shows Vol 2', that at the Beacon Theater in NYC on September 10 of 2010. Among the more important trumpeters to come Hall's way was Art Farmer, in whose orchestra Hall performed on August 10 of '62: 'My Romance' and 'Street of Dreams' for the album, 'Listen to Art Farmer'. Guitarist, Barry Galbraith, also participated in that. Hall would support Farmer numerously to 1964, they also backing Mulligan during that period. Their last album of that two-year stretch was 'Art Farmer Meets Mulligan & Hall' on June 27, 1964. In June of 1976 Farmer contributed to Hall's 'Commitment'. Farmer also participated in Hall's 'Big Blues in February of 1978 and 'Panorama: Live at The Village Vanguard' in December of 1996. Another important trumpeter was Quincy Jones, though Jones was employing trumpeters in his orchestra so he could arrange and conduct. Hall's first session with Jones' band was on August 13 of '62 for a couple titles on 'Big Band Bossa Nova'. Hall worked on several of Jones' projects to 1964, then joined his orchestra again for 'Smackwater Jack' in 1971. Another important bassist was Ron Carter with whom Hall first strung titles for Bill Evans' Quintet on August 21 of 1962 with Zoot Sims (tenor saxophone) and Philly Joe Jones (drums), those not to see issue until 1982 as 'The "Interplay" Sessions'. Hall and Carter crossed paths a few times in the sixties supporting various bands until they recorded the duo album, 'Alone Together' on August 4 of 1972 at the Playboy Club in NYC. Carter also contributed to Hall's 'Concierto' in April of '75 before their duo 'Live at Village West' in November of '82. Another duo ensued at the Concord Pavilion in California in August of 1984 for 'Telephone'. It was then 'Live at Town Hall Vol 1' in June of 1990. Lord's disco credits Hall with 367 sessions with above 100 of those his own, meaning we're going to make this a brief trip with mention of stray ends like 'Breakin' It Up On Broadway' in 1961 with the Dukes of Dixieland and Hall's 1975 album, 'Jim Hall Live!' with Don Thompson on bass and Terry Clarke on drums. Among the host of others with whom Hall had worked were Jack Montrose and Tommy Flanagan. During the nineties Hall toured internationally. He was made an NEA Jazz Master in 2004, prior to his release of 'Magic Meeting' in 2005. He was active playing gigs and touring abroad up through 2012, dying in his sleep in December 2013 in his Manhattan apartment. He had released 'Conversations' in 2010 with drummer, Joey Baron. 'Live at Birdland' had been recorded in October of 2010 with Baron, Greg Osby (alto saxophone) and Steve Laspina (bass) for issue in 2012.

Jim Hall   1956

 Blues on the Rocks

     Chico Hamilton Quintet

  The Wind

     Chico Hamilton Quintet

Jim Hall   1957

 Jazz Guitar

Jim Hall   1975

 Concierto

     Album

 Jim Hall Live!

     Album

Jim Hall   2009

 Jazz in Marciac 2009

     Filmed concert

 

Birth of Modern Jazz: Jim Hall

Jim Hall

Source: Noticias de Jazz

 

Double bassist Doug Watkins was born in 1934 in Detroit, Michigan. His first recording per Lord's disco was in Columbus, OH, circa 1954 with Wild Bill Moore: 'Football Boogie' and 'Blue Journey', et al (Sensation 17). Both 'Billboard' and 'Detroit Free Press', however, show those titles (Sensation 17) issued by October 1, 1949. Lord's reference is either to a different Doug Watkins or Watkins was age fifteen at the time. With no discussion on the matter to be found we regard Lord's listing as dubitable and pick up Watkins where documentation generally agrees after his leaving Detroit for New York City. His initial session is thought to have been on November 17, 1954, for Blue Note with the Horace Silver Quintet: 'Room 108', 'Creepin' In', et al. A session on February 6 of 1955 wrought 'Hippy', 'Hankerin'', etc.. Personnel on those were  Kenny Dorham (trumpet), Hank Mobley (tenor sax) and Art Blakey (drums). See volumes 1 and 2 of 'Horace Silver Quintet' (Discogs listing Vol 2 as Vol 4). Sessions followed that year with Will Bradley Jr., then Hank Mobley on March 27, that with a quartet consisting Silver and Blakey. That was issued as 'Hank Mobley Quartet' that year. A session on October 21 followed with Jackie McLean, to which we will return. Watkins' first session with Blakey's original Jazz Messengers was on November 23, 1954, at the Cafe Bohemia: 'Like Someone in Love', 'I Waited for You', et al. Both volumes of 'At The Cafe Bohemia' were issued on 1956. The Jazz Messengers had emerged out Horace Silver's Quintet, above, with identical personnel also consisting of Dorham and Mobley. All those characters, especially Mobley with whom he held above twenty sessions in one manner or another, would be of major importance in Watkin's brief career. McLean, and especially Donald Byrd with whom he held above 30 sessions, were major figures as well. Trumpeter Byrd was in McLean's quintet per above on October 21, 1955, for 'New Traditions'. Also in that group were Mal Waldron (piano) and Ronald Tucker (drums). Waldron and Watkins would also see a lot of each other. On January 27 of 1956 Watkins supported McLean on 'Lights Out'. That was with pianist, Elmo Hope, and drummer, Art Taylor. Watkins and Taylor would lay nigh parallel rails in years to come, attending more than forty sessions together. Another musician of especial weight was tenor saxophonist, Gene Ammons, with whom Watkins recorded 'Jammin' with Gene' on July 13, 1956. In that ensemble were Art Farmer (trumpet), Byrd, McLean, Waldron and Taylor. Several sessions occurred with Ammons to 'Nice an Cool' and 'Jug' in January of 1961. Another drummer with a strong presence in Watkins' career was Louis Hayes with whom he first got mixed on November 10, 1956, for Horace Silver's, '6 Pieces of Silver'. They would see several sessions together in years to come. Guitarist, Kenny Burrell, was also a significant figure, joining Watkins on the latter's first name album, 'Watkins at Large', recorded on December 7, 1956. Also in Watkin's sextet were Duke Jordan (piano), Donald Byrd, Hank Mobley and Art Taylor. A few weeks later on the 28th Watkins joined Burrell on the latter's 'All Night Long'. Their last of multiple sessions together is thought to have been with the Cats for 'The Cats' ('59) on April 18 of 1957. In that sextet were Idrees Sulieman (trumpet), John Coltrane (tenor sax), Tommy Flanagan (piano) and Hayes. Another saxophonist important to Watkins' career was Pepper Adams (baritone), they both members of the Prestige All Stars on April 20, 1957, for 'Baritones and French Horns' with Cecil Payne (baritone sax), Coltrane, Waldron and Taylor. Watkins supported Adams on 'Critics Choice' in August that year, 'The Pepper-Knepper Quintet with Pepper Adams & Jimmy Knepper' on March 28 of '57. The last of several sessions with Adams was in support of Byrd's 'Chant' on April 17, 1961 with Herbie Hancock (piano) and Teddy Robinson (drums). Watkins had released his second and last LP, 'Soulnik', in 1960. Also present were Yusef Lateef (tenor sax, oboe, flute), Hugh Lawson (piano), Herman Wright (bass) and Lex Humphries (drums). Watkins' career came to sad end in 1962, when he was only 28 years old, upon falling asleep at the wheel and hitting an oncoming truck. He had contributed to Bill Hardman's 'Saying Something' and Charles Mingus' 'Vital Savage Horizons' in October of 1961. Mingus' 'Oh Yeah' had followed on November 6. Others whom he'd backed were Phil Woods, Bobby Jaspar, Curtis Fuller, Sonny Rollins, Sonny Red, Lee Morgan, Roots, Georges Arvanitas, Toots Thielemans, Tina Brooks, Stan Getz, Jef Gilson, Lester Young, Walter Davis Jr., Red Garland, Coleman Hawkins, Big Joe Turner, Benny Golson, Ollie Shearer, Dizzy Reece and Billy Taylor.

Doug Watkins   1955

  Avila & Tequila

      Album: 'The Jazz Messengers at the Cafe Bohemia'

  Doodlin'

      Album: 'Horace Silver & the Jazz Messengers'

  Gone With The Wind

      Album: 'The Jazz Messengers at the Cafe Bohemia'

  Just Coolin'

      Hank Mobley Quartet

  Lady Bird

      Album: 'The Jazz Messengers at the Cafe Bohemia'

  Room 608

      Album: 'Horace Silver and the Jazz Messengers'

Doug Watkins   1956

  Blue 7

      Sonny Rollins Quartet

  Hank's Tune

      Piano: Horace Silver   Album: 'Silver's Blue'

  More of the Same

      Album: 'Watkins at Large'

  The Night Has a Thousand Eyes

      Piano: Horace Silver   Album: 'Silver's Blue'

  Phinupi

      Album: 'Watkins at Large'

  Return to Paradise

      Album: 'Watkins at Large'

  St. Thomas

      Sonny Rollins Quartet

Doug Watkins   1957

  On The Sunny Side Of The Street

      Paul Quinichette Quintet

Doug Watkins   1960

  Imagination

      Album: 'Soulnik'

  One Guy

      Album: 'Soulnik'   Album: 'Silver's Blue'

  Soulnik

      Album: 'Soulnik'

Doug Watkins   1961

  Someone To Watch Over Me

      Gene Ammons Quartet

 

Birth of Modern Jazz: Doug Watkins

Doug Watkins

Source: Discogs

 

  Born in Newark, New Jersey, in 1936, Scott LaFaro began playing double bass because a stringed instrument was a requirement at Ithaca College in New York where he had matriculated to study music (playing clarinet and saxophone). He dropped out in his sophomore year to work with Buddy Morrow, with whom he is thought to have made his debut recordings in December of 1955. From thereon LaFaro's rise was rapid, playing alongside Chet Baker, Victor Feldman, Stan Kenton, Cal Tjader and Benny Goodman. In 1959 he formed a trio with pianist Bill Evans, and drummer, Paul Motian, in which he distinguished himself, continuing to do so upon replacing Charlie Haden in Ornette Coleman's ensemble in 1961. Unfortunately LaFaro died in an auto accident the same year in Flint, New York on July 6. Working professionally only six years, LaFaro nevertheless completed forty sessions. Lord's disco lists what may have been his last (no date) with the Bill Evans Trio at the Birdland in NYC with Paul Motian on drums, for 'Autumn Leaves' and 'Time Remembered'.

Scott LaFaro   1956

   A Band Of Angels

      With Buddy Morrow

   C.T.A.

      With Chet Baker

   Tippity Top

      With Buddy Morrow

Scott LaFaro   1957

   The Legendary

      Album

Scott LaFaro   1958

   Serpent's Tooth

      Album: 'The Arrival Of Victor Feldman'

      Drums: Stan Levey

     Vibes: Victor Feldman

Scott LaFaro   1959

   Blues For An African Friend

   Witchcraft

      Drums: Paul Motian   Piano: Bill Evans

Scott LaFaro   1960

   Little Old Lady

Scott LaFaro   1961

   Free Jazz

      With Ornette Coleman

   Gloria's Step

      Drums: Paul Motian   Piano: Bill Evans

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

      With Ornette Coleman

   Waltz for Debby

      Drums: Paul Motian   Piano: Bill Evans

 

Birth of Modern Jazz: Scott LaFaro

Scott LaFaro

Source: Jazz Wax

Birth of Modern Jazz: Garbor Szabo

Gabor Szabo

Source: Efemerides Musicales

Gabor SzaboIstván was born in Budapest in 1936, escaping Hungary in 1956. His first recordings had been in Hungary for the Qualiton label with Myrna Bell (aka Hosó Irma): 'Sentimental Journey' and 'Mambo Italiano'. Upon attending the Berklee School of Music in Boston Szabo recorded titles in '58 toward 'Jazz in the Classroom Vol 2'. Szabo performed at the Newport Jazz Festival in 1958 with the International Youth Band directed by Marshall Brown, recording such as 'Don't Wait for Henry' and 'Imagination'. Szabo's next engagement was with Louis Armstrong at the Newport Jazz Festival for the film documentary, 'Jazz on a Summer's Day', on July 6 of '58. He was with Sidney Bechet and the International Youth Band at the World's Fair in Brussels, Belgium, that summer for 'Blues Ad Lib'. He joined another session at the Berklee School of Music in 1959 for 'Jazz in the Classroom Vol 4'. It was getting hired by Chico Hamilton in 1961 that laid rail to Szabo's career, Szabo with Hamilton on February 19 of '62 for 'Drumfusion'. Szabo stuck with Hamilton until May 6 of 1966, Hamilton supporting Szabo's 'The Spellbinder' on that date. In the meantime Szabo's first sessions as a leader had been with vibraphonist, Gary McFarland, in November of '65 to result in 'Gypsy '66'. McFarland and Szabo went back to the Berklee School of Music in 1959. Szabo had supported McFarland's 'The 'In' Sound' in August of '65. He would participate in MacFarland's 'Profiles' and 'Simpatico' in '66, and 'Dreams' in 1968. Szabo's third album, 'Jazz Raga', went down in August of '66 in a trio with Jack Gregg (bass) and Bernard Pretty Purdie (drums). 1972 saw Szabo contributing to Charles Lloyd's 'Waves'. In 1978 Szabo joined the Church of Scientology. He sued the organization for $21 million two years later, claiming such as embezzlement, kidnapping and brainwashing. The church countersued for fraud and the whole thing was dropped, too time consuming for Szabo to pursue. Szabo died of kidney and liver disease while visiting Budapest in 1982. He had recorded his album, 'Femme Fatale' in 1978 with Chick Corea, that issued in 1981. Nearly half of Szabo's sessions were his own projects, he releasing well beyond twenty albums before his early death at age 46.

Gabor Szabo   1956

   Sentimental Journeyr

      Vocal: Myrna Bell (Hosó Irma)

Gabor Szabo   1962

   A Rose For Booker

      With Chico Hamilton

Gabor Szabo   1963

   Lonesome Child

      With Chico Hamilton

Gabor Szabo   1966

   Monday Monday

      With Chico Hamilton

   Spellbinder

      First LP recording session as a leader

   The Word

      With Gary McFarland

Gabor Szabo   1970

   Fingers

Gabor Szabo   1972

   Thirteen

 

 
 

Dorothy Ashby was born in Detroit in 1930. She made a transition from piano to harp upon graduating from Wayne State University in Detroit in 1952. She initially found resistance to the notion that harp could be a jazz instrument, especially bebop, but Ashby was too talented to long despise. Ashby is thought to have held her first sessions in NYC on August 27 and 29 of 1957 to result in her first album, 'The Jazz Harpist', released that year. Ashby issued her second LP, 'Hip Harp', in 1958. Both of those included Frank Wess on flute. Ashby's isn't a well-known name in jazz though she moved in prestigious circles, performing with such as Louis Armstrong and Woody Herman in the vicinity of 1959/60. During the early sixties she formed the Ashby Players, a Detroit theatrical production group. She moved to California in the latter sixties where she became a studio harpist. She later recorded with such as Stevie Wonder ('If It's Magic' 1976) and Gene Harris ('Tone Tantrum' 1977). Ashby died of cancer on April 13 of 1986 in Santa Monica, CA. Lord's disco has her contributing 'Heaven Sent' to Osamu Kitajima's 'The Source' that year.

Dorothy Ashby   1957

 The Jazz Harpist

      Album   Flute: Frank Wess

Dorothy Ashby   1958

  Hip Harp

      Album   Flute: Frank Wess

  In a Minor Groove

      Album   Flute: Frank Wess

Dorothy Ashby   1962

  Lonely Melody

Dorothy Ashby   1965

  The Fantastic Jazz Harp of Dorothy Ashby

      Album   Recorded September 1958

Dorothy Ashby   1968

  Afro-Harping

      Album

Dorothy Ashby   1969

  Dorothy's Harp

      Album

Dorothy Ashby   1970

  The Rubaiyat of Dorothy Ashby

      Album

 

Birth of Modern Jazz: Dorothy Ashby

Dorothy Ashby

Source: Detroit Metro Times

Birth of Modern Jazz: Charlie Byrd

Charlie Byrd

Source: Suono la Chitarra

 

Born in 1925 in Suffolk, Virginia, guitarist Charlie Byrd is perhaps most famous for his collaborations with Stan Getz, such as on the 1962 bossa nova album, 'Jazz Samba'. The earliest session of which we know in which Byrd participated was a private recording with the Charlie Parker Tentet at the Howard Theater in Washington D.C. on October 18 of 1952 for such as 'Scrap from the Apple' (VGM 0009), 'Out of Nowhere', 'Now's the Time', '52nd Street Theme (VGM 0009)' and 'Cool Blues'. There appears no documentation showing any of those issued at the time. Byrd's first album release in 1957 was 'First Flight'. AllMusic has it released the same date as 'Jazz Recital'. Be as may, 'First Flight' was a compilation of tracks taken from 'Jazz Recital' and 'Blues for Night People', the latter released on August 4 of 1958, the same day (per AllMusic) as 'Midnight Guitar'. 'Blues for Night People' and 'Midnight Guitar' were basically the same album but for one edited track. It was after Byrd's 1961 tour of Brazil that he met Stan Getz. Getz hadn't been to Brazil but he liked the bossa nova recordings of Joao Gilberto and Antônio Carlos Jobim that Byrd brought back with him. The result was the 1962 LP, 'Jazz Samba', among the most popular jazz albums ever sold. Byrd's relationship with Stan Getz wasn't all harmony though: in 1967 he sued Getz for unfair payment concerning the LP, 'Jazz Samba'. He won, henceforth to split royalties with Getz half and half. In 1973 Byrd contributed to Cal Tjader's 'Tambu', the same year he moved to Annapolis, Maryland, where he began playing at the King of France Tavern to remain that nightclub's resident guitarist until his death. July 7 of 1974 saw titles with Clark Terry at Radio City Music Hall in NYC such as 'Walkin'' and 'Just Friends'. July 2 of 1975 saw a reunion with Getz at Avery Fisher Hall in NYC for such as 'Undecided' and 'Don't Lend Your Guitar to Anyone'. During the eighties Byrd toured with the Annapolis Brass Quintet, recording 'Byrd & Brass' in Baltimore on April 11 of 1986. Byrd had also worked in a number of guitar duos and trios with Herb Ellis, Barney Kessel, Laurindo Almeida and Mundell Lowe. His first collaborations with Ellis had been in 1964 in NYC for 'Guitar/Guitar'. Collaborations with both Ellis and Kessel occurred per 'Great Guitars' ('74), 'Great Guitars II' ('76), 'Straight Tracks' ('78), 'At the Winery' ('80) and 'At Charlie's Georgetown' ('82). It was Ellis and Lowe for 'The Return of the Great Guitars' in 1996. Collaborations with Almeida were 'Brazilian Soul' ('81), 'Latin Odyssey' ('83), 'Tango' ('85) and 'Music of the Brazilian Masters' ('89). Byrd, Ellis and Almeida all attended the tribute to Carl Jefferson at the Concord Pavilion in California on July 8 of 1995. Jefferson had been a used car dealer until establishing the Concord Jazz Festival in 1969. In 1972 Jefferson founded Concord Records to produce more than 500 plates until his death in 1995. That concert in July in honor of Jefferson drew more than eighty musicians, eventually issued per a box set of four CDs in 2002 as 'A Tribute to Carl Jefferson'. Those are thought to have been Almeida's last recordings and next to last performance, he to die in 1995 as well. Byrd himself died on December 2 of 1999. He had last recorded 'For Louis' that year in NYC on September 10  and 11. Eighty-five of his nigh 130 sessions were his own projects.

Charlie Byrd   1958

   Blues For Night People

     Album: 'Blues for the Night People'

   Blues My Naughty Sweetie Gives to Me

     Album: 'Blues for the Night People'

   Jive At Five

     Album: 'Blues for the Night People'

Charlie Byrd   1961

   Blues Sonata

    Album

Charlie Byrd   1962

   Jazz Samba

    Album with Stan Getz

Charlie Byrd   1965

   Dindi

Charlie Byrd   1971

   Moliendo Cafe

Charlie Byrd   1974

   Samba de Oneida

    Vibes: 'Cal Tjader'

Charlie Byrd   1979

   Live at the Maintenance Shop

    Trio with Herb Ellis & Barney Kessel

    Drums: Wayne Philips   Filmed live 

Charlie Byrd   1980

   Favela

Charlie Byrd   1980

   Estrellita (Little Star)

      Duet with Laurindo Almeida

Charlie Byrd   2000

   Autumn in New York

      Album: 'For Louis'

   What a Wonderful World

      Album: 'For Louis'

 

 
  Born in 1935 in Philadelphia, PA, Henry Grimes began experimenting with a variety of instruments about age twelve until he settled on the double bass in high school. He studied at Juilliard between 1952 and '54. His first sessions are thought to have been in September of 1957 with Shafi Hadi. It isn't known, however, if any of those tracks saw release before 1993 on an album titled 'Debut Rarities Vol 3'. The next October Grimes entered the studio with Lee Konitz to record what would appear on Konitz' album, 'Tranquility'. In November he found himself recording with clarinetist, Tony Scott, and pianist, Bill Evans, on tracks that would appear on the albums, 'Free Blown Jazz' in '59 and 'My Kind of Jazz' in 1960. The first of three important sessions were held with Gerry Mulligan on the 3rd of December, resulting in the Mulligan album, 'Reunion with Chet Baker', in 1958. On the 4th and 5th that month he recorded tracks that would appear on 'The Gerry Mulligan Songbook Vol 1' the next year as well. Continuing to work as a sideman into the sixties, Grimes first appearance on an album with Cecil Taylor was Gil Evans' 'Into the Hot', in 1962. In 1965 Grimes issued his first album as a leader, 'The Call', with the ESP record label. He also appeared on Taylor's 'Unit Structures' in '66 and 'Conquistador!' in '67. Grimes emerged on four albums with Albert Ayler, his first on Ayler's debut album, 'Spirits', in 1966. He also appeared on his first of three albums with Don Cherry in 1966: 'Complete Communion'. A move to Los Angeles in the latter sixties ('69) met with one misfortune upon the next, such as his bass being ruined on the trip with no funds to repair it (sun damage from being strapped to the roof of his car). Thus about the time Ayler died (1970) Grimes also disappeared. He'd been thought to be dead for three decades when a Georgia social worker, Marshall Marrotte, discovered him and began tinkering with gears. Grimes' "résumé" at the time read janitorial skills, nothing about his musical career, not even a mention of Juilliard. Grimes had traded the double bass for poetry (ballpoint pens and toilet tissue, if nothing else, being cheap). And he yet had no instrument. So he was sent one by bassist, William Parker, and a remarkable thing occurred: the old dog learned new tricks. Grimes intently practiced for weeks, not months, to regain his skills, recorded several tracks of what were titled 'Improvisation' in 2003, was recorded performing 'Improvisation' at the World Stage in Los Angeles, then moved back to New York City in 2003 for the Vision Festival (recorded) and broadcast recordings with WKCR-FM Studios. In 2005 Grimes released 'Live at the Kerava Jazz Festival'. He hadn't played violin since he was a child, but made his violin debut at Lincoln Center in 2005, age seventy. His latest of several album releases was in 2014: 'The Tone of Wonder'. His career in the new millennium has Grimes on nearly 100 recordings as a sideman. He has also toured internationally. Altogether, Grimes would have had a remarkable career had he not decided to explore California and stayed in New York. But reassuming his career after thirty years invisible but to bad fortune was phenomenal. Music is a demanding profession when one is young, especially jazz, making the will to embark on that boat at Grimes' age truly unique. He yet performs as of this writing in New York City.

Henry Grimes   1957

   Lennie Bird

      Lee Konitz album: 'Tranquility'

   When You're Smilin'/The Nearness of You

      Lee Konitz album: 'Tranquility'

Henry Grimes   1958

   Reunion

      Gerry Mulligan album: 'Reunion with Chet Baker'

Henry Grimes   1959

   It Don't Mean a Thing

      Filmed live with Joe Harris & Sonny Rollins

Henry Grimes   1960

   For Pete's Sake

      Album of first issue: 'My Kind of Jazz'

      With Bill Evans & Tony Scott

Henry Grimes   1962

   Barry's Tune

      Gil Evans Orchestra   Guitar: Barry Galbraith

   Bulbs

      Gil Evans Orchestra   Piano: Cecil Taylor

Henry Grimes   1965

   The Call

      Album: 'The Call'

   Bulbs

      Album: 'The Call'

Henry Grimes   1966

   Japan

      Pharoah Sanders album: 'Tauhid'

   Spirits

      Albert Ayler album: 'Spirits'

Henry Grimes   2003

   Resonance Excerpt No 2

      Filmed live at the Vision Festival'

Henry Grimes   2004

   Live at Kerava Jazz Festival

      Filmed live

      Drums: Hamid Drake

      Tenor sax: David Murray

Henry Grimes   2011

   Live in Chicago

      Filmed live

Henry Grimes   2012

   Under_Line Benefit Concert

      With Marshall Allen & Milford Graves

Henry Grimes   2013

   The Life and Death and Life of Henry Grimes

      Film

Henry Grimes   2015

   Live in Poschiavo

      Marshall Allen Magic Science Quartet

 

Birth of Modern Jazz: Henry Grimes

Henry Grimes

Photo: Mosaic Images

Source: Blue Note
Birth of Modern Jazz: Gary Peacock

Gary Peacock

Source: Blue Note
Born in 1935 in Burley, Idaho, Gary Peacock studied piano as a child. He was playing drums when he graduated from high school. Peacock briefly attended the Westlake School of Music in Los Angeles before being drafted into the Army. He  picked up the double bass while stationed in Germany to play in a trio. Released from duty in 1956, Peacock's initial recordings were with the Hans Koller Quintet on March 6 of 1957 at the Jazz Salon in Dormund, Germany: 'Topsy', 'Jeepers Creepers' and 'There Will Never Be Another You'. Guitarist, Attila Zoller, was in on that, with whom he next recorded in a trio with Max Bruel on tenor sax on March 17 for 'Stella by Starlight', Indian Summer' and 'Yesterdays'. Further sessions were held in Germany that year with Koller, Albert Mangelsdorff and Gary Crosby before Peacock headed to Los Angeles where he fell in with Bud Shank. Peacock backed Shank for 'Holiday In Brazil' in March of 1958. Peacock would continue working with Shank, including film scores, to 'Barefoot Adventure' in November of 1961. During that period he married composer and vocalist, Annette Peacock (1960), before traveling to New York City to engage in session work. Peacock's first recordings with Paul Bley were in April of '63, tracks that would appear on the 1970 release of 'Paul Bley With Gary Peacock'. Bley would be a major figure in Peacock's career, they appearing on several albums together through the years. Peacock appeared on several albums by Albert Ayler in the sixties, beginning with 'Ghosts', issued in 1965. He recorded tracks for the first of more than ten albums as a leader in 1970, that released as 'Eastward' in 1974. Peacock first recorded with Keith Jarrett in February 1977, Jarrett appearing on Peacock's 'Tales of Another' that year. Along with Bley, Jarrett was the most significant of Peacock's musical associates, not counting drummer, Jack DeJohnette, his partner in the Keith Jarrett Trio. Peacock would surface on more than twenty albums by Jarrett, starting with his two volumes of 'Standards' in 1983. In 1990 Peacock made his first recordings with his trio, Tethered Moon, consisting of drummer, Paul Motian and pianist, Masabumi Kikuchi. Those wouldn't surface until 1997 on 'Frist Meeting'. The LP, 'Tethered Moon', however, appeared in 1995. Several more albums by that trio would be released. The first of three albums with pianist, Marilyn Crispell, was released in 1997: 'Nothing Ever Was, Anyway'. 1998 saw him participating in 'Endless Miles: A Tribute to Miles Davis'. Into the new millennium Peacock emerged on a few LPs by pianist, Marc Copland. 'Now This' was recorded in July of 2014 with a trio consisting of Marc Copland (piano) and Joey Baron (drums). Beyond music, Peacock has been a practicing Zen Buddhist since the sixties. He is yet active as of this writing. Per below, the Keith Jarrett Trio means Jarrett at piano with Jack DeJohnette on drums.

Gary Peacock   1959

   Soupsville

      Bud Shank soundtrack: 'Slippery When Wet'

Gary Peacock   1970

   Moor

      Recorded 1963

      Album: 'Paul Bley with Gary Peacock'

Gary Peacock   1971

   First Encounter

      Album with Mal Waldron

Gary Peacock   1980

   Last First

      Album: 'Shift in the Wind'

Gary Peacock   1985

   Jazz Jamboree

      Filmed concert with Keith Jarrett Trio

   Standards I

      Filmed concert with Keith Jarrett Trio

Gary Peacock   1986

   Standards II

      Filmed concert with Keith Jarrett Trio

Gary Peacock   1991

   Workinoot

      Bass solo

     Album with Paul Bley: 'Partners'

Gary Peacock   1996

   Autumn Leaves

      Filmed live with Keith Jarrett Trio

Gary Peacock   1998

   Opalesque

      Album: 'A Closer View'

      Guitar: Ralph Towner

Gary Peacock   1999

   Live in Germany

      Satiricon Theater   Essen, Germany

      Drums: Paul Motian

      Piano: Paul Bley

Gary Peacock   2009

   The Pond

      Marc Copland album 'Insight'

Gary Peacock   2013

   Azure

      Marilyn Crispell album: 'Azure'

   Broadway Blues

      Keith Jarrett Trio

   Deep Space/Solar

      Album: 'Somewhere'

      Keith Jarrett Trio

Gary Peacock   2015

   Gaia

      Album: 'Now This'

 

 
  Born in 1932 in Evanston, Illinois, double bassist, then electric bassist, Bob Cranshaw, formed MJT + 3 in 1957 with Richard Abrams (piano), Nicky Hill (tenor saxophone), Walter Perkins (drums) and Paul Serrano (trumpet). That year they recorded 'Daddy-O Presents MJT+3' for release in July of 1958. That group released a few more albums into the early sixties with shifting personnel. Perkins and Cranshaw would also back other ensembles into the sixties, such as the Jaki Byard Trio for 'Out Front!' in 1964. In January of 1965 the two contributed to the soundtrack of the 1966 film, 'A Man Called Adam'.     Meanwhile, in back in June of 1958 Cranshaw had recorded 'On the Chicago Scene' with Max Roach + 4. In 1959 he recorded the first of five albums with pianist, Shirley Scott: 'Great Scott!!'. 1962 was a big year for Cranshaw, beginning with the recording of 'Hush!' with pianist, Duke Pearson, on January 12th. Cranshaw recorded eight more LPs with Pearson throughout the sixties. Twelve days later Cranshaw stepped into the studio with trumpeter, Lee Morgan, to record 'Take Twelve', the initial of four albums with Morgan, though they had recorded together as early as 1960 in the Young Lions to issue the album with the same title. January 30th of 1962 saw Cranshaw's first session with Sonny Rollins for 'The Bridge'. Cranshaw backed a host of prominent names during his career, but he stuck with Rollins throughout the decades, releasing well above twenty LPs with the same into the new millennium. His last titles with Rollins aren't thought to have been until July 25 of 2012 at the Palais Longchamp in Marseille, France, for 'Patanjali', 'Don't Stop the Carnival' and 'Professor Paul'. Returning to 1962, also significant were Cranshaw's first tracks with drummer, Mickey Roker, those in support of vocalist, Billie Poole's, 'Confessin' the Blues' by the Junior Mance Trio with guitarist, Kenny Burrell. Cranshaw would continually be found with Roker into the new millennium, they attending innumerable sessions together in support of various operations. With each their careers being largely a mirror of the others for decades, their last session together per Lord's disco was in July of 2009 in support of Chuck Redd's 'The Common Thread'. Cranshaw's career were Johnny Lytle and Milt Jackson, recording the first of a few albums with each of them in 1963. The next year he laid tracks with Stanley Turrentine on 'Hustlin'', the first of six with Turrentine during the sixties. On November 26, 1966, Chambers appeared with Jazz at the Philharmonic in London and Paris. Highlighting but a few of the albums to which Cranshaw contributed are Billy Taylor's 'Impromptu' in 1962, JJ Johnson's 'The Dynamic Sound Of J.J. with Big Band' in 1964, Horace Silver's 'he Cape Verdean Blues' in 1965, Hank Mobley's 'A Caddy for Daddy' in 1966, Sonny Stitt's 'Up, Up and Away' in 1967, Sonny Rollins's 'Sonny, Please!' in 2006 and Mike LeDonne's 'AwwlRIGHT!' in 2015. Cranshaw seems never to have released an album as a leader, too busy backing above 450 sessions, also working in film and television, appearing, combined, on hundreds of scores and shows. In 1997 Cranshaw appeared in the documentary, 'The Blue Note Story'. Lord's disco has his recordings with tenor saxophonist, Eric Alexander, in Paramus, NJ, on March 14, 2016, for 'Second Impression'. Cranshaw died of cancer in Manhattan on November 2, 2016. Among notable others with whom he had recorded were Coleman Hawkins, Carmen McRae ('61), Joe Williams, Jimmy Heath, Eddie Harris ('64), Wes Montgomery, Burt Collins ('67) and Yoshiaki Masuo.

Bob Cranshaw   1958

  Temporarily Out of Order

      Album: 'Daddy-O Presents MJT + 3'

Bob Cranshaw   1962

  Friday's Child

      Duke Pearson album: 'Hush!'

      Drums: Walter Perkins

      Piano: Duke Pearson

      Trumpet: Johnny Coles

  Gravy Waltz

      Junior Mance album: Junior's Blues'

  The Jumpin' Blues

      Junior Mance album: Junior's Blues'

Bob Cranshaw   1963

  Newport Romp

      McCoy Tyner album: 'Live at Newport'

Bob Cranshaw   1965

  I'm a Fool to Want You

      Dexter Gordon album: 'Clubhouse'

Bob Cranshaw   1966

  Aquarian Moon

      Bobby Hutcherson album: 'Happenings'

      Druns: Joe Chambers

      Piano: Herbie Hancock

      Vibes: Bobby Hutcherson

  The Delightful Deggie

      Lee Morgan album: 'Delightfulee'

      Drums: Billy Higgins

      Piano: McCoy Tyner

      Tenor sax: Joe Henderson

  Sunrise, Sunset

      Lee Morgan album: 'Delightfulee'

      Drums: Billy Higgins

      Piano: McCoy Tyner

      Tenor sax: Joe Henderson

Bob Cranshaw   1968

  Say You're Mine

      Duke Pearson album: 'The Phantom'

      Drums: Mickey Roker

      Piano: Duke Pearson

  Up, Over and Out

      Hank Mobley album: 'Reach Out!'

Bob Cranshaw   1973

  Gingerbread Boyt

      Filmed live with Dexter Gordon

Bob Cranshaw   1977

  The Highest Mountain

      Album: 'Prime Time'

      Drums: Ben Riley

      Piano: Hugh Lawson

Bob Cranshaw   1994

  Long Ago and Far Away

      Filmed live with Sonny Rollins

 

Birth of Modern Jazz: Bob Cranshaw

Bob Cranshaw

Source: Discogs

Birth of Modern Jazz: Jimmy Garrison

Jimmy Garrison

Source: Blebop

Born in 1934 in Miami, double bassist, Jimmy Garrison, was later raised in Philadelphia, PA. He there began playing nightclubs, McCoy Tyner becoming an important early musical associate. Garrison left Philadelphia for NYC in 1958. His earliest determinable release on vinyl was in 1958 with drummer, Philly Joe Jones, on Jone's album, 'Blues For Dracula'. Garrison participated in several important sessions during 1959. In February he recorded with Lee Konitz at the Half Note in NYC, 'Lee Konitz - Live at the Half Note' issued that year. In March he laid tracks for the 1959 release of Jackie McLean's 'Swing, Swang, Swingin''. In May of 1959 Garrison laid tracks on Philly Joe Jones' 'Drums Around the World', issued that year. He also recorded 'Blues-ette' with Curtis Fuller that May for its release in February 1960. In August he performed with Tony Scott at the Showplace in NYC for the release of Scott's 'Golden Moments' that year. In November Garrison recorded four tracks on Philly Joe Jones' 'Showcase' LP, issued that year. Garrison was also in session in December of '59 for the issue of Curtis Fuller's 'Imagination' in 1960. That was a momentous occasion in that it is thought to have been his first with pianist, McCoy Tyner, who was one of the three more important figures in Garrison's career along with saxophonist, John Coltrane, and drummer, Elvin Jones. Garrison and Tyner backed Fuller on 'Images of Curtis Fuller' on June 6 of 1960 before their first mutual session with Coltrane at the Village Vanguard on November 1 of 1961 with Jones. That would get issued in 1977 as 'The Other Village Vanguard Tapes'. The next day they recorded titles toward 'Trane's Modes' at the Village Vanguard, issued in 1979. A third session at the Vanguard on the the 3rd wrought Coltrane's 'Impressions', issued in 1963. A session on the 5th at the Vanguard wrought the titles, 'India' and 'Spiritual'. During those sessions bass was performed by Reggie Workman on numerous titles, and drums by Roy Haynes ('Chasin' Another Trane'), but Garrison, Tyner and Jones would become Coltrane's major crew for several years. Titles from those sessions combined would become available in 1997 on 'The Complete 1961 Village Vanguard Recordings'. Garrison appeared on above 20 LPs with John Coltrane, 'Ballads' appearing in 1963, also with Tyner and Jones. His last with Coltrane was 'Stellar Regions' in 1967 with Alice Coltrane on piano and Rashied Ali on drums. In 1961 Garrison had appeared on the first two of four albums he released with Ornette Coleman: 'Ornette on Tenor' (all tracks) and 'The Art of the Improvisers' (one track: 'Harlem's Manhattan'). Garrison issued only one album as a leader, 'Illumination!', with Jones and Tyner in 1963. Upon the death of Coltrane in July 1967 Garrison had little trouble finding musicians to back as those consisted of free-form tenor saxophonist, Archie Shepp, who had worked with Coltrane since 1964, and pianist, Alice Coltrane (Coltrane's wife), who had appeared on Coltrane's 'Cosmic Music' in 1966. Another tenor with whom Garrison often worked in association with Coltrane was Pharoah Sanders who had appeared on Coltrane's 'Ascension' in 1965. Lord's discography lists Garrison's last session on April 12 of 1975 for Shepp's 'There's a Trumpet in My Soul'. His own untimely death of lung cancer followed on April 7 of 1976. Per 1960 below all tracks are from the Curtis Fuller album, 'Blues-ette'.

Jimmy Garrison   1958

  Blues for Dracula

      Philly Joe Jones album: 'Blues for Dracula'

  Tune Up

      Philly Joe Jones album: 'Blues for Dracula'

Jimmy Garrison   1959

   116th & Lenox

      Jackie McLean album: 'Swing, Swang, Swingin'

   Joe's Debut

      Philly Joe Jones album: 'Showcase'

   I Love You

      Jackie McLean album: 'Swing, Swang, Swingin'

   I Remember You

      Jackie McLean album: 'Swing, Swang, Swingin'

   Let's Face The Music and Dance

      Jackie McLean album: 'Swing, Swang, Swingin'

   Live at the Half Note

      Album with Bill Evans and Lee Konitz

Jimmy Garrison   1960

   Five Spot After Dark

   Love Your Spell Is Everywhere

   Minor Vamp

   Twelve-Inch

   Undecided

Jimmy Garrison   1962

   Chasin the Trane

      Recorded in 1961 with John Coltrane

      Album: 'Coltrane Live at the Village Vanguard'

   The Inch Worm

      John Coltrane album: 'The Paris Concert'

   Not Yet

      With John Coltrane

   Ornette On Tenor

      Album

Jimmy Garrison   1963

   Half and Half

      Album: 'Illumination!'   With Elvin Jones

   Jazz Casual Suite

      'Jazz Casual' television broadcast

   Jazz Is My Religion

      With Ted Joans

   My Favorite Things

      Newport Jazz Festival with John Coltrane

   Nuttin' Out Jones

      Album: 'Illumination!'   With Elvin Jones

Jimmy Garrison   1965

   Ascent

      With John Coltrane

  Dearly Beloved

      With John Coltrane

Jimmy Garrison   1967

   Seraphic Light

      With John Coltrane

 

 
  Composer and bassist Charlie Haden first recorded with pianist Paul Bley in 1957 ('Solemn Meditation' '58), the same year he'd left Iowa for Los Angeles to pursue a career as a professional musician. Haden stuck with Bley to 1958, though they would reunite in 1989 with Paul Motian on drums at the Montreal International Jazz Festival for what would get issued as 'The Montreal Tapes' in 2009. That trio reunited once again in 2000 in Milan, Italy, for 'Memoirs'. It was with Bley that Haden began recording with Ornette Coleman in October of 1958 toward Bley's 'The Fabulous Paul Bley Quintet'. The next year Bley and drummer, Billy Higgins, supported Colemans 'Coleman Classics 1'. Coleman would be one of Haden's more important associates into the seventies, appearing on several Coleman albums. 1977 saw Coleman's 'Soap Suds/Soap Suds'. 1987 saw 'In All Languages' with Don Cherry on trumpet and Higgins at drums. 1987 witnessed Coleman's 'The 1987 Hamburg Concert' recorded in Germany on October 29. It was Cherry on cornet and Higgins on drums for 'Reunion' in 1990 at the Teatro Municipale Valli in Reggio Emilia, Italy, on April 24. Another important figure came along in October of 1964 per the Denny Zeitlin Trio with Jerry Granelli on drums for 'Carnival'. That trio recorded 'Shining Hour' in March of 1965 at the Trident in Sausalito, CA. It was 'Zeitgeist' in 1966, 'Time Remembers One Time Once' in 1981, the latter a duo with Granelli out. Another important figure was pianist, Keith Jarrett, with whose trio with Paul Motian on drums 'Life Between the Exit Signs' went down in NYC on May 4 of 1967. That trio recorded 'Somewhere Before' at Shelly's Manne-Hole in Los Angeles on October 30, 1968. Haden backed Jarrett's 'Expectations' in April of 1972, and 'Fort Jawuh' in 1973 at the Village Vanguard in NYC. Among projects in 1974 were 'Treasure Island' (October in Ludwigsburg, Germany), 'Death and the Flower' and 'Backhand' (both in December in NYC). Among projects in 1975 were 'Arbour Zena', 'Mysteries' and 'Shades'. 1976 saw such as 'The Survivors Suite', 'Eyes of the Heart' and 'Byablue'. Jarrett and Haden reunited as late as 2007 for the duo album, 'Jasmine'. Of major importance to Haden's career was pianist, Carla Bley, their first mutual project thought to have been 'The Jazz Composers' Orchestra' in 1968. Bley would compose, arrange, conduct and play piano on frequent occasions for Haden's Liberation Music Orchestra (LMO). Haden also appeared on Bley's 'Escalator Over the Hill' in '71 and 'Musique Mecanique' in 1978. Haden formed his LMO in time for its debut recordings in April of 1969 with Bley at piano, and Don Cherry at cornet and flute. That witnessed issue as 'Liberation Music Orchestra' in 1970. The LMO would be Haden's main vehicle throughout his career. It was largely a political vessel, addressing such as the Spanish Civil War, civil rights, poverty and apartheid. (Haden got himself arrested in Portugal while on tour with Ornette Coleman in 1971 after dedicating a performance of 'Song for Che' to revolutionaries in Portuguese colonies in Africa. He was released upon Coleman's complaint to the American Embassy.) Pianist, Alice Coltrane, was an important associate from 1970 to 1976. On July 4 of 1970 Haden participated in Coltrane's 'Isis and Osiris' on her album, 'Journey in Satchidananda'. July of 1972 found him recording Coltrane's 'Lord of Lords'. August of '75 found him contributing to 'Eternity'. In 1976 Coltrane performed harp on Haden's 'For Turiya' per his album, 'Closeness'. They reunited as late as 2004 for Coltrane's final studio album, 'Translinear Light', produced by her son (via John Coltrane), saxophonist, Ravi Coltrane. Guitarist, Pat Metheny (recording a touch too late for these histories which cease at 1970), also figured importantly in Haden's career, backing the former's double album, '80/81', in 1980, 'Rejoicing' in '83, 'Song X' in '85 and 'Secret Story' in '92. 1993 saw them in a quartet with tenor saxophonist, Joshua Redman, and drummer, Billy Higgins, for Redman's 'Wish'. They reunited in 1996 for the duo album, 'Beyond The Missouri Sky (Short Stories)'. Metheny supported Haden's 'Nocturne' in 2000 and 'Rambling Boy' in 2008. Haden attended well above a couple hundred sessions during his career. Some of the albums on which he appeared were Joe Pass' 'Great Motion Picture Themes' in 1964, Nana Simopoulos' 'Wings and Air' in 1986, Rickie Lee Jones' 'Pop Pop' in 1991, David Sanborn's 'Another Hand' in 1991, Toots Thielemans' 'West Coast' in 1994 and 'Jazz 1997 CalArts' for the California Institute of the Arts. Among other highlights were 'Jazz at the Opera House' in 1982 (on which he also performed the solo, 'Dedication to Conrad Silvert') and the soundtrack to 'Midnight in the Garden of Good and Evil' in 1997. Among others to employ Haden's talents were Yoko Ono ('68), Chet Baker ('74, '82), Tom Harrell ('89), Abbey Lincoln ('90) and Ginger Baker ('94). Haden died in Los Angeles on July 11 of 2014. He had put down 'Come Sunday', in 2012, a duo album of Christian titles with pianist, Hank Jones.

Charlie Haden   1958

   Live at the Hillcrest Club

      Piano: Paul Bley

Charlie Haden   1960

   Motive for Its Use

      Alto sax; Ornette Coleman

Charlie Haden   1968

   AOS

      Vocal: Yoko Ono

Charlie Haden   1969

  The Ballad of the Fallen

      Liberation Music Orchestra

   Comme Il Faut

      Alto sax: Ornette Coleman

   Song of The United Front

      Liberation Music Orchestra

Charlie Haden   1977

   O.C.

      Alto sax: Ornette Coleman

Charlie Haden   1977

   Augmented

      With Don Cherry

Charlie Haden   1983

   Live in Berlin

      Liberation Music Orchestra

Charlie Haden   1989

   New Beginning

      Piano: Paul Bley

Charlie Haden   1990

   Sandino

      Liberation Music Orchestra

Charlie Haden   1992

   Dream Keeper

      Live   Liberation Music Orchestra

Charlie Haden   2002

   Hello My Lovely

      Guitar: Jim Hall

Charlie Haden   2003

   Jazzwoche Burghausen 2003

      Guitar: Pat Metheny   Filmed live

Charlie Haden   2005

   This Is Not America

      Liberation Music Orchestra

Charlie Haden   2007

   Not In Our Name

      Live   Liberation Music Orchestra

 

Birth of Modern Jazz: Charlie Haden

Charlie Haden

Photo: Jos L. Knaepen

Source: La Republique du Jazz

Birth of Modern Jazz: Herbie Lewis

Herbie Lewis

Source: Blue Note

Double bassist, Herbie Lewis, was born in 1941 in Pasadena, CA. He knew vibraphonist, Bobby Hutcherson, as a youth, and would later record with Hutcherson in the sixties and eightoes. Lewis' debut recordings were with Harold Land on Land's 'Grooveyard' of 1958. 'The Fox' with Land would be released in 1960. Land and Lewis would get mixed together on multiple occasions in years to come.        The major figure in Lewis' career in the early sixties was pianist, Les McCann, with whom he released several albums in the early sixties. Large in the latter sixties was work with Cannonball Adderley, Freddie Hubbard and McCoy Tyner. Lewis began teaching at the New College of California in San Francisco in 1977. He retired from there in 2002 before dying of cancer in May 2007. Lewis' solitary issue as a leader was the obscure 'Just a Lucky So and So' with no determinable recording or issue dates. Lord's disco wraps him up per 'Centerpiece' for John Handy in April of '89 in Berkeley, CA.

Herbie Lewis   1958

 Grooveyard

     Harold Land LP: 'Grooveyard'

Herbie Lewis   1962

 Soft Pedal Blues

     Stanley Turrentine LP:

    'That's Where It's At'

Herbie Lewis   1966

 Summer Nights

     Bobby Hutcherson LP: 'Stick Up!'

 Verse

     Bobby Hutcherson LP: 'Stick Up!'

Herbie Lewis   1968

 High Blues Pressure

     Album by Freddie Hubbard

Herbie Lewis   1981

 Lover Man

     Filmed live with Sonny Stitt

     Drums: Billy Higgins

     Piano: Tete Montoliu

 Walkin'

     Filmed live with Sonny Stitt

     Drums: Billy Higgins

     Piano: Tete Montoliu

Herbie Lewis   1983

 Peruggia

     Filmed with Bobby Hutcherson

Herbie Lewis   1986

 Left Alone

     Filmed live with Jackie McLean

Herbie Lewis   1994

 Footprints

     With Wayne Shorter

 

 
Birth of Modern Jazz: Ernest Ranglin

Ernest Ranglin

Source: Music for Maniacs

Born in 1932 in Manchester, Jamaica, guitarist Ernest Ranglin, would become the big daddy of a different kind of jazz fusion, not of jazz and rock, but jazz and reggae. An autodidact, he first worked professionally in Kingston in 1948 at hotels with the Val Bennett Orchestra. We've been unable to uncover any earlier recording sessions by Ranglin than that mentioned in Wikipedia en passant in 1956, 'Easy Snapping' with Theophilus Beckford. That wasn't released until 1959. His first appearance on vinyl would otherwise appear to be in 1958 on 'The Wrigglers Sing Calypso at the Arawak'. Tracks from that were reissued in 2010 on a collection called 'Jamaica - Mento 1951-1958'. Ranglin began working with the Jamaican Broadcasting System in 1958. He played a structural part in the wee hours of reggae upon meeting young producer, Chris Blackwell, at a club. Blackwell founded Island Records in Jamaica in 1958 with $10,000. A stipend of nearly $3000 a year from his mother in the UK kept him working without interruption and was apparently used well, as Blackwell would expand his company back in the UK where he promoted all manner of musicians through the years from Jamaican singer, Millie Small, to the Spencer Davis Group, Traffic, King Crimson, Jethro Tull, Grace Jones, Robert Palmer, Melissa Etheridge, ad infinitum. Ranglin's significance per Blackwell was his appearance on four tracks of the B side of the album, 'Lance Haywood at The Half Moon Hotel', in 1958, Island Records' debut issue. The next year Ranglin stepped aboard Clue J (Cluett Johnson - bass) and his Blues Blasters, with which outfit he recorded multiple titles. Wikipedia has him recording 'Guitar in Ernest' in 1959, not issued until '65. He is thought to have released the red velvet-sleeved, 'The Jamaica Story Independence Souvenier', in 1963. In 1964 he issued both 'Wranglin'' and 'Reflections'. Ranglin appeared on the first of several albums with the Jamaican ska band, the Skatalites, in 1966: 'Ska Boo-Da-Ba'. (Ska preceded reggae in Jamaica, a mix of Afro-Jamaican, calypso and R&B.) More importantly, Ranglin began working with pianist, Monty Alexander, in the seventies, a relationship that would see several LPs issued together into the new millennium. Living in Florida, Ranglin received an honorary doctorate from the University of the West Indies in 2002. 2006 saw the release of the documentary video, 'Roots Of Reggae: The Ernest Ranglin Story'. He became an honoree in the Jamaican Music Hall of Fame in 2008. Ranglin's latest of at least thirty albums was the studio endeavor, 'Bless Up' in 2014. Per below, tracks to 1960 are examples of ska, from out of which reggae developed.

Ernest Ranglin   1958

   Lance Haywood at the Half Moon Hotel

      Ranglin on tracks B1-B4

      First Island Records LP

Ernest Ranglin   1959

   Easy Snapping

      With Theophilus Beckford

      Recorded 1956?

   Shufflin' Jug

      With Clue J & the Blues Blasters

Ernest Ranglin   1960

   Silky

      With Clue J & the Blues Blasters

Ernest Ranglin   1964

   Anglelina

      LP: 'Wranglin'

   Wranglin'

      LP: 'Wranglin'

Ernest Ranglin   1965

   Guitar in Ernest

      LP recorded 1959

Ernest Ranglin   1967

   Papa's Bag Juice

      LP: 'Memories of Barber Mack'

   Stop That Train

      LP: 'Memories of Barber Mack'

Ernest Ranglin   1969

   Grandfather's Clock

      LP: 'Boss Reggae'

   Liquidation

      LP: 'Boss Reggae'

   Summertime

      LP: 'Ernie Ranglin with Soul'

Ernest Ranglin   1971

   Psychedelic Rock

Ernest Ranglin   1976

   Exlosion

      LP: 'Ranglin Roots'

   Feel Like Making Love

      LP: 'Ranglypso'

   Ranglin Roots

      LP: 'Ranglin Roots'

Ernest Ranglin   1996

   Below the Baseline

      Album

Ernest Ranglin   1998

   In Search of the Lost Riddim

      Album

Ernest Ranglin   2002

   Live in Paris

      Filmed concert

Ernest Ranglin   2010

   Surfin'

      Filmed in Belgium

Ernest Ranglin   2011

   Lively Up Yourself

      Filmed at People's Place   Amsterdam

Ernest Ranglin   2012

   Jamaican Legends

      Filmed concert

   Surfin'

      Filmed at the Blue Note   Tokyo

      Piano: Monty Alexander

 

 

 

We suspend this Birth of Modern Jazz Strings at the cusp of the sixties with double bassist, Gary Peacock.

 

 

Blues

Early Blues 1: Guitar

Early Blues 2: Vocal - Other Instruments

Modern Blues 1: Guitar

Modern Blues 2: Vocal - Other Instruments

Classical

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Romantic: Composers born 1770 to 1840

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Early Jazz 1: Ragtime - Bands - Horn

Early Jazz 2: Ragtime - Song - Hollywood

Early Jazz 3: Ragtime - Other Instrumentation

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Modern 2: Trumpet - Other Horn

Modern 3: Piano

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Modern 5: Song

Modern 6: Latin Jazz - Latin Recording

Modern 7: Percussion - Other Orchestration

Modern 8: United States 1960 - 1970

Modern 9: International 1960 - 1970

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Early - Boogie Woogie - R&B - Soul

Other Musical Genres

Doo Wop

The Big Bang - Fifties American Rock

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Musician Indexes

Classical - Medieval to Renaissance

Classical - Baroque to Classical

Classical - Romantic to Modern

The Blues

Bluegrass - Folk

Country Western

Jazz Early - Ragtime - Swing Jazz

Jazz Modern - Horn

Jazz Modern - Piano - String

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