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An 200 of the most popular classic jazz albums

easy guide to
CURRENTLY AVAILABLE ON CD. INCLUDES COMPLETE LISTINGS OF TUNES AND
PERSONNEL, COVER GRAPHICS, HISTORICAL AND CONTEMPORARY CRITICAL NOTES,
SELECTED BIOGRAPHIES, AND NEVER-BEFORE-SEEN-PHOTOGRAPHS PLUS
A COMPLETE NUMERICAL LISTING OF OJCS ON COMPACT DISC.
*r H
 Q
CONTEMPORARY Prestige
R4BLOJI

RIVERSIDE.
qtwf.
OR 6 N Al

debut
Milestone

CLASSICS
JAZZLAND ~fMss«

COLLECTOR'S GUIDE
FANTASY, INC., 2600 TENTH STREET, BERKELEY CALIFORNIA 94710
© 199S FANTASY INC ALL RIGHTS RESERVED NO PART OF THIS BOOK MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS. ELECTRONIC OR MECHANICAL.
INCLUDING PHOTOCOPYING. RECORDING. OR BY ANY .NFORMATION STORAGE AND RETRIEVAL SYSTEM. WITHOUT PERMISSION IN WRITING FROM THE PUBLISHER PRINTED IN USA
 H

*•- t

<*
 CANNONBALL ADDERLEY
San Francisco's fazz Workshop, the worldwide. He was the most articu-
Julian "Cannonball "Adderley
( 1928-~5j was a high school band became an immediate success late and engaging of musicians,
band director in his native with their version of Bobby and he invariably educated his lis-

Florida, following in the footsteps of Timmons's sanctified waltz "This teners withwry commentary that
his educator-father, before moving to Here" and a leading practitioner of illuminated the music. He was also
Xew York in 1955. He initially what came to be called soul jazz. a voracious listener and talent scout
planned to pursue graduate studies Numerous other hits followed over who introduced several prominent
in Manhattan: but after sitting in the next 16 years as the band occa- musicians through both employing
with Oscar Pettiford's band at the sionatfy swelled to sextet size (with them in his ensemble and serving
Cafe Bohemia, the alto saxophonist the inclusion ofYusefLateefor as a studio record producer. Cannon-
became an instant sensation, hailed Charles Lloyd) and featured such ball was the one who called Wes
by many as the musician niost likely important pianist/composers as Montgomery to the attention of
to assume the mantle of the late Barty Hatris. Victor Feldman. foe Riverside Records, produced the
Charlie Parker Despite misguided Zawinul. George Duke, and Hal debut recording of Chuck Mangione.
promotional efforts to christen him Galper. Sam fones and Louis Hayes and collaborated so brilliantly with
as "thenew Bird."Adderley clearly formed the original rhythm section. a young Nancy Wilson. The open,
had his own approach to the horn, to be succeeded later by Victor affirmative personality he displayed
which drew on the inspiration of Gaskin. Walter Booker, and Roy on stage was reflected in his music,
Benny Carter as well as Parker He McCurdy At the heart of the group's which over time was touched by the
took advantage of his early notori- success throughout its existence were subtle eloquence of his former boss
ety, however, by forming bis first Cannonball one of the most impas- Miles Davis and the exploratory
quintet, which featured his younger sioned alto (and. later, soprano) sax- intensity of his Davis colleague
brother Adderley on cornet
\ at ophonists in jazz history, and Sat. John Coltrane
Wljile the group struggled economi- whose infectious compositions Adderley also served as a
cally Cannonball did draw the atten- (including "Work Song "and "five prominent spokesperson for jazz
tion of Miles Davis, who featured the Samba") formed a critical part of through extensive television work
alto saxophonist in the immortal the band's book. and residencies at several universi-
Miles Davis sextet (alongside John While a knack for interpreting ties. Shortly before his death follow-
Coltrane and either Red Garland. funky crossover material such as ing a stroke, he had recorded his
Bill Evans, or Wynton Kelly>) for two Zawinul s "Mercy Mercy. Mercy original music for "Big Man." a
years beginning in late 1957. won the Adderley quintet one of the folk musical" based upon the life

In September 1959, Cannonball jazz world's largest audiences. ofJohn Henry.

Davis and reunited with Nat in
left Cannonball"s personality also
a new Cannonball Adderley quintet played a pivotal role in sustaining
Recorded live one month later at the band's prominence among fans PHOTOGRAPH BY LEE TANNER
 —

£ CANNONBALL
ADDERLEY with MILT
Know what mean?
[RIVERSIDE JACKSON/THINGS
I
ARE GETTING BETTER
Cannonball Adderley OJCCD-032-2 (Riverside 1128)

with Bill Evans t its best, the loose-limbed "blowing"

date must be recognized as an impor-
tant element in the jazz pattern. This
album is a near-perfect illustration: Cannonball
and Bags rank among the most imaginative
and blues-rooted improvisers of all times; Art
Blakey, Percy Heath, and Wynton Kelly form a
flawless rlyythm section; all five are bonded
together by a deep musical and personal com-
patibility. Tfje combination elevates the straight-

ahead jazz session to an art form.

Blues Oriental, Things Are Getting Better,

Serves Me Right (take 5), Serves Me Right
(take 4)*, Groovin' High, The Sidewalks of
New York (take 5), The Sidewalks of New
York (take 4)*, Sounds for Sid, Just One of
Those Things

CANNONBALL ADDERLEY— alto saxophone

MILT JACKSON— vibes
WYNTON KELLY—piano
PERCY HEATH— bass
ART BLAKEY— drums
ai^Bbi^i

CANNONBALL buoyant Adderley and introspective Evans

move effortlessly toward a middle ground that
ADDERLEY with shows both to great advantage. CANNONBALL jf.
BILL EVANS/KNOW Waltz for Debby, Goodbye, Who Cares? ADDERLEY* ^V»AR
WHAT MEAN? I
(take 5), Who Cares? (take 4)*, Venice, -milt ^r*-^ GETTING
OJCCD-105-2 (Riversid
Toy, Elsa, Nancy (With the Laughing
Know What I Mean? (re-take
Face), 7), JACKSON -
Adderley and Evans played together Know What I Mean? (take 12)*
for nearly a year in one of the most
significant units in contemporary jazz:
CANNONBALL ADDERLEY— alto saxophone
the J'JIX Miles Davis Sextet. It was a vital for-
BILL EVANS—piano
mative period for both men, followed shortly in PERCY HEATH— bass
each case lyy tremendous individual success. CONNIE KAY— drums k if if 'k ... Here, truly, is a meeting of
This memorable 1962 reunion was CannonbaU's giants . . . Very good Jackson, Adderley and
idea; the group is completed by the rhythm- Produced by ORRIN KEEPNEWS Kelly. Make this one.

support half of the Modern Jazz Quartet: Percy ! in New

York; January 27, February 21, —JOHN A. TYNAN, Down Heal

Heath and Connie Kay. In a remarkable display and March 13, 1961.
of their musical range and sensitivity, the All i design Ken Deardoff
 —
Produced by ORRIN KEEPNEWS
New York City; October
THE CANNONBALL THE CANNONBALL
Recorded in

—Chuck
28, 1958.
ADDERLEY SEXTET ADDERLEY QUINTET
Cover photo Stewart
Cover produced and designed by Paul Bacon- IN
OJCCD-l-
NEW YORK PLUS
OJCCD-306-2
Ken Braren-Harns Lewine (Riverside 9388)

THE CANNONBALL THE CANNONBALL The Adderley quintet, formed in the

Spring of 1959 and a soulful success

ADDERLEY QUINTET ADDERLEY SEXTET story almost from the start, was a rare

IN SAN FRANCISCO
OJCCD-05 'Riverside 115"
IN NEW
YORK example of continuity in the inevitably shift-
ing world of traveling jazz groups. For seven
years the band held on to four of its original
members, with changes only at the piano chair.
Wljen Adderley joined the Rherside
be was assured tbat bis still-
label,
One of several fine keyboard players was the
Britisb-born (but thoroughlyfunky) Victor
unformed band would be recorded Feldman. also a notable vibrapbonist (hi this
promptly, whenever and wherever be felt ready. album (one of only two he made with the
Tlie quintet, featuring Sat Adderiey and Bobby quintet), there's much emphasis on Victor's
Timmons. was assembled in 1959 and the vibes. Tins is mcuie possible by the presence of
promise was kept tlxit Octrjber at San Francisco s a distinguished guest, one of Cannonball's
Jazz Workshop. Tl)e memorable result is beard favorite pianists (although never a regular
—
here one of the most exciting, influential, bandmember) — Wynton Kelly.
and successful live recordings in modern
'

end of 1961.

B y the the celebrated

jazz history.
Cannonball'Adderiey Quintet had made
two significant changes, ne first was
to bring in a young white pianist named Joe
Zawinul who (despite the additional handicap
of also being Austrian ) quickly developed into
a remarkably soulful player and writer, before
going on to even greater fame as the driving
force of Weather Report Secondly, the group
expanded to Sextet size by adding tlje stnmg and
—
imaginative tenor sax and flute, and oboe —
ofYusef Lateef With the rest of the original
'

cast (the Adderley brothers. Sam Jones. Louis

Hayes) intact, they soon turned to what they
did best, recording an exciting inperformance
album before an enthusiastic crowd, this time
at Sew York City's friendly Village Vanguard.
if if if if ... Contains. . . some surging
Introduction (by Cannonball), Gemini, examples and earthily
of the powerful, direct,
This Here. Spontaneous Combustion. Hi- Planet Earth, Dizzy's Business, Syn-anthe- persuasive jazz of which Cannonball and
Fly, You Got It!. Bohemia After Dark (aka sia, Scotch and Water, Cannon's Theme cohorts are capable. All six men. play . .

Birdland After Dark): Straight, No Chaser* beautifully throughout. . . .

CANNONBALL ADDERLEY— alto saxophone —PETE WELDING. Dou-n Beat

CANNONBALL ADDERLEY— alto saxophone NAT ADDERLEY— cornet
NAT .ADDERLEY— cornet YUSEF LATEEF tenor saxophone.
BOBBY TLMMONS —piano flute, oboe Arriving Soon; Well, You Needn't; New
SAM JONES— boss JOE ZAWLNUL—piano Delhi, Winetone, Star Eyes, Lisa (take 8),
u
LOUIS HAYES— drums SAM JONES— bass Lisa (take 3)*, O.P."
LOUIS HAYES— drums
Produced by ORRIN KEEPNEWS CANNONBALL ADDERLEY— alto saxophone
Recorded live at the Jazz Workshop in Recorded live at the Village Vanguard in NAT ADDERLEY— cornet
San Francisco; October 18 and 20, 1959. New York City; January 12 and 14, 1962. VICTOR FELDMAN—piano, vibes
Cover design by Paul Bacon-Ken Braren- —
Album design Ken Deardoff WYNTON KELLY—piano ("Well You
Harris Lewine —
Cover photo Steve Schapiro Xeedn "New
t. Delhi. Winetone. Star I ye$ I
 SAM JONES— bass CANNONBALL ADDERLEY— alto saxophone YUSEF LATEEF—flute, oboe, tenor saxophone
LOUIS HAYES— drums BLUE MITCHELL— trumpet JOE ZAWINUL—piano
On "O.P. only: BILL EVANS—piano SAM JONES— bass
VICTOR FELDMAN—piano SAM JONES— bass LOUIS HAYES— drums
PHILLY JOE JONES— drums
SAM JONES— cello AJunat Production
RON CARTER— bass Produced by ORRIN KEEPNEWS Recorded in concert (Sankei Hall, Tokyo, Japan);
LOUIS HAYES— drums Recorded New York Ciry; July 1,
it. 1958. July 14-15, 1963.
Produced by ORRIN KEEPNEWS Cover designed by Paul Bacon Album design — Ken Deardoff
Recorded in New York Ciry; May 1 1, 1961.
Album design — Ken Deardoff
NIPPON SOUL
Cover photo — Don Bronstein OJCCD-435-2 (Riverside 9477)

PORTRAIT OF
CANNONBALL
Cannonball Adderley was enormously
popular in Japan. TJjat's no surprise; he NAT
OJCCD-J61-2 (Riverside 269)
was enormously popular everywhere.
But theiv is a special quality that Japanese fans
bring to adulation of their heroes, an intensity
ADDERLEY
PORTRAIT OF

cannonball offeeling that many jazz artists have said they

often experience as a physical sensation when
WORK SONG
OICCD-363-2 (Riverside 1167)
they perform forJapanese audiences. Tlmt
intensity can be beard in the audience traction
riJAN in this concert recording and felt in the stunning
STER EOMUViHUH 1

adderley performances by Cannonball, his brother Nat,

Yusef Lateef, and the driving rhythm section of
foe Zawinul, Sam Jones, and Louis Hayes. In
ADDERLEY
MIES MONTGOMERY
1963, Adderley was riding high, leading a band BOBBY TIMMONS
PERCY HEATH
that was probably his best and included Lateef, SAM JONES
one of his heroes. Cannon was playing with
even greater zest than usual. Nippon Soul
captures and shares that joy.

Julian Adderleys initial Riivrside album

was recorded in July of /<J=>K
the first offifteen such packages during a
working relationship that lasted a full six years
and saw ( aunonball leap forward from a sup-
It was to be

1 at Adderley led a double creative life

porting role in a notable Miles Palis sextet to at Riivrside: featured on the highly
major stardom as leader of bis own group. successful working-group albums led
some ofAdderleys closest
Portrait strongly reflects by his brother Cannonball, and also devising
associations up to that time Hill Hi ans and several intriguingly different projects under his
Philly foe fones were colleagues in the Davis own name. Very possibly the most interesting
hand; Sam Jones and Blue Mitclxli (also making was Work Song, which took its title from one of
his first appearance on the label) were friends Nat'smost widely known soulful compositions,
and co-workers from early days in Honda In and took its instrumentation from tlje younger
addition, Miles had written a new tune, the Adderleys fertile imagination. Cornet, cello, and
memorable "Nardis," to celebrate the occasion. guitar make up a front line that will probabfy
net er be duplicated Lite guitarist u as bis friend
Minority (originally issued), Minority Nippon Soul (Ninon no Soul), Easy to
K'es Montgomery, just emerging towards jazz
(takes 2 & 3)*, Straight Life, Blue Funk, A Love, The Weaver, Tengo Tango, Come
stardom; the cellist was the longtime bassist
Little Taste, People Will Say We're in Sunday, Brother John, Work Song*
of Cannonball's band, Samfones.
Love, Nardis (take 5), Nardis (take 4)'
CANNONBALL ADDERLEY—
tenor saxophone
NAT ADDERLEY— cornel
 1

Work Song. Pretty Memory. I've Got a Blue Gene. Scamperin', Blue Greens and GENE AMMONS — tenor saxophone
Crush on You. Mean to Me. Fallout, Sack Beans, Hip Tip TOMMY FLANAGAN—piano
o' Woe. My Heart Stood Still. Violets for DOUG WATKINS— boss
Your Furs. Scrambled Eggs GENE AMMONS — tenor saxophone ARTHUR TAYLOR— drums
IDREES SULIEMAN— trumpet RAY BARRETTO— conga
NAT ADDERLEY— cornet PEPPERADAMS—baritone saxophone
WES MONTGOMERY—guitar MAL WALDRON—piano Supervision by BOB WEINSTOCK
BOBBY TTMMONS—piano ARTHUR TAYLOR— drums Recorded in Englewood Cliffs, NJ; June 16, I960.
SAM JONES or KETER BETTS— cello or bass DOUG WATKTNS— bass
HEATH— bass
PERCY' RAY BARRETTO— conga
LOOS HAYES— drums
Produced by BOB WEINSTOCK
BAD! BOSSA NOVA
OJCCD-3 -2 (Prestige
Produced by ORRIX KEEPNEWS Recorded in Hackensack, NJ; May 2, 1958.
Recorded in New York City: January 25 and 27, I960. Cover photo —Esmond Edwards stand rhythms abound on Bad! Bossa
Cover photo — Lawrence Shustak Nova and the floating, flying, expansile
Cover produced and designed by Paul Bacon- tenor saxophone of Gene Amnions exploits
Ken Braren-Harris Lewine BOSS TENOR _
them like Air' Jordan soaring up and oivr
OJCCD-29 -2 (Prestige 7180) an opposition defense.
Prom the mellow strains of "Pagan Love
Song" to the extended and extremely rhythmi-
cally-oriented "Ca'Purange" (a bit when first

GENE issued).
in the
Amnions
Caribbean (Yellow
takes us on a tour that stops
Bird"), an Italian

AMMONS film featuring Siliana Mangano (Anna"), and

the Brazilian jungle (Moito Mato G rosso").
His powerful second solo on the last one is

alone worth the price of admission.

BLUE GENE
OJCCD- 192-2 'Prestige 7146

GENE AMMONS
BOSSA NOVA

At Prestige. Gene Amnions

did two types of sessions: a jamming
situation with several other all-star
basically

bonis: or a quartet format featuring a top-

fligbt rhythm section behind him.
Whatever the setting. Jug. as be was nick-
named, displayed that dominant trait held in
common with other giants in the grand histo-
ry of his chosen instrument the tenor saxo-
phone — the ability to tell a story. Pagan Love Song. Ca'Purange (Jungle Soul),
Heiv are the blues, the ballads. Charlie Anna, Cae Cae. Moito Mato Grosso, Yelk) Bird
notber of the mid-1950s Amnions Parkers "Confirmation," and Eddie Heywood's
studio jam sessions for Prestige. Blue "Canadian Sunset 77.*' latter had been a hit for
GENE AMMONS — tenor saxophone
Gene Hues up to its title by utilizing UspianisPcomposer and was again far Amnions
BUCKY PIZZARELLI— Spanish guitar
blues changes as the basis for three of its four An added feature here is the addition of KENNY BI RRELL— rhythm guitar
selections Pianist Mai Ualdron wrote all these jazz-oriented conga player, Pay Barretto, to the
HANK JONES—piano
lines and the minor-bey ballad Hip Tip piano, bass, and drums of Tommy Flanagan,
NORMAN EDGE-fofss
Amnions was one of the mast expressive saxo- Doug Watkins, and Arthur OLTSTR JACKSON—drums
Taylor.
phonists and in Idives Sulieman and Pepper
AL HAYES— bongo
Adams he found soulmates among the other Hittin' the Jug, Close Your Eyes,
My Romance. Canadian Supervision by OZZIE CADENA
horns Path man had jammed with Gene Sunset, Blue
Amnions, Confirmation, Savoy Recorded in Englewood Cliffs, NJ; September 9, 1962.
on Prestige pret iousfy.
Cover design — Don Schlitten
 CHET BAKER
and set
Few musicians have embodied
tbe romantic, and ultimately ing
In 1953. Baker began

and performing
a record-

relationship
prison sentence in Italy
Baker upon the peripatetic lifestyle

tragic, jazz figure as totally with pianist Russ Freeman that that he pursued for the next quarter

as Cbesney "Chef Baker (1929-88). solidified his status as a major jazz century. He returned to the U.S. in

Unschooled yet eloquent in his star One key to this success was 1964, where he made several fine

music, and a fast liter who some- Baker's singing, which sustained the albums with George Coleman and
how managed to survive for nearly wistful vulnerability of his trumpet Kirk Lightsey. Then his career seemed
six decades, the Baker mystique has work. Baker's good looks and grow- permanently ended in 1968. when
only reinforced one of the most ing reputation for high living also Baker lost his teeth in an alterca-

haunting trumpet styles and ingen- fed his notoriety, although a grow- tion with other junkies in San
uous approaches to jazz singing. ing frequency of drug incidents Francisco. He stopped playing for
who never learned to
Baker, (including one that claimed the life two years, then resurfaced again in
read music, got his training in army of pianist Richard Twardzik during New York in 1973, where he
bands, where he developed a spare a 1955 European tour by Baker's renewed his recording career. Much
and introverted voice on the horn. quartet) soon began to overshadow of his final decade was spent in
The Oklahoma native gravitated to Baker's playing. Yet somehow, in Europe, often working with a trio
Los Angeles after his discharge and this period as later in his career. completed by guitar and bass.

beat out all of the local competition Baker was able to keep his music Always in need of money to support
in an audition for a short tour with under control, and to incorporate his addictions, and still widely pop-
Charlie Parker in 1952. Later that any technical lapses into the fabric ular. Baker became one of the most
year he began working with Gerry of his image. voluminously documented jazz
Mulligan in a quartet that established While the cool label became artists in history during the 1980s.
an instant personality through the a Baker trademark, he was in fact a Prior to his mysterious death in
absence of a piano and the intri- modern trumpeter who could play Amsterdam, where he fell out of a
guing counterpoint between trumpet with the hardest hoppers, as several hotel window. Baker was the subject
and baritone sax. An early record- recordings made in Sew York dur- of Bruce Weber's film Let's Get Lost,

ing ofMy Funny Valentine "

by the ing the late Fifties demonstrate. By a fascinating study of hero worship
Mulligan quartet caused a national decade's end. Baker was living in and self-destruction.
sensation and made the fragile Europe, where he hoped to pursue a
sound of Baker s horn emblematic film career as well as music; but
PHOTOGRAPH C I 995 LEE TAN
of an entire "cool" attitude. further drug problems led to a PREVIOUSLY UNPUBLISHED
 —
"ItNever Entered My Mind,"
"September Song":
KENNY BURRELL—guitar
CONNIE KAY— drums
"Tis Autumn ""You and the Night and
the Music":
PEPPER ADAMS— baritone saxophone
HERBIE MANN—flute
PHILLY JOE JONES— drums
"Time on My Hands (You in My Arms)":
PHILLY JOE JONES— drums
"Early Morning Mood":
PEPPER ADAMS baritone saxophone
KENNY BURRELL—guitar
CONNIE KAY— drums

Produced by ORRIN KEEPNEWS

Recorded in New York City;
December 30, 1958 and January 19, 1959.

Cover produced and designed by Paul Bacon-

Ken Braren-Harns Lewine

CHET BAKER PLAYS

THE BEST OF LERNER
& LOEWE
OJCCD-137-2 (Riverside 1 152)

rompted by the vast success of

Mamie's jazz version of the
Shelly
My Fair Lady scon: many a late-Fifties
jazz performer took a crack at Broadway
show tunes This album looked to three musicals
by the writers of My Fair Lady, with varying
results. But the lyrical Chet Baker trumpet style

fits most of the material quite well, and tljen? is

Alone Together, How High the Moon, It
CHET Never Entered My Mind, 'Tis Autumn, If You an unusually able group of players surround-
OJCX D-087-2 (Riverside 1135)
Could See Me Now, September Song, You'd ing hint — in particular. Bill Evans, Zoot Sims,

Be So Nice to Come Home To, Time on My and Pepper Adams. At its best, this set offers
Although cil ways recognized as a
Hands (You in My Arms), You and the Night some of the most impressive work of Baker's
trumpeter with unsurpassed lyrical
and the Music, Early Morning Mood* somewhat erratic Riverside period.
qualities, Chet Baker lias had many tips

and doteus in his long career The very late CHET BAKER— trumpet I've Grown Accumstomed toHer Face,
1950s was not an "up"period: the West (oast BILL EVANS—piano (except It Never Entered I Could Have Danced All Night, The Heather
label he was under contract to readily allotted My Mind" and "If You Could See Me Now") on the Hill, On the Street Where You
Riverside to borrow him as leader on four PAUL CHAMBERS— bass Live, Almost Like Being in Love, Thank
albums. Most of them were extremely uneven, with Heaven for Little Girls, I Talk to the
but this one definitely worked It had a strong "Alone together": Trees, Show Me
basic concept (simply to turn Chet loose on PEPPER ADAMS— baritone saxophone
some first-class standard-ballad compositions) HERBIE MANN—flute CHET BAKER— trumpet
and. quite importantly, one of those casually CONNIE KAY— drums HERBIE MANN— pule (tenor saxophone on
"Almost Like Being in Love")
all-star lineups that the jazz scene of those days "How High the Moon.""// You Could See Me
made possible: BUI Evans, Kenny linnet! llerbie Now, ""You'd lie So Nice to Come Home To": ZOOT SIMS— alto and tenor saxophones
Mann, Pepper Adams, Paul Chambers, Connie PEPPER ADAMS — baritone saxophone PEPPER ADAMS— baritone saxophone
Ka )
; I 'hi II \ •
Joe Jones PHILLY JOE JONES— drums
BILL EVANS—piano ("I Could Have HoteL Solar. Blue Thoughts. 'When Lights he roller-coaster career of trumpeter
Danced All Sight. 'Thank Heaven for Little are Low. Soft Winds' TChet Baker included an early rise to
Girld.'f Talk to the Trees.""Show Me") fame during the mid-1950s, beginning
BOB COKWBi— piano /other selections) uith his key role in the Gerry Mulligan Qiutrtet.
EARL MAY— bass That period included much popular success as
CLIFFORD JARVIS— drums a singer Accordingly his four-idbum stay with
-Show Me is played by Chet Baker, Pepper Riverside at the end of that decade began with
Adams, and rhythm section only "Tljank a record that, although it does include some
Heaven for Little Girls" by Chet Baker. Zoot instrumental solos, focuses primarily on his
Sims, and rlrytbm section only.
vcxals. Like most of Baker's Riivrside work, this
is an una. en album, but it features some strong

support by pianist Kenny Dreu: and on tlx most

successful numbers (among tlyem three Rodgers
& Hart compositions) offers clear indication
of Chefs individuality and effectiveness.

Do It the Hard Way. I'm Old Fashioned.

You're Driving Me Crazy. It Could Happen
to You. My Heart Stood StilL The More I See
You. Everything Happens to Me. Dancing
CHET BAKER— trumpet on the Ceiling. How Long Has This Been
JOHNNY GRLFFLN— tenor saxophone Going On?. Old Devil Moon. While My
AL HMG—piano Lady Sleeps (take 10)*. You Make Me Feel
PALT CHAMBERS— bass So Young (take 5)*
PHILLY JOE JONES— drums
BAKER HAIG. CHAMBERS and JONES CHET BAKER—trumpet, vocals
onfy on Polka Dots and Moonbeams.""SolarT KENNY DREW—piano
Produced by ORRIN KEEPNEWS and'WOen Lights Are Lou" GEORGE MORROW. SAM JONES— bass
PHILLY JOE JONES. DANNIE RICHMOND—
Recorded in New York City; July 21-22, 1959- Produced by ORRIN KEEPNEWS drums
Cover produced and designed by Paul Bacon-
Recorded in New York City; September 1958.
Ken Braren-Harns Lewine.
Cover photo —Paul Weller
Produced by BILL GRAUER
Cover design — Paul Bacon Recorded in New York City; August 1958.

CHET BAKER
IN NEW YORK CHET BAKER SINGS CHET BAKER
OJCCD-20--2 (Riverside 1119)
IT COULD HAPPEN IN MILAN
he undeniably erratic early career of TO YOU OJCCD-3-0-2 (Jazzland 18)

Chet Baker im <oli ed roller-coaster extremes OJCCD-K (Riverside 11201

now has become commonplace

B V it
and musical paradaxes. In the Fifties, his
for traveling American musicians to
sound and approach were often compared to !

knock off a casiuil album or two for a

Miles Dai is. although his greatest successes came
local European label Back 1959, when C/xt m
in a West Coast setting, began in Gerry Mulligan s
Baker left the United States for what was to be
coo/, pianoless quartet, and often emphasized
an extended oierseas stay, such recording was
ballads atul soft-toned vocals. But this album
decidedly a rarity. On this occasion, which was
shows Baker in a unique direct assaidt in Davis
an authorized celebration of his arrival in Italy
territory recorded in \eu York: including a
the repertoire (featuring material by Charlie
couple of tunes associated uith Miles: and above
Parker. Miles Davis. Geny Mulligan. Sonny
uith a driving East Coast supporting cast
all
RnlliiK and Tadd Dameron ) gives Chet a solid
made up of tough-tenor fohnny Griffin, bebop
basis to work from, the local supporting play-
veteran Al Haig. arut frequent Datis colleagues
ers, unknowns but all fully competent, do tbe
Paul Chambers and Philly foe Jones.
stone Tbe result a very pleasant surprise: in
is

many respects more satisfying than the work

Va.iT Weather. Polka Dots and Moonbeams,
the then-troubled Baker had been doing just Tidal Breeze, Shifting Down, ESP, The
before tearing home. Song You, Once Upon a Summertime
Is
(La Valse des Lilas)
CHET CHET BAKER— trumpet
BAKER GREGORY HERBERT— tenor saxophone
IN MILAN
HAROLD DANKO—piano
RON CARTER— bass
MEL LEWIS— drums

^^^r

'*i A
-^- ^ « JA2ZLAND
I Should Care, Violets for Your Furs, The

Song Is You, When I Fall in Dove, Goodbye,

Autumn in New York, Angel Eyes, Street of
Ladybird, Cheryl Blues, Tune Up, Line for Dreams, Forgetful, Deep in a Dream
Lyons, Pent-Up House, Look for the Silver
Lining, Indian Summer, My Old Flame CHET BAKER— trumpet
(vocal chorus on "The Song Is You,""When I
CHET BAKER— trumpet Tall inLove ""Angel Eyes,""Street of Dreams."
GLAUCO MASEl'll — alto saxophone "Deep in a Dream ")
GIANNO BASSO — tenor saxophone accompanied by string orchestra.

RENATO SELLANI—piano Produced by JOHN SNYDER

Recorded in Milan, Italy; October 1959.
FRANCO SERRI— bass New York City; February 20, 1977.
GENE VICTORY— drums
Recorded
Album
in

— — Ken Deardoff
Cover design
Cover photo— Al
design Carol Friedman
Francerich
Recorded in Milan, Italy; October 1959.
Cover designed by Paul Bacon-Ken Braren-
Harris Lewine CHET BAKER WITH
FIFTY ITALIAN
STRINGS
ONCE UPON
A SUMMERTIME OJ< < D-492-2 (Jazzland 921) COUNT BASIE
OJCCD-405-2 (Galaxy 5150)
One unusual fact about Chet Baker's
six-album assixiation with Ox Rirerside/
COUNT BASIE
H aring been through the most
daunting and destructive problems
and inactive in music, Chet
himself together personally and
Baker got
musically m
Jazzland organizcdion in the
and early Sixties is that it never involved a for-
mal contractual relationship. Tins is offered, not
as a lesson in record-lousiness legalisms, but as
late Fifties
BIG BAND
MONTREUX'77
(
)J(
( D-S77-2 (Pablo Live 230H-2O7)
1973 «»d went to New York for a comeback. an indication of the ever-present conflict between
The comeback had its ups and downs, but there mpressive as was
its pantheon of great
the trumpeter/singer's undeniable talents and
m
were /H-riods when the tru peter's work equaled his severe dependency problems, which made
over the years, the stock-in-trade of
soloists

or surpassed the playing of his poll-winning the band operated by Count Basle for five
him a potentially valuable but demanding and
years in the 1 950s. Once Upon a Summertime di'l/ic nil person to deal with this had led Pacific
decades was swing: unadulterated, captivat-
ing, addictive string. Although in trombonist
is from one of those periods Uith the powerful Jazz (to whom he was under contract) to lend"
young tenor saxophonist Gregory Herbert, pianist him which
to Rirerside for four records, after
Waymon Reed, and tenor
Al Grey, trumpeter
Harold Danko, and the perfectly-matched bass/ he made two (during a tour of Italy) that were saxophonist Jimmy Forrest this 19 edition '

drums team of Ron Carter and Mel Lewis, Baker acquired for Jazz/and Ibis is the second of of the Basic Band had three superb soloists.

regained his old lyricism and added a sinewy those: a richly relaxed group of standards (half
the band is the star I'oweivd t>y the nonpaivil

bebop strength that came as a welcome sur- with vocals) played against a full-sounding Basic rhythm section 0/ the leader on piano,
prise to many guitarist Freddie Given, bassist John Duke,
listeners. strings background
and on drams, this iscounUng a pair of njcals made
is
the ebullient Butch Miles
the legendary Basie swing that is still the when he was 1 1 years old. this is ART BLAKEY
standard ofja:: rhythm.

The Heat's On. Freckle Face. Splanky, The

George Benson s first recording as a
leader In 1964, he was sideman and rapidly & THE JAZZ
More I See You. A Night in Tunisia, Hittin".
Bag of Dreams. Things Ain't What They Used
organist fack
combo of
developing guitarist in the versatile
McDuff and it is McDuffs band
that backs Benson here. McDuff has been quot-
MESSENGERS
to Be. I Needs to Be Bee'd Ulth. Li'l Darlin",
ed as saying that Benson was so raw when he
Jumpin' at the Woodside. One O'clock Jump
hired him that although he could play the
blues, he didn't know any complete tune. By
CARAVAN
COUNT OJCCD-038-2 (Riverside 9438)
£3

^
At the time of his album. Benson the fast learner
•
I1NC
• I I

had eliminated that deficiency, as can be

plainly heard in the two standards here. He
There have been innumerable impressive
editions of the Messengers (any chrono-
had some developing to do.
still but he had logical of Blakey's stars-to-be sidemen
list

become the peer of McDuff and the veteran would take far more space than is available
tenor saxophonist Red Holloway quite an here). But it would be hard to find a moiv awe-
accomplishment for a young man of 21. —
some lineup in terms of both their strength
together and their later achievements — than
Shadow Dancers, The Sweet Alice Blues, this early-Sixties unit: Freddie Hubbard. Wayne
I Don't Know, Just Another Sunday, Will
Shorten Cedar Walton. Curtis Fuller
You Still Be Mine, Easy Living, Rock-A-

n Bve, Mv Three Sons*

CARAVAN
COUNT BASE—piano
AL GREY. DENNIS WILSON. MEL WANZO.
THE
NEW BOSS
ART BLAKEY
HUGHES— trombones
BELL ^GUITAR JAZZ MESSENGERS
WAYMON REED. LYN BIVLANO, SONNY
COHN. BOBBY MITCHELL— trumpets I GEORGE
JLMMY FORREST. ERIC DLXON,
DANNY TURNER. BOBBY PLVFER.
\$i*
CHARLIE FOWLKES— saxophones ^^the
FREDDIE GREEN—guitar BROTHER
JACK
JOHN" DUKE— bass McDUFF
BUTCH MILES— drums QUARTET S|
Produced by NORMAN GRAXZ
Recorded in Montreux, Switzerland; July 15, 197^ + •*•** ... Blakey's middle name
Cover photo —Giuseppe Pino is Time, and is in clear evidence all through
—
it

An direction and design Phil Carroll GEORGE BENSON—guitar impressive

JACK McDUFF —piano, organ
this set.

—JOHN A. TYNAN, Down Beat

RED HOLLOWAY— tenor saxophone
RONNIE BOYKLNS— bass
MONTEGOJOE or JOE DUKES— drums Caravan, Sweet 'n Sour (take 4)*,
Sweet 'n Sour, In the Wee Small Hours of

GEORGE Produced by LEW FUTTERMAN

New York City; May
the Morning, This Is for Albert. Skylark,
Thermo (take 2)*, Thermo
BENSON Recorded
Cover photo
in

— Don Schlitten
1 and 14, 1964.

ART BLAKEY— drums

CURTIS FULLER— trombone
FREDDIE HUBBARD — trumpet
THE NEW BOSS WAYNE SHORTER— tenor saxophone
GUITAR OF GEORGE CEDAR WALTON—piano
WORKMAN— bass
BENSON REGGIE
Prestige 7310)
 ——
Produced by ORRIN KEEPNEWS CEDAR WALTON—piano GIGIGRYCE— alto saxophone
Recorded in New York City; REGGIE WORKMAN— bass BENNY GOLSON— tenor saxophone
October 23 and 24, 1962. OSCAR ESTELL baritone saxophone
— Chuck
Cover photo Stewart
Produced by ORRIN KEEPNEWS HERB MULLINS— trombone
Album design — Ken Deardoff Recorded live at Birdland, New York City; TADD DAMERON—piano
June 16, 1963. PERCY HEATH— bass
Cover design — Ken Deardoff PHILLY JOE JONES— drums
UGETSU Supervision by IRA GITLER
OJCCD-090-2 (Riverside 9464)
Recorded New York City; June
in 1 1, 1953.

Other selections:
UGETSU
i
ART BLAKEY'S CLIFFORD CLIFFORD BROWN,
ART FARMER— trumpets
iJAZZ MESSENGERS:
AT BIRDLAND BROWN ARNE DOMNERUS— alto saxophone
LARS GULLIN
AKE PERSSON— trombone
baritone saxophone

BENGT HALLBERG—piano
MEMORIAL GUNNAR JOHNSON— bass
JACK NOREN— drums
OJCCD-017-2 (Prestige 7055)

Supervision by QUINCY JONES

n the Spring of 1953 the late, lamented
Recorded in Stockholm, Sweden;
trumpet genius was a featured soloist in September 15, 1953.
Taild Dameron 's band. These recordings set Cover design —
Hannan/Edwards
the jazz world onear and Broumie's fame
its

spread beyond musicians' circles. In the Fall he

toured in France and Sweden with Lionel
Hampton's orchestra, capturing the jazz audi-
*#** 1/2 The whole group ence on the Continent and leaving a legacy of

DAVE
. . .

continues to impress as the most consistent-

exceptional recordings, including the ones heard
ly exciting of its kind in jazz today.
—LEONARD FEATHER, Down Beat
here with Art Farmer and the Swedish All-Stars.
BRUBECK
The place was a Broadway
with characteristic anil not very exagger-
cellar that,
JAZZ AT OBERLIN
ated swagger, proclaimed itself The Jazz OJCCD-046-2 (Fantasy 3245)
Corner of the World." The date was mid-June
1963, when the New York post-hop era was still College jazz concerts have long been a
commonplace, but in 1953 they were a
very much The bandleader was
in progress.
—
Art lilakey, then as he continued to be for over
rarity It was
Dave Brubeck Quartet
the

—
two decades celebrated as a developer of major
that pioneered in the genre, atui this was their
first on record. Oberlin, with its famous conser-
new talent (the young lineup on this occasion
vatory, was an appropriate setting, and the
included such as Freddie Hubbard and Wayne
Shorter). The result, thisfazz Messengers album,
foursome came up with a program of five great
remains a swinging pleasure and a reaffirma- jazz standards in long and often surprisingly
tion of the belief that this kind of on-the-scene five performances that found Dave and Paul
adventure can create some of the most effec-
Desmond at the top of timr game. Dave's intense

tive recorded jazz.

solo on '
77jf.se Foolish nings" is one of his most
Stockholm Sweetnin', 'Scuse These Blues, inspired early improvisations, and Paul shines
One by One, Time Off, Ping-Pong,
Ugetsu, Falling in Love with Love, Lover Come on "The Way You Look Tonight." Throughout,
I Didn't Know What Time It Was, On the Back to me, Philly J J, Dial "B" for Beauty, the interplay between them is fresh and often
Ginza, Eva*, The High Priest*, The Theme* Theme of No Repeat, Choose Now (#1), astonishing. Caught at the brink offame, the
Choose Now (#2) quartet shows why it got there.
ART BLAKEY— drums
CURTIS FULLER— trombone l'hillyJ.J,""Choose Now; "Dial B'for These Foolish Things (Remind Me of
FREDDIE HUBBARD— trumpet Beauty," "Theme of No Repeat"; You), Perdido, Stardust, The Way You
WAYNE SHORTER— tenor saxophone CLIFFORD BROWN, Look Tonight, How High the Moon
LDREES SULIEMAN— trumpets
DA\T BRUBECK—piano I Remember You, For All We Know The Way You Look Tonight, Love
PAUL DESMOND— alto saxophone Walked In, What Is This Thing Called
RON" CROTTY— bass DAVE BRUBECK—piano Love, September in the Rain, Prelude,
LLOYD DAVIS—drums PAUL DESMOND— alto saxophone Fugue on Bop Themes, Let's Fall in Love,
RON CROTTY— bass LPCA, How High the Moon, Serenade
JOE DODGE-rfrairo Suite, Playland-at-the-Beach, Prisoner's
Song, Schizophrenic Scherzo, Rondo, I
Hear a Rhapsody, You Go to My Head,

Mil
college of the pacific
Laura, Closing Theme

DAVE BRUBECK—piano
BOB COLLINS — baritone saxophone
DAVE VAN KRIEDT— tenor saxophone
dave brubeck quartet
PAUL DESMOND— alto saxophone
DICK COLLINS— trumpet
WILLIAM O. SMITH— clarinet
JACK WEEKS— bass
CAL TJADER— drums

DAVE BRUBECK
**•***• ... This is incredible music,
OCTET
jazz or whatever, and you should buy it.
Uotwr^t PAUL DESMOND CAI 1JADEI
—NEIL TESSER. Down Beat ick ir ~k if ... Ranks with the Oberlin DAVID VAN KIIEOT DICK COIMNS
and Storyville sets as the best of Brubeck on
record.

Recorded in Finnev Chapel. Oberlin College;

—NAT HENTOFF. Down Beat
March 2, 1953.

Recorded at College of the Pacific,

CA; December 14, 1953.
JAZZ AT COLLEGE Stockton,
Cover design by Ed Colker
OF THE PACIFIC Drawing by Arnold Roth
QJCCD-fM--2 i Fantasy

ine months after their success at DAVE BRUBECK Recorded in San Francisco, 1946.
Oberlin. the Bruheck Quartet appeared
in concert at the College of the Pacific
OCTET Cover drawing —Arnold Roth
OJCCD-101-2 (Fantasv 3- (9)
It was a homecoming for Date, a graduate of
tlx- Stockton. California school where his musical are Brubeck's early reputation was
talent first began to unfold, and the reception based on recordings for Fantasy with
was enthusiastic TIk- importance of the Quartet, his trio and. soon after, the quartet
which established tlx- liability ofjazz attractions
in tin' college market and brought a whole gen-
sides with Paul Desmond. However, the octet
be was involved with from l'j-i(> has never KENNY
eration of students into tlx' jazz fold, is

overlooked today As this music shows, they

too often been given its proper due
Desmond, trumpeter Dick Collins, tenor BURRELL
diilnt do it by pandering to their audience. They saxophonist Dave Van Kriedt, clarinetist Bill
were clearly involved and committed and the Smith and Brubeck were heard in solo, but the
interaction between Dave and Paul Desmond. emphasis is on the writing by Brubeck. jack THE CATS
and the attoisfs gentle humor and melodic Weeks, and. particularly, the fugal inventions OJCCD-079-2 New i
Jazz 8217)

grace contrasting uith the leader's intensity of Van Kriedt Many

of the writers involved.
Tommy Flanagan
could be captivating. Here, they are off and including of course, Brubeck. were students Today
most highly valued
is one Of the
pianists in jazz. Back
running, on the track to fame. o/ composer Darius Mi/baud at the time
Some of these pieces were recorded appearances on record
in the Fifties bis
ill

All the Things You Are. Laura, lullaby were primarily as a sidemau. well-a/i/m'cialed
1946. three years before the Miles Davis Nonet,
in Rhythm, I'll Never Smile Again, by his fellow musicians and the cognoscenti
and certainly ahead of their lime
 This is and
the one-time chemistry of Burrell
m ua mi Coltrane, the blend of guitar and tenor saxo-
mi ( ms phone in a mix of original and standards; one
io\i\n of the latter, "Why Was I Bom?" is a duet for
1 1 WW.W the two principals.

Ki||\ Freight Trane, I Never Knew, Lyresto,

<"l IKWt Why Was
|rjj I Born?, Big Paul

MVNV
KENNY BURRELL—guitar
JOHN COLTRANE— tenor saxophone
mm is TOMMY FLANAGAN—piano
SI III M\\
PAUL CHAMBERS— bass
JIMMY COBB— drums
H '""
'""1

but not recognized for their display of bis important role in the introduction into this
superior abilities by a wider audience. country of the compelling Brazilian rhythm
Tlx fact that this album contained a —first on that major hit with Stan Getz and
Flanagan trio track, "How Long Has This Been then on his own Bossa Nova Pelos Passaros
Going On?," was greeted with glee by the inner (now OJCCD-107-2). But before, during, and
circle. Then, too, since Coltrane, Burrell, and after the craze. Byrd was capable of much
/drees Sulieman were such empathic
choice, more — a remarkable improriser and a richly
soloists, it was a delight to hear them interact versatile in-person performer. This 1963 "lire"
with Tommy and the all-Detroit rhythm sec- session at a celebrated New York club, the
tion of Doug Watkins and Louis Hayes. All the Village Gate, offers a little South American
originals are from the pen of Flanagan. flavor and a lot of other jazz elements,
including the guest appearance of trumpet
Minor Mishap, How Long Has This great Clark Terry.
Been Going On?, Eclypso, Solacium,
Tommy's Tune k k ~k ~k ~k ... There is an abundance
of fine soloing. . . All in all, one of the best
•k k k ~k — Down Beat
TOMMY FLANAGAN—piano examples of jazz in the late '50s.
JOHN COLTRANE— tenor saxophone — HAR\TY PEKAR, Down Beat
EDREES SULIEMAN— trumpet Shiny Stockings, More (theme from
KENNY BURRELL—guitar Mondo Cane), Blues for Night People,
DOUG WATKINS— bass Supervision by BOB WEINSTOCK Butter and Egg Man, Ela Me Deixou,
LOUIS HAYES— drums Recorded in Hackensack, NJ; March 7, 1958. Broadway, I Left My Heart in San Francisco,
BOB WEINSTOCK
Cover photo/design — Don Schlitten Some Other Spring, Where Are the Hebrew
Supervision by
Sculpture — Stylianos Gianakos Children?, Let's Do It", Jive at Five*
Recorded in Hackensack, NJ; April 18, 1957.

CHARLIE BYRD—guitar
KETER BETTS— bass
KENNY BURRELL & BILL REICHENBACH— drums
JOHN COLTRANE - CHARLIE CLARK TERRY— trumpet ("Butter
Fgg Man,"" Broad way," "Some Other Spring,"
and
OJ( CD-300-2 (New Jazz K2

BYRD
r>>

Jive at Five")
ne of those rare combinations that SELDON POWELL— tenor saxophone
occur only in the recording studio hap- (More.'Fla Me Deixou"" Broadway")
pened between John Coltrane and
Kenny Burrell in 1958. The rhythm team of BYRD AT THE GATE Produced by ORR1N KEEPNEWS
Paul Chambers and Jimmy Cobb, who were OJ< CD-262-2 (Riverside 9467) Recorded live at the Village Gate in
with the Miles Dai is quintet, was enhanced by New York City; May 9 and 10, 1963
the suave, swinging piano of Tommy Flanagan,
at that time solidifying his growing reputation
on the New York scene.
To (
a great
harlie liyrcl
many people,
and
heat known as bossa nova will always
the
the updated
name of
samba
Album design — Ken Deardoff

be intertwined. The guitarist did play a most

 Produced by LESTER KOENIG
BENNY CARTER ORNETTE Recorded in Los Angeles;

JAZZ GIANT
COLEMAN February 10 and 22, March 24, 1958.
—
Cover photo Walter Zurlinden
—
Cover design Guidi Tn-Arts

OJCCD-16"-2 (Contemporary 7555)

THE MUSIC OF
Tbougb lx moied to Hollyurx>d inure than ORNETTE COLEMAN TOMORROW IS
four decades ago. Benny Carter transcends
SOMETHING ELSE!!!! THE QUESTION!
any geographical style: for more tfxin a Ixilf "*55
OJCCD-?-t2-2 'Contemporary
OJCCD-163-2 (Contemporary 1 >

century: lx Ixis been just wlxit be is called in tbis

—
album a gumt of every jazz era. Here lx displays This is second Contemporary
Ornette's

three of bis many talents, principally as an alto album, recorded a year debut after bis
saxophonist bid also as composer on two numbers
and trumpeter on twa Tlx company lx kept, uifo
SOMETHING Something Else! (OJCCD-163-2). again fea-
turing Don Cherry but substituting the "bouse"
rhythm section of Slxlly Manne and Red
Ben Webster and Frank Rosolino rounding out
tlx front line, and such fellow giants as Andre music ELSE Mitchell for Billy Higgins and Don
Albums followed on Atlantic, Blue Note,
Payne.

Preiin. Barney Kessel. Leroy Vinnegar. and Slxlly OF ESP,

Marine in the rhythm section (Jimmy Howies

replaces Previn on two tracks), left no doubt that
0RNETTE and Horizon. Ornette's "accessibility" remains
a record company concern — a 1988 Portrait

tbis album would be a milestone in straight-

ahead, small-group mainstream jazz.
cCOLEMAN
CONTEMPORARY
release
"most
was recently touted by the label as bis
But bis music was accessible
accessible."
enough 30 years ago for Contemporary's Les
Koenig to have launched Coleman's enduring

m S75S1 and distinguished recording career.

0M0RR0WI£e new music of ,

~kiririr... All the selections were ISTHElQRNETTE.l

composed by Coleman .... His lines
attractively linear, strongly mobile, and quite
are
[STIONiCOLEMAN
melodic at times. Much of the rating here is

inspired by this excellent writing His . . .

album should be heard.

—JOHN A. TYNAN, Down Beat

is to the lasting credit of the late Lester

It Koenig. founder of Contemporary Records,
that lx gave Ornette Coleman bis first expo
sure on records, thus launching a career that
would a worldwide influence. Coleman s
exercise
Old Fashioned Love, I'm Coming Virginia,
vision of the future, ashe said in 1958. Jon-told
A Walkin' Thing. Blue Lou, Ain't She Sweet,
that "music will be a lot freer. Tlx pattern for a
How Can You Lose. Blues My Naughty-
Tomorrow Is the Question!, Tears Inside,
Sweetie Gives to Me tune, for instance, will be forgotten and tlx tune
itself will be the pattern." Recorded in 1958. tbis Mind and Time, Compassion, Giggin',
Rejoicing, Lorraine, Turnaround, Endless
BENNY CARTER— alto saxophone, trumpet is the first of two albums Coleman made fir the

BEN WEBSTER— tenor saxophone West (Oast label before moving on, the follow-
ORNETTE COLEMAN— alto saxophone
FRANK ROSOLLNO— trombone ing year, to New York and global renown. It
DON CHERRY— trumpet
ANDRE PREVIN or JIMMY ROWLES—piano is. by any yardstick, a vital collectors' item
RED MITCHELL— bass -"Lorraine."
<

BARNEY KESSEL—guitar "Turnaround,"" Endless")

Invisible, The
Blessing, Jayne, Chippie,
LEROY \TNNEGAR— bass PERCY HEATH— bass (other selections)
The Disguise, Angel Voice, Alpha, When
SHELLY MASSE— drums Will the Blues Leave?, The Sphinx SHELLY MANNE— drums
Produced by LESTER KOENIG ORNETTE COLEMAN— alto saxophone Produced by LESTER KOENK i

Recorded in Los Angeles; June July 22, and

1 1 , DON CHERRY— trumpet Recorded in Los Angeles;
October 7, 195", and April 21, 1958. WALTER NORRIS— piano January 16, February 23, and March 9-10, 1959.
—
Cover photo William Claxton DON PAYNE— bass —
Cover photo Roger Marshutz
-
lesign —
Guidi Tn-Arts BILLY HIGGINS— drums —
Cover design Guidi/Tri-Arts
 JOHN COLTRANE
Coltrane (1926-6'') was recording extensively under his modern jazz. The Coltrane quartet,
John mostthe relentlessly explora- own name (often with pianist Red oftenexpanded to include a bassist
tory musician in jazz history. Garland's trio) and as a sideman and (for much of 1961) Eric
He was always searching, seeking in 1957, spent a brief yet invalu- Dolphy, proved extremely popular
to take his music further in what able stay with Thelonious Monk without abandoning its exploratory
he quite consciously viewed as a that same year, then returned to edge, and by 1965 was the premier
spiritual quest. In terms of public Davis as a featured soloist for the group in jazz.

recognition, this quest began rela- rest of the decade. The incredible Coltrane still heard something
tively late. The tenor saxophonist, a technical and harmonic content of more, however, and by the summer
native of North Carolina who later his playing at the time led to a of '65 he had opened up his rhyth-
moved to Philadelphia, was 28 style, described as "sheets of sound," mic and textured vocabulary fur-
when he joined the Miles Davis that, by I960, seemed the last word ther by incorporating the energy
quintet in 1955. after years of pay- in chord-based improvising. (and often the presence) of younger
ing dues in the big band and During his second stay with avant-garde players into his music.
combo of Dizzy Gillespie (where he Davis, however, Coltrane became Pharoah Sanders joined the band
played alto before switching to immersed in modes and scales, as a permanent second saxophon-
tenor) and as a supporting player which he began to use in place of ist; Rashied All and Coltrane's wife
behind saxophonists Johnny standard chord progressions in his Alice replaced Jones and Tyner,
Hodges, Eddie "Cleanhead "Vinson, music around the time he organ- respectively; and his music entered
and Earl Bostic. ized his first quartet in I960. This yet another phase that generated
Coltrane's anguished tone and group, ivhich featured pianist debate regarding whether Coltrane
multi-noted, rhythmically complex McCoy Tyner, drummer Elvin Jones, had not once again gone too far.
solos with Davis quickly elevated and, ultimately, bassist Jimmy This final phase, while indeed filled
him to the front ranks ofjazz, Garrison, became one of the semi- with cataclysmic sounds, also con-
although some commentators were nal jazz bands, playing with incred- tained music of a new and promis-
disturbed by the complexities of his ible energy and stamina and ing lyricism. Wfjen liver disease
style and his insistence on pushing providing a forum for Coltrane's took Coltrane's life, his legion of
beyond his rapidly diminishing lim- growth as a composer. It was also disciples was left to ponder what
itations. These traits, as well as the setting for Coltrane 's adoption further vistas he had glimpsed in
these complaints, marked the of the soprano saxophone, a move his quest for musical purity.
remainder of Coltrane's career. His that single-handedly repopularized
position was quickly solidified, an instrument that (Steve Lacy
however, when Coltrane began excepted) had been unheard in PHOTOGRAPH BY JIM MARSHALL
 COLTRANE
OJCCD-020-2 (Prestige 7105)

fter establishing himself as a new

star with the Miles Davis quintet, the
Thelonious Monk quartet, and various
Prestige recordings withSonny Rollins, Hank
Mobley, and Tadd Dameron, Coltrane made
his debut as a leader with this LP It includes
hisown compositions such as "Straight Street"
and "Chronic Blues"; and his inimitable explo-
rations of little-heard old pop songs such as
"Violets for Your Furs,""W)jile My Lady Sleeps."
and "Time Was."

Bakai, Violets for Your Furs, Time Was,

Straight Street, While My Lady Sleeps,
Chronic Blues

JOHN COLTRANE— tenor saxophone

JOHN COLTRANE— te nor saxophone
SOULTRANE RED GARLAND—piano
JOHNNIE SPLAWN— trumpet
SAHIB SHIHAB— baritone saxophone
OJCCD-021-2 (Prestige 71 (2)
PAUL CHAMBERS— bass RED GARLAND—piano ("BakaHViolets
ARTHUR TAYLOR— drums for Your Furs'.'Time Was")
album continued
This
of Trane
the reinforcement
importance as a stylist. As in
s
MAL WALDRON—piano (other selections)
Coltrane and John Coltranc and the Red if if if if if ... [Coltrane] is always PAUL CHAMBERS— bass
going for something beyond him, and ALBERT "TOOTIE" HEATH— drums
Garland Trio, bis first two albums as a leader . . .

never fallsback on an easy or accepted way

for Prestige, the material in Soultrane is away Supervmon by BOB WEINSTOCK
of doing what he wants to do.
from tlx' ordinary The Cariand-I'aul Chambers-
Arthur Taylor rhythm section is a /terfect accom-
—DOM CERULU, Down Beat Recorded in Hackensack, NJ; May }1, 1957.

panying unit for Trane who, by this time, was

Cover design/photo — Esmond Edwards
—
acknowledged to be altnig with Sonny Rollins —
Supervision by BOB WEINSTOCK
one of the two most influential tenor saxo-
Recorded in llackensack, NJ; February 7, 195H
phonists in jazz.
Cover — Esmond Edwards
Good Bait, I Want to Talk About You,
You Say You Care, Theme for Ernie,
Russian Lullaby
 '

ARTHUR TAYLOR— drums "Like Someone in Love." I Love You,"

SETTIN' THE PACE Trane s Slo Blues':
OJCCD-<rS-2 'Prestige 2
Supervision by BOB WEINSTOCK JOHN COLTRANE— tenor saxophone
Recorded in Hackensack. NJ; March 26, 1958. EARL MAY— bass
Coltrane does not do tlje old Dexter
Gordon/Leo Parker duet number. "Settin
Cover design photo — Don Schlitten ARTHUR TAYLOR— drums
Recorded August 16, 195".
tlje Pace" in this set. Tfje overall title
merely refers to bis preetnininece in tbejazz "Lush Life":

world at the time the recording was released LUSH LIFE JOHN COLTRANE— tenor saxophone
in the early Sixties. OJGCD-131-2 (Prestige 7 188) DONALD BYRD— trumpet
Recorded in 1958. this session comes from RED GARLAND—piano
a time when Trane bad already placed in the PAUL CHAMBERS— bass
Miles Datis quintet and tlje Tljelonious Monk LOUIS HAYES— drums
qiuirtet. and was frequenting Rudy Van Gelder's Recorded January 10, 1958.
Sew Jersey- studio backed
in recording situations "/ Hear a Rhapsody"
by tlje Red Garland trio. This threesome — JOHN" COLTRANE— tenor saxophone
Garland. Paul Chanbers. and Arthur Taylor — RED GARLAND—piano
was a Prestige entity on its own. but Ijad already PAUL CHAMBERS— boss
released such albums uith Coltrane as Traneing ALBERT -TOOTm' HEATH— drums
Inand Soultrane Settin' the Pace with its Ijeady Recorded May 31, 195".
combination of seldom-done pop material and
Jackie McLean s intriguing "Little Melonae." Supervision by BOB WEINSTOCK
continued tlje excellent quartet series at a time Recorded in Hackensack, NJ.
wbett Trane was making jazz history at the Cover photo — Esmond Edwards
Ijead of yet another powerful foursome.

•k -k kk * ... All aspects of

TRANEING IN
OJCCD-1S9-2 'Prestige "123)
Coltrane's conception during this period are
on the album.
well-illustrated For sheer
. . .

beauty of approach and execution, his work

has rarely been equaled.
—FRANK KOFSKY. Doun Beat

obn Coltrane's Prestige years began

when he joined the Miles Davis Quintet
in 1955. During the next few years, when
he was either with Davis or the Tbelonious
Monk Quartet, be functioned as both leader
and sidemanfor this label These recordings
document the first part of his relatively short
but highly influential time in the spotlight
kkkk ]/2 . . Those who like what Lush Life, a combination of standards and
Coltrane is doing in 1 962 and those who
a blues, treated in the unique Coltrane man-
reject both album.
it will like this

—TRA GITLER. Doun Beat —

ner sound wedded to material in a complete-
ly —
personal way contains three tracks uitl>- k -k k "k . About the only thing
. .

out a piano. Tliis is the first time he recorded you can expect in [Coltrane's] playing is the
unexpected. ... If he can sustain and devel-
ISee Your Face Before Me, If There in this manner, other than when Monk was
op this personal individuality, he seems des-
IsSomeone Lovelier Than You, Little strolling." and it offers another aspect from
tined to be a major influence on his horn. . .

Melonae. Rise "n" Shine and of. Trane A fine LP. with some highs and middles but
no lows.
JOHN COLTRANE— tenor saxophone Like Someone in Love, I Love You, Trane's —DOM CIERUU. Down Beat
RED GARLAND—piano Slo Blues, Lush Life, I Hear a Rhapsody
PAUL CHAMBERS— bass
 made for JOHN COLTRANE— tenor saxophone
The recordings John Coltrane
Prestige, both with and without Miles
from Broadway, Hollywood, and
With the excellent rhythm team of Red Garland,
Tin Pan Alley.
DONALD BYRD— trumpet
Davis, helped establish his first substan- Paul Chambers (both of whom had done so RED GARLAND—piano
tial foothold in the jazz world. He showed many concert, club, and recording dates with PAUL CHAMBERS— bass
that he could play the blues: and whether he and Jimmy Cobb, and the Miles-directed
him), ARTHUR TAYLOR— drums
was treating a ballad at the usual tempo or flugelhorn of Wilbur Harden. Trane puts his
taking one upstairs, he combined thought and personal stamp on numbers not done tlxit often — STEREO
emotion in a completely individual manner Henry Nemo's "Don't Take Your Love from Me"
The Garland trio, itself a recording entity for
the label,
to Trane's
was a strong unit
musical attitudes.
that was sensitive
and Fivd Ahlert's
familiar yet
Rodgers's "Spring
still
"I'll

Is
Get By"; and two more
not overdone songs, Richard
Here" and Bronislau
^BUgK PEARLS
% 0F s
% JOHN CDLTRAME

Kaper's "Invitation."
Jr*l
w
Traneing In, Slow Dance, Bass Blues,
You Leave Me Breathless, Soft Lights and Don't Take Your Love from Me,
Sweet Music I'M Get By, Spring Is Here, Invitation

JOHN COLTRANE— tenor saxophone JOHN COLTRANE— tenor saxophone •

RED GARLAND—piano WILBUR HARDEN— trumpet -

PAUL CHAMBERS— bass RED GARLAND—piano

ARTHUR TAYLOR— drums PAUL CHAMBERS— boss
JIMMY COBB— drums •
Supervision by BOB WEINSTOCK
Recorded in Hackensack, NJ; August 23, 1957. Supervision by BOB WEINSTOCK
Supervision by BOB WEINSTOCK.
Cover photo —Esmond Edwards Recorded in Hackensack, NJ; July 11, 1958.
Cover design/photo — Don Schlitten
Recorded in Hackensack, NJ; May 23, 1958.
Cover photo—Joe Alper
Cover design — Don
STANDARD Schlitten

COLTRANE BLACK PEARLS

OJCCD-2 16-2 (Prestige 7243) OJCCD-352-2 (Prestige 7316)
DAKAR
OJCCD-393-2 (Prestige 7280)
n addition to their positions of importance
in the Miles Davis quintet of the mid-Fifties, the spring
of John 1957, Coltrane
John Coltrane and Red Garland recorded Iiihad gone through two years of artistic
a series of studio dates for Prestige in 1957 growth so concentrated it was astonishing
and '58. Here, as in several of the others. Paul even in the jazz world, where compivssed
Chambers is the bassist and Arthur Taylor the musical development is far from unknown.
drummer, ivith Donald Byrd on trumpet As the other horn in the .Miles Davis Quintet,
making it a quintet
There are only three numbers: the title song
Black Pearls an extremely swift version of
i

"Lover ( ome Back

to Me"; and the fast "Sweet
Sapphire Blues' Which begins with Garland
soloing from the gitgO in a long, up-beat explo-
ration before Trane unfurls his "sheets of sound."
Byrd gets into that rapid-fire mode, in and
among his more evenly<adenced lines, and
Chambers (plucked) and Taylor (brushes into
• ••* — Otitt n Rval
Garland ends it with a
sticks) solo before
riff credited to Prestige's then-president.
Bob Wetnstock.
Coltrane brought a
Joint style to jazz, new sound
dtiil and he applied il in his
own unique way to the standard material Black Pearls, Lover Come Back to Me,
of the storehouse of American music gathered Sweet Sapphire Blues
Oiltrane bad moved from virtual obscurity Monk had deepened bis harmonic under- within the song form. He all but explodes it in the
to acclaim as tbe tenor saxophone innovator standing and reinforced bis determination to tune and. particularly. "Goldsboro Express."
title

oftl)e decade. AJtbougb major stylistic depar- explore beyond the boundaries of standard But in the album's lovely ballads, be caresses
tures were to come. Coltrane was at a peak of jazz improvisation. In his remarkable blues and embellishes the melodies and chords as if
tbe probing lyricism and strength of bis mid- solo on "By the Sumbers." Coltrane both preparing to bid them a reluctantfarewell
dle period. With tbe interestingly contrasted affirms his roots and announces a new direc-
baritone saxophonists Cecil Payne and Pepper tion. Com-parison with the other slow blues.

Adams, and a rhythm section of great smootlj- "Slowtrane." made eight months earlier, is

ness and swing. Dakar is a gem in tbe instructive.

Coltrane discograplry.
Lover, Slowtrane, By the Numbers,
Dakar, Mary's Blues. Route -*, Velvet Come Rain or Come Shine
Scene, Witches Pit Cat Walk
"Lover""Come Rain or Come Shine":
JOHN COLTRANE— tenor saxophone JOHN COLTRANE— tenor saxophone
CECIL PAYNE. PEPPER ADAMS— baritone DONALD BYRD— trumpet
saxophones RED GARLAND—piano
MAL WALDRON—piano PAUL CHAMBERS— bass
DOUG WATKLNS— bass LOUIS HAYES— drums
ARTHUR TAYLOR— drums Recorded January' 10, 1958.

Supervision by TEDDY CHARLES "Slowtrane":

Recorded in Hackensack, NJ; April 20, 1957. JOHN COLTRANE— tenor saxophone
Cover design photo —Don Schlitten
EARL MAY— bass
ARTHUR TAYLOR— drums
Recorded Augusr 16, 1957. Bahia, Goldsboro Express, My Ideal,
I'm a Dreamer (Aren't We All), Something
THE LAST TRANE "By tbe Sumbers":
JOHN COLTRANE— tenor saxophone
I Dreamed Last Night

OJCCD-394-2 .Prest,ge7378)
RED GARLAND—piano JOHN COLTRANE— tenor saxophone
PAUL CHAMBERS— bass WILBUR HARDEN— trumpet ("My Ideal:
ARTHUR TAYLOR— drums "I'm a Dreamer" "Something I Dreamed Last
JOHT1 Recorded March 26, 1958. Nigbt")
COLTTAT1E J RED GARLAND—piano
Supervision by BOB WEINSTOCK PAUL CHAMBERS— bass
LAST * 1 ARTHUR TAYLOR— drums ("Bahia.
TT7U1E . s Recorded in Hackensack, NJ.
"Goldsboro Express ")
— Don
Cover design Schlitten
JIMMY COBB— ch -urns (other selections)
Cover photo—G. Terrell

Supervision by BOB WEINSTOCK

Recorded in Hackensack, NJ on July 11, 1958
"My Ideal,'' "I'm a Dreamer") and December 26,
BAHIA
(

1958 (other selections)

«Hlr £* OJCCD-415-2 (Prestige 7353)

•1IK

1 When Bahia was made in late BYE BYE

1958,Jobn Coltrane was running BLACKBIRD
out ofpatience with tbe standard OJCCD-681-2 (Pablo Live 2308-227)

The LastTrane represents tbe final

studio session for Prestige in the produc-
song form as a vehicle for improvisation
Although be was to make one unforgettable ;/ late 1962. John Coltrane had traveled
tive recording relationship between album of standards in tbe early 1960s, by mid a long distance in a short time in his rest-
John Coltrane and Red (airland Often with 1959 his incredible energies were increasingly less expansion oj musical territory "Giant

trumpeter Donald Byrd on board, the two modal and scalar channels that
directed into Steps: that monument to his virtuosity and
made a succession of dates in 1957 and 58 in would lead him to some of the most expansive vision, was nearly three years behind him in
n biib Coltrane v genius could be beard devel- and. ultimately mysterious creative expression it, he had /lacked into tbe standard jaz2 bar-

oping His celebratedjob with Thelonious in all ofjazz. Bahia presents ( oltraue still u inking moiiii package about all it could hold, and
then same. And yet. be couldn't quite let the the history ofAmerican music. The importance genius of the modern era, Schlitten thus pro-
song form go. even as he was blowing it apart. to Coltrane of the polyrhythms and power of vided the circumstance for one of diss's great
In these two concert performances with his best Jones's drumming cannot be overemphasized. albums To many listeners. This Is Criss! was a
quartet. Coltrane gets inside two pieces. "Bye From the evidence of this recording, it is clear revelation: it presented a fully matured soloist
Bye Blackbird and "Traneing In" (a blues with
" that the electricity between them was flowing who had overcome the uneven conception
a bridge), does everything possible with their at full force from the beginning. and time problems that many of them remem-
chord structures, and then moves into the bered from his brilliant but erratic earlier
impossible. It is some of the most powerful Mr. P.C., The Inch Worm, Ev'ry Time work. Highlights include the grit and emotion-
Coltrane tenor saxophone on record. We Say Goodbye al directness of his playing on the blues and
his inventiveness on the beautiful and har-
JOHN COLTRANE— tenor and soprano monically demanding "Skylark."
saxophones
McCOY TYNER—piano
Black Coffee, Days of Wine and Roses,
JIMMY GARRISON— bass When Sunny Gets Blue, Greasy; Sunrise,
ELVIN JONES— drums
Sunset; Steve's Blues, Skylark, Love for Sale*

SONNY CRISS— alto saxophone

WALTER DAVIS—piano
PAUL CHAMBERS— bass
ALAN DAWSON— drums

(Hat is an alto suophorasl Ktost conswute artshy innadic

THIS I? Ctf tf!

SONNY CRISS ^
Bye Bye Blackbird, Traneing In

JOHN COLTRANE— tenor and soprano

saxophones
McCOY TYNER—piano
JIMMY GARRISON— bass
ELVIN JONES— drums Recorded in Paris; circa 1961-62.
Art direction— Phil Carroll
Recorded live during a tour of Europe, late fall 1962. Cover photo— Roberto Polillo mi
Cover photo — Roberto Polillo Cover design — Margerin
Gilles

Produced by DON SCHLITTEN

THE PARIS CONCERT Recorded in Englewood
October 21, 1966.
Cliffs, NJ;

OJCCD-781-2 (Pablo Live 2 M)H-2 VI)

—Don
n his odyssey to realize the music evolv- SONNY Cover design/photo Schlitten

ing in his head with a rapidity astonishing

even in jazz, John Coltrane in 1 96 1 settled
on a combination of musicians to accompany
CRISS
Mm on his explorations. In this broadcast of a
concert in Paris, probably in early 1 962, the
THIS IS CRISS!
OJCCD-430-2 (Prestige 751 1)
heard not long
"classic" Coltrane quartet is
after it was formed. On tenor saxophone and 1 966 producer Don Schlitten imported

his newly adopted soprano. Coltrane, pianist

McCoy Tyner, bassist Jimmy Garrison, and
In Sonny Criss to New York for a recording
session with a rhythm section handpicked
drummer Ellin Jones are already locked into for their ability to swing and for their under-
the intensity, energy, and daring that was to standing of the bebop methods that drove
characterize their music for four years and Criss. Determined to enhance the career of an
make them one of the most influential bands in alto saxophonist he considered an overlooked
 RED GARLAND—piano
PAUL CHAMBERS— bass
COOKIN/WITH THE MILES DAVIS QUINTET/PRESTIGE 709^ PHILLY JOE JONES— drums
Supervision by BOB WEINSTOCK
Recorded Hackensack, NJ; October 26, 1956.
in

Cover — Reid Miles

THE MUSINGS
OF MILES
OJCCD-004-2 (Prestige T 0CT>

was a forerunner of the Miles Davis

his
it was his first session uith
Quintet as
Red Garland and Philly foe fones. Up to
then his Prestige dates had been of the "all star"
variety. (Oscar Pettiford fills that bill here.)

By the fall, John Coltrane and Paul Chambers

would come aboard to help form the first of a
continuum of great Daiis working groups.
On "A Night in Tunisia" Philly Joe used special
sticks with little cymbals riveted to the shaft.

WillYou Still Be Mine?, I See Your Face

Before Me, I Didn't, A Gal in Calico, A
Night in Tunisia, Green Haze

MILES DAVIS— trumpet

RED GARLAND—piano
OSCAR PETTIFORD— bass
PHILLY JOE JONES— drums

COOKIN' WITH THE From the muted eloquence of "My Funny

MILES DAVIS QUINTET Valentine." through the fingerpoppin" Blues
Five" to the urgent swing of'Airegin' and "Tune-
by

OJCCD- 128-2 (Prestige "094 1

Up,"'Cookin' has the ability to thrill the listener

no matter how many times it is played — the
The famed extended recording sessions of
if* Miles Daiis Quintet, wherein they taped
mark of an all-time great performance.
the band's basic repertoire (and what a
marvelous mixture ofjazz originals and stan- ir ir ir ir ir ... All the tremendous
cohesion, the wild, driving swing, and the all-
dards) in the manner of nightclub sets rather
out excitement and controlled emotion that
than the repetition of the usual studio takes.
was present at the best moments of the Davis
Cookin was the first to be released and it quintet has been captured on this record.
excited listeners not only with its contents but —RALPH J. GLEASO.N. Down Beat ir ir ir ir -k — Down Beat
uith its promise ofnu/rv to crjtne. Dai is. Cottrtme,
Garland, Chambers, and Philly foe one of the
My Funny Valentine, Blues by Five,
ofjazz It estaljlislxd
classic grrjups in tfje liistory Supervision by BOB WEINSTOCK
Airegin, Tune-l'p/When Lights Are Low
a level of excellence that was to foster a long.
Recorded in Hackensack, NJ; June 7, 1955
successive line of outstanding Dans quintets MILES DAVIS— tru mpet
and sextet* tbrOUgb the Fifties and Sixties. JOHN COLTRANE— tenor saxophone Cover photo — Bob Weinstock
 MILES DAVIS
Some musicians are sufficiently
inspired and influential to be
soon became recognized as the
of the cool." Yet in smaller bands of
"birth popularize material based upon
scales and modes. Dcwis also reunit-
labeled epoch-making. Miles quartet to sextet size that Davis tend- ed with Gil Evans for a series of
Davis (1926-91J made new jazz ed to lead in most of his live and stu- orchestral recordings that redefined
epochs every feu- years. For nearly dio work for the next several years, the potential of the jazz soloist in a
five decades he was at the center of the emphasis was on a more assert- large band context.
the music, charting directions and ive rhythmic edge and extended The Sixties found Davis putting
introducing other legendary figures improvisations that revitalized the together another seminal quintet
at a rate that unmatched by his
is blues vernacular. A list of key collab- with Wayne Shorter, Herbie Hancock,
contemporaries in any art form. orators in this 1951-54 period would Ron Carter, and Tony Williams. This
The family poverty that makes have to include fJ. fohnson, Sonny band took modern combo concepts
for jazz melodrama was absent in Rollins. John Lewis. Horace Silver, to the edge offreedom, then incorpo-
Davis s background. He grew up in Thelonious Monk, Milt Jackson, Percy rated electric instruments and layers
relative affluence in East St. Louis, Heath. Kenny Clarke, and Art Blakey, of chordal and rhythmic support that
Illinois and. after filling in with Billy who together were laying the founda- launched the jazz-rock or fusion phe-
Eckstine s big band while still in high tion for another stylistic variation, nomenon. Working with larger, high-
school, journeyed to Sew York to known as hard bop. ly amplified bands from 1968 for-

enroll at fuilliard. He quickly After a triumphant peiformance ward, and employing such future
renewed acquaintances with the of "Round Midnight" in a jam ses- stars as Chick Corea, Dave Holland.
bebop pioneers he had met in sion at the 1955 Newport Jazz Jack Dejohnette. Joe Zawinul. Keith
Eckstine s ranks, and by the end of Festival. Davis was finally able to Jarrett. and John McLaughlin, Davis

1945 had assumed the trumpet chair sustain a permanent band. TJye per- now concentrated on sound and
in Charlie Parkers quintet that he sonnel (John Coltrane. Red Garland. rhythm more than becomingever,

continued to hold for much of the Paul Chambers. Philly Joe Jones) are simultaneously more basic and more
next three years. indicative of the diversely matched abstract in his approach. After a
Davis's first venture as a band- yet ultimately reinforcing ensembles period of retirement in the late
leader was the innovative nonet he the trumpeter would assemble again Seventies, he returned to studio and
created in collaboration with and again, bands that could create live performance with another gener-
arranger Gil Evans. This band, build- distinct group sounds behind each ation of leaders-to-be (John Scofield.
ing on the writing Evans had done soloist and introduce fresh concepts Mike Stern. Kenny Garrett, Bob Berg)
for Claude Thornhill and employing regarding jazz form. While this unit, and remained jazz's most charismat-
such unusual timbres for jazz as with the added participation of ic figure until his death.

those of the French horn and tuba, Cannonba/l Adderle)' and Bill Evans,
provided the more subtle yet still har- became the dominant small jazz
PHOTOGRAPH C 1 99S LEE TANNER
monically provocative palette that band of the late Fifties and helped PREVIOUSLY UNPUBLISHED
 .

John Coltrane to the jazz public, launching er of the young talents fostered by Davis. Ray
DIG him on his significant career. Davis's singular Bryant, in his introduction to a wider jazz
OJCCD-005-2 (Prestige 7012)
mastery with a mute, exemplified on The audience, is aLso represented by one tune. The
Musings of Miles (OJCCDO04-2), is further second number Thad fortes.
Another example of Prestige's policy of
emphasized, as is Red Garland's penchant for
is

stretching out past the confines of the

Dr. Jackie, Bitty Ditty, Minor March,
three-minute recording, instituted with picking "new" old standards for Miles.
Changes
Zoot Sims in August 1951. While this October
session does not include any numbers that take MILES DAVIS— trumpet
up an entire LP side, no track is less than 5:23, MILT JACKSON— vibes
the title track is 7:33, and the classic "Bluing" is JACKIE McLEAN— alto saxophone
fire seconds short often minutes. It also spot- ("Dr.fackle "and "Minor March " only)
lights three youngmusicians Sonny Rollins, — RAY BRYANT—piano
Jackie McLean, Walter Bishop who grew up — PERCY HEATH— bass
playing in the same Harlem neighborhood ARTHUR TAYLOR— drums
band during the first flowering of bebop.

DIG . :
MILES DAYIS
AND MILT JACKSON QUINTET/ SEXTET
. I.

DAVIS
}\V1 1
R
SONXY !<

Just Squeeze Me, There Is No Greater

*4 I Love, How Am
I to Know?, S'Posin, The

Theme, Stablemates
v**v '^^l
s
MILES DAVIS— trumpet
Dig, Only a Paper Moon, Denial,
It's JOHN COLTRANE— tenor saxophone • ••• in>n it Beat
Bluing, Out of the Blue, Conception', RED GARLAND—piano
My Old Flame* PAUL CHAMBERS— bass
PHILLY JOE JONES— drums Supervision by BOB WEINSTOCK
MILES DAVIS— trumpet
Recorded in Hackensack, NJ; August 5, 1955.
SONNY ROLLINS— tenor saxophone
JACK McLEAN — alto saxophone
Supervision by BOB WEINSTOCK Cover — Weinsrock/Hannan
Recorded in Hackensack, NJ. November 16, 1933.
WALTER BISHOP—piano
TOMMY POTTER— bass liver — Gil Melle
MOODS
(

ART BLAKEY— drums BLUE

OJCC.D-IHi-2 (Debut 120)
Supervision by
New
HOB WEINSTOCK
MILES DAVIS AND iles was fresh from bis triumph
Recorded
' '
photo
in

— Bob Weinsiock
York City; October 5, 193 I

MILT JACKSON at the/955 Mewport Jazz Festival

QUINTET/SEXTET
I

design — Bob
(.over Parent
when he agreed to record for his old
l)-oi j 2 (Prestige 7034)
friend Charles Mingus's label (they had first
OJ( <

met in California ten wars before).

THE NEW MILES ecorded in the summer of 1955, this Considering the volatile temperaments <>/ the

DAVIS QUINTET 7
session was a half-year after the famed
meeting of Davis and Jackson with
two protagonists, the music
calm, but according to lilvin Jones
is surprisingly
<</ new lace
OJCCD-006-2 (Prestige <>l 1)

Thelonious Monk on Christmas Eve 195 i The in town), "if they bad fust printed tin 1
cornier
LP Special chemistry of Miles and Milt is further would
sations in the studio at that time, that
This be issued featuring
is the first

the Miles Dans quintet — a group

to
that enhanced on the two numbers written I >y Jackie have been a best-seller" Woodman had known
was to become one of the most influential Mclean where the composers alto saxophone Mingus since boyhood, and ( harles was then
small hands of the Fifties It also introduced makes the group a sextet ,\U lean is yet anoth- a frequent musical associate with similar
 The 1956 date is as mellow and relaxed as the
ideas about composing and arranging.
charts liere are all by Teddy, except "Alone
T)ye
1953 session was tense and neurotic. Tlie only BLUE HAZE
regular sideman present from the Davis quintet OJCCD-093-2 (Prestige 7054)
Together" which is by Mingus.
of that time is bassist Paul Chambers. Rollins's
of Davis-led small combos
Nature Boy. Alone Together. There's growth as an individual is readily apparent, and Thisanpotpourri
indicator of the kind of important
is
No You. Easy Living Miles displays his prrjwess with a Harmon mute
playing be was doing in the years leading
on Brubeck's "In Your Own Sweet Via):" Tl)is
up to his famous "comeback
1955 But if in
session also served to introduce to many I /tell-
on Miles,
the majority of the critics were asleep
ers the sensitiiv, subtle, swinging stylings of
the musicians were not These recordings went
Tommy Flanagan, freshly arriivd from Detmit.
a long way toward entrenching him as an
influence
The pianists are John Leuis. Horace Silver,

and. on his oivn composition "Smooch" Charles

Mingus. Tlie drummers are tlje trinity of bebop:
COLLECTORS Max Roach. Art Blakey. and Kenny
throughout
Clarke: the
and on
ITEMS bassist
Remember April." the
is Percy Heath:
alto saxophonist is
"I'll

Daiey Schildkraut. once mistaken for Charlie

Parker by Mingus in a "Blindfold Test."

*'**•'*•'*' ... Everyone falls

sensitively into the reflective twilight scene,

and everyone plays excellently. Miles has the
major share of solo space and demonstrates
again how lyrically he excels in this kind of
context.
ir ir "k it 1/2 ... An important record.
—NAT HENTOFT, Doun Beat —NAT HENTOFF. Down Beat

MILES DAVTS— trumpet The Serpent's Tooth (take 1), The Serpent's
BRTTT WOODMAN— trombone Tooth (take "Round Midnight Compulsion,
2),
CHARLES MINGUS— bass No line, Vlerd Blues. In Your Own Sweet Way
TEDDY CHARLES— vibes
ELVLN JONES— drums "The Serpent's Tooth" (takes 1-2),
"
Round Midnight." "Compulsion ": I'll Remember April, Four, Old Devil
Recorded in Hackensack. NJ; July 9, 1955.
MILES DAVTS— trumpet
Cover — Bob Parent
SONNY ROLLINS, CHARLIE PARKER—
Moon, Smooch, Blue Haze, When Lights
Are Low, Tune-Up, Miles Ahead
tenor saxophones
WALTER BISHOP—piano Remember April":
COLLECTOR'S ITEMS PERCY HEATH— bass
I'll

MILES DAVIS— trumpet

OJCCD-(Tl-2 (Prestige 7044)
PHTLLY JOE JONES— drums DAVEY SCHILDKRAUT— alto saxophone
hese two blouing dates, done three Supervision by Ira Gitler HORACE SILVER—piano
years apart in the Fifties, have Davis Recorded in Hackensack. NJ; January 30, 1953. PERCY HEATH— bass
and Sonny Rollins as the linking figures.
KENNY CLARKE— drums
Other selections:
The historic first session, from 1 953. the second Supervision by Bob Weinstock
is
MILES DAVIS— trumpet Recorded in Hackensack, NJ; April 1954.
3,
and last time Charlie Parker (using the nom SONNY ROLLINS— tenor saxophone
de groove "Charlie Chan ") recorded on tenor TOMMY FLANAGAN—piano "Four" "Old Devil Moon. "Blue Haze":
saxophfjne. Additionally, this is the only time PAUL CHAMBERS— bass MILES DAVTS— trumpet
Parker and one of his most important disciples. ARTHUR TAYLOR— drums HORACE SILVER—piano
Rollins,recorded together. On the extremely Supervision byBob Weinstock PERCY HEATH— b ass
moling, seven minute "Round Midnight." Recorded in Hackensack, NJ; March 15, 1956. ART BLAKEY— drums
Rollins has the opening and closing bridges, —
Cover Hannan Supervision by Bob Weinstock
credited in these original notes to Parker. Recorded in New York Ciry; March 15, 1954.

29
Other selections: PAUL CHAMBERS— bass Supervision by BOB WEINSTOCK
MILES DAVIS— trumpet PHBLLY JOE JONES— drums Recorded in Hackensack, NJ; April 3 and 29. 1954.
JOHN LEWIS—piano
CHARLES MINGUS—piano (on "Smooch" only)
Supervision by BOB WEINSTOCK Cover — Hannah
PERCY HEATH— boss Recorded in Hackensack, NJ; October 26, 1956.
— Esmond Edwards
MAX ROACH— drums
Supervision— Ira Gitler
Cover design
BAGS' GROOVE
OJCCD-245-2 (Prestige 7109)
New York May
Recorded in

Cover design — Hannan

City; 19, 1953.
MILES DAVIS ALL
STARS WALKIN'
OJCCD-213-2 (Prestige 7076)
More than 30 years ago Miles Davis
recorded this music in the company

RELAXIN' WITH THE of such other giants as Milt Jackson,

Thetonious Monk, Kenny Clarke, Percy Heath,
MILES DAVIS QUINTET Sonny Rollins, and Horace Silver Today the
OJCCD- 190-2 (Prescige 7129) music they made is regarded as classic. "Bags'
Groove," in two versions, is a perfect illustra-
he second to be issued in the classic
tion of the improvisatory process, and the var-
series of Davis quintet LPs in the mid-
ious delights that can develop from take to
1950s, this is yet another helping of that
take: the date with Rollins reveals his develop-
quintessential group's output from one day's
ment toward major status. It is hard to believe
marathon recording session. It demonstrates
that having heard these 1954 recordings, the
Miles s mastery with a mute (he only plays
could haiv called Davis's triumph at tlx
critics
open on Dizzy Gillespie's "Woody'n You");the
Newport Jazz Festival in 1955 a "comeback?
emerging talent of the young John Coltrane;
and the subtlety and strength of the rhythm
section, headed by pianist Red Garland.

RELAXIN WITH
THE MILES DAVIS QUINTET
contains two of the
This Miles
Davis sessions of 1954 which made
classic
all
the critics who hailed his appearance at
the 1955 Newport Jazz Festival a "comeback" sonny rollins. milt jackson
seem like a pack of Rip Van Winkles. thelonious monk, horace silver
"Walkin" and "Blue 'n' Boogie" are quintes-
percy heath, kenny clarke
sential blues jams with all the pluses and none
of the minuses of that genre. The solos by Davis,
Lucky Thompson, and Horace Silver
J.J. Johnson,

are electric and the ensemble punches power-

fully. Tlje date with Bin/fancier Davey Schildkraut
nESTIGE 7109
finds Miles's magic mute materializing in
Bags' Groove (take 1), Bags' Groove
front of the fine Silver/Percy Heath/Kenny
(take 2), Airegin, Oleo, But Not for Me
Clarke rhythm section. (take Doxy, But Not for Me (take 1)
2),
it it it it ... When all the members Walkin', Blue 'n' Boogie, Solar, You Don't
are inspired, as on "Book" and "Oleo," [this
Know What Dove Is, Love Me or Leave Me MILES DAVIS— trumpet
set] is a valuable demonstration of conceptu-
al prowess.
SONNY ROLLINS— tenor saxophone
MILES DAVIS— trumpet MLLT JACKSON— vibes ("Bags' Groove"
—DON GOLD, Down Beat JOHNSON— trombone ("Walkin"
J.J. takes 1 and 2)
and "Blue 'n ' Boogie ") HORACE SILVER—piano
LUCKY THOMPSON— tenor saxophone PERCY HEATH— bass
If I Were a Bell, You're My Everything, ("Walkin '"and "Blue 'n' Boogie") KENNY CLARKE— drums
I Could Write a Book, Oleo, It Could DAVID SCHILDKRAUT— alto saxophone
Happen to You, Woody'n You ("Solar" "You Don't Know What Love ls,""Love
Me or Leave Me") Supervision by BOB WEINSTOCK
MILES DAVIS— trumpet HORACE SILVER—piano Recorded Hackensack, NJ; June 29 and
in

JOHN COLTRANE— tenor saxophone PERCY HEATH— bass December 24, 1954.
RED GARLAND—piano KENNY CLARKE— drums Cover — Reid Miles
 PAUL CHAMBERS— bass MILES DAVIS— trumpet
WORKIN' WITH THE PHLLLY JOE JONES— drums MILT JACKSON — ibes i

MILES DAVIS QUINTET Supervision by BOB WEINSTOCK

THELONIOUS MONK—piano
OJCCD-296-2 (Prestige PERCY HEATH— bass
Recorded in Hackensack, NJ; May 11, 1956 KENNY CLARKE— drums
("Half Nelson" recorded October 26, 1956).
Cover — Esmond Edwards
Recorded in

Supervision by
Hackensack. NJ; December 24, 1954.
BOB WEINSTOCK

MILES DAVIS AND THE STEAM IN' WITH THE

MODERN JAZZ GIANTS _
MILES DAVIS QUINTET
OJCCD-34~-2 (Prestige 150)
OJCCD-391-2 (Prestige "2001

one oftlje classic

ere are four tracks from
sessions of all time when a combination
of giants gatheivd in Rudy Van Gelder's
studio for an historic meeting on Christmas Eve
afternoon and early dark. 1954. With Tlielonious
A f Miles Davis's many bands,
more influential and popular than
quintet with John Coltrane.
Paul Chambers, and Philly Joe Jones. Daiis's
none was
the
Red Garland

muted ballads and medium-tempo standards

endeared him to t/je public. Dye horns' searing
exposition of classics like "Salt Peanuts" and "Well.
You Seedn t" captivated musicians. The search-

MILES DAVIS »ND THE M00CRM JAZZ GIANTS ing, restless improiisations of Coltrane intrigued
ir ir ir + it ... Few bands in the MILT JACKSON THEL0NI0US MONK/PCTCT HUTHlKCNNT CLARKE listeners who had a taste for adventure. The
JOMN COtntANCKD OAKLAND PAUL CHAMKtS PHIU.T JOE JONES
history of jazz have had the quality of this
flaw-less rlyythm section became a model for
group. . . . The whole LP is a gas. I don't see
bands everywhere. Ste^irnin is a significant por-
how anyone can do without it.

tion (if the music of this remarkable group.

—RALPH J. GLEASON. Down Beat

STEA
ndeniably one of the best small bands
in the history ofjazz, the Miles Davis
WITH
quintet of tte mid-1950s made history THE
at the Cafe Bohemia on Manhattan s Barrow
Street and in the Sew Jersey studio of Rudy Van
MILES
Gelderfor Prestige. Wis is tlx third in a series of DAVIS
four LPs taped in turj maratlxjn studio sessions. Monk and of the Modern Jazz
done in the style of sets at the Bohemia and pro-
three-cptarters
Quartet (Jackson, Heatix and Clarke) as Ijis accom-
QUINTET
ducing music of high energy and immediacy.
plices. harmonic knowl-
Miles blends sophisticated
Preceded by Cookin (OJCCD-I28-2) and
edge with raw, spontaneous intention to produce
Rehxin (OJCCD-190-2). Workin is a mix of stan-
extraordinary music. Dye turj takes of "Dye Man
dards and originals. uptetnpos and ballads, and
1Love" are quite different within tlyeir basic sim-
a number. "Ahmad's Blues." The music this
trio
quintet made in the mid-Fifties period will lire
ilarity. An added starter in "Round Midnight"
forever: the excitement of the emerging John
done by ttx great Dai is quintet of 1956 — Coltrane.

Coltrane: the informed, melodic swing of Red Garland. Chambers, and Philly Joe Jones.
Surrey with the Fringe on Top,
Salt Peanuts,
Garland: the tremendous snap and pop of the Something I Dreamed
Last Night, Diane;
The Man I Love (take 2), Swing Spring,
rhytlmi trio of Garland Paul Chambers, and PljiBy Well, You Needn't; When I Fall in Love
'Round Midnight, Bemsha Swing, The
JoeJrjnes and Miles's poignancy and intense suing.
Man I Love (take 1) MILES DAVIS— trumpet
It Never Entered My Mind, Four, In JOHN COLTRANE— tenor saxophone
"Round Midnight": (except "Something 1 Dreamed Last Xight")
Your Own Sweet Way, The Theme (take
1), Trane's Blues. Ahmad's Blues, Half
MILES DAVIS— trumpet RED GARLAND—piano
Nelson, The Theme (take 2)
JOHN COLTRANE— tenor saxophone PAUL CHAMBERS— bass
RED GARLAND—piano PHILLY JOE JONES— drums
PALT CHAMBERS— bass BOB WEINSTOCK
MILES DAVIS— trumpet (except "Ahmad's Blues') Supervision by
PHILLY JOE JONES— drums
JOHN COLTRANE— tenor saxophone Recorded Hackensack. NJ; May 11, 1956
in
Recorded in Hackensack, NJ; October 26, 1956.
(except "Ahmad's Blues") ("Well. You Needn't" recorded October 26, 1956).
RED GARLAND— piano Other selections: Cover design/photo — Don Schlicten
 ERIC DOLPHY
Few
and
musicians heard as much,
could play as much of
enveloping passion somewhat
under wraps. This ceased to be a
recordings (at the Village Vanguard)
and tours of E mope. Dolphy also
what they heard, as Eric problem once Dolphy joined the found occasional work on the conti-
Dolphy (1928-64). His command Charles Mingus Jazz Workshop at nent with pick-up rhythm sections.
stretched beyond the most advanced the end of 1959. The following year yet never succeeded in keeping a
jazz of his time to encompass the brought increased freedom and expo- band together in his home country.
cutting edge of composed music as sure, through his work with the fire- The few remaining years of
well, he was the prototype multi- brand bassist and the first record- Dolpljy's life were musically reward-
instrumentalist of the modern era, ings to appear under his own name. ing yet professionally frustrating.
and both his playing and writing set Dolpljy's jagged writing and playing The daring explorations that he and
standards for rigorous musician- and his innovative ensemble ideas Coltrane pursued together led to
shipand emotionally probing quickly earned him a reputation as claims that they were playing "anti-
invention. a leading figure in the so-called jazz," and the ensuing controversy
Dolphy. a native of Los Angeles, "new thing" movement led by made work opportunities even more
spent the first three decades of his Ornette Coleman. The identification scarce once Dolphy attempted to go
life in his hometown, save for two was solidified at the end of I960 out on his own again. Wfjile he
years in the Army. The leading when Dolphy participated in record- received fewer offers to record his
California musicians employed him ing projects with Coleman: yet the own music, he did demonstrate his
in their ensembles, including Roy link tobebop was clearer in skills in such unprecedented settings
Porter. Gerald Wilson, and Lee Young: Dolphy s playing, and he remained as John Lewis's Orchestra U.S.A. and
and many of the major soloists of the willing to address chordal improvi- one of Leonard Bernstein s Young
period (including John Coltrane and sation where Coleman did not. People's Concerts. Tfjere were also
members of the Clifford Brown/ Several of the period's more several returns to the Mingus
Max Roach and Qrnette Coleman visionary musicians were eager to Workshop, including one that
bands) had practiced and jammed work with Dolphy when he left resulted in a tour of Europe in the
at his parents' house. It was not Mingus early in 1961. Besides spring of 1964. When the tow-
until Chico Hamilton hired Dolphy recording with Max Roach and ended. Dolphy chose to settle in Paris
in 1958. however, that his searing George Russell, he made several stu- and seek work as an itinerant
and audacious playing
technically dio sessions with trumpeter Booker soloist/leader. On June 29. while
began to gain a wide audience. Little, and worked a single stand at working in Berlin, he died, leaving
Hamilton s quintet allowed Sew York's Five Spot with Little and a wealth of recorded music that has
Dolphy to display his multi-instru- pianist Mai Waldron that yielded only increased in historical impor-
mental skills on alto saxophone, albums
several influential live tance as Dolphy s influence has per-
flute, clarinet (his first instrument), Failing to obtain additional work for meated jazz in the subsequent
and bass clarinet (which he single- his own band, Dolplyy chose to spend three decades.
handedly popularized in jazz). Yet several months as featured soloist in
the chamberinclinations of John Coltrane group, an associa-
's

Hamilton's music kept Dolphy 's tion that yielded more classic live PHOTOGRAPH MARSHALL
 OUT THERE
OJCCD-023-2 (New Jazz 8252)

D is
second album as a leader
olplxy's

a departure from bis first. Outward

Bound where he used a conventional
front line (his alto with trumpeter Freddie
Hubbard) albeit differently, in that by utilizing
Ron Carter's bowed cello as a second voice lye
acbieivs a chamber-like a van t jazz. It was
quite daring for its time and again spotlights
Eric's bass clarinet and flute as well as. on one
number ("Eclipse," a Charles Mingus composi-
tion), conventional clarinet

Out There, Serene, The Baron, Eclipse,

17 West, Sketch of Melba, Feathers

ERIC DOLPHY— alto saxophone, flute,

B-ftat and bass clarinets
RON CARTER— cello
OUTWARD BOUND 'k ~k ~k ~k "k ... This man will be GEORGE DUVTVIER— bass
OJCCD-022-2 (New Jazz 8236) one of the most rewarding jazzmen of the ROY HAYNES— drums
coming decade.
—DON DE MICHEAL, Down Beat Supervision by ESMOND EDWARDS
rolphy had native
left his
Recorded in Englewood Cliffs, NJ; August 16, I960.
California and come east as part
G.W., Green Dolphin Street, Les, 245,
Cover — Prophet
qfCbico Hamilton's group, settling
in New Yorkin I960 and becoming part of
Glad to Be Unhappy, Miss Toni
Charles Mingus's group. This first recording
ERIC DOLPHY— alto saxophone, AT THE FIVE SPOT,
as a leader brought comparisons with Ornette
bass clarinet, flute vol.1
Coleman but the two were really parallel fig- FREDDIE HUBBARD— trumpet OJCCD-133-2 (New Jazz 8260)
ures in the then-emerging avant-garde. Dolphy JAKIBYARD—piano
did not eschew "changes," as Coleman did, but ne night during a one-time, two-week
GEORGE TUCKER— bass
he used them in new ways. This LP was signif- ROY HAYNES— drums engagement at the Five Spot produced
icant not only for his alto saxophone but enough music of lasting merit for three
introduced his individual approach to the Supervision by ESMOND EDWARDS alburns. Wljen Rudy Van Gelder took his portable

flute and, particularly, the bass clarinet. Recorded Englcwood I960.

equipment down to the fabled Cooper Square
in Cliffs, NJ; April 1,
jazz club on July 16. 1961, he captured the
interaction of an extraordinary quintet.
 —
Eric Doiphy:Booker Little. Mai Waldron, — Mai Waldron. Richard Davis, and
individuals two Dolpfjy originals: tlx minor cast "Number
Riclxird Daiis. and Ed BlackueU Ixtd formed a EdBlackuvU— who uetv able to \Aetul tlxir talents Eight' and the fast-lilting "Brxjkers Waltz." The
cooperative group and if Little Ixtd not died in a highly kinetic way that was most comple-
in ExAphy suitcinng from alto sax to bass
latter fxis
October 1961. tlxre is no doubt that it would mentary to Eric and Bixjker. Fix latter s trumpet clarinet BlackueU is heard to advantage in a
bate been a potent force in tbe music of the and Eric's bass clarinet and flute are beard in long solo on "Number Eight." and in exchanges
Sixties ami beyond. DtApliy himself died in June tuo elongated performances. Little s Aggtvssiou with tbe horns on "Booker's Walt:
1 96-1. one oft/x
after establishing himself as and the standard "Like Someone in Lot e
important contemporary reedmen. Here his alto Number Eight (Potsa Lotsa). Booker's Waltz
saxophone and bass clarinet and Littles trumpet Aggression. Like Someone in Love
explore three originals: "Fix Prophet" by Dolplyy.
Bee Vamp 'by Little, and 'Fire Waltz' by Wdldmii ERIC DOLPHY AT THE FIVE SPOT
Its time caught in a bottle —
music for tbe ages

Fire 'Waltz. Bee Vamp. The Prophet.

HI ERIC DOLPHY
Bee Vamp (alternate take)* tutu
& BOOKER LITTLE
MEMORIAL ALBUM
RECORDED LIVE AT THE FIVE SPOT

ERIC DOLPHY AT THE FIVE SPOT

i^&3~
tmmm uTPX Itt «ai*ia Hdard DnnEdfeMBj
**3 ,!f
'fi
Jfr
'

4 ji

ERIC DOLPHY bass clarinet, alto saxophone

• ••• — Down Beat BOOKER LITTLE— trumpet

rrn^m Miv * 1
*% - ^- * ERICDOLPHY— flute, bass clarinet
BOOKER LITTLE— trumpet
MAL WALDRON—piano
MAL WALDRON—piano
RICH4RD DAMS— bass
ED BLACKWELL— drums
Supervision by
Recorded
ESMOND EDWARDS
live at the Five Spot. New York City;
ERICDOLPHY— alto saxophone, bass clarinet RICH\RD DAMS— bass July 16, 1961.
BOOKER LITTLE— trumpet
MAL WALDRON—piano
ED BLACKWELL— drums Cover design photo —Don Schlitten

RICHARD DAMS— bass Supervision by ESMOND EDWARDS

ED BLACKWELL— drums Recorded live at the Five Spot,
New York City; July 16. 1961.
FAR CRY
ESMOND EDWARDS OJCCD-400-2 New Jazz 8270)
Supervision by
—Don
i

Cover design photo Schlitten

Recorded in Englewood Cliffs. NJ; July 16, 1961. quarter of a century after his death at
Cover design photo —Don Schlitten
36. the astonishing saxophonist and
DOLPHY &
ERIC flutist Eric DtAplry is still influencing and
AT THE FIVE SPOT, BOOKER LITTLE inspiring tlx rrujst adventuresome jazz musicians

vol.2 MEMORIAL ALBUM Dolpby was daring and iconoclastic while fully
immersed in tlx jazz tradition His musicianship
OJCCD-24--2 iPrestige "294) OJCCD-353-2 rPrestige 7334
was so thorough that innovators like Charles

One night in 1961. July 16 to be exact.

a quintet that was
Prestige recorded
Linked as two oftbe young musicians wIxj
Ixtd achieved much but promised so much
Mingus and John (tAtrane held him in awe.
In a dream partnership. DtAplry and trumpeter
Booker Little made a handful of recordings in
playing a two-week engagement at the more before tlxir untimely deaths. Dotpby
Hie SjxA on Oxjper Square in Unter Manhattan (died 1964 at age 36) and Little (died 1961 at 1960 and '61, shortly before littles nun pre-
There was no way of knotting that uitbin three age 23) are frjrwer united in the recordings made mature death. Fix first of them are in tins album.
years. Eric ExAphy and B<xjker Little, two young during a two-week gig at tbe Five Spot in July Included is the tare "Serene." never before
budding giants of their time, would be dead. '61, months before Bookers passing.
three issued with the session's other material
of
The seven numbers taped that night suddenly Against tbe all-star rhythm section of Mai
Mrs. Parker of K.C. (Birds Mother), Ode
lotjk on greater imfxjrtance With the hornmen Waldron. Richard Davis, and Ed Blackuvll tbe to Charlie Parker. Far Cry, Miss Ann, Left
is a rhythm section comprised of three powerful innovative, ground-breaking Ixjrns explore Alone, Tenderly. It's Magic, Serene"
ERIC DOLPHY— alto saxophone, the Craziest Dream!' and "Old Folks" or investi-
bass clarinet, flute
BOOKER LITTLE— trumpet ERIC gating tlye time-lessness and intricacies of the
blues (his originals in this set with "Blue " in
JAKI BYARD—piano
RON CARTER— bass
ROY HAYNES— drums
DOLPHY their titles), the former Charlie Parker cohort
and ex-Jazz Messenger exhibits his subtle
IN swing, personal sound, and finely-boned har-

ERIC DOLPHY 3b
EUROPE monic sense. Along tlye way tlyese reflections and
connections with Bird, Coleman Hawkins,

FAR CRY with Booker Little

i\8 VOL.1 Sonny Rollins. Max Road}, Harry fames, and
Louis Armstrong make for a rich legacy.

Lotus Blossom, My Ideal, Blue Friday, Alone

*
Together, Blue Spring Shuffle, I Had the
Craziest Dream, Old Folks, Mack the Knife
^B&* "tH
c

KENNY DORHAM— trumpet

TOMMY FLANAGAN—piano
Hi-Fly":
PAUL CHAMBERS— bass
ERICDOLPHY— flute ARTHUR TAYLOR— drums
CHUCK ISRAELS— bass Supervision by ESMOND EDWARDS
"God Bless the Child": Recorded in Englewood Cliffs, NJ; November 13, 1959-
ERIC DOLPHY— bass clarinet Cover photo —Esmond Edwards
Recorded in Copenhagen; September 8, 1961.
Supervision by ESMOND EDWARDS
Recorded in Englewood Cliffs, NJ; December 21, 1960.
Cover design/photo — Don Schlitten

ERIC DOLPHY IN KENNY KENNY DREW

EUROPE, vol.
OJCCD-41J-2 (Prestige 7301)

mentor and frequent playing

1
DORHAM KENNY DREW TRIO
OJCCD-065-2 (Riverside 224)

Like his
companion John Coltrane, Eric Dolpby
continues to inspire musicians and influ-
QUIET KENNY hen Kenny Drew recorded
album — his first as a leader— in
this

OJCCD-250-2 (New Jazz 8225)

ence the course ofjazz well into t/x third decade 7956. assisted by tlye highly-regarded
following his death. A master of the woodwind Quiet Kenny is yet another reminder drummer and bassist of tlye Miles Davis Quintet,
family, Dcjlpltyis heard in this first volume of of what a trumpet giant Kenny he seemed on the verge of stardom. Instead be
music from a 1961 concert in Copenhagen on Dorham was. Whether limning bal- became an outstanding example of the talented
two of Its most demanding instruments, flute lads such as "My Ideal" "Alone Together',' "I Had jazz artist who has to journey far to find accep-
and bass clarinet. On the latter, he gives a vir- tanceHe left tlye United States in tlye earty Sixties,
tuoso unaccompanied performance of "God Bless made his home in Denmark, and remained one
tlye Child" and an exhilarating romp through the of the most active jazz pianists in Europe until
"IGot Rhythm" changes of "Oleo" With bassist his death in 1993 Fittingly tlye excellence of this

Chuck Israels, Dolphy tlye incredible flutist creates record was first recognized in Japan: released
complex variations on Randy Weston's "Hi-Fly" there in the early Seventies, it won critical
The otlyer music frtnn tlye concert can be beard on acclaim, became a best seller and launched
Volumes 2 (OJGC&414-2) and 3 (OJCCD4I6-2). an extensive Riverside reissue series.

Hi-Fly, Glad to Be Unhappy, God Bless Caravan, Come Rain or Come Shine;
the Child, Oleo Ruby, My Dear; Weird-O, Taking a Chance
on Love, When You Wish Upon a Star,
"Glad to Be Unhappy" and "Oleo" Blues for Nica, It's Only a Paper Moon
ERIC DOLPHY—flute, bass clarinet
BENT AXEN—piano KENNY DREW—piano
ERIK MOSEHOLM — bass PAUL CHAMBERS— bass
JORN ELNIFF— drums PHILLY JOE JONES— drums
Produced by ORRLX KEEPNEWS and BILL GRAUER Cottontail, C-Jam Blues, Flamingo, Bang-Up beautiful of the suites was "Tlje Queen s Suite,"
Recorded in New York Gey; September 20 and 26, 1956. Blues, Tonk, Johnny Come Lately, In a Blue written in honor of Queen Elizabeth in the late

Cover design — Fran Scott Summer Garden, Great Times, Perdido, Take 1950s but not issued until 1976. It includes
Photo —Roy De Carava the "A" Train, Oscalypso, Blues for Blanton Ellingtons lovely piano solo. The Single Petal of

Typography — Paul Bacon "Cottontail." "Of am Blues."" Flamingo."

a Rose" With "The Queen's Suite" in this collec-
tion are the majestic "Goutelas Suite" and The
"Bang-Up Blues":
DUKE ELLINGTON—piano UWIS which contains Ellington's only
Suite."

BILLY STRAYHORN—piano known recording of a polka Major Ellington

WENDELL MARSHALL— bass soloists like Johnny Hodges and Paul Gonsalves
are on hand, but the center of attraction is the
composition and orchestration by the maestro
and Billy Strayhorn.

DUKE
ELLINGTON ' 1 1
mihs
* •

it ~k + ir ... A significant stage in his

development, and a very enjoyable LP.
—NAT HENTOFF, Down Beat TiRml

oiiaij
These are not "immortal" performances
and not meant to be. but no lover of
Ellingtonia will want to be without them.

—DAN MORGANSTERN, Down Beat The Queen's Suite (Sunset and the Mocking
Bird/Lightning Bugs and Frogs/Le Sucrier
Velours/Northern Lights/The Single Petal of
"Tonk.""Johnny Come Lately.""In a a Rose/ Apes and Peacocks), The Goutelas
DUKE Summer Garden.""Great Times":
DUKE ELLINGTON—piano
Blue
Suite (Fanfare/Goutelas/Get-with-Itness/
Something/Having At It/Fanfare), The
ELLINGTON BELLY STRAYHORN—piano
JOE SHULMAN— bass
UWIS Suite (UWIS/Klop/Loco Madi)

"Perdido." "Take the 'A Train, ""Oscalypso," DUKE ELLINGTON

PIANO DUETS: "Blues for Blanton":
DUKE ELLINGTON—piano
with
CAT ANDERSON, RUSS ANDREWS, HAROLD
GREAT TIMES! BELLY STRAYHORN— celeste ("Oscalypso ASHBY, SHORTY BAKER, JOE BENJAMIN, HARRY
OJCCD-108-2 "R.verside 475) and "Blues for Blanton "only) CARNEY, JOHNNY COLES, CHUCK CONNORS,
OSCAR PETTEFORD— cello MERCER ELLINGTON, WULF FREEDMAN, PAUL
Ellington-and-Strayhorn. one of the most GONSALVES, JIMMY HAMILTON, JOHNNY
LLOYD TROTMAN— bass
significant pairings in the entire history HODGES, QUENTTN JACKSON, JIMMY JOHNSON,
JO JONES— drums
ofjazz, primarily conjures up an image MONEY JOHNSON, RUFUS JONES, HAROLD
Recorded in 1950. MINERVE, RAY NANCE. EDDIE PRESTON,
of rich orchestral settings. Houeier. both were
pianists to be reckoned uiHx and tliefeu- occosvjus
Album design — Ken Deardoff RUSSELL PROCOPE, \TNCE PRITJENTE. JOHN
on which they were persuaded to collaborate SANDERS, MALCOLM TAYLOR CLARK TERRY,
NORRIS TURNEY, COOTIE WILLIAMS, BOOTY
at two keyboards were certainly well described
as Great Times. Hut tlyese unique performances
THE ELLINGTON SUITES WOOD, JLMMY WOODE. BRITT WOODMAN
OJCCD-446-2 iPdhlo 2310-762)
hate had great trouble in being heard recorded Produced by DUKE ELLINGTON
in 1950 and originally having a limited life as n his later years. Duke Tllington wrote and Raordcxl in New YorkGtv in 1 959 (The Queen's Suite"),
obscure 10-inch IPs. tliey were combined in their recorded a large number of suites Many of 1971 fThc Goutelas Suite"), and 19" 2 I The UWIS Suite").
present form for I'jGi issuance on Riierside— them would not lx' Ix-ard until after Ins dead). Cover photo — Norman Granz
where they became part of that company's as material from it hat he called the stockpile Cover design — Deborah Bates
i<ery last, neter fully distributed release.' was discoivred and released. Among the most
DUKE ELLINGTON THE DUKE ELLINGTON THE AFRO-EURASIAN
AND HIS ORCHESTRA SMALL BANDS ECLIPSE
Featuring Paul Gonsalves The Intimacy off the Blues OJCCD-645-2 (Fantasy 9498)

OJCCD-623-2 (Fantasy 9636) OJCCD-624-2 (Fantasy 9640)

uke Ellington in his spoken intro-
like Ellington's admiration fur Paul duction to this music says ". . . and of
Got isali es uyis git vr i pariiatlari) generous
• course, uv around the world a
travel
expression in this album. The maestro lot." "A tot'doesn t begin to do justice to the extent

designated his gtvat tenor saxophonist the only of Ellington's trawls with his band in tire 1960s
soloist of the date, giiing Gonsalves reign to express and '"Os. His journeys never failed to stimulate
himself through the duration of eight major pieces tire maestm's creative ptxxluction, and The Afro-
of EUingtonia. Where tlx arrangements normally Eiirasian Eclipse was one of the results. Dedicated
provided for solos by trumpet, trombone, piano, to the proposition put forth by Mars/rail McLuhan
'

even drums, Gonsalves was the sole improviser titat tire world was being orientalized, the suite
Calling on his reserves of harmonic knowledge, blends eclectic elements inspired by Ellington's
and stamina, the saxophonist
lyricism, swing, a number- of countries. Its premier
observations in
made Ux most ofOx Ixmor Among the compositions a monument to the uni-
section. Cbinoiserie.'is
atv staples of the band's repertoire including "C-Jam versal compulsion of rhythm.
Blues" and "Take tlx A' Train" and less frequently
Chinoiserie, Didjeridoo, Afrique, Acht
heard numbers like "Paris Blues "and "Read): Co."
O'clock Rock, Gong, Tang, True, Hard Way

UKE
n ELLINGTON £3 uke Ellington did not begin his carver- as
the proprietor of a big band. The group
called tlx Washingtonians was a quintet
when Ellington took it to New York in 192$, and
it wasn until he Ixtd been tlxrv afeiv years that
't

it expanded to ten pieces and. eivntually. 15 or

more. Throughout his career, he returned to the
>» small band, for recording purposes often desig-
nating sidemen as leaders. Thus were born such
classics as "Day E>ream,""Good Queen Bess," and
"Subtle Slough." In these pieces from 1967 and
If
1970, Ellington was revisiting his long tradition of
creating in smallerformats Some of them, notably
Billy Strayhorn's "The Intimacy of the Blues"
would later be transformed for the orchestra
Tlx sidemen are stalwarts of EUingtonia.
C-Jam Blues, Take the 'A' Train, Happy-Go- DUKE ELLINGTON—piano
Lucky Local Jam with Sam, Caravan, Just A- The Intimacy of the Blues, Out South, Tell COOTTE WnXIAMS, MONEY JOHNSON, MERCER
Sittin' and A-Rockin', Paris Blues; Ready, Go Me 'Bout My Baby, Kentucky Avenue, A.C., ELLINGTON, EDDIE PRESTON— trumpets
Near North, Soul Country, Noon Mooning, BOOTY WOOD, MALCOLM TAYLOR—
DUKE ELLINGTON—piano Rock-ochet, Tippy -Toeing Through the Jungle trombones
ROY BURROWES, CAT ANDERSON, Garden, Just A-Sittin' and A-Rockin', All CHUCK CONNORS— boss trombone
BILL BERRY, RAY NANCE— trumpets RUSSELLPROCOPE— alto saxophone,
Too Soon clarinet
LAWRENCE BROWN, LEON COX, NORRIS TURNEY— alto saxophone,
CHUCK CONNORS— trombones DUKE ELLINGTON clarinet, flute
RUSSELL PROCOPE,
JOHNNY HODGES— alto saxophones
with PAUL GONSALVES, HAROLD ASHBY—
CAT ANDERSON, HAROLD ASHBY, JOE tenor saxophones
JIMMY HAMILTON — clarinet, tenor saxophone BENJAMIN, LAWRENCE BROWN, HARRY CARNEY,
PAUL GONSALVES— tenor saxophone HARRY CARNEY— baritone saxophone
WILLIE COOK, WELD BLLL DAVIS, VICTOR JOE BENJAMIN— bass
HARRY CARNEY— baritone saxophone GASKLN, PAUL GONSALVES, JOHNNY HODGES,
AARON BELL— bass RUFUS JONES— drums
RUFUS JONES, PAUL KONDZEELA, JOHN LAMB,
SAM WOODYARD— drums NORRIS TURNEY Recorded in New York City; February 17, 1971.

Recorded in New York City; May 1, 1962. Recorded in 1967 and 1970.
Art direction — Phil Carroll
Art direction — Phil Carroll Art direction — Phil Carroll
Cover photo — Baron Wolman Cover photo —Phil Bray
 —

NEW JAZZ
CONCEPTIONS
OJCCD-025-2 (Riverside 223)

1956, BillEvans was virtually

Inunknown would be more than a year
(it

before he first gained notice as part of the

celebrated Miles Davis Sextet). His initial album
attracted little attention back then, bid listening
with hindsight it is easy to hear in these highly
individual trio and solo treatments a clear
prophecy of the rich inventiveness that so deeply
influenced Herbie Hancock, Chick Corea, Keith
Jarrett, and an entire generation ofjazz
pianists.

• •••//.?.. This is an important

flrst-LP-as-leader.

to present a more —NAT HENTOFF, Down Beat

BILL EVANS collection can fairly be said
typical overview of this remarkable unit at work.

My Foolish Heart, Waltz for Debby (take I Love You, Five, I Got It Bad (And That
2),

WALTZ FOR DEBBY Waltz for

2),
Debby (take 1)*, Detour Ahead (take
Detour Ahead (take 1)*, My Romance
Ain't Good), Conception, Easy Living,
Displacement, Speak Low, Waltz for Debby,
OJCCD-210-2 i Riverside 9399)
(take 1), My Romance (take 2)*, Some Other Our Delight, My Romance; No Cover, No
This
made up of
is the second of two Riverside alburns
selections recorded by tix classic
Time, Milestones; Porgy (I Loves You, Porgy)* Minimum (take 1)*; No Cover, No Minimum

Bill Evans/Scott Ixd-'aro/Paid Motian trio at BILL EVANS—piano BILL EVANS—piano

their legendary live recording session ofJune 25,
SCOTT LaFARO— bass TEDDY KOTICK— bass
1961. Although originally issued a half-year later
PAUL MOTIAN— drums PAUL MOTIAN— drums
titan Sunday at the Village Vanguard (now OJCCD- Produced by ORRIN KEEPNEWS ("I Got It Bad IAnd That Ain't Good]"
140-2) this was Iry no means an afterthought Recorded live at the Village Vanguard, "Waltz for Debby" and "My Romance" are
collection of lesser items: Evans and producer New York City; June 25, 1961 unaccompanied piano solos.)
Orrin Keepneus Ixul immediately recognized that Cover design — Ken Deardott
there was more than enough material for two Produced by ORRIN KEEPNEWS
•k ~k ~k ~k The [on "Milestones")
and BILL GRAUER
top-lei vl records. Tlx- dozen clxisen performances trio

were suhditided and, for that matter, at most points through- Recorded in New York City,
to eiuihte tlx- first allium released
feature UiEani — ul*> Ixul died in an auto acci- out the album — is a deftly integrated unit September 18 and 27, 1956.
tf/

dent just ten days after recording Tints tins second

—LEONARD FEATHER, Ikiun Beat Cover design — Fran Scott
i')
 BILL EVANS
musicians seemed he played alongside John Coltrane and
Few likely to make an impact on
less

and Cannonball Adderley as well

Bennett, bassist Eddie

and on more than one

Gomez,
occasion

the New York jazz scene in as the trumpeter and became a created fascinating studio recitals

the late Fifties than Bill Evans (1929- central figure in Davis's shift to of multi-tracked piano—for the
80). whose introspective solos and modal improvisation. remaining two decades of his life,

delicate touch were far removed The period with Davis allowed he continued to work in the trio

from what was commonly consid- Evans to organize his own trio, format he had established with
ered "hard bop." Yet Evans was in- which featured bassist Scott La Faro LaFaro and Motian. Personnel
deed heard, and quickly became one and drummer Paul Motian by the rarely changed in the Evans trio

of the most influential musicians on end of 1959- These three players (Gomez was a member from 1966-
any instrument of the last 40 years. developed a new and more interac- 77), and the unit's repertoire slowly

Evans was born in Plainfield. tive approach to trio playing, one grew to include evocative new orig-

Sew Jersey and attended Southeast- in which all instruments carried inals and worthy standards, as well

ern Louisiana University. After a melodic responsibilities and func- as the tunes that led to Evans's ini-

period in the Army he returned to tioned as equal voices. LaFaro's tial fame. Despite this consistency

Sew York in 1955 and began work- tragic death in a July 1961 high- offormat and material, Evans
ing and recording with Tony Scott way accident ended the existence of remained uncommonly inspired,

and George Russell. His subtly swing- this seminal unit; but not before it able to reach stunning emotional

ing, lucidly constructed solos with had recorded four albums, two in depths with a quiet lucidity that

these leaders quickly attracted atten- the studio and two at a Village was unmatched. His lyrical melod-

tion, and provided Evans with an Vanguard performance short/) ic inventions, intricate phrasing,

opportunity to begin recording under before the bassist's death, that influ- complex voicings. and beautiful

his own name: but he was modest enced several generations of touch remain as unmistakable

regarding his gifts, and for a time pianists, bassists, and drummers. influences on pianists 15 years

was reluctant to push himself into While Evans excelled in even after bis death.

the limelight. All this changed after more intimate playing situations —
he spent several months during be made memorable duet music
1'JiH in Miles Davis's band, where with guitarist Jim Hall, singer Tony
 )

EXPLORATIONS STEREO! PORTRAIT IN JAZZ

OJCCD-037-2 (Riverside 935 1 OJCCD-088-2 (Riverside 1 162)

hen Bill Evans

Miles Davis Sextet at the
left the seminal
end of
EVERYBODY DIGS BILL EVANS One of the two most important associ-
ations in the early development of the
1958. he turned permanently to incredible talent of Bill Evans was
leading his own trio, thereby influencing and undoubtedly his nine-month 1958 stay with the
enriching the whole course of contemporary Miles Dai -is Sextet tlxit also includedJohn Coltrane
jazz piano. This recording, made when his first and Cannonball Adderley. Die other was the
group had been together for a full year, bril- year-and-a-balf span in which Scott LaFaro was
liantly demonstrates his innovative concept of the bassist in Bill's newly-formed trio and they
simultaneous improvisation" with legendary developed their remarkable creative rapport,
bassist Scott LaFaro. ^Ji— C~->i*IQjA*4*y working towards what Evans termed "simulta-
neous improvisation." Portrait in Jazz was the
offour albums by the Evans/LaFaro/Paul
first
Motion team: in it can clearly be heard the
Miles Davis Sextet that also featured John exciting sound of new ideas being born.
Coltrane and Cannonball Adderley. His fellow
musicians already knew his worth (the album
title was almost literally accurate, and the four

endorsements on the cover, which embarrassed

Bill, could easily have been greatly multiplied):

with this record, the jazz public began to fol-

low their lead. Aided by Sam Jones and Pbilly
Joe Jones. Evans set down some of his most
swinging trio sides, but the session would be
memorable if it had only yielded the remark-
able and haunting solo improvisation called
"Peace Piece."

it it 1r ir 1/2 An ever-enlarging audience

is digging Evans, and with good reason. He
isan authoritative pianist with a superb sense
of melodic and harmonic invention.
Haunted Heart, Beautiful Love
Israel,
(take 2), Beautiful Love (take 1)*, Elsa, Nardis,
—RICHARD B. HADLOCK, Down Beat
•k ir ir if ir If there's any doubt that
How Deep the Ocean, I Wish I Knew,
Is Evans is one of the freshest things to happen
Sweet and Lovely, The Boy Next Door* few years, this album
to the piano in the last
Minority, Young and Foolish, Lucky to should dispel any such feeling. Here is an

BILL EVANS—piano Be Me, Night and Day, Epilogue, Tenderly, —

album with meaning here is the truth.

SCOTT LaFARO— bass Peace Piece, What Is There to Say?, Oleo,

—
DON DE MICHEAL, Down Beat

PAUL MOTIAN— drums Epilogue, Some Other Time*

Come Rain or Come Shine, Autumn Leaves,
Produced by ORRIN KEEPNEWS BILLEVANS—piano Witchcraft, When
Autumn Leaves (mono)*,
Recorded in New York City; February 2, 1961. SAM JONES— bass I Fall in Love, Peri's Scope, What Is This

Cover design — Ken Deardoff PHILLY JOE JONES— drums Thing Oiled Love?, Spring Is Here, Someday
("Lucky to Be Me'.'Peace Piece" and My Prince Will Come, Blue in Green (take
"Epilogue" are unaccompanied piano solos.) 3), Blue in Green (take 2)'
EVERYBODY DIGS ORRIN KEEPNEWS BILL EVANS—piano
BILL EVANS Produced by
Recorded in New York City; December 15, 1958. SCOTT LaFARO— bass
Oja D-068-2 (Riverside I 129)
PAUL MOTIAN— drums
Cover designed by Paul Bacon-Ken Braren-
Harris Lewine
The legend of Bill Evans really begins
with this album, his second. The pianist
Produced by
Recorded in
ORRIN KEEPNEWS
New York City; December 28, 1959.
had just spent most of 19^8 as part of (.over designed by Paul Bacon-Ken Brarcn-Hams liwnu
one of the major units in jazz history: the Cover photo — Melvin Sokolsky
SUNDAY AT THE BILL EVANS TRIO AT INTERPLAY
VILLAGEVANGUARD SHELLY'S MANNE-HOLE OJCCD-308-2 (Riverside 9445)

OJCCD- 140-2 (Riverside 9376) OJCCD-263-2 (Riverside 9487)

Almost every one of
featuring
eleven albums
the
Evans that were issued
Few albums in the history of contempo-
rary American music can be more deserv-
This
for
is the last
his first label.
album BillEvans made
Jl)e fact alone would
Bill
during his pivotal early years (1956-64)
ing than this one of the designation give this at least historical significance; with Riivrside were trio performances. Of the
'Original Jazz Classic." It is the first of two and there is surely also some importance to its
two exceptions, one was strictly speaking not
Riverside albums derived from the legendary being one of only two occasions on which the an Evans record (Know What Mean?, a quar-
I

final appearance of the first Bill Evans trio — pianist was recorded for Riverside during "live" tet album that featured Bill but was under the

taped during tlye last day of a Village Vanguard performance (tlye otfyer or course, resulted in tlye leadership of Cannonball Adderley% Tlye other

engagement, barely ten days before the tragic classic pair of Village Vanguard albums, now is Interplay. Adding trumpet and guitar to create

death of bassist Scott LaFaro. Tiye recordings OJCCD-140-2 and OJCCD-210-2). But aboiv all. an unusual quintet alignment, concentrating
bate long been recognized as capturing the these two nights at Shelly Mamie's club in on standard tunes, and with brighter tempos
essence oftlje unique tlyree-way interaction that Hollywood marked the only recording by the than are generally associated with his playing,
characterized the trio; this album is further excellent but short-term third trio; after the a uniquely valuable addition to the cata-
it is

distinguished by its emphasis on the solo work untimely death of Scott LaFaro. basist Chuck log of perhaps the most important pianist in

and compositions of the innovatiie LaFaro. Israels joined Bill and Paul Motian; then in modern jazz.
1963 Los Angeles studio-stalwart drummer
Larry Bunker made this brief but noteworthy
contribution to the Evans legend.

•k -k ick 1/2 Strongly recommended.

— RICHARD B. HADLOCK. Down Beat

Gloria's Step (take 2), Gloria's Step •k ~k ~k ir — Down Beat You and the Night and the Music,
(take 3)". My Man's Gone Now, Solar, When You Wish Upon a Star, I'll Never
Alice in Wonderland (take 2), Alice in
Smile Again (take 7), I'll Never Smile
Wonderland (take \)\ All of You (take 2), Isn't ItRomantic, They Boy Next Door, Again (take 6)*, Interplay, You Go to My
All of You (take 3)'. Jade Visions (take 2), Wonder Why, Swedish Pastry, Our Love Is Head, Wrap Your Troubles in Dreams
Jade Visions (take 1)* Here to Stay, 'Round Midnight, Stella by
Starlight, All the Things You Are", Blues BILL EVANS—piano
BILL EVAN'S—piano in "F" FREDDIE HUBBARD— trumpet
SCOTT LaFARO— bass JIM HALL—guitar
PAUL MOTIAN— drums BILL EVANS—piano PERCY HEATH— bass
CHUCK ISRAELS— bass PHILLY JOE JONES— drums
Produced by ORRIN KEEPNEWS LARRY BUNKER— drums
Recorded live at the Village Vanguard, Produced by ORRIN KEEPNEWS
New York City, June 25, 1961. Recorded in Los Angeles; May 14 and 19, 1963.
Recorded in New York City; July 16, 1962.
Album design — Ken Deardoff Cover photo — Fred Seligo
Album design — Ken Deardoff
Design — Sam Alexander
13
 THE
OJCCD-345-2
TOKYO CONCERT
(Fantasy 9457)
HOW MY HEART SINGS!
OJCCD-369-2 (Riverside 9473)
MOONBEAMS
OJCCD-434-2 (Riverside 9428)

is only fitting that Bill Evans began /'// Evans's return to full activity in Evans was reeling by the acci-

B
/// left
It his important WOs Fantasy affiliation 1962 came almost a year after his cele- dental death of his brilliant bassist Scott
with a live recording made in fapan, brated trio recordings at the Village LaFaro in mid- 1961 and didn't feel
where he was (and continues to be) held in Vanguard. Just ten days after that classic "live" ready to record with his new bassist until nearly
the highest esteem. Moreover, some of session, bassist Scott LaFaro bad died in a a year later Vi7jenbe did go into the studio in
Evans's most significant albums throughout highway accident. Evans, deeply shaken, even- May and June of 1962 with Chuck Israels and
his career have been recorded in perfor- drummer Paul Motian, the "second trio "pro-
mance — at the Village Vanguard, the
————; ;
- ~- '
—"^ -" .•;•'-" ......v/.-v.nnr,-
duced material for two albums that were to
Montreux Jazz Festival, etc. (RIVERSIDE) be among Evans's most popular. Moonbeams
one of the great
This recording features How my heart sings! includes ballad material from the sessions. The
Evans Eddie Gomez, drummer
trios (bassist Bill Evans Trio >vst of the music from the sessions is in How
Marty Morell). Their January 1973 Tokyo My Heart Sings! (OJCCD-369-2). In Moonbeams,
concert presented here in its entirety was. Evans did some of his most introspective play-
as described by producer Helen Keane, ing, his sense of loss apparent but relieved by

a "perfect one"
\ •/
Israels s power and empathy. "Polka Dots and
Moonbeams," "If You Could See Me Now," and
_
the others represent Evans at his best, his lyri-
cism underlaid with rhythmic firmness even

S % in the extraordinarily slow "In Love in Vain,"

eg
Ma
"

tually re-formed his trio with the

/
.
\
5 same drum-
mer (Paul Motian) and Chuck Israels on bctss.
Their first visit to a studio was for a dual pur-
make an all-ballad-tempo album,
pose: to
Moonbeams, and this "normal" set at the same
time. Itwas producer Orrin Keepnews's
thought that recording eight slow numbers in
a row might prove unduly enervating; accord-
ingly, the total two-album repertoire was inter-
Mornin' Glory, Up withthe Lark, spersed over three days of recording and the
Yesterday I Heard the Rain, My Romance, net result was two excellent additions to the
When Autumn Comes, T.T.T.T. (Twelve Evans catalog.
Tone Tune Two), Hullo Bolinas, Gloria's
Step, On Green Dolphin Street How My Heart Sings, Should Care, I Re: Person IKnew, Polka Dots and
In Your Own Sweet Way (take 1), In Your Moonbeams, I Fall in Love Too Easily,
BILL EVANS—piano Own Sweet Way (take 2)*, Walking Up, Stairway to the Stars, If You Could See Me
EDDIE GOMEZ— bass Summertime, 34 Skidoo, Ev'rything I Now, It Might as Well Be Spring, In Love
MARTY MORELL— drums Love, Show-Type Tune in Vain, Very Early

Recorded in performance at Yubin Chokin Hall, EVANS—piano

BILL BILL EVANS—piano
Tokyo, Japan; January 20, 1973.
CHUCK ISRAELS— bass CHUCK ISRAELS— bass
Cover photo —Tadayuki PAUL MOTIAN— drums PAUL MOTIAN— drums
Album design adapted from original Japanese
cover designed by Mitsuru Yamada ORRIN KEEPNEWS
Produced by Produced by ORRIN KEEPNEWS
Recorded in New York City; May 17, Recorded in New York City on May 17 and 29,
May 29, and June 5, 1962. and June 2, 1962.

44
BILL EVANS/ SINCE WE MET QUINTESSENCE
EDDIE GOMEZ OJCCD-622-2 < Fantasy 9501) OJCCD-6VN-2 Fancasj _

INTUITION 19~4. Bill Evans recorded again at

B
ill Evans was such a looming force as a
OICCD-TO-2 "Fantasy 94"i) In the Village Vanguard, the scene 13 years trio pianist that people tend to overlook
performances
earlier of his glorious trio his achievements in a quintet context.
After set <en years of their close
relationship in his trio. Bill Evans in
with bassist Scott LaFaro and drummer Paul A few sessions made the point throughout his
Motion. Tlye 1961 recordings had firmly estaly- career, though, like this 1976 date that was one
1974finally realized bis dream of
lished Evans as the most important jazz piano of Evans's personal favorites. Vi'itb longtime
recording a duo album uitf] bassist Eddie Gomez
stylist since Bud Powell and now he was lion- friend Philly foe femes plus neu-to-Evans asso-
Intuition is that album One of the most brilliant
ized around the uryrld as a performer and a ciates Harold Land. Kenny Burrell. and Ray
of dye young bassists influenced by Scott LaFaro. major influence new with
in music. T/yis trio
bassist Eddie Gomez and Marty Morell had a
character of its own. and Evans's playing bad
a quality of happy aggressiveness that reflect-
ed bis optimism and assurance in the compa-
ny of Gomez and Morell. He was glad to be
in the Village Vanguard and in the vanguard
of bis art.

Brown, tlye ensemble is stellar to say tbe least aiul

Gome: continued development of the role of
the players strike a comfortably creative groove
tlye bass in Evans's trio as a fully contributory
on a program that includes originals by trum-
voice, not just a memlyer of the rlyythm section
petersTbadJones and KennyWIveler. plus Burrell's
Gomez bad contrived, wars earlier to be in
a
blowing tune Bass Face" And how fascinating
band opposite Evans at the Village Vanguard,
to hear Ray Brown, the man who defined bass
in lyopes that tlye pianist would like what he
style, finally making
playing in tbe pie-Eva ns-tnn
Inid beard. Evans did. and Gome: became an
music with the pianist Also included mi this
indispensable member of tlye trio, staying for
We Met. Midnight Mood. See-Saw.
Since CD reissue is "Nobody Else But Me from the
more that a decade Tlye depth of their empathy Sareen Jurer. Time Remembered. Turn session, which first appealed mi the compila-
is lyeautifully captured in this recording, with Out the Stars. But Beautiful tion From the Seventies (Fantasy 9630)
Evans playing acoustic piano and the electric
model that was in vogue at the time BILL EVANS—piano Sweet Dulcinea Blue. Martina, Second
EDDIE GOMEZ— bass Time Around. A Child Is Born, Bass Face.
Show-Type Tune.
Invitation. Blue Serge. MARTY MORELL— drums Nobody Else But Me
The Nature of Things. .Are You All the
Things. A Face Without a Name. Falling Produced by HELEN KEANE BILLEVANS— acoustic piano
Grace: Hi Lili. Hi Lo and ORRIN KEEPNEWS HAROLD LAND — tenor saxophone
Recorded live at the Village Vanguard. KENNY BURRELL—guitar
BILL EVANS—piano New York City: January 11-12 1974 RAY BROWN—acoustic bass
EDDIE GOMEZ—feus Cover paint ni: i —
Ron Warwell PHILLY JOE JONES— drums
(from photo by Helen Keane)
Produced by HELEN KEA\F Produced by HELEN KEANE
Recorded in Berkeley. CA. November 7-10, 197 1
Recorded in Berkeley. CA: May
—
!

Art direction Phil (-arroll

Art direction — Phil Carroll
giaphy — Arnold Newman
Cover photo —Galen Rowel I
I WILL SAY
GOODBYE BILLEVANS & TAL FARLOW
OJCCD-761-2 (Fantasy 9593)
TONY BENNETT THE RETURN OF
Evans's final recording for

B
ill

Fantasy is considered to be one of his

Grammy-winning a
THE TONY BENNETT/ TAL FARLOW/ 1969
best. T7je
glorious sampler of several composers who
effort is
BILL EVANS ALBUM OJCCD-356-2 (Prestige 7732)

inevitably inspired the pianist, including

Michel Legrand, fohnny Mandel, Earl Zindars.
OJCCD-4^9-2 (Fantasy 9489)
The public and/or recorded perfomances
ofTal Farlow have been few and far
accompanied singers.
Evans rarely

B
/'//
between since the late Fifties. He was
He didn t consider it one of his accom- never more in absentia than during the Sixties.
plishments. An expert on accompanists,
'

Finally, he left his Xew Jersey? shore home to play

Tony Bennett's flawless ear told him that Evans's a .Sew York club in 1967. Then came a record-
sensitivity, touch, and deep harmonic wisdom
ing with Sonny Criss for Pivstige and. in '68,
would make him a perfect collaborator In such an appearance at the Newport Jazz Festival.
circumstances, with no orchestra for cover The Return ot'Tal Farlow/1969. the guitar
and no rhythm section for buoyancy, a singer's genius's first as a leader in many a moon at the
time, placed him in a quartet setting with John
The
Tony Bennett Scully, a Jersey pianist who had gigged htcally

M
BiTl Evans with Tal. as the swinging, secondary soloist.
Album
The Eighties were marked by a relative
L ' increase in Farlow's club and recording activi-
ty, but that does not make the availability of
this 196'J date any less welcome.

and Steve Swallow, in a program where variety ft*-

w
is achieved while peak inspiration is sustained. W\\ -J|
Two bonus tracks, which first appeared on the iiniml
posthumous anthology From the Seventies
1 \ ^—^fl
\^*^^m ^B H~ 1
(Fantasy 96.10). have been added to make
the session complete

I Will Say Goodbye, Dolphin Dance,

Seascape, Peau Douce, Nobody Else But control, intonation, and steadiness are in bold
Me*, I Will Say Goodbye (take 2), The relief None of Bennett's recordings discloses
Opener, Quiet Light, A House Is Not a more clearly his mastery of those elements.
Home, Orson's Theme* Evans, uijose singing piano li>ies were inevitably

described as lyrical, illuminates Bennett's

BILL EVANS—piano supreme interpretation of lyrics. His own
EDDIE GOMEZ— bass solos "sing "beautifully.
ELIOT ZIGMUND— drums Straight,No Chaser; Darn That Dream,
Young and Foolish, The Touch of Your Summertime, Sometime Ago, I'll Remember
Produced by HELEN KEANE Lips, Some Other Time, When in Rome,
April, My Romance: Crazy, She Calls Me
Recorded in Berkeley, CA; May 11-13, 1977. We'llBe Together Again, My Foolish Heart,
Art direction — Phil Carroll Waltz for Debby, But Beautiful, Days of TAL FARLOW— guitar
Cover photo — Phil Bray Wine and Roses JOHN SCULLY—piano
TONY BENNETT— vocals JACK SLX— bass
BILL EVANS— piano
ALAN DAWSON— drums

Produced by HELEN KEANE Produced by DON SCHLITTEN

Recorded In Berkeley, CA; June 10-13, 1975. Recorded in New York f n\ s, piemi

Cover photo — Phil Bray Cover design/photo — Don S< hlnicn

Art direction — Phil Carroll

 Produced by NORMAN GRANZ Duke (Mood Indigo/Do Nothin Till You Hear
ELLA Recorded live in Montreux. Switzerland; from Me It Don't Mean a Thing [If It Ain't
Got That Swing]). Something. St. Louis Blues.
FITZGERALD July 14, 1977.
Cover photo
Art direction
—Giuseppe Pino
and design — Phil Carroll
Close to You. Put a Little Love in Your Heart

ELLA FITZGERALD— ; ocals

TOMMY FLANAGAN—piano
ELLA FITZGERALD FRANK DE LA ROSA— bass
with THE TOMMY ELLA A NICE ED THIGPEN— drums
FLANAGAN TRIO OJCCD-M2-2 i Pablo 2508-234)
Produced by NORMAN GRANZ
MONTREUX '77 If
you had been away for a fete decades,
on t/ye moon perhaps, and bad neivr
Recorded at the Theatre de Verdure. Nice:
OICCD-?"^2 Pablo Live 2508-206) July 21, 1971.
heard of Ella Fitzgerald, you'd want to Cover photo — Phil Stern
turn to this recording for a demonstration of
tlye artistic power that has made her an icon

of modern music. Tlyis is one of Ella's classic

performances, captured before an appreciative
French audience on a night in 19~1 when all
elements of Iyer remarkable gift were in perfect
alignment Her control uas absolute, even in
RED GARLAND
the riskiest spuroftbe-moment interval leaps.
She took outrageous chances with phrasing, RED GARLAND TRIO
yet managed enhance the meaning of
to
lyrics. Her suing was enough to make you get
GROOVY
OJCCD-061-2 (Prestige
up and dance, her tenderness enough to make
you cry. her eartbiness to make you laugh.
When Bing Crosby said. "Man. woman or
child. Ella is the greatest." be might hate just
beard this record.
lla Fitzgerald has had many- great

in
accompanists, but her 15-year association
with pianist Tommy Flanagan
some of Iyer most memorable performances.
resulted
1
UBKKi 5*ED 5AF LAffl)
Flanagan was tl>e incomparable Ella's musical TRIO
director for tlje first time in 1956 and their
uncannily close musical relationship continued
tlmjugh three stretclyes until 19~8. In this
19 concert recording with Flanagan, bassist
Keter Betts.
Durham, stye
and tfje elegant drummer Bobby
does some of her most lyeartfelt
1 *»
l-fltnn
.

M
WK.

and unrestrained singing, including remark-

able renditions oftlye balkul "My Man "and a
ir ir ir ir ir can play the Garland
twinging Duke Ellington classic. 'IAin't Got
. . . I

LPs over and over just as Miles and Dizzy and

Votbtn But 0>e Blues."
Basie can be played over and over. This is.
really, the ultimate in compliments today
Too Close for Comfort. Got Nothin'
I Ain't when there are so many LPs. technically well
But the Blue*. My Man. Come
Rain or Come Night and Day. The Many Faces of Cole done, that you just never do get around to
Shine. Day By Day Ordinary FooL One Note
.
Porter (Get Out of Town, Easy to Love/You playing again.
Samba. I Let a Song Go Out of My Heart BflBe s Do Something to Me), The Ballad Medley —R\LPH J. GLEASON, Down Beal
Bounce. You Are the Sunshine of My life (Body and Soul The Man I Love Porgy).
The Bossa Scene (The Girl from Ipanema,
ELLA FITZGERALD— vocals Fly Me to the Moon/O Nosso Amor [Carnival ed Gotland and Miles lhivi> had a
TOM MY FLANAGAN — piano Samba] Lindo Madalena Agua de
Cielito symbiotic relationship. Red uas such
KETER BETTS— bass Beber [Water to Drink]), Summertime, They . an important cog in the Davis quintet
BOBBY Dl RHAM — drums Cant Take That Away from Me, Aspects of as a soloist, interactive accompanist, and
 keeper of the repertory. Being in Miles's group Material was never a problem for Garland. and Arthur Taylor on drums, he formed what
gave Garland the exposure he othertvise would His mind had catalogued countless songs, an was essentially a recording trio. This made them
not have gotten. attribute which was an immeasurable aid to no less potent than if the}' had been working
Once Garland's talent as a pianist, with a the success of the Miles Daiis quintet of which clubs, too. Garland's extensive repertoire yields
boundless repository of material in his head, Garland was a key member two handfuls of standards, a blues ("Blue Red"),
was established. Prestige's Bob Weinstock signed A number Red introduced into the Davis and an "I Got Rhythm" (Charlie Parker's

him to a contract as a recording leader in his group, "If I Were a

Bell," is heard here in a trio "Constellation "). For Garland as a Prestige
own right. With his Davis section-mate, Paul version, as a passel of evergreens from the
is leader it was only the beginning, but a very
Chambers, on bass, and Neiv York drummer "American Popular Songbook"; but perhaps auspicious one.
Arthur Taylor, Garland formed a trio that met the most arresting number is the soulful rendi-
quite often in Rudy Van Gelder's studio. tion of Percy Mayfield's blues ballad, "Please
A Foggy Day, My Romance, What Is This
Groovy was the third in Red's trio series for Send Me Someone to Love." Thing Called Love, Makin' Whoopee,
Prestige and it bos the usual fine mix ofjazz
September in the Rain, Little Girl Blue,
Please Send Me Someone to Love, ConsteUation, Blue Red
standards, ballad standards, blues ballads, and
just plain blues. It is an object lesson in find- Stompin' at the Savoy, The Very Thought
of You, Almost Like Being in Love, If I
RED GARLAND—piano
ing and maintaining a groove. PAUL CHAMBERS— bass
Were a Bell, I Know Why, I Can't Give
You Anything But Love, But Not for Me
ARTHUR TAYLOR— drums
C-Jam Blues, Gone Again, Will You Still
Be Mine?, Willow Weep for Me, What Can Supervision by BOB WEINSTOCK
I Say (After I Say I'm Sorry)?, Hey Now RED GARLAND—piano
Recorded in Hackensack, NJ; August 17, 1956.
PAUL CHAMBERS— bass
RED GARLAND—piano ARTHUR TAYLOR— drums Cover — Hanan/Ed wards

PAUL CHAMBERS— bass

ARTHUR TAYLOR— drums BOB WEINSTOCK
Supervision by
Recorded Hackensack, NJ;
in
ALL MORNIN' LONG
Supervision by BOB WEINSTOCK December 14, 1956 and March 22, 1957. OJCCD-293-2 (Prestige 7130)

Recorded in New York City; Cover photo — David Barry

ALL MORNIN' LONG
May 24 and August 9, 1957. Cover design — Reid Miles THE RED GARLAND QUINTET
Cover design — Reid Miles AND
>»ll CO- HANI lim JOTNII I.TlOt P.I1TKM
—
I

Cover photo Bill Connors

A GARLAND OF RED
RED GARLAND'S OJCCD- 126-2 (Prestige 7064)

PIANO
OJCCD-073-2 (Prestige 7086)

The Red Garland trio

the separate parts functioned as
was a unit in which
a finely-
GARLAND
crafted whole. It was compatible at all tem-
pos and in till manner of moods and material RED
1
RED GARLAND TRI

PAUL CHAMBERS
AND • ••• - Down Beat
ART TAYLOR

ome groups have existed only in the

recording studio but have produced
music of lasting value. This quintet,
After performances
bis
Davis Quintet had made people aware
in the Miles under Red Garland's leadership, actually did
play some gigs around New York in the fall of
of his talent. Prestige signed Red Garland I'JS", but even if it hadn't, the rapport in tin-

to his own A ( isufand

exclusive recording contract studio would still have been powerful
of Red was the first in a long line of albums by Beginning with the association oj Garland
the DaBas-bom I'hiladelphian. With a colleague anil John ( oltrane in the Miles Davis. (Juintet
from the Davis group, bassist Paul Chambers, and continuing with Arthur idylor's trio i an

tfl
nection with Garland, and Donald Byrd's hew- only occasionally the cohesiveness would lead Be Together Again, Stella by Starlight,
We'll
ing worked with all of them in one form or one to think that it was a regular woiking group. IHeard You Cried Last Night, Softly Baby,
another, there was enough of a common spirit When Your Lover Has Gone, Wonder
in the musical attitudes of all the participants.
Soft Winds, Solitude, Undecided, What Is Why, Blue Room, The Red Blues
There to Say, Two Bass Hit
Tlje title blues spans an entire side: tlje overleaf

is shared by Gershwin s "Tliey Can t Take nat

RED GARLAND—piano
RED GARLAND—piano EDDB5 "LOCKJAW DAVIS— te nor saxophone
Away from Me" and Dameron s "Our Delight." JOHN COLTRANE— tenor saxophone Be Together Again." "Softly Baby,"
("We'll

AllMornin' Long. They Can't Take That

DONALD BYRD— trumpet "When Your Lover Has Gone)
Away from Me. Our Delight
GEORGE JOYNER— bass SAM JONES— bass
ARTHUR TAYLOR— drums ARTHUR TAYLOR— drums
RED GARLAND—piano
DONALD BYRD— trumpet Supervision by BOB WEINSTOCK Supervision by ESMOND EDWARDS
JOHN COLTRANE— tenor saxophone Recorded in Hackensack, NJ; November 15 Recorded in Englewood Cliffs, NJ;
GEORGE JOY'NER— bass and December 13, 1957. December 11, 1959.

ARTHUR TAYLOR— drums Cover phoro — Esmond Edwards

Cover design — Don Schlitten
Supervision by BOB WEINSTOCK RED GARLAND
Recorded in Hackensack, NJ; November 15, 195 7 .

THE RED GARLAND QUINTET WITH

TRIO PLUS EDDIE JOHN COLTRANE
HIGH PRESSURE "LOCKJAW" DAVIS, DIG IT!
OJCCD-349-2 i Prestige "209) OJCCD-392-2 (Prestige 7229)
vol. 1
OjCCD-360-2 (Moodsville 1) omfortable and familiar with one
prestige
i
another in the Miles Davis Quintet.
n response to the considerable popularity
Red Garland and John Coltrane enjoyed
^ I HIGH PRESSURE of easy listening music in the
Prestige president Bob Weinstock
late Fifties,
created
making records together Consequently, in
addition to their extensive work on the Davis
REE GARLAND the Moodsville label to sboivcase "mood" music
quintet recordings on Prestige, there is an extensile

f with that would appeal to fans of that genre. discograplry of two men in informal sessions
John Coltr-»n<; Moodsville produced some memorable
for the label. In this case. Garland was the
music despite this dubious concept, beginning
leader and Coltrane a sideman. with his fre-
quent companion trumpeter Donald Byrd
sharing the front line. Coltrane's virtuosity

i
*m
k X
ma
and his daring had expanded
dating the year prior
"Billies Bounce" and "Lazy Mae." and these
blues, one fast, one slou: give a rounded pic-
ture of bis development in /95~
astonishingly
to the recording of

ed Garland came to Prestige, arul the

uiderjazz audience, as a key member of
tfx Miles Daiis Quintet. While at Prestige,
kxrwever. he also developed two other avenues
of expression: his (run trio dates: and a series
of quintet albums featuring John Coltrane's
tenor sax and Donald Byrd's trumpet in tlx front
line, with George Jtjyner (later known as Jamil

.Xasserj on bass, arul Arthur Taylor, drums.

This quintet outing presents a mix ofjazz with the Red Garland record at hand. Garland
standards— Ellingtons "Solitude" and (Charlie) and his trio mates. Sam Jones and Arthur
—
Shavers I I ndecided" uith Vernon Duke's Taylor, are joined
saxophonist Eddie "Lockjaw"
fry
What It Then to Say Soft U inds' from the Daiis in a program of ballad standards {"WBen
Benny Goodman sextet lilrrary: and John Lewis's Your lover Has Gone: Stella by Starlight."
Two Bass Hit from the Dizzy Gillespie book 'We'll lie Together Again ") and an original
Altbougb this combination gigged together (, inland blues.
 BilUe's Bounce, Crazy Rhythm, CTA, Soul Junction, Woody' n You, Birks Works, a couple ofyears. The superb solos and sensi-
Lazy Mae I Got It Bad (And That Ain't Good), Hallelujah tive accompaniment by pianist Al Haig are
added attractions.
RED GARLAND—piano RED GARLAND—piano
JOHN COLTRANE— tenor saxophone JOHN COLTRANE— tenor sax There's a Small Hotel, I've Got You Under
DONALD BYRD— trumpet DONALD BYRD— trumpet My Skin, What's New?, Too Marvelous for
GEORGE JOYNER— bass ARTHUR TAYLOR— bass Words, You Stepped Out of a Dream, My
PAUL CHAMBERS— bass CCrazy Rhythm" only) GEORGE JOYNER— drums Old Flame, My Old Flame (alternate)*, Long
ARTHUR TAYLOR— drums Island Sound, Indian Summer, Mar-cia,
Supervision by BOB WEINSTOCK Crazy Chords, The Lady in Red, The Lady
Supervision by BOB WEINSTOCK Recorded in Hackensack, NJ; November 15, 1957. in Red (alternate)*, Wrap Your Troubles
Recorded in Hackensack, NJ; 1957-58. in Dreams
—Don
Cover design Schlitcen
STAN GETZ— tenor saxophone
Cover photo—Chuck Stewart
with
"Long Island Sound," "Indian Summer?

SOUL JUNCTION
OJCCD-481-2 (Prest.ge 7181)
STAN GETZ "Mar-cia," "Crazy Chords":
AL HAIG—piano
GENE RAMEY— bass
STAN LEVEY— drums
STAN GETZ QUARTETS "There's a Small Hotel," "I've Got You Under
OJCCD-121-2 (Prestige 7002) My Skin" "What's New?," "Too Marvelous for
Words":
AL HAIG—piano
TOMMY POTTER— bass
ROY HAYNES— drums
other selections:
TONY ALESS—piano
PERCY HEATH— bass
DON LAMOND— drums
Supervision by BOB WEINSTOCK
Recorded in New York City; 1949-50.
Cover — Bob Parent

Productivity can be measured in terms STAN GETZ/

of quantity
the
and quality. On both counts,
Red Garland session of November
CAL TJADER SEXTET
OJCCD-275-2 (Fantasy 3266)
15, 1957, produced volumes; two volumes, in hese three sessions, cut within a
fact,and part of another (High Pkssuk/OJCCD- period often months in 1949-50, estab- n 1958, when this session was recorded
349-2). Soul Junction and its companion, All and Cal Tjader had estab-
lished Stan Getz as a style-setter on the both Stan Getz
Mornin Long (OJCCD-293-2), found Garland tenor saxophone and, principally on the strength lislyed themselves as masters of bebop
andfohn Coltrane attuned to one another and of his ballad interpretations, as a popular and ballads.
in superb form as a result of their intensive jazz artist. Getz's adivntures in Latin rhythms were
work in the Miles Davis Quintet. Trumpeter His time with the Woody Herman band but a few months ahead; Tjader's were long
Donald Byrd's playing was at its peak. Arthur in the late Forties had thrust Getz into the jazz established.
Taylor, a stalwart of time and acute sensitivity; This San Francisco session a wonder,
public's ear, particularly his solo on "Early is
was tlie drummer. Bassist George foyner faka Autumn," "Long Island Sound," based on "Zing! featuring the monumental bassist Scott IxiFaro,
famil Nasser) provided the depth and power Went the Strings of My Heart," and "Mar-cia," the superb drummer Billy Higgins. already-
ttxit later led to his long association uith Ahmad his treatment of "When Your Lover Has Gone," renowned pianist Vince Guaraldi, and tlw
famal. All hands exult in two of Dizzy Gillespie's reinforced his rise to prominence. (still) unsung guitarist Eddie Duron,

compositions, two standards, and one of those This is Getz at the height of his "cool" "I've Grown Accustomed to Her lktce"is Getz

Red Garland slow blues that lasts more than a period, predating the West Coast movement by and Tjader at tlieir ballad best; "Liz-Anne"
quarter of a hour and is too short. giivs him uptempo space.
 —
Tlje Giutraldi-Dnran-LaFarv team is best heard them. Dizzy understood immediately in the 1940s and built a part of his band's
representedon 'Crow's Sest.'and Higgins is that they were worthy of admission into the repertoire around Pozo's rich talent Chico
wonderful on "Ginza inner circle of musicians whose artistic life was O'Farrill is a native Cuban who has been

Hearty 40 wars old. this is a jazz classic- centered in the bebop tradition that he and immersed in jazz since he came to this country
a mast important reissue. Charlie Parker had established. Tlje core of that in 1948 and wirtte for Gillespie and Charlie
tradition is perfectly expressed in this blistering Parker among other prrjminent musicians. Tliis

version of "Be Bop." a piece Dizzy wrote in 19~5 reunion between O'Farrill and Gillespie
19-42 that still tests musicians' ability to express involved performance of new music by the
themselivs at high velocity. Gillespie's tender composer, played by Machito aiul his Orchestra,
side and harmonic wisdom are disclosed in another central element in modem Lcdin
"Hurry Home and "September Song" his blues
"
music with Dizzy as featured soloist. OFarrill's
expressiveness in his classic "Birks Works." Pass writing aiul the fire aiul pivcision of the Machito
solos beautifully and munds out a stunning group inspire some of Gillespie's most
rbytbm section. passionate soloing.

Oro, Incienso y Mirra; Three Afro-Cuban

Jazz Moods (Calidoscopico/Pensativo/
Exuberante)

DIZZY GILLESPIE y MACHITO with

MARIO BAL'ZA, CARLOS CASTILLO,
JERRY CHAMBERLAIN, JULITO COLLAZO,
DON CORRADO. JORGE DALTO, MANNY
Ginza Samba. I'veGrown Accustomed to
DURAN. RAUL GONZALEZ, RAMON
Her Face. For AllWe Know, Crow's Nest,
Liz-Anne. Big Bear. My Buddy
GILLESPIE YMACHITO
STAN GETZ tenor saxophone fro-Cuban Jazz Moods
CAL TJADER— vibes - COOFARRILL
VLNCE GL'ARALDI—piano
EDDIE DURAN—guitar
SCOTT LaFARO— bass
BILLY HIGGLNS— drums
Frelimo, Hurry Home, Russian Lullaby,
Recorded in San Francisco; 1958. Be Bop (Dizzy's Fingers), Birks Works,
September Song, Jitterbug Waltz

DIZZY GILLESPIE— trumpet

JOE PASS—guitar
RAY BROWN— bass
MICKEY ROKER— drums
DIZZIE NORMAN GRANZ
GILLESPIE Produced by
Recorded in Hollywood; September 17 and 19. 1974. GONZALEZ. JR.. FRANK "MACHITO" GRILLO.
Cover photo — Phil Stern MARIO GRILLO. R. HERNANDEZ. JACK
JEFFERS. LEWIS KAHN. JOSE MADERA, SR.,
DIZZY GILLESPIE/JOE JOSE MADERA, JR., DANA McCURDY, BARRY
PASS/RAY BROWN/ YMACHITO
GILLESPIE MORROW, VICTOR PAZ, PEPLN PEPIN,
MARIO RIVERA. MICKEY ROKER, MAURK.IO
MICKEY ROKER AFRO-CUBAN JAZZ SMITH. BOB STEWARD, BROOKS TTLLOTSON,
DIZZY'S BIG 4 MOODS
OJCCD- i'-2 (Pablo 2310-771)
LESLIE YAHONIKAN
OJGCD- , 13-2 (Pablo J i

Produced bv ARTURO "CHICO" O'FARRILL

and MARK) BAUZA
Theand relationship between Dizzy Gillespie
Rit) 'Brown goes Ixick to tin- mull'JiOs
Dizzy connection
Afro-Cuban music
Gillespie's
is
with
well-known. He Recorded in New York City; June 1-5, i
'

when Brown was the bassist in Gillespie's introduced it as a color in the palette photo — Phil Stern

magnificent big band Joe I'ass and Mickey ofjazz when he brought the conga drummer
Roker tame along somen hat later When he (hano Pozo from ( uba to the I nited States
 STEPHANE GRAPPELLI— violin
STEPHANE JOE PASS—guitar
NIELS HENNLNG 0RSTED PEDERSEN— bass
out sounding
the many
like the King Cole Trio or any of
other piano/guitar/bass trios so

GRAPPELLI Produced by NORMAN GRANZ

popular in the previous decade.

Django, Fenwyck's FarfeL Never Never Land,

Recorded Concert Hall, Copenhagen,
at Tivoli Chelsea Bridge, Fascinating Rhythm, The
STEPHANE Denmark; July 6, 1979.
Cover photo —David Redfern
Lady's in Love with You, Sweet and Lovely,
Ossobucco, Three Coins in a Fountain,
GRAPPELLI/JOE PASS/ It's De-Lovely

NIELS-HENNING VINCE GUARALDI—piano

ORSTED PEDERSEN EDDIE DURAN—guitar
TIVOLI GARDENS DEAN REILLY— bass
OJCCD-441-2 (Pablo Live 2308-220) VINCE
An American and a Frenchman
join a Dane on his home ground at
GUARALDI Recorded in San Francisco; April 1956.

Copenhagen's famous Tivoli Gardens. JAZZ IMPRESSIONS

But jazz is the real home ground and the
common language of these world-class musi-
VINCE GUARALDI TRIO OF BLACK ORPHEUS
OJCCD- 149-2 (Fantasy 3225) OJCCD-437-2 (Fantasy 8089)
cians, and the magic of their artistry fills the
air of a summer night in Denmark. Stephane the early the Brazilian import
Grappelli, a mere youngster of 71 when this
111called Sixties,

bossa nova swept through jazz.

was recorded in 1979, was and is the dean of The music's most prominent composer
jazz violinists; foe Pass one of the great gui- was Antonio Carlos fobim, and his score for
tarists of the second half of the 20th century; the 1959 motion picture Black Orpheus was
Niels-Henning 0rsted Pedersen a bassist whose packed with songs adopted by jazz musicians.
power, sophistication, and swing have made Vince Cuaraldi was one of the earliest to
him a cherished colleague of many of the grasp the possibilities of bossa nova and
reigning jazz masters. Their encounter here recorded Jour of the Black Orpheus pieces in
may have been carefully rehearsed, but it has
the characteristics of a jam session full of
surprises and joy.

•k k ~k k ... A jazzman with deep

roots in his language, Vince projects clearly

—
an individual musical personality direct,
emotional, inventive, tied-to-no-school.
—NAT HENTOFF, Down Beat

San Francisco
This of the mid-1950s
has a sparkling personality
trio
own all its
with a refreshing lack of pretentiousness;
an ebullient swing on the up-tempos, and a this 1962 album He also played two stan-
subtle, unhackneyed approach to ballads such dards and /wo of his own compositions >>ic <

(/> Sure/ and Lovely" and/or jazz standards of those originals was a pleasantly rhythmic
Only a Paper Moon, Time After
It's such as John Lewis's "Django." little melody called "Cast Your Fate to the
Time, Let's Fall in Love, Crazy Rhythm, Vince Cuaraldi and Fddie Duron had been Wind," which cut like abeam of sunshine
How Deep Is the Ocean, I'll Remember longtime associates on the San Francisco through the pop music gloom of the day. beat
April, I Can't Get Started, I Get a Kick music scene and their rapport is self-evident the odds against quality music ami illuminat-
Out of You Bassist Dean Rcilly fit right in to help form a ed the upper regions of the national sales
trio that is the epitome of "easy listening" with- charts for nearly half a year
Samba de Orpheus. Manha de Carnaval. ing treatment of Duke Ellington's Prelude to a trio with bassist Red Mitchell and drummer
O Nosso Amor. Generique. Cast Your Fate Kiss" and Hall's earthy V,hose Blues." Chuck Thompson. It meshed as cohesively as
to the Wind. Moon River. Alma-Ville, any threesome in jazz, presenting a dynamic
Since I Fell for You St. Thomas, Alone Together; Receipt, i)i which Hawes s tremendous blues feeling
Please: I'll Remember April: Softly, As in
mill powerful articulation melded perfectly
VLNCE GL'ARALDI—piano a Morning Sunrise: Whose Blues, Prelude
with Mitchell's sensitive accompaniment and
MONTY' BLDWIG— bass to a Kiss, Autumn Leaves
brilliant solo abilities and Thompson s unre-
COLES' BAILEY— drums lenting concent for ensemble propulsion.
JLMHALL—guitar
Cover photo —Chas Weckler RON CARTER— bass
Cover design — Shopes
Balzer
Produced bv DICK KATZ
ir ir ir ir ir This is the most exciting
album I've heard from the coast in the over
Supervision by ORRIX KEEPXEWS two years that I've been reviewing records
Recorded live at the Playboy Club, for the "Beat". . [Hawes is] potentially the
. .

New York City; August 4. 19"- most vital young jazz pianist since Bud
Design and cover photo —Tony Lane Powell in terms of fire, soul, beat, and guts.

— Bob Roth —NAT Down

JIM HALL
HENTOJT. Beat
Cover an construction

IGot Rhythm, What Is This Thing Called

Love, Blues the Most, So in Love. Feelin'
JIM HALL/ Fine, Hamp's Blues, Easy Living. All the
RON CARTER DUO
ALONE TOGETHER HAMPTON Things You Are. These Foolish Things
(Remind Me of You). Carioca

HAWES HAMPTON HVWES—piano

RED MITCHELL— bass
CHICK THOMPSON— drums
HAMPTON HAWES Recorded in Los Angeles; June 28, 1955.
TRIO, VOL. 1 Cover photos — Alex de Paola
OJCCD-M6-2 'Contemporary 3505)
Cover design — Pauline Annon

HAMPTON HAWES/
VOL. 2: THE TRIO
OJCCD-318-2 (Contemporary 3515)

The second in the excellent series

Hampton Hawes did in a
recordings
of

trio setting for Contemporary, it again

included Red Mitchell and ( buck Thompson.

Ballad standards, originals Ijy Duke Ellington,
duo albums ofJim
This is

Hall and Ron

of the first the
Carter, and it captures
TlxUmious Monk, and Charlie Parker, and the
good blues, are presented in a manner that
the discovery and delight the two found remains fresh to this day. Haues's combina-
in their early collakxjration. Together, these tion of harmonic sophistication and great
giants of their instruments comprise a dream rljythmic drive found kindred spirits in
string section Anticipating one another, often Mitchelland Thompson.
ne of the forces in West Coast
seeming to think uith one mind, they produce Hawes explained that Charlie Parker's
Jazz circles, even from his neopljyte
chamber music <>f the highest order. Exploring influence on him was as strong, or stronger,
days of the kite Forties, was Hampton
the possibilities in six standard songs (Sonny than any pianist "It was Birds conception oj
Hawes. Xfhen be played uith tlie coolsters in
Rollins s St Tbfjmas" bad long since become a time that influenced me most" he exf)lained.
the early Fifties befit in stylistically but also
standardj and tuo originals. Carter and Hall "and made me how important meter
realize
supplied some of the needed heat in both his
employ a great sense offun in the serious and time are in jazz to make it su tng
rhythmic comping and solos.
business of music making Among the high-
After Army sen-ice. when he returned to
lights: a romp through "St. Thomas." their mov-
bos Angeles in 7955. he eventually formed a
You and the Night and the Music, Stella Chant, Juicy Fruit, Think Deep, Laura, ing an eartljy blues like the title number; the

by Starlight, Blues for Jacque, Yesterdays, Blue Lights, Sancticity gospel-tinged "Sunday Mornin '"; or another
Steeplechase, 'Round Midnight, Just Squeeze one of his higlj-watermark interpretations of a
Me, Autumn in New York, Section Blues COLEMAN HAWKINS— tenor saxophone —
standard "Until the Real Thing Comes Along."
J.J. JOHNSON— trombone And there is the rhapsodic, personal version of
IDREES SULIEMAN— trumpet "Greensleeves" But then, Hawk was forever a
HANK JONES—piano master of balladry.
BARRY GALBRAITH—guitar
OSCAR PETTTFORD— bass Soul Blues, I Hadn't Anyone Till You,
JO JONES— drums Groovin', Greensleeves, Sunday Mornin',
Until The Real Thing Comes Along, Sweetnin'

COLEMAN HAWKINS— tenor saxophone

KENNY BURRELL—guitar
RAY BRYANT—piano
WENDELL MARSHALL— bass
OSIE JOHNSON— drums

#* if it — Down Beat

HAMPTON HAWES—piano
RED MITCHELL— bass
CHUCK THOMPSON— drums
if if if if if Hawkins is his hirsute,
Produced by LESTER KOEN1G stomping self . . . flanked by men of his own
Recorded in Los Angeles; 1955-56. choosing.

Cover photo — William Claxton —LEONARD FEATHER. Own Beat

Produced by ORRIN KEEPNEWS

and BILL GRAUER
Supervision by ESMOND EDWARDS
Recorded in Hackensack, NJ; November 7, 1958.
Recorded in New York City; March 12 and 15, 1957.

— — Esmond Edwards
COLEMAN Cover photo
Cover design —
Paul Weller
Paul Bacon
Cover

HAWK
HAWKINS SOUL
NIGHT
OJCCD-420-2 (Swingville 2016)

Coleman Hawkins is frequently identi-

THE HAWK FLIES HIGH

OJCCD-096-2 (Prestige 7149)
of the tenor saxophone.
fied as the father

OJCCD-027-2 (Riverside 233)

Thewas a man whose
"daddy" of the tenor saxophone
playing contained a
Technically, of course, that honor goes to
Adolphe Sax, but Hawkins unquestionably gaiv
awktns literally invented jazz saxo- majesty and vitality until illness finally rebirth to an instrument that had for decades
phone, starred in the first jazz big band, slowed him just prior to his death in 1969. This been valuable primarily as a novelty device.
and played with unfailing strength and date, made 195H when Hawkins was in his
in Because of his illuminating artistry, over tire
intention into the Sixties. Wtien Riverside invit- fifties, finds him in the company of Kenny decades he became the forebear of hundreds of
ed him assemble his choice of an ideal small
to Hurrell and Ray Bryant. This is not surprising tenor stylists. In this collaboration with l.ddie
group, the Hawk picked an impressive cast that because from the time of his ascendancy to "Lockjaw" Davis. Hawkins encounters one of his
rati the gamut from modern (JJJohnson) tlyrough the jazz hierarchy, he always sought out the most illustrious spirit mil descendants II tth a
mainstream (Hank Jones) aiul on back to Swing best of the young musicians. perfect rhythm section headed by pianist tommy
(ex-Haste drummer Jo Jones) and created a Soul" was a muc/xtbused term in jazz Tlanagau, the livo tenor men prove that iclH'n
powerful album that stands as a lasting part circles, but it never suffered in the hands of a great artists meet on the common ground "/ tire
of his legacy giant such as Hawkins, whether he was blow- jazz tradition, there is never a generation gap
 Night Hawk. There Is No Greater Love. Never Be the Same, when Day Is Done,
I'll fazz Qiuirtet Here. Horace Siller, then with Art
In a Mellow Tone. Don't Take Your Love Under a Blanket of Blue. More Than You BUtkey s Jazz Messengers, replaces John Leu-is
from Me. Pedalin' Know. Moonglow. Just a Gigolo. Speak Low but Percy Heath and Connie Kay Milts other
MJQ mates, are present. Jackson and Siller
COLEMAN HAWKINS— te nor saxophone were a very funky team, the blues-drenched
RONNELL BRIGHT—piano "Stonewall" being a primary example.
KENNY BURRELL—guitar
RON CARTER— bass
ANDREW CYRILLE— drums

99e£
ajBefet tb^I 1

L -
1

+ * * * This album is worth having for OWW-, I

'Greater' and Mellow Tone': everything else is

gravy.
—DON DE M1CHEAL. Dou-n Beat

COLEMAN HAWKINS— tenor saxophone

EDDBE -LOCKJAW* DAMS— tenor saxophone • •• • 1/2 . . . Here [Hawkins] work
his subtle magic, the warm-bloodeo sing Wonder Why. My Funny Valentine,
TOMMY FLANAGAN—piano all

of his playing gliding and soanng through Moonray. The Nearness of You,
RON CARTER— bass one brilliant chorus after another. StonewalL I Should Care
GL S JOHNSON— drums —JOHN S. WILSON. Dou-n Beat

Supervision by ESMOND EDWARDS MILT JACKSON— ibes i

HORACE SILVER—piano
Recorded in Englewood Cliffs. NJ:
December 30. I960. Supervision by ESMOND EDWARDS PERCY HEATH— bass
CONNIE KAY— drums
Cover — Esmond Edwards Recorded in
February 28. 1961.
Englewood Cliffs. NJ:

Cover design photo — Don Schlitten

Supervison by BOB WEINSTOCK
THE
OJCCD-
_
HAWK
09-2 'Moodsvilie 15)
RELAXES Recorded
Cover photo
in Hackensack. NJ:
— Bob Weinstock
May 20, 1955.

Afterfor
Coleman Hawkins began
and
ing Prestige its
record-
affiliated labels MILT JACKSON AND
in 1958, lye
uith mainstream peers, as he
continued to cut sessions
had dune earlier
MILT WES MONTGOMERY
in the decade. He also launched a series ofprojects
uith younger musicians, proiing in the process
JACKSON BAGS MEETS WES!
OJCCD-234-2 (Rivers^..

that he remained unsurpassed

of emotion-laden, harmonically sophisticated
improtising. Kenny Burrell. wlx> became some-
in the creation

MILT JACKSON When Montgomery made bis

lies

amazing impact on the Vew

first

thing of a mainstay uith Hawkins in the stu- QUINTET York jazz scene at tl>e end qftbe
I'J^fJs. a great many established stars actively
dios is a significant voice on t lie present set of OJCCD-001-2 (Prestige 7003)
sought to record with ban Milt Jackson was
majestic ballads: and fas befits Hawkins the
ackson had already nuule a reputation one Of the Jew for u bom the guitarist felt an
perennial talent scout) the quintet also includes
as modern jazz s premier ibist u ith i equal affinity For one shared a
tiling they
two young men uhti would proie quite influ-
Dizzy Gillespie. Howard McChee Woody stniiig love for the blues and Wis bad learned
ential in the Sixties and beyond. Ron Carter
Herman, and. for tin i years, with the Modern through years of playing uith his brother
andAndreu- Cyrille.
Buddy, to vcdue the vibes/guitar sound To support
thismemorable meeting of tljoroughty compatible
Davis, Cannonball Adderley, Dizzy Gillespie,
and the like —
were usually in full agreement.
PIANO
OJCCD-401-2 (Riverside 254)
jazz masters, Riverside assembled one of the most For them, the world's strongest and most sup-
cohesive recording rhythm sections of its day: portive piano accompanist was, without doubt,
aving played on dozens of other
Wynton Kelly, Samfones, and Philly foe fones. Wynton Kelly. Perhaps the best of his relatively people's records in the 1950s, pianist
few chances in the spotlight is this date on which Wynton Kelly in early 1958 went into
he is so warmly supported by such as Benny
the stiu/io as a leader for the first time in setvn
Golson, Nat Adderley, and Paul Chambers.
years. With him were bassist Paul Chambers
and drummer Philly foe fones, members of the
Kelly Blue; Softly, As in a Morning
Miles Davis rlyythm section that Kelly would
Sunrise; Do Nothin' Till You Hear from
Me*, On Green Dolphin Street, Willow join the next year, and the increasingly impor-

Weep for Me, Keep It Moving (Take 4), tant young guitarist Kenny Burrell. Tlje ivsult

Keep It Moving (Take 3)*, Old Clothes was this album, which is filled with the joy and
blues feeling of a man
about whose work fel-
low pianist Bill 11 vans said. "... Nothing about
it seemed calculated .... there was just pure

spirit shining through the conception." Here,

that pit >v spirit shines through brilliantly.

Whisper Not, Action, Dark Eyes, Dark Eyes

—
(take 2 previously unissued)*, Strong Man,
111 Wind, Don't Explain, You Can't Get Away

S.K.J., Stablemates, Stairway to the Stars

(take 3), Stairway to the Stars (take 2)*, Blue

m
1

Roz, Sam Sack, Jingles (take 9), Jingles

(take 8), Delilah (take 4), Delilah (take 3)*
Bf2 ij 1

w
MILT JACKSON— vibes
WES MONTGOMERY—guitar
WYNTON KELLY—piano
SAM JONES— bass
PHILLY JOE JONES— drums
*••• -Vhnvn Beat
Produced by ORR1N KEEPNEWS
Recorded in New York City;
December 18 and 19, 1961. Kelly Blue ""Keep It Moving": KENNY BURRELL
Covet design — Ken Deardofl WYNTON KELLY—piano PWICHMKRS
NAT ADDERLEY— cornet
BENNY GOLSON— tenor saxophone
BOBBY JASPAR— flute
* j f
PWIY JOE JONES

PAUL CHAMBERS— bass WYNTON KELLY—piano

JIMMY COBB—drums KENNY BURRELL^///((,/
WYNTON Oilier selections:
WYNTON KELLY—piano
PAUL CHAMBERS— bass
PHILLY JOE JONES— drums ("Whisper \<>t:

KELLY PAUL CHAMBERS— bass

JIMMY COBB— drums
"Dark Eyes," "Action ")

Produced by ORRIN KEEPNEWS

Recorded New York City; January M, 1958.
WYNTON KELLY Produced by ORRIN KEEPNEWS
Cover photo
in

— Paul Weller

TRIO & SEXTET Recorded in New York City; February 19

and March 10, 1959
Cover design — Paul Bacon
KELLY BLUE (.over produced and designed by Paul Bacon-
i >)( < l) 033-2 (Riverside 1 1 (2) Ken Braren-Harns I.ewme

O u one subject at least, the varied

musicians in the forefront oj ihc East
—
Coast jazz scene oj the Fifties Miles
 BARNEY KESSEL—guitar HAMPTON HAWES.
BARNEY RAY BROWN — bass
SHELLY MASSE— drums
CLAUDE WTLLLAMSON—piano
MONTY BUDW1G. RED MITCHELL— bass
KESSEL Produced by LESTER KOENIG
SHELLY MANNE,
CHUCK THOMPSON— drums
Recorded in Los Angeles; March 18-19, 1957.
Produced by LESTER KOENIG
BARNEY KESSEL/ Cover photo — William Claxton
SHELLY MANNE Cover design —Guidi Tn-Arts Recorded in Los Angeles; 1954-55.
Cover photo —William Claxton
RAY BROWN Cover design —Guidi Tri-Arts

THE POLL WINNERS KESSEL PLAYS

OICCD- 156-2 iComemporarv :
5

STANDARDS
THE POLlVfylNERS: BARNCY KESSE
1^ 5
1 1 4 x1 1 M 9ne of the first of the modern jazz
guitarists to follow m t)x wake ofOmiiie ROLAND KIRK
S< C0HTEMP09ARYS
Barney Kessel became a
Christian.

5 ?
prolific recording artist for Contemporary in a
series of dates which are noteworthyfar their
ROLAND KIRK
variety as well as their excellence. WITH JACK McDUFF
* By using
guitar. Kessel
different instruments with the
was able to make each recording
KIRK'S WORK
OJCCD-159-2 iPresnge "2101
session an entity unto itself Heiv it is Bob
Cooper's oboe and tenor saxophone added that
combination of
the other colors to Barney's
HD harmonic sophistication and Oklahoma twang
When that inherent blues sensibility is applied
to great material from the American Songbook,
it is an unbeatable combination
*••*- 1/2 ~- s s . cost, ,ir;y
the sacrifice of an air of relaxed enjoyment . . .

-es:-':: :'~,::5-s ;':»":, -=";

and who enjoy playing together Definitely
-~cc —
;-:?:
. . .

—DON W)1X1 Don n &«/

arney Kessel. Manne. and Ray

B
Slyelly

Broun did not record togetlyer simply

because tlyey all happened to bate won
first place on tlteir respecthv instruments in tlx-

Dt/wn Beat. Playboy, and Metronome polls Their

oland Kirk the amazing one-man
collaboration u as due to mutual respect, and saxophone section and sublime soloist
their sensitiiity to one another's musical require-
had yet to add Rahsaan to his name
ments. Here, in a set comprised mainly of pop when be recorded his first album for Prestige

and jazz standards, tlxry represent tlje ultimate in I'Jdl It wasn't yet quite clear to many
a t bj/tbm section that
tn tlxir fields, constituting even people at the center of the jazz communi-
prmides brillUoit srAo interludes lr\ all tlyree
alstt Speak Low. Love Is Here to Stay. On a Slow ty that Kirk's gifts went considerably beyond
members. Collectuely Kessel Manne. and Boat to China How Long Has This Been tlx' abOUy to play three horns at once Gradually
Going On?. My Old Flame. Jeepers Creepers. it began to dawn on one and all that the mans
Brown won dozens of polls oier ttye years:
this record el'xjuently tells you why. Barney's Blues. Prelude to a Kiss. A Foggy almost superhuman energy and dedication
Day. You Stepped Out of a Dream. I Didn't ivere matched by musicianship based as firm-
Jordu. Satin Doll. It Could Happen to Know Uliat Time It Was. Ch Bars on Wikhire ly in tradition as in innovation Hientually. it

You. Mean to Me. Don't Worry Bout Me. became possible to accept as pari s of Kirk's
On Green Dolphin Street. You Go to M\ BARNEY KF.SSEL— guitar kaleidoscopU. expression those odd instruments
(lead. Minor Mood. Nagasaki BOB COOPER— tenor saxophone, oboe the manzeUo and the stricb not to mention
 . )

the nose flute and kirkbam that he added later. and early Sixties that reflected his fascination a Morning Sunrise; Lost in the Stars, Long
And what a tenor saxophonist. Kirk's Work is with things oriental Eastern Sounds, in fact, As You're Living
a milestone in the brief, brilliant career of a was one of his best sellers. One of the warmest
major artist. and most accessible soloists in jazz, Lateefis a ABBEY LINCOLN— vocals
master not only of conventional reed instru- JULIAN PRIESTER— trombone
Three for Dizzy, Makin' Whoopee, Funk ments but many uncoiwentional ones. Here, STANLEY TURRENTINE— tenor saxophone
Underneath, Kirk's Work, Doin' the Sixty- using only tenor saxophone, flute, and oboe, KENNY DORHAM,
Eight, Too Late Now, Skater's Waltz
he generates mystery and exoticism.
TOMMY TURRENTTNE— trumpets
LES SPANN— flute, guitar
ROLAND KIRK— tenor saxophone, The Plum Blossom, Blues for the Orient, WYNTON KELLY, CEDAR WALTON,
manzello, strich, flute, siren PHIL WRIGHT—piano
Chinq Miau, Don't Blame Me, Love Theme
JACK McDUFF — Hammond organ from "Spartacus," Snafu, Purple Flower,
BOBBY BOSWELL, SAM JONES— bass
JOE BENJAMIN— bass Love Theme from "The Robe," The Three
PHTLLY JOE JONES, MAX ROACH— drums
ARTHUR TAYLOR— drums Faces of Balal
Supervison by ESMOND EDWARDS YUSEF LATEEF— tenor saxophone, oboe, flute
ABBEY
Recorded at Englewood Cliffs, NJ; July 11 , 1961 BARRY HARRIS—piano IS BLUE
ERNIE FARROW— bass, rabat
LEX HUMPHRIES— drums ABBEY
LINCOLN
Supervision by ESMOND EDWARDS
Recorded in Englewood

YUSEF
Cliffs, NJ;
September 5, 1961.
Cover design/photo — Don Schhtten
LATEEF
EASTERN SOUNDS
OJCCD-612 (Prestige 7319)
ABBEY
LINCOLN •k if ir it "k ...
awe at the beauty, artistry,
One can but stand
and poignancy
in

of this album. . . . One of the most artistically

albums be had. Recommended
ABBEY IS BLUE satisfying
for those with souls.
to

OJCCD-069-2 (Riverside 1153) —DON DE M \i, Down Beat

For many years now. Abbey Lincoln

has been recognized as a strong and Produced by BILL GRAUER
strong-minded, racially aware and and ORRIN KEEPNEWS
rhythmically secure artist. But early in her Recorded in New York Ciry; Spring and Fall. 1959.
career — as a striking-looking young woman Cover designed and produced by Paul Bacon-
making the transition from being a sleek sup- Ken Braren-Harns Lewine
per<lub performer — // was difficult to gain Cover photo —Lawrence N. Shustak
acceptance as a true jazz singer. Wis seems
hard to understand now, listening to her treat-

Yusef Ixiteefs interpolation into his

ments of material by such as Duke Ellington
and Kurt Weill, accompanied by a galaxy of
THAT'S HIM!
music of traditions, modes, and instru- OJCCD-085-2 (Riverside 25 1

players (who always knew her worth) like

ments ofAsia struck a sympathetic chord
in tlie jazz audience. Perhaps its fascination lay
in the apparently inextinguishable human need
Max Roach, Wynton Kelly. Cedar Walton,
Kenny Dorham, Stanley Turrentine, Sam
Over the years since she began
her recording career with this album.
fones, and I'hilly joe jones. Abbey Lincoln has demonstrated that
for mysticism, perhaps in the unending attrac-
she belongs to that small, handful of select
tion Oj the sadness and beauty of minor heys.
Afro-Blue, Lonely House, Let Up, Thursday's consistently creative jazz vocalists So it can
At any rate, there was considerable demand Child, Brother, Where Are You?; Laugh,
many recordings of the late 1950s be considered prophetic that her debut was
for luleefs Clown, Laugh; Come Sunday; Softly, As in
supported by this awesomely illustrious group.
It'smore than merely an "all star" cast: that SHELLY
suggests a one-time-only gathering of unin-
volved celebrities, but Sonny Rollins (then just
emerging as the new tenor sax colossusj and
MANNE McLEAN
Kenny Dorham had recently been together in
Max Roach's close-knit quintet, and all three SHELLY MANNE & 4 5 and 6
had frequently worked with Paid Chambers HIS FRIENDS OJCCD-056-2 (Prestige ^048)
and that remarkable accompanist. Xfj-nton
Kelly. All file wanted Abbey to sound her
MY FAIR LADY
best — and \ou can bear it in the residts.
OJCCD-336-2 (Contemporary "52 I

belly Manne and his Friends — bassist Jackie McLean

Lerrjy Vinnegar and the once and future ML HIM OOUC HTMS
iBBEY LINCOLN classical pianist Andre Preiin — Ixid recrjrd-
«TT TITU* 60* IT MiMUl
ed a trio album before this one fShelly Manne
and Friends QfCCD-240-2), but My Fair Lady was
the first and biggest-selling of the jazz versions
of Broadway shows. TV themes, and film
soundtracks later recorded by the trio.
Although the Friends made memorable
interpretations o/Lil Abner. Pal Joey. Gigi.The
Bells Are Ringing and West Side Story, their My
Fair Lady remains a true classic to this day.

GetMe to the Church on Time, On the Street

Where You Live. I've Grown Accustomed
to Her Face. Wouldn't It Be Loverly. Ascot
* + it ie ... McLean is in full command
of his musical gifts and plays with ease, sure-
Gavotte. Show Me. With a Little Bit of ness and fire. . . . The rhythm section is flaw-
Strong Man. Happiness Is a Thing Called Luck. I Could Have Danced All Night less throughout ....
Joe. My Man. Tender as a Rose. That's Him,
—RALPH J. GLEASON. Down Beat
I Must Have That Man. I Must Have That
Man (take 5T- Porgy. Porgy (take 1)*. When Shelly Manne & his Friends
a Woman Loves a Man. Don't Explain

ABBEY LINCOLN — vocals

modern jazz performances
of sonas
45 and 6 refers to the three
quartet, quintet, and sextet— taped
groupings —
at

KENNY DORHAM— trumpet from MY twojufy 1956 sessions 77je results < >f'these

SONNY' ROLLLNS— tenor saxophone

WYNTON KELLY—piano
PALL CHAMBERS— bass
FAII
LADY V ^
dates of the type of recording Prestige
ciiv typical

was doing then. Although these were not in the

jam session format the company also pursued
NL\X ROACH— drums in these days, the emphasis is on blowing.
In addition to the ballad Standards, handled
Produced bv ORRIN KEEPNEWS by alto saxophonist McLean in the quartet con-
and BILL GRAL'ER text, tl.iere are originals from pianists Mai Wahtnm

Recorded in New York Ciry; October 28, 1957. ("Abstraction "t and Kenny Drew "'<jontout">. <

Cover photo — Paul teller and the already classic Confirmation by

Cover design — Paul Bacon _i ( harlie Parker.
Vt lean and Donald Byrd had a chemistry
SHELLY MANNE—drums going at the time, evident on Abstraction and
.ANDRE PREVLN—piano 'Contour Vtobley's meUowbop tenor adds fur-
LEROY \TNNEGAR— bass ther color to the ensemble and another strong
solo voice on "Confirmation.'
Produced by LESTER KOENIG
Recorded in Los Angeles; August 17, 1956. Sentimental Journey, Why Was I Born?,
Cover photo— March Phil Contour. Confirmation. When I Fall in
Cover design —Guidi Tri-Arts Dive. Abstraction

59
JACKIE McLEAN— alto saxophone and Richmond, known as the "Almighty interplay Mingus demanded from his musi-
DONALD BYRD— trumpet Three," was unique, as was Dolpljy, and Coles cians, and the unity of musical purpose he
HANK MOBLEY— tenor saxophone and fordan have rarely been captured in strived after. "Work Song"was the first Mingus
MAL WALDRON—piano better form. composition with a socially conscious title and
DOUG WATKINS— bass message. Max Roach, Mingus's partner in t/je
ARTHUR TAYLOR— drums So Long Eric, Praying with Eric Debut venture, sits in for "Percussion Discussion,"
a rousing duet (Mingus overdubbed a third
Supervision by BOB WEINSTOCK CHARLES MINGUS— bass part, played on piccolo bass). Barrow and Bert
Recorded in Hackensack NJ; July 1956. JOHNNY COLES— trumpet rise to the occasion, Waldron is already him-
Cover —Weinstock/Hannan CLIFFORD JORDAN— tenor saxophone
self, andfones, a Monk graduate, plays with
ERIC DOLPHY— alto saxophone,
taste and intelligence. This is an important
bass clarinet, flute
JAKI BYARD—piano milestone in the saga of Charles Mingus.
DANNIE RICHMOND— drums
Jump Monk, Serenade in Blue, Percussion
DUPREE WHITE Discussion, Work Song, Septemberly, All

CHARLES Coordinator— MRS.

Recorded at Town Hall, New York City;
the Things You C#, Jump Monk (alter-
Things You C# (alternate)*
MINGUS April 4, 1964.
Cover design — Charles Mingus III "Tertius"
nate)*, All the

CHARLES MINGUS— bass

EDDIE BERT— trombone
GEORGE BARROW— tenor saxophone
TOWN HAIL CONCERT MINGUS AT MAL WALDRON—piano
OJCCD-O-42-2 (Jazz Workshop 005-S)
THE BOHEMIA WILLIE JONES— drums
MAX ROACH— drums
OJCCD-045-2 (Debut 123)

This concert by one of the

Charles MingUS ever led presents
bands greatest
the first
( "Percussion Discussion " only)

complete performance ofMeditations" Recorded at the Cafe Bohemia, New York City;
(here called "Praying with Eric"), a Mingus December 23, 1955.

masterpiece. had been rehearsed in segments

It
Cover — Bob Parent

at the Five Spot, but when it all came together,

even the musicians were surprised — and
Mingus loved surprises. Right after the concert
(a benefit for the NAACP), the group left for a
European tour, which was to be the last collab-
oration between Mingus and Eric Dolphy, who THE MODERN
did not return
just two months
long blues, "So Long
home with the others
(whence the title for the
later
which was bestowed
Eric,"
and died
JAZZ QUARTET
after the fact). The rhythm section (and it was
much more than just that) of Byard, Mingus, CONCORDE
OJCCD-002-2 (Prestige 7005)

ir ir ir ir 1/2 Already one of the

. . .
he earlier MfQ sessions were released
major music personalities in modern jazz. In [ on 78s, 45s, EPs, and 10-inch LPs. Later
basic freshness of approach, success in \ they were collated on 12-inch LPs. This
individualized collective impact, and searing was the first session done specifically for 12-
sincerity of intent, Mingus is an impressive
inch and was also Connie Kay's first recording
focal figure.
with the group after replacing Kenny Clarke.
—NAT HF.NTOFF, Down Beat
"I'll Remember April" was done at a separate

session (discographies dun t tell us this)

was Charles Mingus s first recording because John lewis, the perfectionist, teas
This with a working band of his own, issued dissatisfied with the first vision. i

on his own enlerjmsing IX'but label. The

group was also t/x'jirst to carry tl)e Mingus jazz Ralph's New Blues, All of You, I'll Remember
April, Gershwin Medley (Soon/For You, For
Workshop banner. Recorded live, the music is
among the earliest examples of the inspired
 (

Me. Forevermore/ Love Walked In/Our Clarke plays timpani on "The Queen's Taney Quartet s classic December 1952 session, its

Love Is Here to Stay): Softly. As in a and works out on his traps in "La Roiule Suite" first for Prestige and first under the name
Morning Sunrise: Concorde which, when Leivis first wrote it in the Dizzy Modem Jazz Quartet. Tlie rest of the material
Gillespie orchestra, was called "Two Bass Hit:' comes from a 195-i date with Horace Silver in
place ofJohn Lewis, and Henry Boozier, a lit-
Django, One Bass Hit, La Ronde Suite, tle-known but bluesily effective, personal trum-
The Queen's Fancy, Delaunay's Dilemma, added to the front line.
i /= \ijp r" u
'
^i
r ' '
' O Autumn in New York, But Not for Me,
peter,
The main man in the spotlight isfackson.
Milano who displays his natural blues feeling and
the shimmering lyricism in two diffeivnt settings
MILT JACKSON— i ibes
and a variety of moods from Lewis's stately
Modern . JOHN LEWIS—piano
PERCY HEATH— bass "Vendome " to Silver's earthy Opus de Tank."
lazz KENNY CLARKE— drums
All theThings You Are, La Ronde,
1 Quartet Vendome, Rose of the Rio Grande, Opus
de Funk, I've Lost Your Love, Buhaina.
inn 1 Soma
j^E^SM BS*^M* WW
MILT JACKSON— vibes
1 Jc 1 JOHN LEWIS—piano
PERCY HEATH— bass
**•*• +* ... Warmth, imagination, KENNY CLARKE— drums
compositional freshness and musical integrity.

—NAT HENTOFF. Doun Beat

M J Quartet
MILT JACKSON —
JOHN LEWIS—piano
ibes M J Ql intet

PERCY HEATH— bass Mod J a

CONNIE KAY— drums "I'M*

M J Q ntet
Supemson by
Recorded in
BOB WEINSTOCK
New York City; July 2, 1955.
"The Queen's Taney" Delaunay's Dilemma."
in Sew York." "But Sot for Me":
M J a
Cover design — Bob Parent
Cover photo courtesy of French Government
"Autumn
Recorded in New York City; June 25, 1953.
IRA GITLER
M J Q ntet
Tourist Bureau Supervision by
Mod< J a n
DJANGO
"Django." "One Bass Hit." "Milano":
Recorded in Hackensack, NJ; December 23, 1954. M J a m
OJCCD-05--2 (Prestige 7057) "La Ronde Suite":
Recorded in Hackensack, NJ; January 9, 1955.
Supervision by IRA GITLER
jango" is perhaps John Lewis's best Supervision by BOB WEINSTOCK Recorded in New York City; December 22, 1952.
knoun composition. Certainly it is one Cover — Hannan "Opus de Tank. I've Lost Your Love.
of his most durable. Ixning been played
and recorded many times over the years with "Buhaina." 'Soma' only
Add HENRY BOOZIER— tru mpet
tempo altered but
intact. This is its first
its basic haunting beauty
taping and a benchmark MODERN JAZZ HORACE SILVER—piano (replaces Lewis)

performance for all succeeding tersions dry the QUARTET/MILT BOB WEINSTOCK
MJQ and all the others who hate interpreted JACKSON QUINTET Supervision by

it) be measured against.

to
Tljese are the early days of the quartet
MJQ
OJCCD- 125-2 (Prestige 7059)
Recorded in Hackensack, NJ; June 16. 1954.

but it had begun uith a standard of excellence,

forged by youthful but experienced musicians JQ'here stands for two different
uith a framework that allotted them to exhib- —
but connected groups the Modern
it their teamwork and virtuosity Jazz Quartet and the Milt Jackson
The group's original drummer Kenny Quintet The first four selections are from the
V
 THELONIOUS MONK
A 5 influential

to

decades of his
appears that Tfjelonious Sphere
Monk (
as be proved
be during the final

191~-82) has only gamed

lifetime, it
The exchange of ideas that took
place in these sessions led to the style
later known as bebop. Monk was a
central contributor to this process,
and also the champion of the pianist
his music, as well as the best players

of the period (including

Coltrane, and Monk's former
Rollins, John

Hawkins), the profundity of Monk's

music finally grew to be appreciated.
boss

greater stature in the years since his who would become emblematic of Once he obtained reinstatement of
death.Once considered too eccentric the style. Bud Powell. his cabaret card in 1957, he began
and complex to be appreciated by lis- Monk's ideas regarding tonality, an extended stay at the Five Spot
teners and other musicians. Monk accent, dissonance, and space were with a quartet featuring Coltrane
has become a standard of excellence, not typically boppish. however; and, that was hailed as the most pro-
as both composer and soloist, for a 1944 session u ith
except for found meeting ofjazz giants since
those who seek to extend the jazz Coleman Hawkins where he made Gillespie and Charlie Parker
tradition in the Nineties. his debut, he ivas not recorded as Over the next 15 years. Monk
While bom in North Carolina. quickly as the other modernists. As a became an international jazz star,
Monk moved to the Hell's Kitchen composer, however, Monk made his touring frequently with a quartet
area of Manhattan at age four, mak- presence felt with works like "Round that, after Coltrane. featured Johnny

ing him in effect a native New Yorker Midnight." "Epistrophy" and "Off Griffin and (for more than a decade)
He heard and absorbed the music of Minor," all of which were recorded Charlie Rouse. He made bril-
also
Duke Ellington and such masters of before Monk obtained his first ses- liant solo recordings and led large
the stride piano style as James P. sion as a leader in 1947. Over the ensembles in Town Hall and Philhar-
Johnson and Willie TJje Lion Smith:
" next several years, Monk continued monic Hall concerts of his music that
and he toured as a teenager with an to produce new pieces and new resulted in live recordings. After tour-
evangelist, sounding according to his recordings that only solidified his ing with a Giants ofJazz sextet that
future champion Mary Lou Williams reputation as a difficult and icono- also featured his old friends Gillespie
like Teddy Wilson at the time. By clastic figure. After taking an unwar- and Art Blakey. Monk withdrew from
1936 he was back in New York, ranted drug rap rather than inform- the public eye and spent the final
where he spent the next several years ing on a friend, he lost his Sew York decade of his life in seclusion. His
playing a variety ofjobs. Tfje most cabaret card and had to confine music continued to gain popularity.
important was his tenure as house much of his playing to his kitchen however, and shows no sign of losing
pianist at Minton s, the legendary ( where young acolytes like Sonny its influence as younger musicians
Harlem club it here drummer Kenny Rollins rehearsed). continue to mine his ideas for fur-
Clarke was also in the band and In 1955. Monk's fortunes took a ther inspiration.
young musicians like Charlie significant turn when he signed with
Christian and Dizzy Gillespie liked to Riverside Records. In a series of
shf/iv up for after-hours jamming. albums that quickly came to feature
 )

Produced by ORRIN KEEPNEWS

Recorded in New York City; 1957-58.
Cover design — Ken Deardoff
Cover painting — Richard Jennings

THELONIOUS
OJCCD-010-2 (Prestige 7027)
MONK
onk came to Prestige from Blue
Note where he recorded with set<eral
groups of varying sizes including
some trios. At Prestige his first two dates
(October and December 1952) were strictly in
a trio context with Art Blakey on the first and
Max Roach the second. Two other selections,
with Blake]', come from a 1954 trio session.
This album contains the debut recordings of
"Little Rootie Tootie,""Bemsha Suing" and

"Blue Monk."

Blue Monk, Just a Gigolo, Bemsha Swing,

Reflections, little Rootie Tootie, Sweet and
Lovely, Bye-Ya, Monk's Dream; Trinkle,
Tinkle; These Foolish Things

ItirfonjniJ

THELONIOUS MONK
with JOHN COLTRANE -Dttwn Beat

OJ< ' I J 039-2 ij.i//i,.n,i it,;

"Ruby My Dear!' "Trinkle, Tinkle," "Nutty":

When Monk and "Frame spent six
months of 1957 working together
JOHN COLTRANE— tenor saxophone
THELONIOUS MONK—piano THELONIOUS MONK—piano
at New York's Five Spot Cafe, it
WILBUR WARE— bass
was an with
which certainly should
historic event SHADOW WILSON— drums Little Rootie Tootie. Sweet and Lovely"
hate been exhaustively recorded. Hut nonmu-
(>H Minor" "Epistrophy":
"Bye-Ya," "Monk's Dream":
sical conflicts made that impossible, leaving as
GARY MAPP— bass
the only permanent rcnundcrs of this momen- JOHN COLTRANE, COLEMAN HAWKINS-
lenor saxophones ART BLAKEY— drums
tous encounter the three remarkable quartet
GIGI GRYCE — alto saxophone Recorded in New York City; October 15, 1952.
selections that highlight this album.
RAY COPELAND— trumpet
"Bemsha Swing," "Reflections"
Ruby, My Dear; Trinkle, Tinkle; Off Minor
THELONIOUS MONK—piano "Trinkle. Tiukle,"'These Foolish things"
(alternate take), Nutty, Epistrophy (alter-
WILBUR WARE— bass GARY MAPP— bass
nate take), Functional (alternate take)
ART BLAKEY— drums MAX ROACH— drums
("Functional" is an Recorded in New 'lurk ( ity; Deccmbei 18, \')')1
unaccompanied piano solo.

64
"Blue Monk. Just a Gigolo": Supervision — IRA GITLER KENNY CLARKE— drums
PERCY HEATH— bass Recorded in New York City; November 13, 1953.
ART BLAKEY— drums Produced bv BILL GRAUER
All other selections: and ORRIN KEEPNEWS
Recorded in Hackensack, NJ; September 22, 1954.
THELONIOUS MONK—piano Recorded in Hackensack, NJ;
BOB WEINSTOCK FRANK. FOSTER— tenor saxophone July 21 and 27, 1955.
Supervision by

Cover design — Gil Melle

RAY COPELAND— trumpet Cover painting
—
"The Repast of the Lion," by
CURLY RUSSELL— bass Henri Rousseau (courtesy of the Lewisohn Estate)
ART BLAKEY— drums Cover design — Paul Bacon

THELONIOUS Supervision by BOB WEINSTOCK

MONK QUINTET Recorded in Hackensack, NJ;
— Reid Miles
May 1 1, 1954.
BRILLIANT CORNERS
MONK
QJCCD-016-2 < Prestige 7053)
Cover
OJCCD-026-2 (Riverside

The unusual combination of Sonny THELONIOUS

sax and Julius Mdtkins's
Rollins's tenor MONK PLAYS
French born comprises the front line on
of Monks compositions.
DUKE
tuxj

form a working group of the same instrumen-

Later. Watkitis urjuld
ELLINGTON
OJCCD-02-1-2 (Rivers.de 2011
tation with tenor man Charlie Rouse called Les
Jazz Modes. Subsequently. Rouse would playfor
ten years in Monk's group. Tlje second session,
with Ray Copeland and Frank Foster, includes
threemore Monk originals (including the
renowned Hackensack j and a unique Monk
treatment of "Smoke Gets in Your Eyes."

~k ir ir~k ir ... Riverside's most

important modern jazz LP to date.
—vvr HENTOFF. Down Beat

album —
Monk's third Riverside
the first to include bonis and
be very first 12-inch album in what emphasize his original composi-
was to be a most significant catalog also tions — is recognized as the first major step in
marked the Riverside debut of an artist his rise from being considered a mere eccentric
of towering importance fittingly, it was a to rightful acceptance as a true jazz giant.
strikingly original concept:a then-unappreci- Brilliant Corners has an all-star cast—featur-
ated revolutionary interpreting the music of a ing Sonny Rollins. Max Roach, and (lark
recognized master composer Once ahead of Terry— and took real stars to master some
We See, Smoke Gets in Your Eyes, Locomotive, it

Hackensack, Let's Call This, Think of One its time. Monk Plays Ellington now stands as ofThelonious's most diffii ult and l>rilli<iiit
(take 2). Think of One (take 1) an enduring jazz landmark music

It Don't Mean a Thing (If It Ain't Got Brillant Corners, Ba-Lue Bolivar
let i fall 'fins. Think of One" (takes 1 and 2):
THELOMOt s MONK—piano That Swing), Sophisticated Lady, I Got It Ba-Lues-Are, Pannonica; I Surrender,
sonny roijj.ns— tenor saxophone Bad (and That Ain't Good), Black and Tan Dear; Bemsha Swing
in s watki.ns— French born Fantasy, Mood Indigo, I Let a Song Go Out
Ji
PERCY HEATH— bass of My Heart, Solitude, Caravan THELONIOUS MONK—piano
on "Fannonu a
(celeste i

WILLIE JONES—drums
THELONIOUS MONK—piano ERNIE HENRY— alto saxophone
OSCAR PETTIFORD— bass SONNY ROLLINS— tenor saxophone
OSCAR PETTIFORD— bass The Way You Look Tonight, I Want to Be uncompromising performances, major-league
MAX ROACH— drums Happy, Work, Nutty, Friday the 13th support (Art Blakey and Oscar Pettiford), and
strong material all helped turn this concept into
"Bemsha Swing": "Friday the 13th": lastingly superior jazz. Particularly notable are
CLARK TERRY— trumpet (replaces Henry) THELONIOUS MONK—piano his sharp thrusts of humor on such well-worn
PAUL CHAMBERS— bass (replaces Pettiford)
SONNY ROLLINS— tenor saxophone
MAX ROACH — drums; timpani JULIUS WATKINS— French born
pieces as "Honeysuckle Rose "and "Tea for Two."

Surrender, Dear" is an
We album's impact was strengthened by one of
("I PERCY HEATH— bass themost unique covers ever devised (Riverside
unaccompanied piano solo.)
WILLIE JONES— drums
went so far as to print quantities of almost
Produced by ORRIN KEEPNEWS Recorded in New York City; November 13, 1953- postage-sized Monk stamps: quite a few found
Supervision by IRA GITLER their way through the mails/).
Recorded in New York City; December 1956.
"Work," "Nutty":
Liza (All the Clouds'll Roll Away), Memories
THELONIOUS MONK—piano
THELONIOUS MONK/ PERCY HEATH— bass
of You, Honeysuckle Rose, Darn That Dream,
Tea for Two, You Are Too Beautiful; Just
SONNY ROLLINS ART BLAKEY— drums
Recorded in Hackensack, NJ; September 22, 1954.
You, Just Me
OJCCD-059-2 (Prestige 7075)
Supervision by BOB WEINSTOCK THELONIOUS MONK—piano
OSCAR PETTIFORD— bass
"The Way You Look Tonight,"
ART BLAKEY— drums
"1 Want to Be Happy":
("Memories of You "is an unaccompanied
SONNY ROLLINS— tenor saxophone piano solo.)
THELONIOUS MONK—piano
TOMMY POTTER— bass Produced by ORRIN KEEPNEWS
ARTHUR TAYLOR— drums and BILL GRAUER
Recorded in Hackensack, NJ; October 25, 1954. Recorded in Hackensack, NJ;
Supervision by BOB WEINSTOCK March 17 and April 3, 1956.

Cover — Hannan Cover produced and designed by Paul Bacon,

Ken Braren, Harris Lewine
Cover photos — Lawrence Shustak
THE UNIQUE
THELONIOUS
OJCCD-06-4-2 (Riverside-209)
MONK MONK'S MUSIC
OJCCD-084-2 (Riverside 1 102)

a potpourri of Monk, with

This is

Rollins in on two of the recording dates.

Monk's Musicof among
significant
is the most
Thelonious's classic
The 1953 session with Julius Watkms on Riverside albums. Here he was
French horn gives us "Friday the 1 3th" an literally looking back and ahead at the same
elongated outing on one of those Monkian time, by bringing together Coleman Hawkins
harmonic sequences that is at once minimal on tenor saxo-
(the very first important voice
and liberating. phone) and John Coltrane (on the verge of
"Work" and " Nutty" were to become two of becoming a major shaping force of the Sixties).
Monk's most intriguing pieces. These trio ver- Equally notable is the incredible rhythmic sup-
sions, with the steady Percy Heath as the pivot, port provided by combining Art Blakey and
reveal once again the rapport enjoyed by Wilbur Ware; and, justifying the album title, a
Monk and Art Blakey. selection of vital Monk compositions—plus bis
"The Way You Look Tonight" and "I Want to choice of the 19th century hymn, "Abide with
He Happy" are companion tracks to the ballad Me" (written by one William H.Monk).
performance of'More Than You Know" [Sonny
Rollins, Moving Out (( )JCCl)-(>5H-2/Prestige Abide with Me; Well, You Needn't; Ruby,
70581. These renditions have a relaxed, swing- onk's second album for Riverside My Dear; Off Minor (take 5), Off Minor
ing informality that lets you think you are continued the label's initial plan- (take 4)*, Epistrophy, Crepuscule with
eavesdropping at a session in Monk's West broaden his audience by the use
to Nellie, (take 6), Crepuscule with Nellie
(>3rd Street living room in 1954 on a night of recognizable standard tunes instead of his (takes 4 and 5)*

Sonny dropped in to blow somewhat frightening originals. Thelonious's

THELONIOL S MONK—piano Malik, and tlyeir exuberant leader created — orchestrations,and some inspired playing by
GIGIGRYCE— alto saxophone two highly memorable in-performance albums Tbetornous and such major supporting artists
COLEMAN HAWKINS, JOHN COLTRANE- (of which this is tlye first) of classic Monk as Donald Byrd. Phil Woods, and Charlie
tenur saxophones repertoire. Rouse, it became an enduring masterpiece
WILBUR WARE— bass of recorded jazz.
ART BLAKEY— drums Light Blue. Coming on the Hudson.
Rhythm-a-ning. Epistrophy (theme). Blue Thelonious (complete version)*. Friday
Monk. Evidence. Epistrophy (theme), the 13th. Monk's Mood. Little Rootie
unidentified solo piano". Blues Five Spot*. Tootie. Off Minor. Crepuscule with Nellie.
In Walked Bud Epistrophy (theme)* Little Rootie Tootie (encore)*

THELONIOUS MONK—piano THELONIOL S MONK.—piano

JOHNNY GRIFFIN— tenor saxophone JAY MCALLISTER— tuba
AHMED ABDUL-MALIK— bass ROBERT NORTHERN—French horn
ROY HAYNES— drums EDDIE BERT—trombone
DONALD BYRD—trumpet
TheLPNIouS ==±s, PEPPER ADAMS—baritone saxophone
CHARLIE ROUSE—tenor saxophone
t:,mi:-::i PHIL WOODS— alto saxophone
TKLOWOUS HOW QBAITFT Ml JOMNY GXfFW SAM JONES— bass
RECORDED AT THE FIVE SPOT CAFE. NEW YORK CITY ARTHUR TAYLOR— drums

THE
THELONIOUS
•k -k -k
section of what
** . .To date the best cross
Monk is doing today with a MONK
group . . . This is one to play again and again ORCHESTRA
with no diminution of pleasure or of discover.
AT
—DOM CEKULLL Doirn Seal
TOWN HALL
("Abide With Me" is played by trumpet and
saxes only: "Ruby, My Dear" by Hawkins and
rhythm section only.)
Produced by ORRIN KEEPNEWS
Recorded at the Five Spot.
Produced by ORRIN KEEPNEWS New York City; August 1958.
Recorded in New York: June 26. 195". Cover design —Paul Bacon
Cover photo — Paul Weller Cover photo —Jack Manning
Cover design — Paul Bacon

+ + * ir 1/2
THE THELONIOUS . . . This concert
a histonc occasion, and the album that
was
was
THELONIOUS IN MONK ORCHESTRA culled from it is equally memorable.

ACTION AT TOWN HALL —JOHN V TYNAN. Don n Beat

OJCCD-103-2 'Riverside 1190) QICCD-135-2 > Riverside 1138)

ORRIN KEEPNEWS
The place one of Sew York's most

A
concert performance by Tbelonious Produced by
celebrated jazz rooms, the File Spot. Tlie Monk, presenting orchestral versions Recorded New York City;
in concert in
time summer 1958. Tlx leader is the (seven horns, three rhythm) of a half- February 28. 1959.
great Thelonious Monk, at the peak of his abil- dozen of his challenging compositions would Cover produced and designed by Paul Bacon-
ities as a performer and captured "in action be a formidable recording task under any cir- Ken Braren-Harns Lewine
at tlye club ulcere lie first emerged into the cumstances In 1959, when tape equipment
sj»>tlight The band is one that has been dras- was far less effectiie than it is today, and Monk i

tically undert -alued in history, largely because works had never before been presented in
it was the successor to the legendary quartet other than a small-group blowing context it

that featured John <

' oltrane Rut this group — was a gigantic undertaking. Wanks to
Johnny Onffin K</\ Haynes Ahmed Abdul- Hall Overton's masterful and ingenious
THELONIOUSMONK THELONIOUS ALONE THELONIOUS HIMSELF
QUARTET/MISTERIOSO IN SAN FRANCISCO OJCCD-254-2 (Riverside 235)

OJCCD-206-2 (Riverside 1 133) OJCCD-231-2 (Riverside 1 158)

Thelonious Monk's fourth album for
most impressive point to be made
The about this record is that it is a product
he varied catalog of memorable Riverside
albums by Thelonious Monk includes two
Riverside stands between two of his
most celebrated group recordings, follow-
of precisely the same night's work as the solopiano efforts. Pnxlucer Orrin Keepnews ing Brilliant Corners (now OJCCD-026-2) and
earlier Riverside album, Thelonious in Action tvmembers them as equally successful but striking- preceding Monk's Music (OJCCD-084-2), but
(now OJCCD-103-2); the two are in all respects ly diffetvnt pmjects. The 1957 Thelonious Himself in itself it of notable importance for several
is

a matched set. On the evening ofAugust 7, was recorded in New York on thive separate nights reasons. This was Monk's first recorded work
1958. recording equipment was rather precari- and involved much creative fertnent and many in the watershed year of 1957, in which be
ously set up in the always-overcrowded Five retakes. This album was accomplished with broke through to major recognition. It was
Spot, the room where Monk had made his tri- remarkable ease in Northern California two years his first (almost) entirely solo album. And it
umphant recent return to the New York club later, intwo brief sessions on consecutive after- includes at least two performances of lasting
scene and was now appearing with a new noons (one preceded by lunch at a family-style significance: the unaccompanied version of
quartet featuring Johnny Griffin. This turned Italian restaurant), with only one of the ten
out to be the first successful live recording of selections (a totally unfamiliar old pop tune
Thelonious (he had rejected the results of a arbitrarily chosen at the last moment)
night's work here a month earlier), and the requiring more than one take!
substantial numbers of Monk-approved perfor-
mances were readily programmed onto two
full and equally memorable albums.

his classic " Round Midnight" and the one

exception to the album's solo format, "Monk's
Mood." on which he is joined by Wilbur Ware
and—for the very first time—John Coltrane.
•k ir ir ir ... Monk was in brilliant form
throughout [this] engagement at the Black Hawk ir irir ir ir Highly recommended.
in San Francisco . and Riverside luckily
. .

—DOM CERULU, Down Beat

recorded him in the middle of the gig.
Nutty, Blues Five Spot, Let's Cool One,
In Walked Bud, Just a Gigolo, Misterioso, —RALPH J. GLEASON, Down Beat
'Round Midnight*, Evidence* April in Paris, (I Don't Stand) A Ghost of
Blue Monk; Ruby, My Dear; Round Lights, a Chance with You, Functional, I'm Getting
THELONIOUS MONK—piano Everything Happens to Me, You Took the Sentimental Over You, I Should Care,
JOHNNY GRIFFIN— tenor saxophone Words Right Out of My Heart, Bluehawk, 'Round Midnight (in progress)*, 'Round
AHMED ABDUL MALIK— bass Pannonica, Remember; There's Danger in Midnight, All Alone, Monk's Mood
ROY HAYNES— drums Your Eyes, Cherie (take 2); There's Danger
in Your Eyes, Cherie (take 1)*, Reflections
THELONIOUS MONK—piano
Produced by ORRIN KEEPNEWS JOHN COLTRANE— tenor saxophone
THELONIOUS MONK—piano (on "Monk's Mood")
Recorded at the Five Spot,
New York City; August 1958 WILBUR WARE— bass (on "Monk's Mood)
Cover painting
— "The Seer" by Giorgio de
Produced by ORRIN KEEPNEWS
Produced by ORRIN KEEPNEWS
Recorded in San Francisco; October 21 and 22, 1959-
Chirico, courtesy of James Thrall Soby
Recorded in New York City; April 12 and 16, 1957.
Cover design — Paul Bacon Cover produced and designed by Paul Bacon-
Ken Braren-Harris Lewme — Paul Bacon
Cover design
Cover photo — William Claxton Cover photo— Paul Weller
THELONIOUS MONK CHARLIE ROUSE, HAROLD LAND—
tenor saxophones
SAM JONES— bass
ARTHUR TAYLOR— drums
QUARTET PLUS TWO JOHN' ORE— bass
AT THE BLACKHAWK BILLY HIGGINS— drums Produced by
Recorded in
ORRIN KEEPNEWS
New York City: June 1-2, 1959.
OJCCD-505-2 i Riverside 11"1)
Produced by ORRIX KEEPNEWS
Cover produced by Paul Bacon-Ken Braren-
Itljougb tlje original album notes by Recorded live ar the Blackhawk, San Francisco; Harris Lewine
April 29, I960.
producer Orrin Keepnews understand-
ably do not discuss tlje situation, this Cover designed by Ken Deardoff

forceful on-tlje-job recording came into being IN ITALY

Monk bad been
as a last-minute emergency.
scheduled to make a sextet album as co-leader 5 BY
OJCCD-362-2
MONK BY 5 OJCCD-488-2

was not
(Riverside 9443)

1961 that Tljelonious

uitb West Coast-based star drummer Shelly (Riverside 1150) p t until

Manne. but after two days' work, all concerned Monk made his first European tour, with
admitted that tlje chemistry wasn't there. Tl)e a quartet that included Charlie Rouse
producer, reluctant to return to Sew York empty- (then near the beginning of their decade-long
Ijanded.added Harold Land and Joe Gordon association). Tlje Paris and Milan concerts
(brought upfront Los Angeles for the aban- were recorded and eventually released as the
doned projectJ to the Monk urjrking group for final output of Monk's six-year tenure with
one night. Tlje almost-impromptu results, fol- Riverside. Selections from both performances

louing quite brief rehearsal and tune-learn- were intermingled on a two-album set titled
ing, are a triumph ofjazz improvisation and Two Hours with Thelonious. this slightly later
a tribute to tlje unquencljable spirit of release duplicated the April 2 1 1961 concert
.

Tbelonious Monk. at the Teatro Lirico. but is unique in present-

ing the Italian material by itself in a single
package.

THELONIOUS MONK
AT THE BLACKHAWK
uring his half-dozen years at
Rherside. Tljelonious Monk recorded
in a wide
variety of settings, but this
is of the trumpet/tenor saxophone/
bis only use
rhythm lineup that was the most common
recording-studio format of the postAjop era.
Tlje personnel here was Monk's 1959 working
group (with Charlie Rouse close to the start of
bis decade-long association with the pianist),
plus one guest. Tljat guest was Tliad Jones,
then best known as a member of the Count
Basie Orchestra and one of a very select group
**•# + 1/2 Heartily recommended for
of horn men (Chirk Terry and Donald Hyrd
the excellent work of Rouse and Monk. were others) WbO could play his music with Jackie-ing. Epistrophy, Body and Soul:
—DON DE MlCHEAi. Ixmn Beat accuracy and also with enough pre and imag- Straight, No Chaser; Bemsha Swing,
ination to satisfy Tljelonious. San Francisco Holiday, Crepuscule with
Nellie. Rhythm-a-ning
Let's Call This.Four in One. I'm Getting Jackie-ing: Straight. No Chaser: Played
Sentimental Over You. Epistrophy (com- Twice (take 3). Played Twice (take 1)". THELONIOUS HONK—piano
plete)". Evidence". San Francisco Holiday
Played Twice (take 2)". I Mean You. CHARLIE ROUSE— tenor saxophone
(Worry Later). Round Midnight. Ask Me Now JOHN ORE— bass
Epistrophy (closing theme) FRANKJE DUNLOP— drum.',
THELONIOUS MONK—piano
THELONIOUS M()\K-/iwho THAD JONES— cornet Produced by ORRIN KFFPNEWS
JOE GORDON — trumpet CHARLIE ROUSE— tenor saxophone Recorded at Teatro Lirico, Milan; April 21. 1961.
Cover photo —Herb Snitzer
f

• ^4
 WES MONTGOMERY
Few musicians in jazz history
were more innovative, or
and were enjoying success as half of
the Mastersounds when Wes, still
the local trio featuring organist
Rhyne that was heard on his first
Mel

more unassuming, than gui- working organ gigs at home, joined recordings; but soon he would re-

tar legend Wes Montgomery (1923- them on several late-Fifties record- unite with Monk and Buddy as the
68). He dispensed with the plectrum ing sessions. It was word of mouth Montgomery Brothers. Despite studio
and developed an incredible thumb- from musicians like Cannonball partnerships with some of the greatest
picking style, played octave and Adderley and Gunther Schuller, who players of the era (including Adderley,
chordal passages with the fluency passed through Indianapolis and Tommy Flanagan, Milt Jackson, and
and nuance of single lines, and were knocked out by this local leg- Jimmy Smith) as well as large orches-
organized these astounding tech- end, that created a groundswell of tras, and a couple of immortal live

niques in solos of daring detail and interest in the guitarist among the recordings with Wynton Kelly, not to
sustained shape. Yet Montgomery New York opinion-makers and led mention an invitation to join John

modestly saw himself as a provider to his Riverside recording contract Coltrane's band (then a sextet with

for his large family, a man who in 1959. Eric Dolphy) that was briefly accepted

turned out entertaining music that The rest, which was all too brief in 1961,most of Montgomery's
just happened to redefine the possi- given his unexpected death from a remaining work was in bands with
bilities of the jazz guitar. heart attack nine years later, was Rhyne or his brothers.

Wes was the second of three guitarand jazz history. He was an As Montgomery moved to larger

musician brothers from Indianapo- immediate success with critics, who labels and more commercial proj-
lis, and make his name
the last to were prepared to top any superla- ects, his popularity kept pace and

nationally. He had briefly worked tives awarded him in album titles; his albums began to appear in the

under his given name John Leslie became the model for an entire upper reaches of the pop charts. Yet

Montgomery with Lionel Hampton new generation of guitarists (as his live performances still left musi-
from 1948-50; but then he returned well as some established players cians and jazz audiences speechless
home, to raise his family, work a who recognized the shape of guitar with his virtuosity, a situation that
day job as a welder, and develop to come); and found himselfjust as his slim but essential discography
his revolutionary style in one and eagerly celebrated by the general has continued without abatement
sometimes two gigs a night at clubs public, who heard a warmth and in more than a quarter century
like the Turf Bar and the Missile emotional directness in Montgomery's since his untimely death.
Room. His brothers, electric bass music that made questions of
innovator Monk and vibist/pianist progress and influence secondary.
Buddy, had moved to San Francisco For a time, Montgomery retained
 WES MONTGOMERY
TRIO
OJCCD-034-2 (Riverside 1156)

t is surely a gtvat rarity to be able to

rediscover the exact beginnings of a major
artist. Something quite close to that
occurs here: when Riverside producer Onin
Keepnews first heard Montgomery, the phe-
nomenal guitarist was still at home, playing
with this trio at an Indianapolis bar So it
must have sounded very much like this highly
impressive debut album (including an unfor-
gettable version of "Round Midnight") —
recorded just two weeks later!

'Round Midnight, Yesterdays, The End

of a Love Affair, Whisper Not, Ecaroh,
Satin Doll (take 5)*, Satin Doll, Missile
Blues (take 5)*, Missile Blues, Too Late
Now, Jingles

WES MONTGOMERY—guitar
MEL RHYNE— organ
PAUL PARKER— drums

. WES MONTGOMERY TRIO

A DYNAMIC NEW SOUND COTTAR ORGAN DRUM

THE INCREDIBLE "k if if "k if ... Strongly recommended.

JAZZ GUITAR OF Montgomery incredible? believe him!
WES MONTGOMERY
I

—IRA GrTLER, Down Beat

OJCCD-036-2 (Riverside 9 !0)

dazzling display of the unorthodox Blues, In Your Own Sweet Way, Mr.
technique and emotional power that Walker (Renie), Gone with the Wind • ••• -Down Beat
combined to make Montgomery a
literally "incredible" artist. Ever since its initial WES MONTGOMERY—guitar
release in 1 960, thisalbum has been a con- TOMMY FLANAGAN—piano Produced by ORRIN KEEPNEWS
sensus choice of musicians, critics, and knowl-
PERCY HEATH— bass Recorded in New York City;
edgeable listeners as a matchless example of ALBERT "TOOTIE" HEATH— drums October 5 and 6, 1959.
the talents of one of the finest jazz instrumen-
Produced by ORRIN KEEPNEWS
Cover production and design —Jules Maidoff,
talists of all times. Paul Bacon, Ken Braren, Harris Lewine
Recorded in New York City;
Airegin, D-Natural Blues, Polka Dots January 26 and 28, 1960.
and Moonbeams, Four on Six, West Coast Cover produced and designed by Paul Bacon-
Ken Brarcn-Harns Lewine
MOVIN' ALONG FULL HOUSE Recorded in Berkeley, CA; June 25. 1962.
Cover design — Ken Deardoff
OJCCD-106-2 (*j«ruce

Wfce-w oWs album was made. Bes

Montgomery was in tbe early- rocket-
ap be incredibly inventive concepts
ofWes Montgomery profoundly-
style
and
PORTRAIT OF WES
of a
like stages tragically brief career influenced and permanently changed OJCCD-:+4-: R:ven.zr ,-_

His debut as a recording artist on Riierside

bad not come until be uas in bis mid-tbirties
(and be uas to die of a bean attack uitbin a
lirtuaOy eiery jazz guitarist of bis day and
thereafter, and a wide range of rock musicians
as uelL Yet it is often claimed that Wes was
Wes Montgomery s last sessions for
Riverside late in li>63 marked a
return to tbe organ trio format be
decadej. In tbe single year betueen bis first rarely recorded at bis very best, tbat bis club
and tbis—bis third— LP. be bad leaped to tbe top always enjoyed But tbe results bad not yet
performarices gate off more warmth and excite-
been issued ul?en the company ceased opera-
of all possible polls. But be uas always highly ment than bis studio work. This is his only
tions. This LP (ncnv on CDj. released during a
'live' album for Riverside, bis first label, and it
brief attempt to resume, was assembled with-
isa classic session featuring tenor sax great
out any input from either tbe artist or bis pro-
Johnny Griffin and niarking Montgomery s first "
ducer Thus tbe issued tersion of "Moanin
meeting uitb the acclaimed trio optynton Kelly:
— was not one Wes liked and seieral liner credit
Paul Chambers, and Jimmy Cobb then work-
errors uent uncorrected [for example, tbe
ing together as Miles Davis s rbytbm section
actual composer of'Lolita ' is Barry Harris
and the tune "Moiin Along' is an entirely dif-
ferent blues also uritten by Montgomery and
later titled 'Blues Riff~J. Sonetbeless these are
strong earthy performances in an atuays hard
to findalbum tbat was only fleetingly avail-
able when originally issued

of bis oun recorded performances, and

critical

many feel bis studio work never quite equaled

bis on-tbe-job accomplishments. Houeier. this
relaxed ~btou ing date ' (bis principal backing
comes from a trio then working together as
bis friend Cannonball Adderiey s rbytbm sec-
tionj is considered perhaps bis most success-
fully suinging lisit to a recording studio. • •-*-* 1/2 . . . The alb ~<: - ~-
._ ... r , ,._.
::
_ e
_ _ rs
.

-.z -z :: : - =
:
-_— =-; ' ; = -.:_=-. ::-; --- :-: = -.
Movin Along. Tune-Up. Tune-Up (take 9)'. a :

I Don't Stand a Ghost of a Chance with

—HED «~ELDCSG Down Beat

You. Sandu. Body and Soul Body and

Soul (take 2 )'. So Do It!. Says You
Full Grown Accustomed to
House. I've
Blues Blues
Freddie Freeloader. Lolita. Riff.
»ES MONTGOMERY— guitar, bass guitar Her Come
Face. Blue n' Boogie. Cariba.
Dangerous. Yesterday's
Riff (take BJf,
JAMES CLM'—flute, tenor saxophone Rain or Come Shine (take 2 Come Rain ).
Child. Moanin'. Moanin' (take ")*
VICTOR FELDMAN—piano or Come Shine (take 1)'. S.O.S. (take 3).
SAM JONES— bass S.O.S. (take 2)\ Born to Be Bhie* VTES MONTGOMERY— guitar
LOUIS HAYES— drums MEL RHYNE— organ
T*ES MONTGOMERY—guitar GEORGE BROWTs— drums
Produced by ORRJN KEEPNE WS JOHNNY' GRIFFIN — ten or saxophone
\XYNTON KELLY—piano Produced by ORRIN KEEPNE w S
Recorded in Los Angeles: October 12. I960.
PALE CHAMBERS— boss
Cower phoco — William Qaxton JIMMY COBB— drums Recorded in New York City; October 10. 1963
Cower design —Ken DeardofJ (except "Blues Riff" {take 8] recorded
2-. 1963).
November

Produced bv ORRIN KEEPNEU'S

SO MUCH GUITAR!
OJCCD-233-2 (Riverside 9382)
BOSS GUITAR
OJCCD-261-2 (Riverside 9459)
GUITAR
OJCCD-489-2
ON
(Riverside 9494)
THE GO
Montgomery appeared as his skyrocketing but tragically brief on the Go can be
es
on a dozen
leader or co-leader In album as a leader came
career (his first
uitar
as the very last of Wes Montgomery's
identified

Riverside albums, in a wide variety late in 1959; he died of a heart attack in remarkable series of recordings for
1968), Wes Montgomery completely revolution- company
offormats ranging from organ trios to one Riverside, the first to spotlight his
with full string orchestra. Some of the most ized jazz guitar. But when first discovered, he unique album, which features
talents. This
rewarding simply placed him in a studio with was working in the basic guitar-organ-drums several intense performances by the man who
a superior rhythm section and let him deal revolutionized the art ofjazz guitar, is proba-
with a mixture of ballads, blues, and swingers. bly best considered in tandem with the
This album, his fourth for the label, is a notable Montgomery LP that directly preceded it on
example of this straightforward approach. It Riverside (Portrait ofWes/OJCCD-144-2). Both
features the flawless support of Ron Carter are drawn from his final sessions for the label;
(in one of his very first sessions) and Hank both were first issued after the company had
fones, and includes Montgomery's only passed out of the hands of its original owner-
entirely unaccompanied recording: "While ship (which may account for the admitted
We're Young." presence of two tracks repeated from earlier
albums, "Missile Blues" and "Fried Pies"); and
above all both present the artist in the organ
SO Much Guitar! trio setting in which he always claimed to
WES MONTGOMERY feel most comfortable.

SO Much Guitar! The Way You Look Tonight (alternate take)*,

WES MONTGOMERY
The Way You Look Tonight, Dreamsville,
SO Much Guitar! Geno, Missile Blues, For All We Know,
WES MONTGOMERY Fried Pies, Mi Cosa*
"bar band"format, and it remained a setting
SO Much Guitar! in which he always felt comfortable and cre-
WES MONTGOMERY atively free. His first Riverside session (now
SO Much Guitar!
OJCCLW34-2) and his last (OJCCD-144-2)
WES MONTGOMERY were in this vein, but the present album a —
1963 date on which he is joined by hometown
colleague Mel Rhyne on organ and spurred by
a peak performance from drummer jimmy
Cobb — is widely regarded as the most fully
Twisted Blues, Cotton Tail, I Wish I Knew, effective of its kind.
Iiii Just a Lucky So and So, Repetition,
Something Like Bags, While We're Young, Besame Mucho, Besame Mucho (take 2)*,
One for My Baby (And One More for the Dearly Beloved, Days of Wine and Roses,
Road) The Trick Bag, Canadian Sunset, Fried
Pies, Fried Pies (take 1)', The Breeze and
WES MONTGOMERY—guitar I, For Heaven's Sake
HANK JONES—piano
RON CARTER— bass WES MONTGOMERY—guitar
LEX HUMPHRIES— drums MEL RHYNE— organ WES MONTGOMERY—guitar
RAY BARRETTO— conga drums JIMMY COBB— drums MEL RHYNE— organ
("While We're Young" is an unaccompanied PAUL PARKER— drums
guitar solo.) Produced by ORRIN KEEPNEWS ("Missile Blues" only)
Recorded in New York City; April 22, 1963. JIMMY COBB— drums ("Fried Pies" only)
Produced by ORRIN KEEPNEWS Cover design — Ken Deardoff GEORGE BROWN-rfrwws (other selections)
Recorded in New York City; August 4, 1961.
Cover design — Ken Deardoff Produced by ORRIN KEEPNEWS
Recorded in New York City in 1963
(except "Missile Blues'* recorded in 1959).
Cover design —Sam Alexander 'Round Midnight. Rh>thxn-a-ning, Sweet Other selections
Cover photo —Lee Tanner and Lovely, Decidedly (take 4), Decidedly PHINEAS NEWBORN, JR.—piano
(take 5)": Straight, No Chaser (take 3); SAM JONES— bass
Straight, No Chaser (take 1)*, I Mean You LOUIS HAYES— drums
(take -t), I Mean You (take 2)*

GERRY MULLIGAN— baritone saxophone

GERRY THELONIOUS MONK—piano
WILBUR WARE— bass
MULLIGAN SHADOW WILSON— drums
Produced by ORRIN KEEPNEWS
Recorded in New York City; August 12 and 13, 1957.

MULLIGAN Cover photo— Bob Parent

MEETS MONK Cover design — Paul Bacon
OJOCD-301-2 R.verside 1106)

PHINEAS
NEWBORN, JR. •*•• 1/2
arresting jazz piano
. . . One of the
achievements
most
in some
time.
—PETE WELDING. Doun Beat
A WORLD OF
PIANO! Produced by LESTER KOEN1G
OJCCD-l"5-2 (Contemporary 7600)
Recorded in Los Angeles; October 16 and
Phineas Sewborn earned praise November 21. 1961.
and encouragement in the mid-1950s Cover photo — William Claxton
from Count Basic John Hammond, Cover design — Kershaw, Guidi-Tn Arts
and Ralph J. Gleason: his articulation, virtuos-
*•** 1/2 —Drju-n Beat
ity: and creativity were in a class comparable

only with Art latum or Oscar Peterson. Tlje

Jul! scope of his gifts is apparent here, with two
diffeivnt rlyythm sections drawn respectively
Three decades ago. when Riverside
paired Tbekmioiis Monk and Gerry
from tlje combos of Miles Davis and Cannonball
Adderley: His selection of material includes
CHARLIE
Mulligan on this album, it

daring mote These two appeared to represent

seemed a

oppfjsite ends of the Jazz spectrum, separated

works lyy Gillespie. Parker. Rollins. (.Iijjnrd
and. most notably Billy Strayhorn. whose
Brown,
PARKER
"Lush life he interprets with a rare and
by geograplry (East (oast and Viestj as much
as by style (btjp vs. cool). Actually, it was a ra titer
poignant beauty
BIRD AT ST. NICK'S
safe projectproducer Orrin Keepnews had OJCX D-041-2 (Jazz Workshop 500)
Cheryl, Manteca, Lush Life, Daahoud,
learned that the two men were friends: even Oleo, Juicy Lucy, For Carl, Cabu
more importantly bartie Parker attracted young musi-
it is now clear that both
were kind of revolutionaries who had sul>
tlte (beryl Manteca." "Lush Life."
cians like a magnet imong them was
"Daahoud": trombonist Jimmy Knepper. who, at n
\tatitial (and not dissimilar) respect for jazz

tradition. The album was. as advertised, a PHINEAS NEWBORN, JR.—piano time when tape recording was a brand-new
PALX CHAMBERS— bass thing, captured Bml in flight one winter night
meeting of giants, but its most lasting value
may be as proof that there was a strong bond PHILLY JOE JONES—drums in Manhattan He snared, and it hen ( harlcs

connecting theoretically opposing forms of Mingus heard the music years Utter he issued
it as the first release on his new Jazz Workshop
early modern jazz.
 label. Since then, many private recordings of subsequently issued it on his own new Debut

Parker have been made public.

of the first, and remains one of the
This was one
best, a
label. Were was tension between the giants
before, during, and after the concert. Bird
JOE PASS
precious musical document. arrived without a horn and had to borrow a

I Didn't Know What Time It Was,

plastic alto (Jje made it sound like gold). The
hall was three-quarters empty (the promoters
MONTREUX '77
OJCCD-382-2 (Pablo Live 2308-212)
Ornithology, Embraceable You, Visa, I Cover had overlooked the coinciding heaiyweight
the Waterfront, Scrapple from the Apple,
championship match between Marciano and thad been known among musicians
Star Eyes, 52nd Street Theme, Confirmation,
Walcott). But the true heavyweights were since he was first heard in California
Out of Nowhere, Hot House, What's New?,
onstage, and the results have been knocking
Now's the Time, Smoke Gets in Your in the early 1960s that foe Pass was a
out the world ofjazz ever since. Long live
Eyes, 52nd Street Theme remarkable guitarist. But not until his first
Charlie Chan and company! solo album, Virtuoso, for Pablo in 1973, did
Pass s career beginits dramatic climb. This
Perdido, Salt Peanuts, All the Things You
concert from the Montreux Jazz Festival of
Are, Wee, Hot House, A Night in Tunisia
/9 77 finds him in the unaccompanied role
that established him as a jazz star of tlje first
magnitude. Tl)e program is dominated by
blues, a discipline in which Pass has been
known to modestly claim no special proficien-
cy His performance, however, makes it clear
that he is a master not only of his instru-
ment but of the simplicity and complexity
of the blues.

kkkkk ... Highly recommended.

Indeed, no Parker collector can be without [it].

. . . Parker's music is alive with intelligence,

emotional and adventurous, and cannot
be ignored. •k k ~k "k k ... Let me recommend your
—TERRY MARTIN. Doun Beat getting the set and digging the cabinet level
conference yourselves.
—NAT HENTOFF. Doun Beat
CHARLIE PARKER— alto saxophone
RED RODNEY— trumpet
AL HAIG —piano DIZZY GILLESPIE— trumpet
TOMMY POTTER— bass CHARLIE PARKER— alto saxophone
ROY HAYNES— drums BUD POWELL—piano
Blues for Yano San, Blues for Sitges,
CHARLES MINGUS— bass
Recorded New York City; February 18, 1950. Blues for Val, Wait Till You See Her, She's
in
MAX ROACH— drums
Cover — Bob Parent Funny That Way, Blues for Martin,
Recorded live at Massey Hall in Toronto,
Masquerade
Canada; May 15, 1953.
JOE PASS—guitar
THE QUINTET Covet — Bob Parent
JAZZ AT MASSEY HALL Produced by NORMAN GRANZ
OJ< ( D-044-2 (Debut 124) Recorded in Montreux, Switzerland; July I

modem jazz summit meeting

Cover photo — Tony Lane
This
Toronto has been called the greatest
in
Art direction and design — Phil Carroll

jazz concert ever? Vie owe the survival

of the music to Charles Mingus. who. along
with Max Roach, taped the concert and
I REMEMBER VIRTUOSO #3
CHARLIE PARKER OJCCD-6S-4-2 (Pablo 2310-805)

OJCCD-602-2 (Pablo Today 2512-1091

Virtuoso #3 has in common with

a rather unusual tribute to the the other albums in Joe Pass's Pablo
This is

immortal alto saxophonist. It is a solo Virtuoso series, well, virtuosity But it

and the program drawn stands apart from them because its repertoire
guitar recital, is

from the standards Parker recorded with a is made up entirely of the guitarist's composi-

string orchestra, ratljer than bis rich legacy of

tions. As a bos something
result, the collection

bebop originals. But with his instrumental of the flaror of a suite that displays the reflec-
imagination, and command tion and thoughtfulness of a man often noted
facility: rapid-fire
for the vitality of his string and the complexity
of the rhythmic idiom that Parker pioneered.
Joe Pass turns this into a most appropriate of his harmonic inventions. Not that swing or
homage. The unlikely conjunction of program harmonic interest are absent: they abound.
and subject make this one of the more repeal-
But Pass's playing here bos the clarity of sim-
plicity, and its purity shines through the sunny
ing performances of a jazz guitar giant.
urgencies of"Triyiidad"as it glows in the
serenity of "Sultry."

Just Friends. Easy to Love. Summertime,

April in Paris. Everything Happens to Me.
Laura. They Can't Take That Away from Offbeat, Trinidad, Nina's Blues, Sevenths,
Me, I Didn't Know \STiat Time It Was. If I Ninths, Dissonance #1, Minor Detail,
Should Lose You. Out of Nowhere Paco de Lucia, Sultry, Passanova, Pasta
(Concept I). Out of Nowhere (Concept n) Blues, Dissonance #2

JOE PASS—guitar JOE PASS—gut tar

Produced by NORMAN" GRANZ Produced by NORMAN GRANZ

Recorded in Hollywood. CA; February 17, 1979. Recorded in Los Angeles;
Cover photo — Phil Stern
May 27 and June 1, 1977.
Cover photo — Phil Stern
f*

*
 ART PEPPER
made and searing own
There was nothing halfway
about saxophonist Art
alto
with Stan Kenton's orchestra
during his years with the band
direct in his

improvisations, documentation of
Pepper (1925-82). which (1943 and 1946-52) and in jam this evolution is scarce. Yet another
was both a blessing for his music sessions on L.A.'s Central Avenue. arrest in 1961 and the subsequent

and a significant burden for his day- Records and club work with Shorty sentence to San Quentin effectively
tcj-day life. He claimed to have never Rogers and his Giants beginning in ended Pepper's career for 15 years.
studied or practiced his horn; dis- 1951 provided more room for his There was a brief stint playing
dained inevitable comparisons with solo skills, and by 1952 he began tenor in the Buddy Rich big band
Charlie Parker yet embraced the later cuttitig more intimate and open in 1968, and a stay i)i the Synanon
expressive discoveries ofJohn quartet and quintet sessions drug facility at around that time:
Coltrane in advance of most of the under his own name. By this time but Pepper did not sufficiently con-
jazz world: and became labeled an he had already developed a depen- trol his demons for the purpose of

icon of a supposedly cool jazz scene dence on alcohol, pills, and heroin putting his career on track until the
by reason of geography while in that led to an erratic lifestyle and mid-Seventies. It was then thai his

fact playing some of the most (in 1952) the first of several renewed recording career fin 1975)
intense and boiling music of any- arrests and incarcerations. For the and first appearances on the East

one in his lifetime. And. thanks to remainder of the decade. Pepper Coast and in Japan C~~') brought
a drug habit that forced his alternated stretches in what he him the acclaim of a living legend.

absence from the music business, would later refer to as "la pinta" Pepper never fully conquered his
he managed to record only twice (the joint) with bursts of record- demons, even after publication of
between 1961 and 1975. Two of these latter
ing activity. his brutal autobiography Straight

Pepper was undeniably a West occasions found him teaming pro- Life in 1979 and subsequent docu-
Coast jazzman. As a native of ductively with Miles Davis's rhythm mentary films: but he was able to

Gardena. California, he had more sections of the time: he would realize poll victories and reverent

claim to the label than many always catch the appearances of reviews as well as ambitious proj-
Eastern and Midwest players who the Davis band in Los Angeles, ects with string orchestras and inti-

came to the Los Angeles area and particularly for the transcendent mate duets with his favorite accom-
played in the less overtly emotional tenor solos of the man he came to panist, pianist George Cables.

manner that came to define the admire greatly. John Coltrane.

style His solo approach was always While Coltrane's example
passionate, from early recordings moved Pepper to become even more
 GETTIN' TOGETHER!
OJCCD-169-2 (Contemporary 7573)

Art Pepper deserves to be remem-

bered for bisartistic achievements
rather than for the turbulence of his
life or the sensationalism of his autobiography
fortunately Lester Koenig of Contemporary
was always able to record him during Arts
best days, and with the best possible rlrythm
sections. For this occasion he hired what was
then the Miles Davis team (Wynton Kelly. Paul

Chambers, and fimmy Cobb), with Conte

Candoli to share the front line on three tracks.
Pepper and Candoli were then working togeth-
er regularly at the Lighthouse. Though tfx alto
sax was his principal outlet, he occasionally
doubled on tenor, as is demonstrated effective-
ly on the title number, an absorbing and

passionate blues.

Whims of Chambers, Bijou the Poodle,

Why Are We Afraid?; Softh/, As in a Morning
Sunrise; Rhythm-a-ning, Diane, Gettin'
Together (original take), Gettin' Together
(alternate take)*. The Way You Look
Tonight*

You'd Be So Nice to Come Home To,

ART PEPPER MEETS Red Pepper Blues, Imagination, Waltz Me
THE RHYTHM SECTION Blues, Straight Life, Jazz Me Blues, Tin Tin
OJCCD-338-2 (Contemporary 7532) Deo, Star Eyes, Birks Works

Ibum notes don't always tell the ART PEPPER— alto saxophone
whole story Contemporary president RED GARLAND—piano
tester Koenig, who tightly felt that Art PAUL CHAMBERS— bass
had yet to record with musicians who were PHTLLY JOE JONES— drums
his equal, wanted to take advantage of Miles ART PEPPER— alto and tenor saxophones
Davis's quintet being in LA Hut Pepper had- Produced by LESTER KOENIG CONTE CANDOLI— trumpet
n't been playing for several months, and his Recorded in Los Angeles; January 19, 1957. WYNTON KELLY—piano
(over photo — William Claxton PAUL CHAMBERS— bass
horn was in a state of disrepair.
JIMMY COBB— drums
To minimize anxiety, the session was kept
secret from Art until the last minute. But LESTER KOENIG
Produced by
Pepper always rose to a challenge: he taped
Recorded in Los Angeles; February 29, I960.
up his dried-out cork, arrived for the date, and
proceeded to record an album widely consid-
Cover photo — Roger Marshutz
ered the most important of his career.
Cover design —Guidi' Tn-Arts
 +
VINCE DE ROSA— French horn ART PEPPER— alto saxophone
ART PEPPER HERB GELLER BUD SHANK or DOLO COKER—piano
ELEVEN: MODERN CHARLIE KENNEDY— alto saxophone JLMMY BOND— bass
BILL PERKINS or RICHIE KAMUCA—
JAZZ CLASSICS tenor saxophone
FRANK BUTLER— drums
OJCCD-341-2 (Contemporary ~568) —
MED FLORY baritone saxophone Produced by LESTER KOENIG
RUSS FREEMAN—piano
album and the earlier Art Pepper Recorded in Los Angeles, November 23 and 25, I960.
This Meets the Rh\thm Section are surely the
JOE MONDRAGON— bass Cover photo — William Claxton
MEL LEWIS— drums
tiro most important sessions in Pepper's Cover design —George Kershaw
entiiv recording career. Produced by LESTER KOEN1G
Even though Art had recorded in many big
bands, this was the first time he did so as a
leader, and every musician in town wanted to
Recorded
Cover photo
in Los Angeles;

— Roger Marsh
March and May, 1959.
utz
THE WAY IT WAS!
be involved. Marty Paich. chosen as arranger,
Cover design —Guidi Tri Arts
OJCCD--i8V-2 (Contemporary

was someone bed already played with and

comfortable with.
felt
on the date, which went
Reflecting later
INTENSITY
OJCCD-387-2 (Contemporary 7607)
likea dream. Art remarked that he had both
chafed at and embraced Ox constraints a tightly-
I960, Art Pepper was beginning to
arranged big band placed on him as a soloist.
In incorporate into his playing some of the
new freedom being pioneered in jazz by
Oniette Coleman and John Coltrane. The result
was even greater chance-taking and daring in
&RTPEPPEB+ELEVEN A treasury 0< Tjoder-
the playing of an alto saxophonist already
,&ZZ CL3£i -. known for his individuality and passion. In
CaeipM.&uHtr
this program of eight songs. Pepper, aided by a
Had m
superb rbytbm section, tests the boundaries of
conventional harmony while observing the
Mvty Pa**
traditions of swing and melodic improvisation
that he never abandoned. The album also
hen The Way It Was was issued
offers some of the work of the brilliant
best
in I'97'-'. Art Pepper's fans were
but little known pianist Dolo Coker
surprised and pleased to discover
that 16 years before, he had recorded with the
enigmatic, underrated tenor saxophonist
Vi'anie Marsh. The four pieces on which they
collaborated were among both men's best
work of the mid-l'ifties. To complete the album
•••• • -Doun Beat
Contemporary added previously unissued
tracks from Pepper s famous encounters with
two great Miles Davis rhythm sections and a
Move. Groovtn' High, Opus de Funk,
Round Midnight, Four Brothers, Shaw I960 Pepper performance of "Autumn leaves"
that be regarded as one of his best solos.
Nuff. Bernie's Tune, Walkin' Shoes,
Anthropology, Airegin, Walkin' (original Pepper's own liner notes present bis typically

take). Walkin (alternate take 1)*, Walkin' trenchant evaluations of the music and
(alternate take 2)", Donna Lee (original the players.
take). Donna Lee (alternate take)*
ICan't Believe That You're in Love with
.ART PEPPER — alto and tenor saxophones. Me, I Can't Believe That You're in Love
clarinet with Me (alternate take)*. All the Things
PETE CANDOLI, JACK SHELDON, and/or ICan't Believe That You're in Love with You Are, All the Things You Are (alter-
Me, I Love You, Come Rain or Come
AL PORCINO— trumpets nate take)*, What's New, Tickle Toe, The
DICK nash— trombone Shine, Long Ago (And Far Away), Gone Man I Ix>ve, Autumn Leaves, The Way You
BOB ENEVOLDSEN— tenor saxophone with the Wind, I Wished on the Moon, Look Tonight
or i ah e trombone Too Close for Comfort, Five Points*
 I Can't Believe That You're in Love with Me." Our Song, Here's That Rainy Day, the genre This was one of them, an inspired
(J takes). "All the Things You Are" (2 takes). That's Love, Winter Moon, When the Sun combination of the Oscar Peterson Trio with
"What's New" "Tickle Toe": Conies Out, Blues in the Night, The two trumpeters and a tenor saxophonist. But
ART PEPPER— alto saxophone Prisoner [Love theme from "The Eyes of not just any three horn players: Granz chose
WARNE MARSH— tenor saxophone Laura Mars"], Our Song (alternate)*. The Dizzy Gillespie. Clark Terry, and Eddie
RONNIE BALL—piano Prisoner [Love theme from "The Eyes of Lockjaw" Davis. It is beside the point just
BEN TUCKER— bass Laura Mars"] [alternate]*, OF Man River* what or who set off the incendiary spark that
GARY FROMMER— drums caused the bines AH and Frazier" to ignite
Recorded November 26, 1956. The happy fact is that it contains some of the
The Man L Love": most spectacularly volatile playing ever record-
ART PEPPER— alto saxophone ed by any of the participants. The pieces that
RED GARLAND—piano follow ate in the same league.
PAUL CHAMBERS— bass
PHILLY JOE JONES— drums
Recorded January 19, 1957.

"Autumn Leaves":
ART PEPPER— alto saxophone
DOLO COKER—piano
JTMMY BOND— bass
FRANK BUTLER— drums
Recorded November 23, 1960.

"The Way You Look Tonight":

ART PEPPER— alto saxophone ART PEPPER— alto saxophone
WYNTON KELLY—piano (clarinet on "Blues in the Sight")
PAUL CHAMBERS— bass STANLEY COWELL—piano
JTMMY COBB— drums HOWARD ROBERTS—guitar
Recorded February 29, I960. CECIL McBEE— bass
CARL BURNETT— drums
Produced by LESTER KOENIG Ah and Frazier, If I Were a Bell, Things

All selections recorded in Los Angeles. Produced by ED MICHEL Ain't What They Used to Be, Just in Time,
Bye Bye Blues'
Cover photo — Cecil Charles Strings arranged and conducted by Bill Holman
Cover design —George Kershaw or Jimmy Bond
OSCAR PETERSON—piano
Recorded in Berkeley, CA; September 3-4, 1980.
DIZZY GILLESPIE— trumpet
Art direction — Phil Carroll
CLARK TERRY— trumpet
WINTER MOON
OJCCD-677-2 (Galaxy 5128)
Cover photo —Galen Rowell EDDIE "LOCKJAW" DAVIS— tenor
saxophone
NIELS HENNTNG 0RSTED PEDERSEN—
took me a do it" Art Pepper
lifetime to bass
It said of Winter Mooa "and if somebody BOBBY DURHAM— drums
doesn't like it ... well, they don t know
what to listen for" Tins is Art with strings play- OSCAR Produced by
Recorded in
NORMAN GRANZ
Montreux, Switzerland; July 14, 1971
ing ballads as nobody else could: tender,
touching, funky, and impassioned.
by the legendary Bill Holman and by Jimmy
TJje charts PETERSON Cover photo —Giuseppe Pino
Art direction and design — Phil Carroll

Bond both fueled his fire and banked the

fames They were perfect for this gig. So uere OSCAR PETERSON JAM
the sidemen: Stanley Cowett, one of the finest
(and most underrated > Jazz pianists of our
MONTREUX'77
OJCCD-378-2 (Pablo Live 2308-208)
time Cecil McBee, who empathized with Art as
no other bassist ever did: Carl Burnett. Art's his 40 years of staging jam sessions,
favorite drummer: and the wonderful
Howard Roberts. Die critics knew what
In dating from before his first Jazz At The
Philharmonic concerts. \orman Gram
to listen for They loved it
created more than a few masterpieces of
OSCAR PETERSON PETERSON/GRAPPEU.8/ THE OSCAR
AND THE BASSISTS PASS/ROKER/ PETERSON TRIO
MONTREUX '77 PEDERSEN 5KOL THE GOOD LIFE
OJCCD-383-2 (Pablo Live 2308-213) OJCCD-496-2 (Pablo Live 2308-232) OJCCD-627-2 (Pablo Live 2308-241)

ay Broun, Sam Jones, George Mraz, Memories of Django Reinhardt

In 1973, Oscar Peterson formed a new trio.

Niels-Henning Orsted Pedersen; Oscar and the Hot Club Quintet he led This was its first recording, and it left no
i Peterson has been blessed to count as with Stephane Grappelli arise every doubt that bassist Niels-Henning 0rsted
members of his trio some of the greatest play- time the venerable violin giant teams with a Pedersen and guitarist Joe Pass were worthy
of the double bass, men
ers in the history master guitarist, as he does with Joe Pass on successors to Ray Brown and Herb Ellis,
capable of sening and often matching the this live recording from Copenhagen's Tivoli Peterson's colleagues in his classic group of the
tirtuosityof this astounding pianist. Brown, Concert Hall. But it is doubtful that, chair for 1950s and Sixties. More than that, it estab-

along with Oscar Pettiford, carried forward the chair, the Hot Club at its best ever had the lished that the new Peterson trio had every
work ofJimmy Blanton, who liberated the power of this all-star quintet, which also likelihood of also becoming a classic. It

bass as a solo instrument. Pedersen inherited includes Oscar Peterson's piano, Niels-Henning
the advances made by Brown and Pettiford Orsted Pedersen s bass and Mickey Roker's
and. Utter, Scott LaFaro, and developed his drums. These six extended performances are
THE OSCAR PETERSON TRIO
I

own incredible style. Here Brown and especially valuable for giving Grappelli an ¥ mi "V
Pedersen join the boss for a stunning three- ^ [cot ml
quarters of an hour ofpiano
double bass.
and double
IZ V •
>f*
-\
t "
J*

became
_£
one, of course, with more than a
decade of stunning achievement. These tracks,
captured during the trio's maiden voyage at
Chicago's London House, demonstrate that
uncommon opportunity to stretch out on Peterson, Pass, and NH0P had remarkable
record. The most fitting summary of Skol empathy from the very beginning.
may be " 's cool."
There Is No Greater Love, You Look Wheatland, Wave, For Count, The Good
Good Reunion Blues,
to Me, People, Nuages, How About You, Someone to Life, On a Clear Day
Teach Me Tonight, Sweet Georgia Watch Over Me, Makin Whoopee, That's
Brown, Soft Winds AIL Skol Blues OSCAR PETERSON—piano
JOE PASS—guitar
OSCAR PETERSON—piano OSCAR PETERSON—piano NIELS-HENNING 0RSTED PEDERSEN—
RAY BROWN— boss JOE PASS— guitar bass
NIELS-HENNING ORSTED PEDERSEN— STEPHANE GRAPPELLI— violin
bass NIELS HENNING 0RSTED PEDERSEN— Recorded at the London House, Chicago; 1973.
bass Cover photos — Phil Stern
Produced by NORMAN GRANZ MICKEY ROKER— drums
Recorded in Montreux, Switzerland; July 15, 1977.
Cover photo —Giuseppe Pino Produced NORMAN GRANZ
Art direction and design — Phil Carroll
Recorded live in Copenhagen, Denmark; July 6, 1979
Peterson photo — Phil Stern

Grappelli photo —Tom Copi

 KING This is Always, What Can I Say (After
Tm Sorry), Don't Get Scared, Parker's Mood,
I'm Gone, I'm In The Mood for Love*,
I Say I'll Remember April, Much Too
You'd Be So Nice to Come Home To, It
Could Happen to You, Low and Inside,
Late,

PLEASURE Exclamation Blues*, You're Crying*,

Funk Junction*
I'm Beginning to See the Light

Annie Ross Sings: Twisted, Farmer's ANDRE PREVIN—piano

RED MITCHELL— boss
KING MEASURE SINGS/ Market, The Time Was Right, Annie's Lament
FRANKIE CAPP— drums
ANNIE ROSS SINGS KING PLEASURE and ANNIE ROSS
OJCCD-2P-2 (Prestige 7 US) with STEREO
RAY ABRAMS, DANNY BANK, ART BLAKEY,
BETTY CARTER, PAUL CHAMBERS, KENNY
CLARKE, LEM DAVIS, BLOSSOM DEARIE,
CHARIIE FERGUSON, LEONARD GASKIN,
JOE HARRIS, PERCY HEATH, JON HENDRICKS,
EDDD- JEFFERSON, J J. JOHNSON, JIMMY
JONES, TEDDY LEE, THE DAVE LAMBERT
SINGERS, EDDIE LEWIS, JOHN LEWIS,
,

SIZE? ^
ANDRE PREVtfS TRIO JAZZ

HERBEE LOVELLE, PECK MORRISON, CECDL

PAYNE, RAM RAMIREZ, THE THREE RIFFS,
MERRILL STEPTER, ED SWANSTON, LUCKY
THOMPSON, GEORGE WAIXINGTON,
TEACHO WILTSHIRE, KAI WINDING

Recorded in New York City or Hackensack, NJ

between December 1952 and December 1954.
Cover photo — Esmond Edwards LESTER KOENIG
Cover design —Marc Rice Produced by
Recorded in Los Angeles; November 26, 1958.
These are the seminal sessions in
vocalese which spawned a whole host
Cover drawing and design — Guidi/Tri-Arts

—
of singers including Manhattan
Transfer— working in this style today. Taking
Eddie Jefferson's lead, King Pleasure developed
his own style and material in the idiom. ANDRE
Noteworthy is the participation ofJon Hendricks
as singer and co-lyricist on "Don't Get Scared," PREVIN FLORA PURIM
Pleasure's version of a Swedish recording
by Stan Getz.
Following in the wake ofJefferson and ANDRE PREVIN'S BUTTERFLY DREAMS
Pleasure was Annie Ross, later to team up TRIO JAZZ: KING SIZE! OJCCD-315-2 (Milestone 9052)

with Hendricks and Dave Lambert. She does OJCCD-691-2 (Contemporary 7570)
and Pleasure
for Wardell Gray what Jefferson
had done for James Moody and Lester Young. 58 session, recorded after
The 1974 release of this album on the
Fantasy group's Milestone label created

Tfjis includes tlx original recording of "Twisted"

This late-'

Andre Previn's trio bad come off exten-

an instant impact and launched one of
the most exciting and tempestuous vocalists of
as well as Pleasure evergreens "Parker's Mood" sive touring, showed the multi-faceted
the decade flora Purim and Ijer husband, tfje
and "Red Top." pianist immersed in jazz playing and presents
With the addition of "I'm in the Mood for one of the truest pictures of his jazz concept.
brilliant percussionist Airto Moreira, had been
pari of Chick Cotva's "Return to Forever" band,
Love" (formerly titled "Moody's Mood for Love" His funky sound is definitely of the era, but all
his own, clean and a bit classical with exten-
and Airto had gained much attention with
Pleasure's biggest hit) and three other bonus
Miles Davis, bid this record combined their
tracks, this Compact Disc now contains virtu- sive and creative ideas on how to employ the
Brazilian rhythms for the first time with the
ally everything King Pleasure recorded left hand. Previn also seized the opportunity
'
fusir.n jazz of players like George Duke and
for Prestige. to spotlight Red Mitchell, then and now one of
Stanley Clarke. The result teas a high-energy
the absolute master bassists, and created
King Pleasure Sings: Red Top, Jumpin' music of enormous ap/H-al.
many opportunities for stunning Mitchell
with Symphony Sid, Sometimes I'm Happy, solos, particularly on two extended blues.
 —

Dr. Jive (part 1), Butterfly Dreams, Dindi, rable partnership with Clifford Brown,
Summer Night, Love Reborn, Moon Dreams, Roach had worked with two-horn lineups
Dr. Jive (part 2), Light as a Feather that included Harold land followed by Sonny
Rollins on tenor sax and, after Brown's tragic
death, Kenny Dorham on trumpet. This "New
Quintet" had an outstanding tenorman in
George Coleman, and a youthful trumpeter —
—
Booker Little who seemed well on his way to
the stature of Brown and Dorham until his
untimely death. In addition, the use of Ray
Draper's tuba as either a third horn or third
rhythm instrument provided this briefly-exist-
ing group with a rare opportunity for variety.

•k ~k if ~k ... Flora Purim uses her

voice as a delicate, highly controlled instru-
ment ... It is light and sensitive, yet
capable of being flung into stratospheric
free fights of sound..

—HERB NOLAN. Down Beat

FLORA PURLM— vocals

JOE HENDERSON—flute, tenor saxophone
GEORGE DUKE acoustic
electric and
piano, clarinet, synthesizer . . . Worth hearing for the exposure it

gives to Roach's distinguished drumming.

DAYTD AMARO— electric and acoustic guitar
—RICHARD HADLOCK, Down Beat
ERNIE HOOD— zither B.

STANLEY CLARKE— electric and

acoustic bass
AIRTO MOREIRA— drums, percussion You Stepped Out of a Dream, Filide, It's
You or No One, Jodie's Cha-Cha*, Deeds,
Produced by ORRIN KEEPNEWS Not Words*, Larry-Larue, Conversation,
Recorded in Berkeley, CA; December 1973. There Will Never Be Another You*
Art direction, photography, design —Tony Lane MAX ROACH— drums
RAY DRAPER— tuba
BOOKER LITTLE— trumpet
GEORGE COLEMAN— tenor saxophone

MAX ROACH ART DAVIS— bass

OSCAR PETTIFORD— bass
Never Be Another You" only)
("Conversation" is an unaccompanied
(on There Will

drum
DEEDS, NOT
OJCCD-304-2 (Riverside 1122)
WORDS Produced by
solo )

ORRIN KEEPNEWS

Max Roach's only

for Riverside
I'J^H.
album as a leader
was recorded late in
with one of his most unusual
Recorded
Cover design
Cover photo
in New York City; September
— Paul Bacon
— Lawrence N. Shustak
1, I95M

bands Prom I'JS i. when be began his memo-

 <

n
 SONNY ROLLINS
t a time when most of and Miles Davis. A 1951 session cialty also appeared in this period:

jazz's revered figures are with the trumpeter led to his own yet the perpetually dissatisfied saxo-

historical. Sonny Rollins recording contract: and for the next phonist questioned the acclaim his
continues to create, dominate, and three years, until he withdrew to music was attracting, and between
inspire. His brilliance as a musi- conquer a too-common drug prob- 1959 and late '61 withdrew from
cian uas documented from his lem with uncommon finality, he public performance.
teenage debut and today, knocking became acknowledged as the most While the 1962-64 period
on the door of senior citizen status. brash and creative young tenor on saw trim returning to action and
he still plays the tenor saxophone the scene in work with Davis. Monk, striking productive relationships

with the energy of youth and the and the Modern Jazz Quartet. with Jim Hall. Don Cherry Paul Bley.
depth of genius. Wfjen Rollins reemerged in and his idol Hawkins. Rollins again
He was born Tfjeodore Walter Chicago at the end of 1955 as a grew dissatisfied with the music busi-

Rollins in 1930. a child of Harlem member of the Clifford Brown-Max ness and his own output, and disap-

who lived around the corner from Roach quintet, he was an even peared again for a period of travel
the Savoy Ballroom, caught movies more authoritative presence. His and study that took him to India

and stage shows at the Apollo trademarks became a caustic, often and Japan. Since returning to tvcord-

Theater, and hung out on the near- humorous style of melodic inven- tng and perfonning in 19~2. he has
by stoop of his idol Coleman tion, a command of everything ivleased a steady yet by no means
Hawkins. While still in high school. from the most arcane ballads to excessive stream of recordings (all on
Rollins began traveling downtown calypsos. and an overriding logic in the Milestone label), peiformed a con-
for glimpses of Charlie Parker on his playing that found him hailed stant though modest schedule of con-

52nd Street and rehearsals in the for models of thematic improvisa- certs, and gained worldwide
kitchen of Thelonious Monk. He tion. He continued to record classic acknowledgement as the greatest liv-

was the brightest light in a neigl> sessions, and to work under his ing jazz soloist. Such hyperbole is all

borhood group offuture jazz stars own name beginning in 1957, often the more impressive for the fact that

that also included fackie McLean. in a trio setting without piano that Rollins has sustained his reputation

Kenny Drew, and Art Taylor: and provided still greater freedom to his at the to/> of the heap for nearly a
before he turned 20 he was work- imagination. Rollins s first exam- quarter-century.

ing and recording with Babs ples of the unaccompanied solo

Gonzalez. J.J. Johnson. Bud Powell. playing that would become a spe-
 PRESTIGE lp 7079 DOUG WATKINS— bass
MAX ROACH— drums
Supervision by BOB WEINSTOCK
Recorded in Hackensack, NJ; June 22, 1956.
Cover photo/design — Hannan

WORKTIME
OJCCD-007-2 (Prestige 7020)

When Rollins returned from Chicago

to Xeiv York asa member of Max
Roach's group, he recorded with
Roach but alsoresumed taping sessions as a
leader, using members of Roach's group as a
nucleus. In this case Philadelphia!! Ray Bryant
substitutes for Richie Powell The critics uvre not
yet committed to Sonny's importance but the
musicians kneu Miles Dai: u 'ho Ixid heard the
'is,

acetates of the date, would call Bob Weinstock

and have him play tracks over the phone to
musicians visiting Mile's apartment.

There's No Business Like Show Business,

Paradox, Raincheck, There Are Such
Things, It's All Right with Me
SAXOPHONE COLOSSUS I II II II

TOMMY FLANAGAN DOUG/WATKIMS MAX ROACH

SAXOPHONE k k k -k k Rollins displays humor,

COLOSSUS . . .

gentleness, a delicate feeling for beauty

album excellent on
. .

OJCCD-291-2 (Prestige 7079) . . I find this entire all counts

and for all persons concerned.

One of the pivotal recordings in

bringing about the widespread
—RALPH J. GLEASON, Down Beat

acceptance of Sonny Rollins as a major The Carnival," was recorded by many artists
figure,Saxophone Colossus inspired critics to after Sonny introduced it here, and it remains
kkkk k ... The best yet of [Sonny's]
write scholarly analyses and fans to revel in a jazz standard today. The contributions of own albums.
the bard-swinging i mention, humor, and Tommy Flanagan's elegant swing, Doug —NAT HENTOFF, Down Beat
tender-strength balladry. Watkinss steady lift, and Max Roach's most
Up to this album, while most musicians musical accompaniment and soloing (hear
recognized Rollins as one of the new influen- "Blue 7") make this a landmark album. SONNY ROLLINS— te nor saxophone
tial forces in the jazz of the Fifties, most critics RAY BRYANT—piano
were carping at Rollins or damning him St. Thomas, You Don't Know What Love GEORGE MORROW— bass
with faint praise.
Is, Strode Rode, Moritat, Blue 7 MAX ROACH— drums
Thomas" a traditional West Indian
"St.
SONNY ROLLINS— tenor saxophone
melody which Mai Waldron remembered as
Supervision by BOB WEINSTC )( K
TOMMY FLANAGAN—piano Recorded in Haikcnsack, N|. Decembei
 SONNY ROLLINS— tenor saxophone
SONNY ROLLINS KENNY DREW—piano
Goodbye, Cutie, It Could Happen to You,
Mangoes, Funky Hotel Blues*
WITH THE MODERN PERCY HEATH— bass
SONNY ROLLINS— tenor saxophone
JAZZ QUARTET ART BLAKEY— drums
SONNY CLARK—piano (except "The Last
OJCCD-01 1-2 (Prestige "029) Supervision by IRA GITLER Time I Saw Paris )
Recorded in New York City; December 17, 1951. PERCY HEATH— bass
bis album covers roughly tut) tears in
Know": PAUL CHAMBERS— bass ("The Last Time
RoUins's career when be was beginning "I
I Saw Paris." "Vibat Is There to Say "Funky
"

to emerge as an important force in con- SONNY ROLLINS— tenor saxophone Hotel Blues ")
temporary jazz. "I Know" was bis first track as MILES DAVIS—piano ROY HAYNES— drums
a leader taped at the end of a January 1951 PERCY HEATH— bass ("It Could Happen to You" is an unaccompa-

Miles Dai is date at Davis's insistence. (Miles

ROY HAYNES— drums nied tenor saxophone solo.)
even played piano for bim.) Sonny's first date as Supervision by BOB WEINSTOCK
Recorded in New York City; June 11, 12,
a leader took place on a snouy December nigbt Recorded in New York City; January l
7 , 1951.
and 19, 1957.
at the end of that tear We meeting with the Cover — Gil Melle Cover photo — Paul Weller
Modern Jazz Quartet, in October 1953. showed Cover design — Paui Bacon
a new maturity: especially in the rendition of
Ellington s "In a Sentimental Mood." THE SOUND
OF SONNY MOVING OUT
OJCCD-058-2
OJCCD-029-2 (Riverside 241) (Prestige 7058)

Rollins has been acclaimed for three

decades as one of the most formidable
of all jazz improvisers. Wis album
preserves an early peak of his amazing virtu-
osity The emphasis is on Sonny's reworking of
a wide variety of likely and unlikely standard
tunes: the results remain unsurpassed a quar-
ter-century later And there's a special bonus:
bis very first totally unaccompanied solo
recording.

_>JjU*
The Stopper, Almost Like Being in Love,
No Moe, In a Sentimental Mood, Scoops,
With a Song in My Heart, Newk's Fadeaway,
hen the four quintet selections
Time on My Hands. This Love of Mine,
in this album from August 1954
Shadrack, On a Slow Boat to China,
were first issued on 10-inch II'
Mambo Bounce, I Know
many writers did not see fit to acknowledge

On "The Stopper" "Almost like Being in Love," Rollins incipient greatness and then- was much
'No Moe." In a Sentimental Mood" callow carpingfrom critical quarters. Musicians.
SONNY ROLLINS— te nor saxophone who generally arc able to recognize talent in
JOHN LEWIS—piano their colleagues far more quickly, knew that
MILT JACKSON — ibes ( Rollins teas the new prodigy.
PERCY HEATH— bass It Ith Art Blake) a! the controls there is

KENNY CLARKE— drums adrenalin aplenty in the Uptempo numbers

which also spotlight Kenny Dorham and Elmo
Supervison by IRA GITLER • ••• — />>«-n Beat
Hope silk n' Satin," RoUins's interpretation oj
Recorded in New York City; October 7, 1953.
a number more associated with HUdegarde, is
Scoops "With a Song in My Heart," "Newk's Sonny in all bis balladic warmth.
Fadeaway, lime on My Hands." This love The Last Time I Saw Paris, Just in Time;
The October 195 / quartet session with
Of Mine Shadrack' On a Slou Boat to Toot, Toot, Tootsie; What Is There to Say,
China." Mambo bounce": Dearly Beloved, Ev'ry Time We Say Monk is more o/ Sonny s lyricism, allowed to
expand in the recordingfor-LP format, con- of the varied, inventive, impassioned develop- what fellow jazz-men already knew — that
trasted With Monk's spare but not less melodic ment of a theme by a single horn supported only here was a young giant in our midst— could
inventions. "More nan You Know" is a classic by bass and drums. (It is of course an essential not help see the light. Tenor Madness, in which
wedding of two musical minds that should element that the horn is one of the greatest of he was joined by the rljythm section from the
hare met more often in the studio. all tenor saxes, and the supporting duo scarcely Miles Davis Quintet, further substantiated and
less top-ranked.) The remaining tracks display underlined his rapidly rising stature. The
Moving Out, Swingin' for Bumsy, Silk 'n' early examples of a less sensational but highly material is an effective mixture of Rollins's
Satin, Solid, More Than You Know effective weapon in the Rollins arsenal: his playing attitudes with an intriguing original,
brilliant ivshaping offairly unlikely pop mate- "Paul's Pal," ami the mining of unusual material
SONNY ROLLINS— tenor saxophone including in this case a pair of waltzes.
rial, such as "My Reverie "and "The Most Beautiful
KENNY DORHAM— trumpet
Girl in the World." And. of course, there is tlx
ELMO HOPE—piano The Freedom Suite, Someday I'll Find celebrated title track featuring the two titans to
PERCY HEATH— bass You, Will You Still Be Mine?, Till There
ART BLAKEY— drums emerge in the Fifties. Rollins and his guest, vis-
Was You (take 4), Till There Was You iting in the studio that day, John Coltrane.
Recorded in New York City; August 18, 1954. (take 3)*, Shadow Waltz
"More Than You Know" only: Tenor Madness, When Your Lover Has
SONNY ROLLINS— tenor saxophone Gone, Paul's Pal, My Reverie, The Most
SONNY ROLLINS— tenor saxophone OSCAR PETTTFORD— bass Beautiful Girl in the World
THELONIOUS MONK—piano MAX ROACH— drums
TOMMY POTTER— bass SONNY ROLLINS— tenor saxophone
ARTHUR TAYLOR— drums Produced by BILL GRAUER
JOHN COLTRANE— tenor saxophone
Recorded in New York City; October 25, 195 l.
and ORRIN KEEPNEWS ("Tenor Madness" only)
Cover — Hannon/Weinstock Recorded in New York City; February 1958. RED GARLAND—piano
Cover photo — Paul Weller PAUL CHAMBERS— bass
Cover design — Paul Bacon PHILLY JOE JONES— drums
FREEDOM SUITE Supervision by BOB WEINSTOCK
OJCCD-067-2 (Riverside 2*>H)

SONNY ROLLINS Recorded in Hackensack, NJ;

— Weinstock/Hannan
May 24, 1956.

QUARTET Cover

TENOR MADNESS
OJCCD- 1 2 1-2 (Presume 70 i7)
ROLLINS PLAYS
FOR BIRD
OJCCD-214-2 (Prestige 7095)

At the time ( 7956-57; Sonny Rollins

played with the Max Roach quintet
(first with Clifford Brown and then

Kenny Durham alongside in the front line), he

•k ~k kk ... Rollins' real achievements

so far have come because he is one of the
few hornmen in the history of jazz (perhaps UD MFBJUlD PAUL CKMBOtS PHIUV IOC MNCS
the first) who can give in a long improvisa-
tion a sense of structure and development.

B IP was
) the time this re/eased.
—MARTIN WIUJAMS. Don Heat
Sonny Rollins already had such albums
under his name as Worktime (OJCCD-

When was first heard in the late

it

Fifties, "The Freedom Suite" created

007-2) and Sonny
in addition to his
Rollins Plus 4 (OJCCD-243-2),
sideman exploits with the

a considerable stir It remains a Clifford Brown/Max Roach Quintet, liven the

most impKSStve work: more than I 'J minutes critics who had been slow in recognizing
made several classic albums for Prestige with material from the standard area — "Kiss and and Way Out West on Contemporary qualify
Roach and others from the group. Bassist Run." I a Song Coming On" "Count Your
Feel as all-time Rollins classics.

George Morrow was on all of them. Here the —

Blessings" and two Rollins originals "Valse — The session for Way Out West, Roltins's
pianist is Wade Legge and tlx trumpeter, Dorham. Hot"and"Pent-Up House." On the latter. Sonny firstever in California, was called for 3 a.m.
Tljis fitting tribute to Charlie Parker takes the and Bmutiie combine in one of tlx most brilliant to accommodate everyone's busy schedules.
form of a medley ofseven standards associated interactions in the recorded annals ofjazz. Sonny, who could never be accused of over-
with Bird. Tlxre are also a lilting Rollins waltz. statement, announced after four hours of
"Kids Know" and Sonny's balladic exploration • *•* 1/2 . . . Rollins [plays] the recording: "I'm hot now.'"
of "I've Grown Accustomed to Your Face." most sustainedly creative tenor I've heard
on record by him before .... Very much I'm an Old Cowhand, I'm An Old
Medley (I Remember You/My Melancholy recommended. Cowhand (alternate take)*, Solitude;
Baby/Old Folks/They Can't Take That Away —NAT HENTOFF, Down Beat Come, Gone; Come, Gone (alternate
From Me/Just Friends/My Little Suede take)*; Wagon Wheels, There Is No
Shoes/Star Eyes); Kids Know, I've Grown Greater Love, Way Out West, Way Out
Accustomed to Your Face Valse Hot, Kissand Run, I Feel a Song West (alternate take)*
Comin' On, Count Your Blessings Instead
SONNY ROLLINS— tenor saxophone
KENNY DORHAM— trumpet of Sheep, Pent-Up House SONNY ROLLINS— tenor saxophone
WADE LEGGE—piano RAY BROWN— bass
SONNY ROLLINS— tenor saxophone SHELLY MANNE— drums
GEORGE MORROW— bass CLIFFORD BROWN— trumpet
MAX ROACH— drums RICHIEPOWELL—piano Produced by LESTER KOENIG
("lieGrown Accustomed to Your Face" is per-
GEORGE MORROW— bass Recorded in Los Angeles; March 7, 1957.
formed by Rollins and Legge only.)
MAX ROACH— drums Cover photo —William Claxton
Supervision— BOB WEINSTOCK
Recorded in Hackensack, NJ; October 5, 1956.
Supervison— BOB WEINSTOCK
Cover — Reid Miles Recorded in New York City; March 22, 1956.
— Hannan SONNY ROLLINS AND
Cover design
THE CONTEMPORARY
SONNY ROLLINS LEADERS
PLUS 4
OJCCD-243-2 (Prestige 7038)
WAY OUT WEST
OJCCD-337-2 (Contemporary 7530)
OJCCD-340-2 (Contemporary 7564)

This is Brown-Roach,
(The Clifford
Inc.
Brown-Max Roach Quintet of 1955), led
Over his long
career, Sonny
and distinguished
Rollins has made many
by its tenor saxophonist. Sonny Rollins. dozens of albums. Among those record-
Coming on o/Worktime (OJCCEW07-2),
the heels ed during the Fifties, Prestige's Moving Out (OJCCD-
it helped to further Sonny's then-growing repu-
tation. He had already established himself with
musicians and now the jazz public was catch-
ing on. This set is an exceptional blend of rare SONNY
ROLLINS
ETT7* v
Rfti
was Sonny's Contemporary
This
album and
secotul
second West Coast
his session,
a year and a half after the historic Way
Out West.
Jazz labels acquire "personalities" not only
from the musical tastes of the owner/recording
058-2) and Saxophone Colossus (OJCCD-291-2), director but also from the roster of musicians
Blue Note's A Night at the Village Vanguard, signed to the company. The "Contemporary
Riverside's The Sound of Sonny (OJCCD-029-2), —
Sound" every bit as distinctive as the compel
 ing "Blue Note Sound" 'Prestige Sound" and in the fall of '63 at a celebrated New York jazz the rhythmic mysteries, jazz was becoming
"Pacific jazz —
Sound" was largely a product of club, captures alt the excitement and audience increasingly intimate with Latin idioms. The
the work by Hampton Hawes, Barney Kessel, appeal of the unique Santamaria style. marriage was consummated in 1947 when
and Shelly Marine, cdl of whom had won the greatCuban conga drummer Chano
Down Beat awards for their respective instru- Introduction by "Symphony Sid," El Toro, Pozo joined Gillespie's big band. Pozo lived
ments and recorded as "The Poll Winners." Fatback, Mongo's Groove Creole, The only a year longer, but his wisdom and much
Jungle Bit, My Sound, The Morning After,
of his fire are alive in his younger country-
I've Told Ev'ry Little Star, Rock-a-Bye Your Nothing for Nothing, Para Ti*
man Mongo Santamaria. Here, Mongo's
Baby with a Dixie Melody, How High the superb band is joined by Gillespie, the godfa-
Moon, You, IVe Found a New Baby, IYe Found ther of Afro-Cuban jazz and in 1980, when
a New Baby (alternate take)*, Alone Together,
this recording was made, still a trumpeter
In the Chapel in the Moonlight, The Song
of incendiary power.
Is You, The Song Is You (alternate take)*

Virtue, Afro Blue, Summertime,

SONNY ROLLINS— tenor saxophone
HAMPTON HAWES—piano Mambo Mongo
BARNEY KESSEL—guitar
LEROY VTNNEGAR— bass
SHELLY MANNE— drums
VICTOR FELDMAN— ribraharp (on "You "only)

Produced by LESTER KOENIG

Recorded in Los Angeles; October 20-22, 1958.
Cover photo — William Claxton
Cover design — Guidi/Tri-Arts

MONGO SANTAMARIA— conga drums

MARTY SHELLER— trumpet
PAT PATRICK, BOBBY CAPERS—flutes, saxes
RODGERS GRANT—piano

MONGO VICTOR VENEGAS— bass

FRANK HERNANDEZ— drums
-CHIHUAHUA" MARTINEZ,
SANTAMARIA JULIAN CABRERA— Latin percussion

Produced by ORRIN KEEPNEWS

MONGO SANTAMARIA— congas,
DIZZY GILLESPIE— trumpet
bongos

TOOTS THIELEMANS— harmonica

MONGO AT THE Recorded live at the Village Gate,
New York City; September 2, 1963.
TOMMY VTLLARINY— trumpet, cowbell
DOUG HARRIS— tenor saxophone, flute
VILLAGE GATE Cover photo —Gai Terrell
ALLEN HOIST— alto flute, baritone
OJCCD-490-2 (IWrs.de 95529) saxophone, cello
MBITON HAMILTON—piano
arty in 1963, Mongo Santamaria MONGO LEE SMITH— bass
accomplished something that even then
was a rarity in the world ofAmerican pop
SANTAMARIA with STEVE BERRIOS— drums, timbales

music. His band's instrumental single reached DIZZY GILLESPIE and Recorded in Montreux, Switzerland; July 19, 1980.
the magic inner circle: on Billboard
the Top Ten TOOTS THIELEMANS Cover photo — Ilena Mesa
Magazine's official best-seller chart. That song
was "Watermelon Man," which you won't find on
SUMMERTIME
OJCCD-626-2 (Pablo Live 2308-229)
this album. But what you will find here is nine
other examples of the distinctive blend ofjazz, he dalliance ofjazz and Afro-Cuban
funk, and Latin music that Mongo had created; rhythms ripened into lasting love in
brrjugbt vividly to public attention by his hit 1942. That's when Dizzy Gillespie wrote
single, it made him a headliner and provided a a piece called "Interlude," which later became
musical role model for countless jazz and rock known as "A Night in Tunisia." By 1946, with
groups In years to come. This album, recorded Gillespie educating American musicians in

92
 1 —

—William Claxton
GEORGE Cover photo
Cover design — Ken Deardoff
on You,
'S
I Got Rhythm, Embraceable You,

Wonderful, Someone to Watch Over

Me, Isn't It a Pity, Summertime, They
SHEARING Can't Take That Away from Me

ZOOT SLMS tenor saxophone

OSCAR PETERSON—piano
GEORGE SHEARING ZOOT SIMS JOE PASS—guitar
and Hie MONTGOMERY GEORGE MRAZ— bass
BROTHERS GRADY TATE— drums
OJCCD-0-!0-J cjazzland 95 5
ZOOT SIMS AND THE Produced by NORMAN GRANZ

For Wes Montgomery, a principal benefit GERSHWIN BROTHERS Recorded

Cover photo
in New York City; June
—Lee Tanner
6, 1975.

of bis rise to fame was that it allowed OJGCD-444-21 Pablo 2310-744)

trim to work at times with his turj brotl>
ers. This tigbt-knit family unit bad many fans,
but none more enthusiastic than Sljearing.
who sat in wlyenever possible and eventually
was able to join tljem on record. The result
u as this once-in-a-lifetime blending of the
fering approaclxs ofturj master melodists.
dif-
SONNY STITT
SONNY STITT/BUD
POWELL J J. JOHNSON

a perfect marriage of songs

This
and
is

the player,some of the most gor-

geous music on record by the irreplace-
able Zoot Sims. Relatively early in his career,
in 1056. Zoot made a recording of "The Man
I Lore that was considered a marvel, a defini-
tive melding of passionate expression and
Love Walked In. Love Walked In (take 1)". headlong swing That be surpassed it nearly
Love for Sale. No Hard Feelings. Enchanted. 20 years later with a new The Man I Love in
Stranger in Paradise. The Lamp Is Low. this tribute to the Gersbwins emphasized what
Double DeaL And Then I Wrote. Darn That all close listeners to Sims understood: here was
Dream. Darn That Dream ("take 1)* Lois a supremely self-renewing musician whose
Ann. Mambo in Chimes. Mambo in
artistry deepened and broadened for all of his Savoy and. with
Chimes (take 1)" Through recordings on
life, which was far too short \Xith a supporting Dizzy on Husicrqft suit built a
Gillespie,
cast headed by the formidable Oscar Peterson reputation as the closest Hung to Charlie
GEORGE SHEARLNG—piano
WES MONTGOMERY— guitar Zoot applies his magic to ten songs by the Parker on alto He was not seen in person dur-
BUDDY MONTGOMERY— vibes Gershwin Brothers. From the results, you might ing the years of bebop ascendancy because be
s

MONK MONTGOMERY— bass think that they wrote them with Zoot in mind mis hospitalizedfor drugs His first recording
WALTER PERKINS— drums The compact disc includes a neuiy discovered after bis return was the 1949 session u UbJJ.
ARMANDO PERAZA— conga, bongos performance ofTbey Can't Take That Away Johnson on Which he played tenor rather than
RKARDO CHLMELIS— limbaJes tonga, bongos from Me alto and established himself as a more distinct
personality The sessions with Hud Powell pre-
Produced by ORRIN KEEPN The Man I Love. How Long Has ThLs Been sent seme of the must btgbty charged, dually
Recorded in Los Angeles; October 9-10, 1961. Going On. Lady Be Good. I've Got a Crush inspirational collaborations a er recorded
 All God's Chillun Got Rhythm, Sonny and the only occasion on which Monk and Blake}> ("Moanin") and Cannonball
Side, Bud's Blues, Sunset, Fine and Dandy drummer Philly foe Jones recorded together. Adderley ("This Here"). Eventually, he struck
(take 1), Fine and Dandy (take 2), Strike out on his own. making several soulful albums
Up the Band, I Want to Be Happy, Taking a In Orbit, One Foot in the Gutter, Trust in
for Riversideand later for Pwstige. although
Chance on Love, Afternoon in Paris (take Me, Let's Cool One, Pea-Eye, Argentia,
never achieving major success. The first trio
1)*, Afternoon in Paris (take 2), Elora Moonlight Fiesta, Buck's Business, Very
he assembled included two of the most in-
(take 1)*, Elora (take 2), Teapot (take 1)*, Near Blue, Flugelin' the Blues*
demand young players on the early Sixties
Teapot (take 2), Blue Mode (take 1), Blue
Mew York jazz scene: bassist Ron Carter and
Mode (take 2)
drummer Albert "Tootie" Heath. This on-the-job
"All God's Chillun Got Rhythm,' "Sonny recording at the Village Vanguard comes clos-
Side," "Bud's Blues," "Sunset," "Fine and est to demonstrating Timmons's strength as
Dandy "(takes 1 & 2), "Strike Up the Band" both writer and player
"I Want to Be Happy," "Taking a Chance
on Love": Autumn Leaves, So Tired, Goodbye,
SONNY STITT— te nor saxophone Dat Dere (Theme), They Didn't Believe
BUD POWELL—piano Me [previously unissued]*, Dat Dere
CURLY RUSSELL— bass (full-length) (previously unissued)*,
MAX ROACH— drums Popsy, I Didn't Know What Time It Was;
Other selections: As in a Morning Sunrise;
Softly,
Dat Dere (Theme)
SONNY STITT— tenor saxophone
JOHNSON— trombone
J.J.
JOHN LEWIS—piano
NELSON BOYD— bass
MAX ROACH— drums
Supervision by BOB WEINSTOCK
Recorded in New York City; October and
December 1949, and January 1950.
CLARK TERRY—flugelhorn
THELONIOUS MONK—piano
SAM JONES— bass
PHHJY JOE JONES— drums

CLARK TERRY Produced by

Recorded in
Cover design
ORR1N KEEPNEWS
New
—
York City; May 7 and 12, 1958.
Paul Bacon
Cover photo —Jack Manning
CLARK TERRY QUARTET
WITH THELONIOUS BOBBY TIMMONS—piano
RON CARTER— bass
MONK/IN ORBIT
OJCCD-302-2 (Riverside 271)
ALBERT "TOOTIE" HEATH— drums

Thelonious Monk, in addition to all his BOBBY Produced by ORRIN KEEPNEWS

other notable qualities, was actually one
of Riverside's most valuable talent scouts,
recommending such mainstays as Johnny
TIMMONS Recorded live at the Village Vanguard,
New York City; October 1, 1961.

Griffin and Wilbur Ware, tout introducing the

label to Sonny Rollins and Clark Terry. The THE BOBBY
asloundingly adept trumpeter was always TIMMONS TRIO
greatly appreciated Iry Thelonious. who quickly
accepted the invitation to accompany Terry on 1
IN PERSON
OJCCD-36i-2 (Rivers.de 9391)
this occasion. It was an album full offirsts
and rarities: Monk's only Riverside appearance obby Timmons. in his dual role as
as a sideman, the first of Terry's many record-
ings on jiugelhorn: the first of a great many
Riverside dates for the great bassist Sam Jones:
B and composer of compellingly
pianist
funky material, hail been a great
good-luck charm for such leaders as Art

94
CAL TJADER THE CAL TJADER LATIN KICK
QUARTET/JAZZ AT OJCCD-642-2 i Fantasy 8033)

THE BLACKHAWK fter Dizzy Gillespie. Cal Tjader

CAL TJADER'S OJCCD-436-2 (Fantasy 8096)
was the American musician
most
MODERN MAMBO be quartet Cal Tjader kept together
amalgamating jazz and
important in

QUINTET during 1956 and 195~ was devoted to

Afro-Cuban rhythms into an authentic and

MAMBO WITH TJADER

OJCCD-2~l-2 (Fantasy 3202)
straigbt-alyead jazz. Tjader's Latin fans
may bate missed Iris celebrated ritmos calientes.
tital music. Beginning in the 1950s. Tjader's
bands profoundly influenced the course of
Latin jazz. Wis delightful 1956 album includ-
but tbey found ample consolation in enjoyment
ed two of San Francisco's rhythmic Duran
Along
Mambo
uith tbe tracks on Tjader Plays
(OfC-2~4). this collection from
of one of tbe most suinging groups the pfjpu-
lar libra-harpist ever led. Tjader, pianist Vince
brothers on piano and bass, uith percussion-
ists Luis Miranda and Bayardo Velarde. Tenor
tbe fail of 1954 represented Tjader's Guaraldi. drummer Al Torre, and bassist Gene
saxophonist Brew Moore, one of Tjader's
increasing dedication to Latin jazz—first on Wright (in his pre-Brubeck days) loved playing
favorite soloists, is a featured guest on several
~8-RPM singles, then EPs. and finally LPs. together. Their mutual joy was visible and
Col's enthusiastic vibes work as uell as
pieces. Dye recording is in excellent early
audible. It was captured at tlye Blackbawk.
two-track stereo.
bis timbales playing and occasional singing is Tjader's San Francisco headquarters, on an
joined by tbe brothers Manny (piano) and occasion when the band bad an audience that Invitation, Lover Come Back to Me,
Carlos (bassj Duran. and percussionists felt tlye vibes, so to speak and inspired the musi- September Song, Will You Still Be Mine.
Bayardo Velarde and Edgard Rosales. cians to an exceptional let el. Dye late Ralph f. I Love Paris, Tropicville, Moonlight in
Tjader s combined loie of ballad improvi- Gleason s liner notes caught not only the spirit Vermont, Bye Bye Blues, Manuel's Mambo,
sationand Latin rhythms is obtious — "Midnight of the music, but some of the character (and All the Things You Are, Blues from
Sun' 'Tenderly" and "Autumn Leaies" are beau- characters) of the beloved Blackbawk. Havana
tiful renditions, attractively arranged (by
Tjader) for tbe unusual complement. Bill B.,Land's End, I'll Remember April,
Blues in the Night: Tninking of You, MJQ;
I've Never Been in Love Before, Two for
Blues Suite, When the Sun Comes Out;
Lover, Come Back to Me , 11 CAL TJADER'S
I Mm LATIN KICK

^ m
CAL TJADER— vibes
BREW MOORE— tenor saxophone
Mamblues. Midnight Sun. Sonny Boy, MANUEL DURAN—piano
(.herry. I'll Remember April. This Can't CARLOS DURAN— bass
Be Love. Tenderly. Dearly Beloved. Chloe. LULS MIRANDA— congas
Lucero. Bye Bye Blues. Autumn Leaves BAYARDO VELARDE— timbales
CAL TJADER— vibes
CAL TJADER— vibes VINCE GUARALDI— piano Recorded in Los Angeles; 1956.
MANUEL DURAN —piano GENE WRIGHT— bass Cover design — Arnold Roth
CARLOS DURAN— bass AL TORRE— drums
BAYARDO \T.LARDE— timbales bongos
EDGARD ROSALES— congas Recorded live at the Blackhawk,
San Francisco; January 20, 1957.
Recorded Fail 1954.
Cover —Reginald McGovern
CAL TJADER'S
LATIN CONCERT McCOYTYNER BEN WEBSTER
OJCCD-643-2 (Fantasy 8014)

SAHARA AT THE RENAISSANCE

A
to hire
In this
5 Cal Tjader's reputation

some of the music's most able

and
popularity grew as one of the major
forces in Afro-Cuban jazz, be was able

1958 album, recorded at San Francisco's

artists.
OJCCD-31 1-2

This nominated
(Milestone 9039)

and Grammy-
critically-acclaimed
W2
album marked the
beginning of McCoy Tyner's nine-year
OJCCD-390-2 (Contemporary 7646)

or Ben Webster, his Los Angeles years

of the late 1950s and early Sixties held
massive frustration that was relieved by
famous Blackhawk, his band included percus- association with the Milestone label and pro- only a few high points. Jobs were scarce, and
sionists Mongo Santamaria and Willie Bobo, ducer Orrin Keepnews. It is a deceptively simple the lack of recognition and appreciation
pianist Vince Guaraldi. and bassist Al McKibbon. record, etnploying four tunes from the band's must have been heartbreaking for this tenor
a veteran of the Dizzy Gillespie band that regular repertoire and one solo piano piece. saxophone giant who felt things deeply. A bright
opened American ears to the charms and But Tyner seemed to have brought under con- spot for Webster was when he worked, it
that
urgencies ofAfro-Cuban rhythms. "Having Al trol his overwhelming pianistic skills and the was often with the splendid band in this album.
in the band."Tjader once said, "is an impossi- lessons learned during six years witbfohn In Jimmy Routes, Jim Hall, Red Mitchell, and
ble dream come true." Among the pieces are Coltrane. The results, particularly on the 23- Frank Butler, he had sympathetic and inspira-
several by Tjader and one was destined
that minute development of the title tune, are tional colleagues. This live recording captures
to become a classic in the literature of Latin lastingly impressive. their remarkable empathy. It includes nearly
jazz, Ray Bryanfs "Cubano Chant." 30 minutes ofpreiiousty unissued music.

Viva Cepeda, Mood for Milt, The Continental, Gone with the Wind*, Stardust, Caravan,
Lucero, Tu Crees Que?, Mi Guaguanco, Georgia on My Mind, Ole Miss Blues, Mop
Cubano Chant, A Young Love, Theme Mop', What Is This thing Called Love*,
Renaissance Blues*

Ebony Queen, A Prayer for My Family,

Valley of Life, Rebirth, Sahara

McCOY TYNER—piano, koto, flute,

percussion
SONNY FORTUNE— soprano saxophone,
CAL TJADER— vibes alto saxophone, flute
VINCE GUARALDI—piano CALVIN HILL — bass, percussion, reeds BEN WEBSTER— tenor saxophone
AL McKIBBON— bass ALPHONSE MOUZON— drums, trumpet, JIMMY ROWLES—piano
WILLIE BOBO— timbales, drums reeds, percussion
JIM HALL—guitar
MONGO SANTAMARIA— congas Produced by ORRIN KEEPNEWS RED MITCHELL— bass
Recorded in New York City; January 1972. FRANK BUTLER— drums
Recorded live at the Blackhawk, San Francisco; 1958. —Clarence Eastmond
Cover photo
Album design — Ron Warwell Produced by LESTER KOENIG
CD production by ED MICHEL
k ~k k k k ... An awesome and visionary Recorded live at the Renaissance in
artist . . . "Sahara" is brilliant . . . [and Tyner Hollywood, CA; October 14, I960.
is] one of the most deserving-to-be experi-

enced creators in America.

—MICHAEL BOURNE, Down Beat
 [ 1 l ) )

165-2 Haaptoo Howes foerf, w/ *«s«t Milckl, Moaae (CONTEMPORARY 7553]

ORIGINAL JAZZ CLASSICS

166-2 Art Farmer Portrait of Art former ICONTEMPORARY 7554]
167-2 Beany Carter tezz Gmt
ICONTEMPORARY 7555)
168 2 Barney Kessel Seae lite ll Hal (CONTEMPORARY 75651

ON COMPACT
169-2 Art Pepper Cettm' Ttmtitrl (CONTEMPORARY 7573]

DISC 170-2
171-2
172-2
173-2
Andre Previn's
Helen Hnaes
SbetyMonne Tie Tiree"
Gerold Wiggins
Trio

Sengs
like

leroi end fnyoy

Preval ICONTEMPORARY 7575]
Ijke to Snnff

mi "Tie
III
ICONTEMPORARY 7582)
Iwr ICONTEMPORARY 3584)
(CONTEMPORARY 7595]
175-2 Phaaees Newbara, Jr. A kVerfd of Piaaaf (CONTEMPORARY 7600)

DC' 2 M* Jedsoa MiflJedsoe Oeertel »EE'GE 7003 077-2 Cartis Falai Hew Ttombct (PRESTIGE 7107] 176-2 Art Pepper Sand Up ICONTEMPORARY 76021
002-2 Tk Madera Jon Oeortet Ceererde (PRESTIGE 70051 078-2 John Collionj Jaflia' Ik Pta (PRESTIGE 72131 177-2 Teddy Edwords Heart A Seal ICONTEMPORARY 7606)
003-2 Gerry MeKgea Moijgee Ploys Miirneen (PRESTIGE 7006] 079-2 Tommy Flanagan /John Coltrope/Keaay larrel The Can (NEW JAZZ 8217] 178 2 Hampton Howes Trio Here and Hnw ICONTEMPORARY 7616)
004-2 Hn Dam Tk Mesiegs el Hits (PRESTIGE 7X7] 080-2 Oliver Nelson Saeamia' tht llaei (NEW JAZZ 8243) 181-2 Coleman Hawkins At lest witi Ce/eaee Hewkias (MOODSVUIE 7)

005-2 Mies Dovis Dig. letterma iomy lalbs PRESTIGE . 081-2 G«ji Gryce 7k »«l »0<e Blurs (NEW JAZZ 8262) 182-2 fee Tammy floneeen 7rie (MOOOSvmf 9]

006-2 Mies Dam Tk Hew Mies Ijeris Ijeafel IPRESTIGE 70 1 4] 082-2 Mol Walson/Erk Dorphy 7k Quit (NEW JAZZ 8269) 1 85-2 Joe Newman Oaintet Goad n' Groovy, w'rti Freak fester (SWINGVUE 20! 9]

007-2 Seamy Rales MfeMat PRESAGE 70201 083-2 Bill Horns And fnends (pamtasy 3 263] 1 86-2 Lee Konrti Sanconsdees-tee IPRESTIGE 7004)
008-2 Stan Gehj/Zeot Sin 7k Irolkrs = = E:"C-E 7022] 084-2 Tklooioos Monk Meat's Mttk (RIVERSIDE 242) 1 87-2 forf Coleman Helens (PRESTIGE 7045)
009-2 Seary Stin Seamy Slrtt/tti Ptmtt/U. Itmsm IPSESTIGE 7024] 085-2 Abky UiKoln TaoT's Him! (RIVERSIDE 251) 1 89-2 John Cohrane Trattmt It (PRESTIGE 7123]
010-2 raiHa'iej MJai Hi [PRESTIGE 70271 087-2 Orel lokei trio del IRIVERSIDE 11351 190-2 Miles Davis Oeintet Reform' will Miles IPRESTIGE 7129]
011-2 Soeay leeas wfrt tk AWera .toz; Ijearfel (PRESTIGE 7029! 088-2 Bill Evans Portrait in San (RIVERSIDE 1162) 191-2 r«y Grimes with J.C Hiejameotkm CefJa' Ik IJaes iprestige 7144)

0122 Maes Dim aad Mil Jedsoa Otittel/Seitel IPRESTIGE 7034] 089-2 Wes Moatgomery Morin' AJaag IRIVERSIDE 9342) 192-2 Gene Ammois line Geae IPRESTIGE 7144]
013-2 'iii'i ""] 7k rssaeey Iks
'
IPRESTIGE 7039| 090-2 Art llokey 94MI
Ooelsa (riverside 193-2 Red Gorlond Trio Al7 Kmis el Wettier (PRESTIGE 71481
—["* IT'—
i i i

014-2 Im *!— i-t T VirTrrri-T-^' r

1
091-2 )J. Joaason/Koi WMiag/leaaie Greea Tnmbcte by Tint IPRESTIGE 7023! 194-2 Lady Thompson Bonnet Ittky Strikes (PRESTIGE 7365]
015-2 My Taylor Tne wrte CoeoSde PRESTIGE ".' 092 2 Phil Woods Septet Patriae Off (PRESTIGE 70461 195-2 Pat Martina £7 Heaabre (IPRESTIGE 75131
016-2 Tklimiis Moak Oealet Meet (PRESTIGE 70531 093-2 Miles Davis line Htn (PRESTIGE 7054) 196-2 Roy Hoynes/Phineos Newborn/ Pool Chambers rVe Tiree INEW JAZZ 82101
017-2 Offere' Irewe Mraene/ (PRESTIGE 7055) 094-2 Art Toylar rortar's rVoaVrs (PRESTIGE 71 17) 197-2 Jodie McLean Mekie' Ik Ckaoes INEW JAZZ 8231)
018-2 Art faaer/Deeeld lyrd 7 T na^ilj [PRESTIGE 7062] 095-2 Sonny Rollins 7o«i it Farce IPRESTIGE 7126) 1 98-2 King Cartis Tie Hew Scene nf King Certis (NEW JAZZ 8237]
019-2 loamy lanel (PRESTIGE 70881 096-2 Coleaxn Howkins Setl IPRESTIGE 7149) 199-2 Jimmy fortes! Torrest Fire [NEW JAZZ 8250)
020-2 lata Certreee Cthrmt [PRESTIGE 71051 097-2 Jnsuay Forrest Ott of Ik ferresl IPRESTIGE 7202] 200-2 Dove Imbed Irabed e lo Mode, frefanmj Iff Sarfi ifantasy 33011
021-2 Ma Cerrnae Seeflraa IPRESTIGE 71421 098-2 Jodie MiLroi Mclean i Steae |new JAZZ 82121 20 1 2 Peal lley Introducing Peel Iky, w/ Owlet Mingas, Art llakey (DEBUT 7)

022-2 Eric LMpey Onward leemd (NEW jazz 82361 099-2 Olivet Nelson with Erie Dolpay Sir j/jtrl Akad INEW JAZZ 8255) 202-2 7k Mei Reed Oeerfel, feoteriej Honk MobJey IDEBUT 13]

023-2 trie Dlejb) Oaf Titrt INEW JAZZ 82521 1012 The Dove Irabrck Octet, w/ Pool Desmond, Col rwder ifantasy 3 239) 203-2 Poll Goasohres Geltin' Ttmtitrl (JAZZIAND 936]
024-2 IliiimiiJ MW PVyt Dene ramjree ItrvERSrDE 201 103-2 Tklaaioas Moak Oaartet Tkioaiaas in Actiaa IRIVERSIDE 1 190) 205-2 Abky Lincoln It's Moost IRIVERSIDE 277)
025-2 SI E/ees Hew Je;; Coeceetiees - . 5 : E . 104-2 Bobby liana ii l Tais Hare fs laMy Tiaain IRIVERSIDE 1 164] 206-2 Thewnioas Monk Oeortet Mtteritst IRIVERSIDE 1133]
026-2 Thlieinl amok Meant Careers [RIVERSIDE 226) 105-2 Connonboll Addeney with III Evens Know Witt I Htm'! IRIVERSIDE 9433) 207-2 Ckt laker In Hew Itrk IRIVERSIDE 1119)
027-2 Cllimat Hrwkias Tk iWk fees flnj* [BVERSOE 233! 106-2 Wes Montgomery Faff Hoese (RIVERSIDE 9434) 208-2 lorry Hern's el Ik Jezi rVerkskp IRIVERSIDE 1 177)
028-2 KeeeyDarka itn Ctttrtsts (RIVERSIDE 2391 107-2 Charlie Byrd lasso Hovo Petti Pastns (riverside 9436) 210-2 Bill Evens Trio Wort; lor Deoey IRIVFRSIDE 9399]
029-2 Soaeyteaas 7k Stmt af Seary IRIVERSIDE 24'i 108-2 Dike ETagton and lily Strayhon Pieao Daell; Great Faaes IRIVERSIDE 4751 211-2 Gene Amnions All Stars Jemjain' wflk Geae (PRESTIGE 70601

030-2 Variaai Arlisti tkas Tar TaaMrraw, w/ Saaay (aCas, 109-2 lea Webster aad Joe Zowiaal Soafaates IRIVERSIDE 94761 212-2 Todd Dnmeron with Jok Coltroae Moriag Co* IPRESTIGE 7070)
Herkee Mama, aaaal tewe, mi triers (RIVERSIDE 2431 111-2 lad Powell Jo;; at Betsey Hall, vat 2 IDEBUT 31 213-2 Miles Davis All Stars Wofkie' iprestige 70761
031-2 Pepper Aeeers MM" 10 la 4 el Ik S-Sml (RrvERSiDE 265] 113-2 Kenny Dorhon Oatatel (DEBUT 9) 214-2 Sonny Reims Oiinlel Refill Ploys for lird IPRESTIGE 70951
032-2 "I 111 Ml '
i.
1
'
J
114-2 Caoiie Parkei lird m S2ti Street (JAZZ WORKSHOP 501 2152 Phil Woods/Gene Oa.il Q.intel PHI Hi wflk Prestim IPRESTIGE 71 15]
Threes Art GVfnaj lerter Id'VERSlDC 1 1 28] 121-2 Sim Getj Oaarfefs IPRESTIGE 70021 216-2 Kenny lerrell/Jirnmy leaey 2 Otfttrs IPRESTIGE 71 19|
033-2 Wyataa (tfy Tria t Scilrl «ea> Mm {RIVERSIDE 1 U21 122-2 Teddy Chories /Shorty lagers Colaaaritiaa: (Veil IPRESTIGE 7028) 217-2 lag Pfeesare Sings/Annie lass Sings IPRESTIGE 71281

034-2 Hres Meoteeaery Trie (Riverside 561 1 23-2 Jon Eordley 7k Jon fordtjey Seven (PRESTIGE 70331 218-2 Eddie "Ledjow" Davis end Shirley Scott fowl (PRESTIGE 7154)
035-2 Cjtaiajil A44erley Oeietel la Son froeosco - - 124-2 Sonny Rollins Oeintet Tenor Btmtss IPRESTIGE 7047) 219-2 Ante" Cobb Perty Tiae IPRESTIGE 7165)
036-2 oaj Meolgia t ry 7k Intjeejefe Jtzi (otter IRrvERSIDE 1 169] 125-2 Tk Modern Jon Qnortet/Mnl Jackson HUO IPRESTIGE 7059] 221-2 Etto Jones SomelningHice --i

037 2 II Evens !r» Ufltrttims ' -:. v. :'. \1trt Tk Red GaitVaad Trio A Gartaad af Uti iprestige 7064] 222-2 JodMcDiff 7k floajeydrijaer (PRESTIGE 71991
038-2 An HaWy I ik Jen Metseeejers Ctrtrm (riverside 9438] 127-2 Has MaUey/AJ Cok/Jahn CoHrone/Zool Sks Tenor Caedeve (TRESTCE 7C74; 223-2 Pet Mertino Strajsf IPRESTIGE 7547]
039-2 Thihmiu Mam with Jak Certroae UA221AN0 461 1 28-2 Miles Davis Connie', w/ Ik Mts Doris Oaiafef (PRESTIGE 7094) 226-2 leaey Golson Greovin' with Gofsee INEW JAZZ 8220)
040-2 George Skeaneg tmmtlmmlm t 1292 Gene Imam'. Jaaaa' in Hi-fi will Gear laaaaT IPRESTIGE 710) 227 2 Ofrver Nelson Meet Ohtr Hefsoe (NEW JAZZ 8224)
the Meal gamer > Irolkrs -J- 130-2 Sieve Lacy Soprano Sor IPRESTIGE 7125) 228-2 Zoet Sims Oaintet Zaelf IRIVERSIDE 2281
0412 Omit Porter lee
1

al St. tori's ,azz workshop 5001 131-2 JokColtroae LtsilXt IPRESTIGE 7188) 229-2 Oad Terry Dike will e Difference IRIVERSIDE 1 1081

042 2 Ml jm 'own Hal Ceeeert

Charles uAZZ WORKSHOP 005 -SI 132-2 Mol Woldron Trio Impresshts INEW JAZZ 8242) 230-2 Phnly Joe Joaes Seitel IJaei far Drecafa IRIVERSIDE 282)

043-2 MJes Bam ear amam (DEBUT i20] 133-2 Eric Deleay Al tie Fnt-Sptt, vaf. 7 INEW JAZZ 82601 231 -2 Tkloaioos Moak Tkfoniees Afoae a Sea fraadsca IRIVERSIDE 1 1 58]
044-2 Carte Park. 7k Oaialri/Jan at «ai»r He* w/ Sahara) 134-2 Keaay Doraaa Septet liar Sanaa IRIVERSIDE 1 1 39) 232 2 George Rossel Seilel Snuluiikea (RIVERSIDE 9341)
Mages, Powell lore) (DEBUT 124| 135-2 Theloniois Monk Orckstro At 7owa Hall IRIVERSIDE 1 1 38) 233-2 Wes Montgomery So Mod Ger'lorf (RIVERSIDE 9382)

045-2 Qrtei mmmn mmms al Ik liiuil (DEBUT 1231 136-2 Johaay Griffin Tie little Gajatl IRIVERSIDE 1 149) 234 2 Milt Jackson and Wes Montgomery legs Heels Wtsl IRIVERSIDE 9407]

046-2 Dan Irakd Oaanei Jan al Oaarit IFAJKTASr 3 2451 137-2 Ckt Baker Ploy! Ik lest af leraer end leewe IRIVERSIDE 1 1 521 235-2 Tk Vinee Georordi Trio A flower Is a levetoae Tim) (FANTASY 3257)
047 2 Davt Irakd Oaarlrt jau a> Caleae af Ik fadfic iiantaSY 3 2231 138-2 Blae Mrlckll IJae'l Mttis (RIVERSIDE 9336) 236-2 Dove Inkck Oeortet Hoor-Myfa, w/ M Sard (FANTASY 8063)
050-2 Ww4t§ 6rar mmmm\ rat I (PRESTIGE 70081 139 2 Tk Maatgoaery Irolkrs Groove ford (RIVERSIDE 9362] 237-2 Onries Miajes Baaftf How: tne tt lit lea rVorisaa IDEBUT 86017)

140-2 Ml VHmt Slmmris ICONTEMPORARY 35121

051-1
052
053-2
2 MMtM
rXaraVrf

MaVi
Gray Meaariat rat 2 (PRESTIGE 7009]

Dam aW Ham
WaaaVa
(PRESTIGE 7025]
(PRESTIGE 7018) 1412
142-2
Evaas
Mark Marpby
Trio

Coeeoaball Adderley Seitel

Seadoy tt tit
J?oh (Riverside 9395]

fa
Vaaeaard IRIVERSIDE 93761

Hew fori IRIVERSIDE 9404)

238-2
239-2
240-2
Barney Kessel Kessel Phys
leddy Colletle
Skly Moaae Aad
Men
His
of Mooy Ports ICONTEMPORARY 35221

Irietii, vat f ICONTEMPORARY 35251

054 2 7k Art fara»r SaaW (PRESTIGE 7031] 143-2 Todd Daaeroa oed Ins Orckstrn 7k Mnofi Teed IRIVERSIDE 9419) 241-2 7k Art former Oeinlel leolnriag ftgr Gryce IPRESTIGE 7017]
055-2 TaM Daaaraa mi ah Ordmtra fatlaai i al m IPRESTIGE 7037) 144-2 Wes Maetgeaery Trio Partraft of kVes IRIVERSIDE 9492) 242 2 7eel Sims Oaertels IPRESTIGE 7026)
056-2 JaduaaVleai 4, 5. mi t (PRESTIGE 70481 145-2 Art llokey t tk Joit Metseeaets lyala IRIVERSIDE 9493) 243-2 Soeay RaKas Pits 4 IPRESTIGE 70381
057 2 7k Hilin Ian Oaartrl Djmm IPRESTIGE 7057) 149-2 Viece Gaarnldi Tria ifantasy 3 2251 244-2 Gene Aaaoas faaky IPRESTIGE 7083)
058-2 Smwj lain Maria} Oaf PRESAGE 7058) 1 50-2 Dave Iraaeck/Desaaad/Vaa Iriedt Pettmt ifantasy 3268] 245 2 Mies Devil oad tk Madera Jon Giaatt lays' Attn (PRESTIGE 7109)
059-2 Tliliiiii Maaa/iaaarlafci 'PRESTIGE 70751 1 51-2 Howard lease/! Ligatkase Al-Slon 246 2 Jak Coltrene SloaoW Coflraae (PRESTIGE 72431
060-2 Saaar Slrtl f ataMi 1 1 i>i (PRESTIGE 7077) Saadoy leu a It (Jgafkata ICCJr^EMIORAfrY 3501 247-2 trie Dolpay Al Ik five-Seel, vet 1 IPRESTIGE 7294)
061-2 IW Gartaal Tri» Graan (PRESTIGE 71 131 152-2 Sklfy Moiae oad His Mee Hot I: Tie West Cttsl Semi |C0M1EMK3(A>Y 3507) 248 2 Pat Mortino Eesff IPRESTIGE 75621

063-2 Si«yi Lacy ItHtttma: Sim itry flap Ttiliaiiil Maal inew JAZZ 8206) 153-2 Barney Kessel Vel httsylte (CONTEMPORARY 351 1) 250-2 Keaay Darka Oafal leary INEW JAZZ 8225)
064-2 7k Maajat Hilialni Maat IHVERSOE 2091 154-2 Howard Romtey'l Ugalkese Al-Stors Omt/flttt KOHtMfOiMi 3520) 2512 John Jeakiat /OrtTord Jordan oad lobby Tkaaas
065-2 Aaaay Draw Tm PvEPSCE 2241 156-2 Barney Kessel with Skty Maaai, lay Irowa fenkrnt, ferdea < Teamen INEW JAZZ 8232]
066-2 dark Tarry Qaiatat Saraaaar It t tm Smt (RivERSCC 237) 7k Pol Hraaers ICONTEMPORARY 7535] 252 2 Kee Meletyre with Erie Dolpay leekav/ AJbeW INEW JAZZ 8247]
067 2 Saaay laftai frttitm SaHa 'Rr/ERSiDE 2581 157-2 Andre Previn and Rots rieeaen Daaafe Pfayf ICONTEMPORARY 7537] 253 2 Jackie MeLeea A Ittf Dritt el tie Utts INEW JAZZ 8253)
068-2 a (ran Tria fraryiaay Dip M (raal (RIVERSCIE 1129) 158-2 Red Mitchell Presenting led Mflckl ICONTEMPORAev 7538) 254 2 TWaaioas Monk Tkleaeeas Himseff (RrvERSiDE 235)

069 2 mmjUmmt imtyhlmi irnimxnil) 159-2 Cartis Caaace Toe Gel Mare loeace wflftCtrth Cttmt (CONTEMPORATr 75391 255 2 Net Adderley Oaielel Iraadag Oaf IRIVERSOE 2851
070-2 Gaarft laiiai Sailal (n-lklia IBVUSOC 93751 160-2 Leroy Vinnegor Seilet Irroy tVattsf irONTEMPORARY 7542] 256 2 New Ilea Horns, w/Ckl loker, leary Darka. dak Tarry itrvERSlot joel

0712 MlasDam Calarfar'i Haan MBIIGE7Da4) 1612 lab Ceener 7k Masi af

Caaaf Caeaar -r ontemjoraRy 7544) M 258 2 Cnaaiabnl Adderley aad bit Orchestra Afrieaa rVafri IRIVERSIDE 9377)

072 2 Art Taraar/Gaja Grya Wka faraar mtt Gryta (PRESTIGE 70651 162-2 Haeld lead Herald a Ik land af Jn (CONTEMPORARY 7550) 259 2 Ehrin Jones end Ceaeoey Efvjnf ihivfpsioe 9409]
073-2 AW GarWi flaaa sRtSTGE 70861 163-2 Oraette Cilimaa 7k Masfr el Ormrte C l iann l 260 2 Mat Jadson Seilel lavrletfea IRrvERSiOE 94461

074-2 JaoUa AVtaaa t Ca. PttsnGE 7067] Saaataag BttW (CONTEMPORARY 7551] 2611 Wes Maatgoaery lass Gefla (RIVERSIDE 94591
075-2 Maw Afcaa tad C iaali ) Saaa (PRESTIGE 7091) 164-2 leary Gafsaa'l New 7ari Scear (CONTEMPORARY 35521 262-2 Clerk lyrd Trio lyrd at Ik Gate IRIVERSIDE 9447)
 1 1 1 1 1 1 1 1 1

446-2 Dake Eongloi and His Orcbestrn the fJtoeloe Series [PABLO 2310 762)
370-2 Oct laker tiMjfaa (JAZZLAND 181
111 Evan Trio Af Sntly's Mome-Hol* iriverside 94871 Afro-Coboo 7on Moods IPABLO 2310 771]
Raylryool Moatreii 77 (PABLO UVE 2308 201 447-2 Diny Gillespie y Mocbito
Irtjti and treety (JAZZLAND 948)
371-2
The Red Gorlond Trie
448-2 Miff 7ocksM and Strings -feeftogs [PABLO 2310 7741
372-2 TMMiy flonojoo 3 - Montreal '77 (PABLO UVE 2308 2021
amy Kessel Ktssel flays Carmen ICONTEMPORARY 7563)
MonfreeJ 77 (PABLO 2308 203] 449-2 Cum lasie Kaosos Ofy « (PABLO 2310-8711
Tie Hewhorn 'oick ICONTEMPORARY 76151 373-2 toy '(drhjfje 4 -

Phineos Newborn, Jt. Trio

Poss/Rly Irown/Mickey toher
374-3 Moafreai 77 [PABLO 2308 204] 450-2 Milt Jackson, Joe
leaay Carter 4 -
Col Tjodei Mambo writ 1/oder (FANTASY 3202)
- Moafreei 77 (PABLO 2308 205) The fnngtoo Amam-AII Tat Saaa IPABLO 23121 17)
antasy 32661 375-2 MSt focksoa/Ray Irown lorn
Slo. Geft/Col Tjoder Seitel If
Ligttnnnse All-Stan
451-2 Howard Ramsey's
376-2 Eta Fitzgerald with the Tommy Fnaogoa Trio
Mango Sontamario Sobrosol (FANTASY 80581 icontemporary 3517)
the Solo Spoffatef
In
Moafreojr 77 [PABLO 2308 206]
Vuice Gearoldi Jan Impulsions [FANTASY 8359]
land Monfreei 77 IPA8LO 2308 207| 452-2 The Cecil Taylor Oeartel lo*kto* Ahead) [CONTEMPORARY 7562)
377-3 Coait lasie lia -
Soony Rokms Saiopine Cofossas (PRESTIGE 7079)
Monfreei 77 IPABLO 2308 208) 453-2 Helen Hemes Tato'l ffabady's lii-oass If I Do [CONTEMPORARY 7571
378-2 Oscar Peterson lam -
John Coltrone/lobby Jospar/Tdrees SoBeman/Webiter Yoong ICONTEMPORARY 7608]
454-2 leroy Vinneoor Oatotel leroy Walks Aooto)
379-2 Coant lasie lair - Moifreai 77 (PABLO 2308 209)
nKwjjfey for 2 Irtmptls i 2 Tenon [PRESTIGE 711 21
(CONTEMPORARY 7621)
MornrV long (PRESTIGE 71301 380-2 The Pablo AB-Stors jam - MoafreM 77, w/ M* Jocksoa, Joe 'ass, 455-2 Hampton Howes Trio The Seance
The Red Garland Olinlel All
456-2 Kenny lerrell/Doaald lyrd All Day laag [PRESTIGE 7081
Osiai Peterson, and others IPABLO 2308-210)
Coleman Hawkins Howl fyes (PRESTIGE 71561
457-2 Mose local Color (PRESTIGE 7121)
Irtos-vite (PRESTIGE 71571
381-2 IteiyKnejpie Jam -Moatreii 77 (PABLO 2308 21 1]
Allison
Red Garland led to
458-2 Eddie "lockjaw* Davis/toddy Tatc/Colaaaa Hawkins/ Arnett Cohb
Dam (Wolff (PRESTIGE 71661 382-2 Joe Pass Montreal 77 (PABLO 2308 -212)
Maes Dovis Wortio' «lt fhe Hilts
Oscar Peterson ami The lossfsts - Moafreai 77 (PABLO 2308 21 31 VerySoiy IPRESTIGE 7167]
lam (PRESTIGE 71801 383 2
Gene Ansmons loss Work [PRESTIGE 7210)
4 - Moafreai 77 (PABLO 2308 214) 459-2 Roland Kirk/lock McDorT Kirk's
384 2 Eddie 'lockjaw* Davis
Etfo Jones Don't Go Jo Strangers (PRESTIGE 7186)
Montreal 77, w/ Oscar Pelersoe, Mill Jocksoo. 460-2 Jobn Corrraae/Panl Oltokbetle
385-2 The Jnn Sessions -
Deiter Gordon Tie Tower of Cower) (prestige 7623!
Canto' wffb Ceffrone aad Oatorktefte (prestige 7158)
Keooy Barrel) ud Jobn Cohrooe (NEW JAZZ 8276) Daiy Gmtsait, PaUa All-Stars and others IPABLO 2620-105)
461-2 George Benson The Hew less Gaftar of George leesea IPRESTIGE 73101
Moot 386 2 Howard Hamsty's Ijohtboese All-Stars, nL t (contemporary 3504]
Gerry MoDJgon end Thelooioei Cedar [PRESTIGE 75)9)
462-2 The Cedar Walton Trio, Oeorlel, Uetolet
387-2 Art Popper Intensify (CONTEMPORARY 7607)
MwWoat Meefs Men* IRIVERSIDE 1 1061
463-2 Kenny Dorhom Ooortet 2 Haras/1 tajlmm (RIVERSIDE 255]
to Ortff IRIVERSIDE 2711 388-2 The Great Jail Piano of Pbtoaat Hewhara. It. ICONTEMPORARY 761 1

Clorl Terry Onrtel with Tbeluuoel Moot

Hfas) ICONTEMPORARY 7630] 464-2 Thad Jones /Pepper Adami Oatotel Meaa What Tee Say [MILESTONE 9001
Sags/fl Coeld Happen fo Toe IRIVERSIDE 1201 389-2 Art Pepper . . . The rVny It
OmI loker 1
465-2 Fhe ticker IMILESTONE 90081
loe HeadersM Seitet
390-2 lea Webslei Af fke leooissaoce ICONTEMPORARY 76461
Mai Rcoch Deeds, Not Words iriverside 1 1 221
391-2 Miles Bans SfeooBJ-' wrfk tka Miles Doris (Meter IPRESTIGE 72001 466-2 lee Koaili He lee toarfi Daefs, w/ Urn Haft Jee Hendersea.
Thelonioos Monk Oeorlel Plojs Two 4l fie Itockhowh (RIVERSIDE 1 171
The Red Gorlond Olhrlet with Joho Cortrono fK) HI IPRESTIGE 7229)
ffrto Joms, aad otters [MILESTONE 901 3]
The Cannonboll Adderley Oeiolel Ptes IRIVERSIDE 93881
392 2
467-2 lia HoI/Rm Carter Dao Ansae Temetter [MILESTONE 9045)
letter htm Hem (RIVERSIDE 9411] 393-2 )obn Cortrone Dakar [PRESTIGE 72801
EdoSe Jefferson
468-2 Sony Rotas lie Cltfiog Edge [MILESTONE 9059)
394-2 John Coition* The last Iron IPRESTIGE 73761
I* Evens Ooatlet toteraoy (RIVERSIDE 9445)
469-2 Dike Ernngton and His Orcbestrn lotto Americn Sate ifantasy 84191
Vaaj* Got* (RrvERSlDC 94951 395-2 Geaa Ananaas IfVe) la Chkooa IPRESTIGE 74951
Mih Joekson Oohrtet 'live* of the
470-2 II ivons with Eddie Goaei lofattoa (FANTASY 94751
396-2 Eddie JeHetsoa lady and Sao) IPRESTIGE 7619)
Lee Motgon Qototet Tale Twelve IJAZZLAND 9801
471-2 Hook Ions last for fin (GALAXY 51051
Soboro (milestone 9039 397-2 Pot Martaa Dtspm—a IPRESTIGE 77951
McCoy Tyner
Former Oeiolel former's Market (NEW JAZZ 82031
472-2 Red Gariaad/Ron Carter/Pbaly loe Jooes Cresstogs IGA1AXY 5106]
Sony Kolhrn Hill AJbarn (milestone 90421 398-2 Art

399 3 Yose) loteel Olatel Other Sooods [NEW JAZZ 82181 473-2 Tommy Flongon Soaefhtog lorrowed, Soaelktog Doe (Galaxy 51 10)
McCoy Tyier Seog (or Hy Lmlf (MILESTONE 90441
[NEW JAZZ 82701 474-2 Art Pepper Art Pepatr Today [GALAXY 51191
400-2 Eric Dolphy/looker little for Cry
Sony Rollins Horn Cilforo IMILESTONE 90511
475-2 Art PepperSfronjtf Iffa IGALAXY 51271
Flore Perins lift erffy Dreoas IMILESTONE 90521 4012 Wyoton Kelly Piono IRIVERSIDE 254]
Merry OUe Seal IRIVERSIDE 9366) 476-2 Hampton Howes Tie GreM leaves of Saaaeer (CONTEMPORARY 7614]
Hampton Howes Die Trio: vol I (CONTEMPORARY 35051 402 2 Victor feldmon
Afro-Jaws IRIVERSIDE 93731 477-2 fhao Hop* Trio (CONTEMPORARY 7620]
Rome, Kessel Vet 3, To Swtog or Net to Swtoj (CONTEMPORARY 3513! 403 2 Eddie 'lockjaw' Davis
Semooao Ian [RIVERSIDE 94781 478-2 Art Farmer On the toad (CONTEMPORARY 7636)
Hampton Howes TTirs Is ffdmpfM Howes, 404 2 Mil Jocksoa and lig trass far f

479-2 Chico Freemen leyoad fbe tola (CONTEMPORARY 76401

405 2 Chat laker Once Uaoa a f immiif imi [GALAXY 51 501
The Trio: vol 2 ICONTEMPORARY 3515] ICONTEMPORARY 7645)
406-2 Howard Roaney's lighthaose All-Slars/Haap too Howes Trio 4802 Macs Davis aad The Ughtnoese Al-Slms Af last!
Sbely Mann end His Moo More Swingtog Saoads [CONTEMPORARY 7519)
481-3 The Red Gorlond Oatotel So./ Jenttien (PRESTIGE 71811
None, Mr. JodsM (PRESTIGE 7162) Ugofkoose of latmma [CONTEMPORARY 3509)
WHEs Jotksoo Ooitrlel
ICONTEMPORARY 7548) 482-2 Tesel latael dyl render INEW JAZZ 8234)
407 2 A>dre Previa t bis Pals 'GVajf*
Eddie "lockjaw' Dovis Oatotel, with Shirley Stolt
liViaa leaend [CONTEMPORARY 7633) 483-2 Kenny Drew Ontolel/Oaartel Flit Is New (RIVERSIDE 2361
Jews to Orbff (PRESTIGE 7I7I| 408 2 Art Pepper
484-2 Pbilly Joe Jones Showcase (RIVERSIDE 59)
Pol rVmaers/Straajtt Ahead ICONTEMPORARY 76351
1 1

323 2 Arnett Cobb Smoolk Soring (PRESTIGE 71 84) 409-2 tamey tassel The
485-2 Johnny GriHin Orchestia Tba lig Soal-laad [RIVERSIDE 1 179]
Toigt 'Diff [PRESTIGE 71851 410-2 Art Pappat The Trip [CONTEMPORARY 76381
3242 Jock McDnff, with Jlaory finest
486-2 lorry Harris Trio Preantoada [RIVERSIDE 9354)
325-2 Oliver Helson/Kmg Cnrtls/Jaary forresl Self fettle [PRESTIGE 7223) 411-2 Art Popper Ma that (contemporary 7639]
412-2 toy Irown Somethma for (ostor ICONTEMPORARY 7641] 487-2 Harry "SwMts" Edisn/Eddia "lockjaw" Davh
3262 Jock McDetf «d Gem Amaoas Irofber ltd Meets fbe less IPRESTIGE 72281
lawbreakers (RIVERSIDE 94301
3282 Shirley Scolt/Stoaley Tirrenttoe Hat Hmms IPRESTIGE 7338] 413-2 Eric Delphy • Enrope, vol 1 (PRESIIGE 7304]

1 IPRESTIGE 73501 488-2 Thelonioes Monk In Italy (RIVERSIDE 94431

414-2 Eric Doiphy to Earopo, vol
329-2 tkbord 'Groove* Holism Sdaf Messa** (PRESTIGE 74351
489-2 Wes Montgomery Trio Girlar on tbe Go IRIVERSIDE 9494)
331-2 Rosty Iryiit Referns (PRESTIGE 7626) 415-2 JohaCoftran lama [PRESTIGE 73531
490-2 Moago Sanlomaria aad his load
416-2 Dolpby to Eorope. vol 3 [PRESTIGE 7366)
332-2 HmsIm Persia Goodneii' (PRESTIGE 7678) Eric

Pretrial) laffoms Up IPRESTIGE 75751 Maaga of the Vrtoge Gale IRIVERSIDE 93529)
335 2 Charles Eorloid Itoci Tit) [PRESTIGE 77581 417-2 Ibahois Jacaaat Oa
(SWINGVILLE 2001) 491-2 Charlie Roeie Oatotel Tahto' Care of lestoess [JAZZLAND 919)
336 2 Sbely Mow 1 His frieads My fair lady ICONTEMPORARY 7527) 418-2 Cotemn Howkios wilk Ike Red Garland Trio
492-2 Chat laker wffb fifty (total Strings IJAZZLAND 9211
Sony Rotas Wey Oil (CONTEMPORARY 75301 419-2 The loe Newmaa Cromlet 7/ve if five (SWINGVUE 201
3372 Htost 1

493-2 Harold load How fork/Eastward Hal IJAZZLAND 9331

Cotemn Howkios with Eddie -lockjaw* Davis Miakt Hawk ISWINGVILLE 20161 la
338-2 Art Pepper Meets fbe ttytta Sacftoe ICONTEMPORARY 75321 420-2
494-2 Jordan Oeorlel learcal IJAZZLAND 9691
339-2 my Carter Swtoajn' fbe '20s ICONTEMPORARY 756 1
4212 Hamploa Howes f viryiady tries HomrpfM Howes.
495-2
Cfitford

Chock Mangle** Oointet lecnerdo (JAZZLAND 984)

340-2 Sway Rotas X the Contoapocory leaders ICONTEMPORARY 7564) Tbe Trio, vol 3 ICONTEMPORARY 3523)
496-2 Oscar PelersM . Stephan Groppeli . Im Pass e Miday lata
341-2 Art Pepper • Ele»e» tender* Im Qnucs ICONTEMPORARY 7568) 422-2 Andre Previa and his Pols rVeil Side Story,
Skol [PABLO 2308 2321
Nrels-Henntog Brsled Pedersen
342-2 Ornette Coleaaa Toaerrow Is the OeelrieeJ ICONTEMPORARY 7569) w/ SheJfy Atone, ted Atftchat ICONTEMPORARY 7572]
497-2 JoeTonar/Diiiy Gilospio/Roy Bdridge/ Horry 'Swoots* Earn/
343-2 Hareld Loud Tbe fix ICONTEMPORARY 7619) 423 2 The Cortis Coaace Groap Ours Haas ICONTEMPORARY 7574)
ICONTEMPORARY 75881 dark Terry Flo Franon! tags Meel lot Foraov IPABLO 2310-71 7|
344-2 Woody Hernoi Gioaf Slaps (FANTASY 94321 424 2 Teddy Edwards/Howard McGhee Toajefbor Aemtof
498-2 Joe Pass/Mil Jockson/Roy Irawa/Miday tela
345-2 II Evaas Die Tokyo Convert [Fantasy 9457] 425-2 tabby Halcharsn Sato/Oaartet ICONTEMPORARY 14009]
426-2 The Jackie Mclaaa Oatotel lifbtl Oat! IPRESTIGE 70351 Ooodrnl IPABLO 2310-837)
346-2 Go trios I Tit IPRESTIGE 7120)
499-2 Zool Sims/Harry 'SwmIs* E*sm Ins! friends [PABLO 2310-8411
347-2 Mies Son's t Moden /on Ghats IPRESTIGE
the 71 501 427 2 Daaatd lyrd/Keny lorret At HrmW loaf [PRESTIGE 70731

Roy lanetle Alaateea [PRESTIGE 7139) 600-2 Coaat lasie with Ray Irown. loan lelsn taasas City 3/
348-2 Sony Rotas Sony ley (PRESTIGE 7207) 428-2 The Red Carload Trio phis

429 Eddie -lockjaw" Davis lig land Fran tVrVsrlo [PRESTIGE 7206) Im fbe Socaad r«ae IPABLO 2310 878]
3492 The Red Gartoad O.rotet High Pressoro IPRESTIGE 7209) 2

430-2 Soony diss This Is diss IPRESTIGE 7511) Mat lachsM/Roy Irewn/Cadar Woho./Michey Reke. Owlel
350-2 Jloary Fonest Most Mich) [PRESTIGE 72181
If Dh'i Men a Fhtog ff Too Coat Tap Toor
fnl fa fl IPABLO 2310 909)
351-2 Gen Ananas Ml lesse Move (PRESTIGE 7257) 4312 Dm EBs Oatotel Hew Ideas INEw jazz 82 57)
6022 Im Pats teaaanhar Charlie Parlor IPABLO 2312 I09|
3522 Joho Cohrone lack Pearls IPRESTIGE 73161 432-2 In Cortar with Eric Doiphy. Ma) WobirM Whore? [NEW JAZZ 82651 I

603 2 Ditty GaVsple with Freddie Hehhard/Oark lorry /Otca Pelersn/

353-2 Eric Doiphy 1 leaker Utile Meaorla) Asia [PRESTIGE 7334) 433-2 Oat taker latrodoces fenny Pace [RIVERSIDE 292]

354-2 Jodie Melon Strong* lines [PRESTIGE 7500) 434-2 H Evaars Trio Miinklomt IRIVERSIDE 9428) Roy Irown/Jn Poss/lohhy Dirhaa
S.mmn Meeli Ike Oscer Pefersn Iff 4 IPABLO 2312 1 14)
rke Irvapel
355-2 Pot Martha loiytoo (The Clew frtdooce) (PRESTIGE 7589) 435-2 C bit Addarlay Seilet ImmnSoaf (RIVERSIDE 94771
dark Terry Tie dark Terry five /Manorial of Data [PABLO 23 2 1 6)
356-2 Til fariaw The Referi of W Forfow/1969 (PRESTIGE 77321 436-2 Col rmdat Oaartat Ian at fbe omvJbhowk ifantasy 8096) 604 2
Date: Satab Vaagba./Clarb Tarry /ImI Ston/
1 1

437 Vmu Gomaldi Trio Cost Tear fate to tba iVrnd [FANTASY 8089) 605 2 A Celebcalma ol
357-2 Ctttord Irowi Oeartef to Ports (PRESTIGE 7761) 2

438-2 Jot WmmmsUrt [FANTASY 9441] Jm Pass/Mtl JocksM/toy Irowa/Mkkey Ilia [PABLO 2312 19| 1

358-2 Cfrfford Irowi Seitel to Peris IPRESTIGE 7794)

439 2 (ens aad Toay IliMll 6062 Th* Corth Coonw Greerp. vol. I Indstde |CCJNIEMPO«1ary 7524)
359-2 Clifford Irowi lia laid to Porfs [PRESTIGE 7840) till
1

(MOOOSVME kaamrfl/M (vans AJbea [FANTASY 9489) 607-2 loraoy Kern! wtrh Shoty Mane, toy Irowa
360-2 The Red Gorton Irio with (ddto 'lack/aw- Davis, vol I I) Tba Teary
Flo 'at Wtoaeri tin Agar*) ICONTEMPORARY 7554)
341-2 Jnoa Adderley Oahrlet Pirtraff if Cianinknl IRIVERSIDE 269) 440-2 Too Claras Atraas Oototet Pari Mas load IDC8UT 6009)
Stephame Groaeetr » Joe Pess . Hiots Heaang kViled PedersM 6082 Heit. fknaol Swtofto' wfrl Hans [CON1EMPORARY 75961
1622 Thili eiees knob 5 by Man by 5 (RIVERSIDE 1 1501 441-2
609 2 Choi Iota ami The IJjbrbano Al Sleri
343-2 Nat Adderley Mfork Saaa IRIVERSIDE 1 167) Tfrof Gardoas IPABLO 2308 220]
442-2 Eta rmaarald fin aMet [PABLO 2308 234) Wffcb Dattm [(ONmtKXMt 7649)
364-2 Tba lakay ThaaMS Trie to 'tntrn (RrvERStOt 9391
443-2 Dbiy GaVsato/lay leowa/jM Piss/Mixkey taker 6102 Polar Ershtoa iconiemporary 40101 1

365-2 Genoa Ressel Seatel The Slrefet Seekers (RIVERSIDE 9412)

3662 Mil Joduaa lia left IRIVERSIDC 9429) Oarf's % 4 IPABLO 2310 719] 611 2 Mai WatirM Oaartol laatariaj Ghd Grycn t raroot
Mel IPRESIIGI 7090)
i ill II 11

367-2 Mark Merit, Thai's Haw I lore the Does) !>rvERSDC 94411 444-2 Zoaf Stors nd the Garshwto traitors (PABLO 2310 744) I

3682 Wei MaotaeoMry 'ostoojf (RIVERSIDE 9472) 445-2 toy EldnaV/Dhiy C*niaeo/Clerh Tarry 6122 Ulnl fasloraSnadi imiMlcJ '"VI
Total

3692 M fvaas Hew m\i Heart Stofsf IRIVERSIDE 9473) la* Fraamat Unas at Maarrni 75 [PABLO 2JIO 754] 613 I EddkleHoriM Caaa Ale*, wttk Me inttMrd f«M|
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760-2 Herbie Moa/looby Jospor fate Saffle |PR£ST1GE7101|

491-2 AaVe PreYa's Hi Jen: Ba Size! ICON-EMFORASY 75701
rW Soy GooAre ifantasy 95931
414-1 a^Ja»af lfcaa*lart-a"n«SnGE773l| 761-2 II Eyob Trio I

492-2 laayKessd »il* Skel> Alaae A »<7 lie«w

%« TaAer Priao ifantasy 94221
615-2
616-2
617-2
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Geora Retsel
Ja* Dejekatte
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(BVBSOE273!

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*""" I**"" 94401
Caalu (MIESTONE 90221 493-2
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Majae's lai i.
7576]
Tewe (CONTEMfYJRARY 75961
V»aje f-«aaW 'CONTBWOBAirr 76474
762-2
743-2
744-2
Col

Ja Hetaersa Aahpa
Otrd Terry UN
{MILESTONE 90501
fop I Unem Ires (RlVERSOE 1 1 37)

694-2 ArtPeaer rkasay r/kjkKrt Ike

MeCey Tya. SaM of fW Mr. **U (MILESTOt* 9049, 745-2 (ae Mitdel Sexlef Ma Sad iRr/ERSOE ,,55i
618-2
695-2 Art Peaer fraer Vaea Veeawrf ICONTEMFORAITY 76431
M9H el Ike
9340]
Her. Porta Sfaiesfefel mJ$-one
9558 744-2 OfHor. Joroa Oealel SpeaaaW iRlVERaoE
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619-2 7644]
694-2 Art
620-2 SeayRefcs fPedees (MILESTONE 9064] 0».tf>««a«y 76501 767-2 CWd al Ga Maajoa Saao feva 'RIVERSOE 94051
697-2 Art Pepper Mae/alesHlllkertaaV'-aai.a.e
6211 laCata r^Ul MAES-ONE9082 768-2 Rel Gortul tetxemei Mesters, eel. I

498-2 II E«us Seatesseae ifantasy 9529) tetweiti Ateslers, rel 2

622 2 M Eras We Sate He Met fan-as- 95C'
FANTASY 96341 699-2 HcCoy Tyat fir aid fie MTW imii£STONE 9067)
749-2 Del Goriood
Parker/ (PRESTIGE 78291
623-2 **,«-»»-( (is 0«*MfrifMfi™jf»*fi»Jm 700-2 Yesel Loteel life Saafiaj (new JAZZ 6272]
770-2 Dexter Gorlo. At
TW r>* i-arfa S^ Wis fWaf-atrettieMa,
FANTASY 96401
621-2
625-2 Uiw fWfaaaosfWJeas 3E1V27
701-2 Gea a— Jiw
Jaas Iaa% oal «a iPSESTlGt 7241)
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771-2
772-2
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IPRESTIGE 75061
IPRESTIGE 71931
702-2 Erie
Mat* S-rtHaa S oaa u fa =ab.O 2306 2291 WESTGE 7244) 773-2 SWty Meat AJVe le looooe [CONTEMPORARY 7629)
Sar, Stiff wifk Jed McfteH Sfflt Meefs Irefker J«*
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626-2
703-2
627-2 TWOOT»rtn«I™ IWlWUt «/J«'m 704-2 Wae fare Are Grer ikies
Red Gornal
(PRESTIGE 7258]
774-2 Art Pepper lacfaae [GALAXY 5142]
IPRESTIGE 7439]
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11'"1 IPABlO 2308-24, 775-2 Syrrio Syas wifk Kaey lateU Syrrio It!
[till
705-2 EMe -UdieW Boyis wifk SUriey Scoff Saeia- IPBESTGE 7301]
628-2 IqBM)e HtffjTmt (PABLO 23,07441
IPBEST1GE 75141
776-2 Ja rteaJersa Kelexa' Al Coaa* (CONTEMPORARY 140061
PreierYifia
629-2 Edae -Udqw" Deris Slrajkt AW "ABlO 2310-7761 704-2
707-2
Sta GeR wHk
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Solly's Dreea ifsestiGE 7576)

777-2 Ja farel Soar Text ;CC>ntf*PORARy 140021

Ra Petroo {MILESTONE 9099)

6J0-2 PaWe Do Ceste Aari CASIO 2310-785)
708-2 Ge« Aaaas/Saay Strtt aVl le fearfw Ajai rpgESTlGE 7606] 778-2 Corter

Caa (Hit Use lew 2 pT«AtO 2310-7841 779-2 looker Erva fW Sea lea (PRESTIGE 7318)
631-2
632-2 tab MbM/VWfre*. De Los Reyes
709-2 Coleaoe Howkks fie Barf Kttcies iMOODSVuJi 15)
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780-2 looker Ervie The laes loolr -V '.-:'
73401
710-2 (-jWrles lUPWersa le Iw lerisife.1!,
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w:r>&E T 35.5
lary Harm
roeaj a r/irskiato., D.C l«* rei I (PABLO
2308-219]
633-2 Dike EtajlM mi His Ortkestro del taker phs Cabby Jaisa 782-2 Lester
711-2 Gerry Melajoe Oswrtel letrtaiaj
Up Mi's ffatska ipaelO 2310815] 783-2 Paako Do Coslo Ik^^Peefa (PABLO 2312-102]
lud baate] GerTY rAelia. {FANTASY 8082/PeESTlGE 7641]
634-2 JaTaa. frerreVy Hire IW law [PABLO 2310818I
I
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784-2 fra We |pabl0 23IO794|
Dizzy Gfflespie
712-2 TW Pal Desaoal Oiafet/Oartet Tile
635-3 2arl Sars/Ja 'ess Mas fa fwi (pablO
2310879) 785-2 Mil Jodsa/Ostor Petenoo/Rey Irowo/GraJy
feoferaj Oa Efcft fantasy 8062/3235)
636-2 Howard liter's Ut>»karse Al-Sras Aa't let e few of Us Left (PABLO 23108731
713-2 Haeptee Hcrwes fa leal! COrVTrjrfPOeARY 7589)
Of! IPABLO 23IO830)
•« fa !i#rkaseteepal CCX^TEMPORARY 7528)
714-2 Skely Moa- t His Me.
784-2 Ja Poss oal Hieh-Heaiaj Brsted Perarsee
fWre (PABLO 231O903I
637-2 Aldre Prera aa Us Pas Pd Jar CONTEMPORARY 75431
{CONTEMPORARY 75931 787-2 Zal Sias Pays Jokary Moatel Ooietfy
Al fie Alaae-rWe, ret I
IW Was (PABLO 2310-905)
raapta Hcwes Al fajkl Sessiw, ret / [Contemporary 7545) 788-2 Froek Fosfer/Frmk Wess Twe for
638-2 me.
Skely Maae t His
ten festhei \17S {PABLO 23,0-751]
raaptaHlwes AJ»Sj»(SMSis*r4l? ;CONTEMPORABr
75441 789-2 FJa Frrzojerdd Al fke Atorrfreex
639-2 CONTTiMfYORARY 75941
Al Ike fstaae-rWe, rit 2
640-2 raapta Hcwes A» *J*» a«a«, '•! 3 IICOfTEMfORAeY
7547) 790-2 Coat low Mats Over Petersa fW Weepers =ABLO 2310896I
714-2 tare Inked Pars aa tkp mi Pars (FANTASY 3259)
(PivERSOE 93301
641-2 Maim r*M*9 791-2 Not Adlerley mi fW a] Sex Settia fief's Etttf
Trio

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717-2 MeEaajta fie Pioasf =as-as- 94t2
642-2 rirHa Ida Ed =antasy 80331
718-2 II Eras Trio eritb Lee HoeitT A Wora aasi
792-2 Gea Preocka iPRESTlGc 7270i

Roy IryoU (PRESTIGE 70981

643-2 ta liaer Lira Carat EMMTAS) 8014]
{FANTASY 95681
793-2 Trio
Cressorreerfs
644-2 Eras/EaSe Gaaz Atatrax M (Fantasy 95101 794-2 Aran Cot* wifk Eddie "Ledjiw" Denis
7,9-2 Haa Joas fafa faaae galaxy 5108)
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445-2 Mi EaMta fW AiVe-tatraa ErJjpse ifantasy 94981
720-2 HtCoy Tyar Intel .M4E5TONE 90631
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446-2 TW Mix lad Oajia -Spat Milker, Spear" IFANTASY 84007) 795-2 11 Eras Aaa fAaa) (FANTASY 95421
Tesel liteel fke Ceaar oaf fke Pkaai
iRjVERSOe 9337)
721-2
6472 tedGaaai (m) Alert 3AJJ-509 796-2 Hoaploe Howes I'a Al Sales [CONTEMPORARY 763,)
{RIVERSIDE 93431
ike la] .azz_a>c 975
722-2 hM, Taaoes Trie Eesy Dees ft
797-2 (ae MitrJal fW Ca leaers IRfvTJtse* 9439)
648-2 art Aateray Sextet Al-Stors Grare Mars (PRESTIGE 7201)
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649-2 ,. M Mae Week I tt-
723-2
724-2 Ikkai 'GrooYe* Haaes
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798-2 Faro Paa (eamler (MJJ5TONE 9077)
Daw iCOfflEMPORARY 14008]
650-2 MrOy Trar Etkas of efriW XAESTONE 9055) 799-2 Qko Freeara Desfiiy's
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14001]
725-2
651-2 Oa Aaaas U Slas fa ft] Saaj IPRESTIGE 71321
726-2 Herb EBs/Ja Pess f»e let fke teed (Pablo
2310-7,4] 800-2 Joy Hoajord lea faest ICONTEMPORARY ,4007)
652-2 (ate -udknT- Mrs CadWi ni / {PRESTIGE 7141)
2310739) 801-2 TW Ctaaaal alMa/aa Aalerle, (aatet
727-2 Osea Petersa aa Soy EUriaa {PABIO
Ed* 'Udjar- Diris Cooiioo o. rot 2 [PRESTIGE 7161) rrWf Is Ties faa CaW Seel 'Pablo 2308 -2381
453-2
728-2 Lais Msa fa Leeis Wsa Eisasia PABIO 23107551
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wifb Mil «dsa/Roy EUraa 802-2 loae Msa Jra wrtk lae Mitdal IPABLO 2310-8381
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455-2 Saay Wss A Patral el Saay Cri» (PBESTCt 7524) 803-2 MkWI Learad fW «ea PABLO 23,2-1391
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ejoooey le Mat* (PABIO 23,0-7401
656-2 SWty Maa ad Ho Ma 804-2 Horry -Sweets' Efca Usee's lifts IPABLO 23,07801
At rfe Mod lawk. «l I CONTFXfOeAKY 7577)
730-2 Mi Qawta fke lifaafe fjawta IPA8LO 2310-787]
805-2 Mil Jodsa/Ja Poss/Roy Irow. fW ft] 3 IPABLO 22310757)
Marfy AJewtaer Trie Sal fesia IPAfUO 23,0-8041
731-2 Mil ttdsoe tad fke
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732-2 Com, asie tig kai faae^s Maief taker* IPABlO 23108741
Al Ike Med H»*i eei 2 CONTEMPORARY
7578] 807-2 Roy taraa/Ova Petersa/Dizry Gfcspie
733-2 Diiry Gaespie oaj Aruro Saaerd
654-2 Ske*y aaae ta) Ha aex JozzAtifarfr (PABLO 2310816]
ne faaaJ Sfifia .pabio 23' 0889)
Al Ike lad *wt »a\ 3 iCONTE««XABY 7579) 808-2 Coat lesie A His OrcWstre M lisie Sfreef (PABLO 2310901
734-2 FreMeHaaad Ion fe le tae IPABlO 2312-134)
659-2 Sketi aaae aa Ks ao 2312-1231
809-2 Ja Torar We Aa'f £«r >PABLO 23,08831
735-2 JJ. Jaasa CaatrfsalJa ipaslo Wafa
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2308-2 61
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734-3
Toaay H fie foiyo tedtti {PABLO 2310 7241
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811-1 Sway Criss H Cotd de Sta! {PRESTIGE 7628)

7372 IJ fW AWataff [RivERSOE 275)
441-2 laay Enrash Oanel GaW &»yy cONTEMfOSAsrr 75921
PABLO 2310741]
612-2 Ketay Dasaa Stssts ad Pars fas Is
738-2 0«a Peterca I Hirry ErSsa
442-2 raatsNewkae.li. Hafca laes CONTEMKXAflY 7634]
813-2 TeHy Edwords Kofka' llf de frifk! IPRESTIGE 75181

WW] Una rke lm Sfaas ifantasy 94141 739-2 Tie Oriry Gaespie MJ 7
443-2
Af fke Monreei Jen feslrrW 1975 PABLO
23,0-749) 814-2 MEras Beaeae 'FANTASY 9418)
444-2 Me Eaafla rde taort ifantasy 94331 740-2 Mil Jadsa . Coat lesie Tie ao laa ra. 1 IPABLO
23108221 815-2 Deiler Gortoo More Power* (PRESTIGE 7680]

445-2 la tatar f Hlen IMAE5TONE 90731 816-2 TW Art Pepper Oartet -W't-Y.
741-2 MilJaksa Call ksie » TW 65 *mi rel 2 IPABLO 2310823)
444-2 Saar lean fke Wn rW I IMIESTONC 9074) 817-2 fay Griaes wifk Coleaa Howkas laes Graae IPRESTIGE
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742-2 Zal Sias SaWea> \fl Spraj PABLO 23108981
4472 Ibe "atkel Oaaet (al it Ike Ha (avaSOE 1131) 818-2 Roy Horas witk laker Erva Credit NF* 1AZZ 8286)
743-2 ae Taar Aases Ofy Mere Ceae PABLO 23,0904] I

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648-2 Cad ad 6a Hi HerlaV It9VOSDE937l| Ova Petersa 819-2 TW Lota Jon • Eric
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744-2
669-2 Carte Irre Al raae HaaaW :8MWSCe 94521
Ike 820-2 lobky Taaoes Soot Tme IRTVERSIDE 9334]
fW AHerale laes PABLO 23,2 ,361
470-2 TIJiiii aak Sad a fraei WBBK 9491 821-2 Coat Itsie/Ja Taai fW lesses [Pablo 231O709)
471-2 M Waaa Seilets AW/2 PB3aG£7111| 745-2 JJ.JoWsh/AI Grey
fiacs Are Gerfaj letter Al fke Tate IPABLO
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6722 jaatarraa/FrakWess rYkeaa' I OeaW VESTIGE 71311

823 2 Dizzy Gtfcspie Dizzy's Pat, 'PABLO 2310-784]
744-2 laay Kessel
fa* Ta So ipaslo 23107671
673-2 EroMskY Heeeirkere <*-~<X 73821 824-4 Caa Irsie ad His Oldest™ I

Mew leray Aeisel ly > .TEMPORARY 7521

674-2 aakwi IkSWEejasia KE5TGE 74291
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Celefle CCWTr*(fOOARY 3531) 825-2 Laa leka Ceoi C*of Ma IPABLO 231CV8991
675-2 Altan wdAaair iswmgvue 2007) feoVy'l Heairl ICONTEMPORARY 75831 826-2 Hal's Rtry Irrajl (PABLO 2310764)
748-2 Tetay Etwaris Oealel
676-2 ArtPeaa laaboa galaxy 5128] 827-2 M* Jodsa l*j*f Atof IPABLO 2312 124]

6772 Art Feaa Wmltr Aha ji.AT' 51401 749-2 H Eras He: Pena baa I ifantasy 96081
828 2 Ja Poss lr» Geerm mi lee (PABLO 2312 -133)
750-2 TW Caaakd AAAerley ftealet lis* Strafkf (FANTASY 9435)
678-2 ArtPeaa Oa imtmka Adem a GA1AXT5141) 829 2 Ova Petersa ad Ja Poss Periy A less PABLO 231LV779
^J-n 5143) 751 2 Pal Gowr.es/loy IJaraa
6792 Art Peaa mi 6ara Caas Cea' Kaa fantasy 96441 8302 ZatSK Herwfitme lajlls (PABLO 2310783]
Mei<a loWrt AWels PiftsiajA Piete
680-2 Art 'ta*- Arrar'i Has 8312 Staley Taretrtia Pietes of Dreaa IFANTASY 9465]
7522 Toaay Flaaaa mi Hak Jaet Om Detjktt (GALAXY 5113)
681 2 laa tatrae Ire Ire ladkM fasiO 2308-227) 832-2 Dora FristsWrj Lrre it ITae Street IFANTASY 9638]
753-2 Saay lobs Lore if Frsf Sojkf (MILESTONE 9098)
4(2-2 laa/ tata/DilTT Saesae Cata. GJesae, at. IPABiO 23107811 Paa {MILESTONE 9105) 833-2 frak Morja lesy Lrria ICONTEMFYJRARY 14013)
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PPF^iGE 7219] 834-2 Dexter Gorda Gearrta [PRESTIGE ,0069)
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841-2 Woody Hermon Thundering Herd (FANTASi 94521 1749-2 Joe Albany with Warne Marsh The Right Combination IRIVERSIDE 270) 1824-2 From Jackson's Original Joss All-Stars

842-2 Tlie Art Farmer/Beany Golson Jaiztet 1750-2 fhe Other Side of Benny Golson (RIVERSIDE 290) Chicago: The living legends Featuring tab Shofiner {RIVERSIDE 9406)
Sot* to the City [CONTEMPORARY 1 4020) 1751-2 The Elmo Hope Trio Meditations (PRESTIGE 7010) 1825-2 Junie C, Cobb and His Hew Hometown tend
843-2 Art Pepper/George Cables Tete-e-Tele (GALAXY 5147) 1752-2 Bennie Green Walking Down (PRESTIGE 7049) Chitago: The living legends (RIVERSIDE 9415)

844-2 Joe Henderson Tetragon (MILESTONE 9017) 1753-2 Gil Melle Ooortel with Kenny Dorham, Hoi McKvsick Gil's Gnosis (PRESTIGE 70631 1826-2 Albert Wynn and His Gutbuckel Seven

845-2 looker Ervm The Freedom took (PRESTIGE 7295) 1754-2 The George Wallington Trios, featuring Charles Mingos, Chicago: The living legends IRIVERSIDE 9426)
846-2 Kenny Borrell So*/ Cat (PRESTIGE 73151 Oscar Pettrlord, Mai Roach {PRESTIGE 158/1361 1827-2 Johnny Griffin Setter (RIVERSIDE 264]

847-2 Cedar Wollon Soul CycJe {PRESTIGE 7693) 1755-2 Steve Lacy with Don Cherry fvidence (NEW JAZZ 827 1
1 828-2 Jimmy Heath Sextet The Thmnper [RIVERSIDE 1160)
848-2 Not Adderley Seitet Much Iross (RIVERSIDE I 1431 1756-2 The Elmer Snawdon Ooortel leatiring Clitl Jackson 1 829-2 Charles Mingus Group (coloring Jackie Poris, The Gordons and
849-2 Illinois Jocguel The King! (PRESTIGE 7597) Harlem too/of IRIVERSIDE 93481 Bob Benton Debut Rarities, vol. 4
850 -2 8»tk Clayton I Biddy Tale 1757-2 Back Clayton/Tommy Gwatlney's Kansas City Nine/Dickie Wells/ 1830-2 Billy Taylor with four Flutes (RIVERSIDE 1151]

Buck and Buddy Blow the Blues (SWINGVILLE 2030) Charlie Byrd Gain' to Aaosos Ory IRIVERSIDE 9353) 1831-2 Lorry Young Young lives {NEW JAZZ 8264)
851-2 Mill Joekson Memories el Thelenhas Sphere Monk (PABLO 2308 235) 1758-2 Ida Coi /The Coleman Hawkins Oaintet 1832-2 "Sweet Emma" Barrett New Orleans: The living legends (RIVERSIDE 9364)
852-2 Joe Timer In the Evening (PABLO 2310 7761 lines for Rampart Street (RIVERSIDE 93741 1 833-2 Kid Thomas and His Algiers Stompers
853-2 Roy EkJridge What It's ill Abort (Pablo 2310 7661 1759-2 The Blues Piano Artistry ol Meade Lvi lewis (RIVERSIDE 94021 Mew Orleans: The living legends (RIVERSIDE 9365)

854-2 Court Basie and His Orchestra On the flood (PABLO 2312-1 12) 1760-2 Richie Komaca/Bill Holman West Coast Jul in ffifi ihifi 609) 1 834-2 Percy Humphrey's Crescent City Joymokers
855-2 ZootSims The Swinger (PABLO 2310-861) 1761-2 The Gerald Wiggins Trio Mvsic from "Anwad the World New Orleans: The living legends (RIVERSIDE 9378)

856-2 Clark Terry fes, The lines (PABLO 231 2-1 27) in 80 Days' in Modern Jan (SPECIALTY 2101) 1835-2 Peter Borage with His Creole Serenoders and The Love-Joes Ragtime
857-2 Osrar Peterson and the Trumpet Kings Jousts (PABLO 2310 817) 1762-2 Lee Morgan/Wynton Kelly Daiy Atmosphere (SPECIALTY 21 101 Orchettre New Orleans: The living legends IRIVERSIDE 9379)

858 2 Oscar Peterson/Joe Pass/Ray Brown The Giants (Pablo 2310 7961 1763-2 Frank Rosolino Free lot AS (SPECIALTY 2161) 1836-2 The Loais Cornell Trio Bourbon Street
859-2 Eddie 'Lockjaw" Davis/Harry "Sweets" Edison/AI Grey 1764-2 Baddy Collette Jon loves Paris ISPECIALTY 50021 New Orleans: The living legends {RIVERSIDE 9385)

Jul at the Philharmonic, 1913 (PABLO 2310-882) 1767-2 Lenme Niehavs fhe Octet #?, vol 3 (CONTEMPORARY 3503) 1837-2 James Moody Moody's Mood lor tines {PRESTIGE 7056/7072)

860-2 The Zoot Sims Foar The innocent tears IPABLO 2310-672) 1768-2 The Musir ol Victor Feldman-Suite Sixteen (CONTEMPORARY 3541] 1838 2 Jack DeJohnetle Sorcery IPRESTIGE 100811

1 203-2 The Prestige Sampler—Original Jan Classics, w/ Mies Denis, 1769-2 Andre Previn Plays Songs by Vernon date (CONTEMPORARY 7558) 1839-2 Sam Jones Pins 1 The Chant IRIVERSIDE 93581

Sonny Rollins, MJO, and others 1770-2 Ruth Price with Shelly Marine t His Men 1 840-2 Andre Previn Ploys Songs hy Harold Arson (CONTEMPORARY 75861
at the Monne-Hole (CONTEMPORARY 7590] 1841-2 Phil Woods with Red Garland Svgan (NEW JAZZ 8304)

OJC Limited Edition 1771-2

1772-2
Mitt Jackson/Sonny
King Pleasure
Stitt In the Beginning

Golden Days [HIFUAZZ425I

(GALAXY 204] 1842-2
1843-2
Jaki lyard

John Dennis
Oat front.' IPRESTIGE 7397]
New Piano Expressions: Debet Rarities, vol 5 IDEBUT 121)
1701-2 Ada Moore With Tel Farlow, John loPorto (DEBUT i
S| 1773-2 The Mondell lowe Ooortel IRIVERSIDE 204) 1844-2 Jim Robinson's New Orleans Band
1702-2 Haul Scott Helmed Piano Moods IDEBUT 16) 1774-2 Gigi Gryce And the Jon lab Oointel IRIVERSIDE 229) New Orleans: The living legends {RIVERSIDE 9369)
1703 2 Elmo Hope Ooarlel/Oiintel, leatiring Frank Foster 1775-2 Don Friedman Trio A Day in the dry IRIVERSIDE 9384] 1 84 5 2 Kid Thomas and His Algiers Stompers

Hope Meets foster (PRESTIGE 7021 1776-2 111 Perkins Oeietty Then IRIVERSIDE 3052] New Orleans: The living legends (RIVERSIDE 386)

1 704-2 George Wallington Oohrtel Jul for the Carriage Into (PRESTIGE 7032) 1777-2 Lacy Reed The Singing Reed (Fantasy 32 1 2) 1846 2 Jim Robinson Ploys Spirituals and lives
1 705-2 Houston Hawes Ooartet/Freddie Redd Trio 1778-2 The Ponl Horn Oaintet Something tint (hifijazz 615) New Orleans: The living legends (RIVERSIDE 9393)

Piano: Eost/West (PRESTIGE 7067) 1779-2 John Benson Brooks' Alahaina Concerto featuring 1847-2 Billie and DeDe Pierce New Orleans:

1 706 2 Jinssny Roney A (PRESTIGE 7089) Cnnaonboll Adderley/Art Former IRIVERSIDE 1123) The living legends. Blues and Tanks from the Deha (RIVERSIDE 93941
1707-2 Kenny Berrell, Art Former, Mai Woldron. Al Conn, Hal McKnkk, 1780-2 JamesMoody ffifi Party IPRESTIGE 701 II 1848-2 Daog Watkins Oainlet feataring Yesel Lateef SoehJk INEW JAZZ 8238)
Teddy Kotich, Ed Thigpeu fortby (PRESTIGE 71021 1781-2 Mooadog More Moondog/The Slory ol Maandog (PRESTIGE 7069/7099) 1849-2 Jerome Richardson Roamin' with Richardson (NEW JAZZ 6226)
1 708-2 Jock Teogarden Joe* 'eogordee's lig fight/Pee Wee Rnssafs 1782-2 Thod Jones/Kenny Barrell/Frank Wess Alter Hoars (PRESTIGE 71 18) 1850-2 Benny Golson Gone with Golson (NEW JAZZ 8235)
Rhythmakers IRIVERSIDE '411 1783-2 Mooi Gordon Sings IPRESTIGE 7230] 1851-2 Gigi Gryce Oainlet Saying Somelkiir' inew JAZZ 82301
1709 2 lock Oaytoa The Classic Swing of lock Clayton (RIVERSIDE 1421 1784-2 Oliver Nelson Taking Core of lesiness (new jazz 8233] 1852-2 Arthur Taylor Taylor's Tenors (NEW JAZZ 6219)
1710-2 Rei Stewart And the fliugtoaiooi (RIVERSIDE 144) 1785-2 Lent Winchester Seilel learning Oliver Nelson 18532 Larry Young Groove Street IPRESTIGE 7237)
17112 Chile Aastin Sings When Your lover Hot Com (CONTEMPORARY 50021 Loin's leal INEW JAZZ 6239] 1854-2 Jimmy Heath Oainlet On the Trail IRIVERSIDE 9466)

1712 2 Gil Mete Ooortel Primitive Modern/Ouodromo (PRESTIGE 7040/7097) 1786-2 loe Holiday Mombo Jon 1855-2 Johnny Griffin Ooortel Way Out! IRIVERSIDE 274]

1713-2 Barharo Lea (prestige 7065) 1787-2 Andre Previa Ploys Songs hy Jerome Aero (CONTEMPORARY 7567) 1856 2 Mai Woldron Maf/4 INEW JAZZ 82081
1714-2 Jodie McLean with II Hordmaa Jackie's Pal (prestige 70681 1788 2 Bobby Jospor with Goorge Wohmgton, Idrees Sobeaau IRIVERSIDE 240) 1857-2 Chories Mingus/John LoPorto Joilkol Moods (PERIOD 1 107/1 1 II)

1715-2 TooMscero Whh the Prestige Jon Ooortel (PRESTIGE 7 04 j

1 789 2 Sam Jones The Soai Society IRIVERSIDE 1 172| 1858-2 leanie Niehous, Vol. 4: The Ovinlels I Strings (Contemporary 3510)
1716 2 Wehstei Toeng for Lady (PRESTIGE 71061 1790-2 James Clay A Doable Dose of Soal (RIVERSIDE 9349) 1859-2 Jimmy Woods Awakening/ (CONTEMPORARY 7605)
1717-2 The Prestige Bloes Swingers or/ Art Former, Jimmy Forrest, 1791-2 James Moody and His Bond Wail Moody, Wail (PRESTIGE 7036) 1860-2 Dewey Redman Musks (GALAXY 51181
Roy Iryual, and others Outskirts of Town (PRESTIGE 7145) 1792 2 PoSy Joe Joaes lig land Sooods: Drnnrs Around the World IRIVERSIDE 1 1 47) 1861-2 The Johnny Griffin/Eddie "lockkiw" Davis Ovinlel
1718-2 Betty Roche Sim/in' and Swingiu' (PRESTIGE 7187) 1793-2 The Larry Toeng Trio Testifying (NEW JAZZ 8249) Tough Tenor favorites IJAZZLAND 976]
1719 2 Lorn Winchester t Benny Gotsoo Winchester Snodnf (new jaz2 82231 1794-2 Woh Dickerson A Sense ol Direttion [NEW JAZZ 6268) 1862-2 Curtis fuller with Red Garland {NEW JAZZ 8277)
1 720-2 The load Johnson Oouriel let's Swing ISWINGVUE 201 51
1795-2 OSvei Nelson with lorn Winchester Hoctume IMOODSVILLE 13) 1 863 2 Johaa Priesler Keep SvWnght' (RIVERSIDE 1163)
1721-2 Goorge Lewis and his Rogtime land Jon ol Vespers (RIVERSIDE 2301 1796-2 Tiny Grimes with Jerome Richardson Tiny in SwmgviMe [SWINGVILLE 20021 1864-2 Sam Jones 5 Co. Dawn Home (RIVERSIDE 9432)

1722 2 Emht Henry Ooortel Seren Standards nod o lines (RIVERSIDE 248) 1797 2 Beany Golson Sestet The Modem loach (RIVERSIDE 256] 1865-2 Phil Woods forty Oainfels {PRESTIGE 76731

1723 2 Giants ol Sural Band Swag, vol. I, with My Kyle's lig figot/Rvssell 1798 2 lev Keiy love Locked Get IRIVERSIDE 1182) 1866-2 Teddy Cbarles/ldtees Solieman/John Jenkins/Mul WnMmn
Pracope's tig Sin/Dkk Wests tig Seren, ond others (Riverside i 43) 1799-2 The Jimmy Heath Orchestra Reafy ligf IRIVERSIDE 1 188) Coofin' {new jazz 82161
1 724-2 Giants nf Smol lend Swmg. vol 2, win Jan Thomas lig Sli/J.C. 1800-2 Beanie Green with Art Former (PRESTIGE 70411 1867-2 Walt Dickerson (NEW JAZZ 6275]
Reratrvhy

rsugghnhotham's tig light /Jimmy Jones Iff Poor ond othorl IRIVERSIDE 145) 1801 2 Dooatd Byrd/Art formei /Idrees Saltomnn Throe finnyiiH [PRESTIGE 7092) 1868-2 The Gigi Gryce Oointel TheHap'nht's (NEW JAZZ 82461

1725-2 Rune Tbomut OoHrtet Goftor Groove UA2ZLAND927) 18022 Betty Roche lightly and Pottery IPRESTIGE 71981 1869-2 Bennie Green Oainlet Glidin' Along INEW JAZZ 82751

1726-2 Slaa Geti/Mles Oo»ls/Lee Koniti Conception (PRESriGE 70131 1803-2 CHrvet Nelson with loo Newman Main Stem IPRESTIGE 72361 1870-2 Randy Weston Trio Got Happy (RIVERSIDE 203)

1727 2 Km Warning and J.J, Johnsoa/ Bonnie Groan With Strings (PRESTIGE 70301 1804-2 Charles McPherson fhe Onintel/lfvef IPRESTIGE 74801 1871-2 Jimmy Heath The Oaalo IRIVERSIDE 3721
1 728 2 Bonnie Green Mows His flora (PRESTIGE 70521 1805 2 George WaKngton Oointel The flew Tort Scone 1872-2 Elmo Hope Hope-Full IRIVERSIDE 4081

1729 2 ten Brooluneyer fhe Don/ Hole ol M Ireehnsover, featariag Phil Woods, Donald lyrd {NEW JAZZ 6207) 1873-2 The Benny Golson Oointel Gellin' with ft {NEW JAZZ 8248)
w/ Toddy Charles, Jimmy taaay (PRESUGE 70661 1806-2 Diiiy Rooce Asia Minor (NEW JAZZ 8274) 1874-2 Jahi Byard Here's Jaki {NEW JAZZ 82561
1730-2 My Taylor Cross Section IPRESTIGE 7071) 18072 The Chories Miaows Octal /The Jimmy Knoppor Oointel Debut Rarities, vol I 1875-2 Chories Mcpherson Can Aimaf (prestige 7427)
17312 Today Chories /Shorty Rogers/Jnnnry Ghrftre Motion IPRESTIGE 70781 The Chories Mmges Deo I Trio with Spoolding Givens ond 1876 2 John Wright Mr. Soaf (PRESTIGE 72331

1732 2 Pol Woods/DennU Byrd fhe Toeog Moods IPRESTIGE 70801 Mai Roach Debot Parities, rot. 1 1877-2 Johnny Griffin White Gardenia {RIVERSIDE 387)

17332 Jodcio McLoon/Joon Jenkins Afro Madge I I iPRESliGE 71 14| 1809-2 The Kenny Drew Trio Pol Joey (RIVERSIDE 249]

1734-2 PH Woods/Gone Qsl/Snhn) Shbnh/Hnl Stein Foot Alias IPRESTIGE 71 161 1810-2 Elmo Hope Seilel and Trio Honeecoonjag IRIVERSIDE 9381) 6001-2 Coleman Hawkins In a Mellow Tone
1 735-2 Phi Woods/Gone Oei/Jockie McLonn/Jnhn Jeniuns/Hol McKoskk 1811-2 Hd McKoskk Trifle fiposere (PRESTIGE 7135] 6002 2 Cedoi Walton Plays Cedar Walton

tad feathers (new jazz 82041 18122 AJCohn lioodwoy IPRESTIGE 7619) 6003 2 Sonny Stitt Savl Classics

1 736-2 Goorge Lewis Jut in the Classic flow Orleans Ironrtien (RIVERSIDE 207) 1813-2 The Geoige Wnhmgtoo Oainlet Ifve) Al Cafe l lhomfo {PRESTIGE 78201 6004 2 Mose Allison Grealesl Hits

17372 WoW Wore fhe Chkogo Seend (BVB 1814-2 Mai Waldroa Mof/3 Sooods (NEW JAZZ 8201 6005-2 Gene Amnions Greatest Hits, vol I: The Slilhtl

1738-2 loots Thi i iimnns Man lites Horataako ihversioc 1125) 1815-2 Jerome Richardson Midnight OH (NEW JAZZ 82051 6006 2 Jimmy Heath Nice People

1739-2 George Lewis ol Hew Orleans <nv • 1816-2 Lorn Winchester Another Opel (NEW JAZZ 82441 6007-2 Kenny Diew Tria/Ouartei /Oaintet
1 740-2 Earl "Fnthn" Hines and his land A Monday Date IRIVERSIDE 3981 18172 Watt Dkkertoo This Is Wall DkkersomJ (NEW JAZZ 6254) 6008 2 Sam Jones Right Dawn Front

1741-2 Moundug IPRCiiof 7042) 18182 KeaMclotyro Stone lives inew JAZZ 6259) 6009 2 Bloe Mitchell lives on My Mind
1742 2 Inrhnrnloo Loo in Ion IPRESTIGE 71001 1819-2 Other Nelson Orchetlro Alro/Amerkan Skelches IPRESTIGE 7225) 6010 2 Ron Carter and Friends Slandnid Rearers

1743-2 The John Wright Trio Sooth Side Soot (RRESliGS 71901 1820-2 Ahmad Abdol Monk Jon Sohara IRIVERSIDE 1 1211 60112 The Christmas Collection, w/ Denier Gordon. Gone Amorous.

1744-2 MCorsoo Plays fire Dowa Mow IPRESllOf 726JI 1821 2 The Charles Minges Gioop feataring Wynloo Kelly 1 Iddie "lotkhtw" Davis, and others

1745-2 Chnrte Mariano lesloo Af-Slars (PRESTIGE 130/1531 Pepper Adams Debut Rarities, vol 3 6012-2 "Geilar Player" Presents Jan Guitar Classics, w/ Kenny Inrrnt
1 746 2 Jon lordley front fMh/wnnd la Mew fan (NEW JAZZ I lOS/IVESriGE 2071 1822 2 Prince Loshn C Sonny Simmons Flrebiids ( ON1FMPORARY 7617) Jimmy Roney, Wei Montgomery, loo Pass, ond ethers
1 747 2 londy Weston Trio with Cod Payne Jul n Jo Mnnoa IRIVERSIDE 2321 18232 LI Hardin Armstrong and Her Orchestra
1748 2 FieodK Redd Irie Son froncisco Soife {HVIRSIDE 250) Chicago The living legends IRivtR',iljl P401]
 9ince its inception in 1982,
Fantasy's Original Jazz Classics® ["OJC"} series
has been a tremendously successful program of reissues.
Its premise is simple: to present memorable jazz

albums — with the original covers and notes —

which have been unavailable for years.
The vaults of the Fantasy-affiliated labels — Fantasy,
Prestige, Galaxy, Milestone, Riverside, Debut, Contemporary,
Jazzland, and Pablo — hold some of the most important jazz
ever recorded. Drawing on this wealth of material, Original
Jazz Classics® has grown to over 850 titles.

M\s an aid to veteran collectors and

newcomers alike, we have assembled this guide to the
enormous diversity of our OJC catalog. The 200 best-selling
titles are featured. Each listing consists of personnel, tunes,

technical credits, and recording dates, plus brief comments

about the selection. Original reviewers comments are quoted
where possible. There are biographies of many of the most
revered masters ofjazz, including never-before-seen
photographs. As an added bonus, there is a numerical
listing of all OJC titles currently available on CD.

7421 J

"25218"01495
rAPnTAcy? o

0-^3-7^13-5
ISBN