Leonard Feather Presents… ★1954★

Leonard Feather Presents Cool Europe

Jutta Hipp and Mike Nevard

Not so many years ago, just about all Good jazz available on records could be categorized in terms of what part of America it came from. We had New Orleans jazz, Chicago jazz, Kansas City jazz. The music that came from overseas was just an occasional oddity that usually tried, with indifferent success, to emulate one of these forms.

Since then, the walls have come tumbling down. With our American music solidly established as not merely a regional or even a national phenomenon the interchange of ideas has had a salutary effect on the quality of the music produced both here and abroad.

A few years ago it was the Swedish jazzmen who surprised us with their effective assimilation of the modern jazz idiom. More recently, England and Germany have produced a little network of gifted musicians capable of the most advanced and inspired Brand of modern jazz improvisation.

The musical breezes wafted across the Atlantic for our delectation by the Cool Europeans are a relaxed and refreshing zephyr for jazz fans in search of someting new.

*Leonard Feather (liner notes)*

It's apparent from this excellent package that Americans no longer have a complete monopoly of the jazz medium. Perhaps modern or "cool" jazz simply has more traditional forms. At any rate, the pianist Jutta Hipp is a first-rate inventive artist, and her cohorts Emil Mangelsdorff, alto sax, and his brother Albert on trombone, could play in any fast local company.

The Britishers, too, show talent, especially the trumpeter, Albert Haall, pianist Ralph Dollimore and bassist Johnny Hawksworth. It's absorbing modern jazz regardless of geography, and may be offered as such. *Billboard, April 30, 1955*

Side 1

Jutta Hipp And Her German Jazzmen

1 - Simone

(Mangelsdorff)

2 - Lover Man

(Ramirez, Sherman)

3 - Cool Dogs

(Freund)

4 - Diagram

(Olsen)

5 - Anything Goes

(Porter)

6 - Brotherly

(Mangelsdorff)

7 - Yogi

(Freund)

8 - If I Had You

(Shaphiro, Campbell, Cennelly)

#1, #3, #5, #7:

Emil Mangelsdorff (alto sax), Joki Freund (tenor sax),

Jutta Hipp (piano), Hans Kresse (bass), Karl Sanner (drums).

#2, #4: 

Jutta Hipp (piano), Hans Kresse (bass), Karl Sanner (drums).

#6: 

Albert Mangelsdorff (trombone), Emil Mangelsdorff (alto sax),

Jutta Hipp (piano), Hans Kresse (bass), Karl Sanner (drums).

#8:

Albert Mangelsdorff (trombone), Hans Koller (tenor sax),

Jutta Hipp (piano), Shorty Roeder (bass), Karl Sanner (drums).

Recorded in Frankfurt, West Germany, April 13, 1954.

Side 2

Mike Nevard's British Jazzmen

9 - I'll Remember April

(Rraye, DePaul, Johnston)

10 - Deep Purple

(DeRose, Parish)

11 - Rhumblues

(Feather)

12 - Two Sleepy People

(Carmichael, Loesser)

13 - Amalgam

(Olsen)

#9, #12, #13:

Albert Hall (trumpet), Don Rendell (tenor sax), Harry Klein (baritone sax),

Ralph Dollimore (piano), Johnny Hawksworth (bass), David Murray (drums).

#10, #11:

Johnny Donkworth (alto sax), Don Rendell (tenor sax),

Ralph Dollimore (piano), Johnny Hawksworth (bass), Allan Ganley (drums).

Recorded in London, early 1954

Paul Severson And Chuz Alfred

 

Paul Severson (1928-2007) was a well-schooled musician with symphony, studio, and traveling band experience. He began studying piano at the age of 5, in his home in Fargo, ND. At the age of 13, he switched to the trombone and never looked back. In 1951 he got a master's degree from Northwestern, and entered the world of big band sounds. He spent two years as first trombone with Ralph Marterie's band, followed by a stint with Hal McIntyre and a Stan Kenton concert tour in the fall of 1953. During the 1953-1954 season he was also first trombonist with the Chicago Civic symphony orchestra. For over two years he was a staff musician for CBS in Chicago. In 1956, he was assigned to record Midwest Jazz, the first in a series of Midwestern jazz albums for Chicago's Academy label. The session clearly captured the creativity of the group Paul put together with Kenny Soderbloom on tenor, Mel Schmidt on bass, and drummer Bob Tilles. Throughout these gently flowing tunes, Severson proved to be a warm, fluent trombonist, his writing was loose and conducive to swinging, and most of his compositions are engaging.

A native of Lancaster, Ohio, "Chuz" Alfred (1932-2018) came of a musical family entourage. Chuz became interested in music around sixth grade, when he began studying the clarinet. While studying at Ohio State University in August 1954, he organized his first professional group, called the Chuz Alfred Quartet. Even though he always considered himself a jazz man, because of the greater demand for the tenor sax in club work, he switched to tenor, and roughly seventy-five percent of his repertoire was in the Rhythm and Blues and Rock 'n' Roll fields. A year later they became a Quintet with Chuz on tenor; Ola Hanson, trombone; Chuck Lee, piano; and two younger newcomers to the group, Paul Holt, bass; and Jim Markham, drums. When Ozzie Cadena from Savoy Records asked Chuz to make a jazz album, Paul and Jim sat it out, figuring they'd better get more experience, and Cadena replaced them with two masters of their respective instruments, bassist Vinnie Burke, and drummer Kenny Clarke. In September 27, 1955, they recorded a long-playing album in a single session that was released early in 1956 under the title Jazz Young Blood and has become a true collector's item.

Paul Severson And Chuz Alfred

Rare And Obscure Jazz Albums

Spain-based label Fresh Sound Records shows that there are periods of Western Civilization when art is at a peak, and other times at a nadir. The mid 50s had such a surfeit of great sounds and bands that it was impossible to keep up with all of them. Thankfully, we have the chance to finally catch up with what really happened musically during the Eisenhower years on these pair of discs, each holding this rewarding yet obscure albums.

First up is a 1956 unit by trombonist Paul Severson with Kenny Soderbloom/tenor sax-baritone sax, Mel Schmidt/bass and Bob Tilles/drums. The team is California Cool with Soderbloom's tenor in vintage Stan Getz fashion on the easy swing of "Too Much" and Mulligan misty for his baritone work on "Gone With The Wind". Severson's brash glows on the warm "I Could Write A Book" and creates rich harmonies on the fun "One More Mambo", getting hipper than Dumbo on "I Only Have Eyes For You".

Tenorist Chuz Alfred sounds like a mix of Lester Young and Dexter Gordon on his quintet with proto bopping drummer Kenny Clarke, Ola Hanson/trombone, Chuck Lee/piano and Vinnie Burke/bass on a slick 1955 session. Alfred is long and tall as he saunters on "A Message From Home" and blueses up "Manta Wray". Alfred is in a Prez mood for a foggy "I Can't Get Started" and is nimble with Clark on "Chuz Duz". How did we miss these guys?

Both albums have wonderful liner notes giving lots of background information. You'll get started on a treasure hunt for more of the same by these guys. *George W. Harris*

1 - Too Much

(Paul Severson)

2 - Whee

(Paul Severson)

3 - Gone With The Wind

(Wrubel, Magidson)

4 - 11th Heaven

(Paul Severson)

5 - I Could Write A Book

(Rodgers, Hart)

6 - After You

(Paul Severson)

7 - One More Mambo

(Paul Severson)

8 - I Only Have Eyes For You

(Warren, Dubin)

9 - Who, Me?

(Paul Severson)

10 - Out Of Nowhere

(Johnny Green)

11 - Short Story

(Paul Severson)

12 - Robbin's Nest

(Jacquet, Thompson)

13 - Just Loafin'

(Paul Severson)

14 - Aren't You Glad You're You

(Van Heusen, Burke)

15 - A Message From Home

(P.D.)

16 - Manta Wray

(Chuz Alfred)

17 - I Can't Get Started

(Duke, Gershwin)

18 - Harlequin

(Alfred C. Lee)

19 - Love Comes To Mehitabel Brown

(Chuz Alfred)

20 - Chuz Duz

(Richard Cone)

#1 to #14: from the album Midwest Jazz (Academy MWJ-1)

Paul Severson (trombone), Kenny Soderbloom (tenor sax, baritone sax),

Mel Schmidt (bass), Bob Tilles (drums).

Recorded in Chicago, June 1956

#15 to #20: from album Jazz Young Blood (Savoy MG-12030)

Chuz Alfred (tenor sax), Ola Hanson (trombone),

Chuck Lee (piano), Vinnie Burke (bass), Kenny Clarke (drums).

Recorded in Van Gelder Studio, Hackensack, New Jersey, September 27, 1955

Joe Roland's Ensembles

A native New Yorker, Joe Roland (1920-2009) was an innovative jazz vibraphonist. Starting in 1946, he became immersed in the bebop scene, playing alongside influential musicians like Terry Gibbs and Red Rodney. He began forming his own ensembles with support from jazz critic Leonard Feather, who helped him secure performances at venues like the Three Deuces. In 1949, Roland created the Symfonet, a pioneering group where string players performed bop melodies rather than just providing background accompaniment, a concept he claimed to have developed before Charlie Parker's known efforts to incorporate strings into bebop.

Despite his creativity, Roland struggled to find consistent work for his string-based group. He joined Oscar Pettiford’s sextet in 1951, by which time his vibraphone technique had reached a high level of sophistication. He later played with George Shearing (1951–1953), Howard McGhee, and Artie Shaw's Gramercy Five (1953–1954), further honing his craft.

Throughout the 1950s, Roland led various groups, including a mambo-jazz quintet, which added a vibrant, danceable element to his music. He also directed modern chamber jazz ensembles featuring talented musicians such as pianists Wade Legge and Freddie Redd, guitarist Dick Garcia, bassist Oscar Pettiford, and drummer Ron Jefferson. These groups were distinguished by their balance of taste and rhythmic vitality. His innovative programs showcased his ability to blend cool modern jazz with elegance while maintaining the lively pulse characteristic of the bebop movement.

Though relatively underappreciated during his lifetime, Roland’s energetic approach to the vibraphone continues to resonate with jazz aficionados. As Terry Gibbs noted in 1951, "players like Joe are a real challenge in the rapidly expanding vibraphone field". *Jordi Pujol*

Joe Roland

Complete 1949 ~ 1956 Sessions

Symfonet, Quartet and Quintet

While overlooked today, vibist Joe Roland was an in demand artist, best known for his work with George Shearing. This two disc set of his material from 1949-56 displays that same classy charm, as he leads a variety of small groups that include artists like Red Mitchell/piano, Joe Puma/guitar, Freddie Redd/piano, Oscar Pettiford/bass and Kenny Clarke/drums.

Roland's touch is soulful and kinetic, gliding in the quintet of "Henry VIII" while a teaming with some strings adds panache to "Half Nelson" and "Sally Is Gone". A collection of Christmas songs like "Sleigh Ride" and "Jingle Bells" with percussionists Jose Mangual-Luis Miranda-Ubaldo Nieto is a real hoot, wile some serious hard bopping takes place with Redd and Pettiford on "Garrity’s Flight". Redd sticks around for a hip "Soft Winds" and "Easy Living" while a take of "Laura" is as lovely as Gene Tierney. Glowing vibes.

The booklest includes copious notes and a list of all of the sessions. One worth looking for.

*Scott Yanow*

*CD 1*

1 - Free Of Charg

 (Unknown)

2 - Henry VII

 (Unknown)

3 - Half Nelson

 (Miles Davis)

4 - Sally Is Gone

(Joe Roland)

5 - Love Is Just A Plaything

(Lert, Jaffe)

6 - Dee Dee's Dance

(Denzil Best)

7 - Ravel’s Bolero In Mambo

(Maurice Ravel, P.D.)

8 - Poor Butterfly

(Golden, Hubbell)

9 - I'm Getting Sentimental Over You

(Bassman, Washington)

10 - Lover's Mambo

(Joe Roland)

11 - Sleigh Ride

(Leroy Anderson)

12 - Christmas Song

(Torme, Wells)

13 - Jingle Bells

(P.D.)

14 - Let It Snow, Let It Snow, Let It Snow

(Styne, Cahn)

#1 and #2: Joe Roland Quintet

Joe Roland (vibes), Ray Turner (tenor sax), Red Mitchell (piano),

Joe Puma (guitar), Paul Szglay (bass), Harold Granowsky (drums).

Recorded in New York City, July 21, 1949

#3 to #6: Joe Roland’s Modern Symfonet

Joe Roland (vibes); Joe Puma (guitar); Gus Oberstein, Jules Modlin (violins); Mike Barten (viola);

Sid Kassimir (cello); Ishmael Ugarte (bass); Harold Granowsky (drums); Paula Castle (vocal #5).

Recorded in New York City, January 27, 1950

#7 to #10: Joe Roland Quintet

Joe Roland (vibes), Sam Mario (piano), Dante Martucci (bass),

José Mangual (bongo), Luis Miranda (conga).

Recorded in New York City, spring 1954

#11 to #14: Joe Roland Sextet

Joe Roland (vibes), Doug Duke (organ), Dante Martucci (bass), 

José Mangual (bongo), Luis Miranda (conga), Ubaldo Nieto (timbales).

Recorded in New York City, spring 1954

*CD 2*

1 - Garrity's Flight (Little Pete)

(Joe Roland)

2 - Indian Summer

(Victor Herbert)

3 - I've Got The World On A String

(Arlen, Koehler)

4 - Stephanie's Dance

(Freddie Redd)

5 - Joyce's Choice

(Wade Legge)

6 - Gene's Stew

(Wade Legge)

7 - Music House

(Wade Legge)

8 - Spice

(Wade Legge)

9 - Easy Living

(Rainger, Robin)

10 - Stairway To The Steinway

(Freddie Redd)

11 - Soft Winds

(Benny Goodman)

12 - Teach Me Tonight

(De Paul, Cahn)

13 - Robin

(Ishmael Ugarte)

14 - Sweet Lorraine

(Burwell, Parish)

15 - Goodbye Bird

(Joe Roland)

16 - After You've Gone

(Layton, Creamer)

17 - Anticipation

(Dick Garcia)

18 - I Cover The Waterfront

(Green, Heyman)

19 - The Moon Got In My Eyes

(Johnston, Burke)

20 - Street Of Dreams

(Young, Lewis)

21 - Laura

(David Raksin)

#1 to #4: Joe Roland Quartet

Joe Roland (vibes), Freddie Redd (piano), Oscar Pettiford (bass), Ron Jefferson (drums).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, May 10, 1954

#5 to #8: Joe Roland Quartet

Joe Roland (vibes), Wade Legge (piano), Dante Martucci (bass), Ron Jefferson (drums).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, October 17, 1954

#9 to #20: Joe Roland Quintet

Joe Roland (vibes), Freddie Redd (piano), Dick Garcia (guitar),

Dante Martucci (bass), Ron Jefferson (drums).

Recorded in New York City, March 17 and 18, 1955

#21: Joe Roland Quartet

Joe Roland (vibes), Billy Taylor (piano), Oscar Pettiford (bass), Kenny Clarke (drums).

Recorded in New York City, March, 1956

James Moody - Septet 1951~1955

 

James Moody (1925-2010), born in Savannah, Georgia, and raised in Newark, New Jersey, developed a passion for music during his teenage years. At 16, he received an alto saxophone and began practicing tirelessly. It was over a year later that he discovered his fondness for the tenor saxophone. While serving in the Army from 1943 to 1946, Moody received musical training and learned the rudiments of the instrument. Shortly after being discharged in the summer of 1946, Moody joined Gillespie's big band. His talent as a soloist garnered attention, blending the innovative styles of Parker and Gillespie with his own approach. However, despite making his recording debut as a leader in 1948, his career seemed to stall.
Early in 1949, quite discouraged, Moody decided to head to Paris, where he found success as a recording artist and collaborated with notable musicians like Miles Davis and Max Roach. He also traveled to Stockholm, recording with Swedish musicians. After his European experience, Moody returned to the US in 1951, signing with Mercury Records and embarking on extensive tours of one-night performances, playing a pivotal role in broadening jazz's appeal among the general public. Ralph Gleason, writing for the San Francisco Chronicle, described Moody’s band as "one of the best small groups in the country, a tightly knit yet loosely swinging unit".
Moody's first recordings with Mercury and subsequent albums for Prestige Records from 1951 1955 showcased his leadership, musical prowess, and his versatility and skill on both alto and tenor saxophones. His septet with musicians like Dave Burns, Pee Wee Moore, and singers Babs Gonzales and Eddie Jefferson resulted in memorable performances. Moody's records captured not just the danceable rhythms but also delved into intricate jazz arrangements, catering to a more discerning audience. Despite facing challenges in gaining recognition from critics and being labeled as a rhythm and blues musician, these Moody's recordings reveal a modern and robust swinging sound reminiscent at times of the Gillespie-Tadd Dameron style, constantly captivating and attracting attention. *Jordi Pujol*

James Moody

The Moody Story

The Complete Mecury, Emarcy & Prestige Recordings

Making his name associated with his mentor Dizzy Gillespie, James Moody carved his own niche as one of the most bebopping sax and flute players of modern jazz. This three disc set covers his more obscure year on the Mercury, Emarcy and Prestige labels, and they are a joyous treat.

The first CD focuses his sessions from 1951-1954, starting with a swinging team of Moody with Cecil Payne/bsax, John Grimes/tp and Johnny Acea/p in a septet session with Moody's alto swooning on "Serenade In Blue" and his tenor digging into "Wiggle waggle". Moody has a bit of Lester Young in his sound on a 1952 reading with "Hey Jim" and "St. Louis Blues" while his alto is reminiscent of Johnny Hodges during "Hey Jim". Moody even sings a bit on "The James Moody Story" while his alto sounds California Cool on "Feelin Low". Bop vocalist Eddie Jefferson gets hip on "Workshop" and in 1955 returns for a loose blues of "Disappointed" and flexible "I Got The Blues". Bassist John Latham is hip on "Blues In The Closet" and some thick textures get into an Afro Cuban mood for "Mambo With Moody". The team shuffles with vocalist Iona Wade on "That Man O’Mine" and the Moody digs in deep for Benny Golson's "Blue Walk".

Golson's pen continues to be heard on a 1955 session with Moody's tenor gorgeously breathy on "The Nearness of You" and jamming with a JATP feel with Dave Burns/tp, William Shepherd/tb, Numa Moore and Jimmy Boyd on "Jammin' With James" and Moody’s alto preaching it on "Wail Moody Wail". The boxed set also includes two informative booklets about the recordings as well as well researched studio info. This is the music that made modern jazz, well, MODERN! When did it start sounding so old, as it does today? *George W. Harris*

The Fresh Sound label from Barcelona, Spain has during the past couple of decades put out hundreds (probably thousands at this point) of superior jazz reissues, most from the 1945-1965 period. Thanks to the diligence of Jordi Pujol, a countless number of sessions have been saved from obscurity and been given the attention and packaging that they deserve.

Recent reissues include a pair of box sets featuring American saxophonists who first emerged during the classic bebop era. One of them dedicated to James Moody (1925-2010). He was a lovable character on stage, playing tenor, flute and (earlier in his career) alto in a forward-looking bebop style. He worked with the Dizzy Gillespie Big Band during 1946-48 and was in Europe for a few years where his recorded alto solo on "I’m In The Mood For Love" became the basis for Eddie Jefferson's vocalese classic "Moody’s Mood For Love". Moody was part of the Dizzy Gillespie Quintet for a long period in the 1960s and spent his later years as a leader and freelancer.

Often overlooked is that Moody, after returning from Europe, led a regular septet during 1951-55. While the 1950s are thought of as one of jazz's golden eras, Moody would not have been able to keep his group together if he did not pay close attention to what his audiences wanted. In addition to bop-oriented jams, he caressed the melodies of ballads, included some spirited riff-based romps inspired by early rhythm & blues, and keep solos short, particularly those of his sidemen.

The three-CD set James Moody Septet 1951-1955 has all of Moody’s recordings as a leader during that period of time. Originally released by Mercury and Prestige, these sessions feature Moody leading a group consisting of his tenor and alto (flute would come slightly later), trumpet (usually Dave Burns), trombone, baritonist Pee Wee Moore, and a rhythm section that sometimes included Argonne Thornton or Jimmy Boyd on piano. There are also two vocals from Babs Gonzales, three from Eddie Jefferson, and one from the long-forgotten Iona Wade. Among the arrangers are Quincy Jones and Benny Golson. The music alternates swinging numbers with ballads and features James Moody (the dominant soloist) very much in his early prime whether on tenor or alto.

This box set has extensive and definitive liner notes from Jordi Pujol along with superior sound.

Highly recommended. *Scott Yanow*

*CD 1*

Mecury / Emarcy & Prestige Recordings

1 - Serenade In Blue

(Warren, Gordon)

2 - Margie

(Davis, Conrad, Robinson)

3 - Moody's Home

(James Moody)

4 - Wiggle Waggle

(James Moody)

5 - Until The Real Thing Comes Along

(Holiner, Nichols, Cahn, Chaplin)

6 - Hey Jim

(James Moody)

7 - Moody's Theme

(James Moody)

8  - My Ideal

(Robin, Whiting, Chase)

9 - The Bite

(James Moody)

10 - Poor Butterfly

(Golden, Hubble)

11 - My Ideal

(Robin, Whiting, Chase)

12 - St. Louis Blues

(W.C. Handy)

13 - The James Moody Story

(James Moody)

14 - And Now Moody Speaks

(James Moody)

15 - Feelin' Low

(Parrish, Smith, Bishop)

16 - Wail Bait

(Quincy Jones)

17 - N.J.R. (I'm Gone)

(Quincy Jones)

18 - A Hundred Years From Today

(Young, Washington)

19 - Keepin' Up With Jonesy

(Quincy Jones)

20 - Workshop

(Walter Fuller)

#1 to #4:

John Grimes (trumpet), Bob Range (trombone), James Moody (alto sax, tenor sax), 

Cecil Payne (baritone sax), Johnny Acea (piano), Larry Goins (bass), Chink Williams (drums).

Recorded at Fulton Studios, New York City, October 1951

#5 to #8:

Dave Burns (trumpet), Donald Cole (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano), Larry Goins (bass),

Teddy Stewart (drums), Babs Gonzales (vocal #6).

Recorded at Fulton Studios, New York City, May 21, 1952

#9 to #12: 

Dave Burns (trumpet), [Unknown] (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano),

Larry Goins (bass), Teddy Stewart (drums).

Recorded at Fulton Studios, New York City, June 6, 1952

#13 to #16:

Dave Burns (trumpet); Donald Cole, Bennie Green [added on #13,#14] (trombones);

James Moody (alto sax, tenor sax, vocal #13); Numa "Pee Wee" Moore (baritone sax);

Argonne Thornton (piano); John Latham (bass);

Teddy Stewart (drums); Babs Gonzales (vocal #13).

Recorded at Fulton Studios, New York City, June 15, 1953

#17 to #20:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano),

John Latham (bass), Joe Harris (drums), Eddie Jefferson (vocal #20).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, January 8, 1954

*CD 2*

Prestige Recordings

1 - That Man O'Mine

(Wade, Jones, Newbolt)

2 - Over The Rainbow

(Arlen, Harburg)

3 - Jack Raggs

(James Moody)

4 - Mambo With Moody

(Quincy Jones)

5 - It Might As Well Be Spring (take1)

(Rodgers, Hammerstein II)

6 - It Might As Well Be Spring (take 2)

(Rodgers, Hammerstein II)

7 - Blues In The Closet

(Oscar Pettiford)

8 - Moody's Mood For Blues

(Moody, Jones)

9 - Nobody Knows The Trouble I’ve Seen

(Traditional)

10 - I've Got The Blues

(Eddie Jefferson)

11 - Blue Walk

(Benny Golson)

12 - Faster James

(Quincy Jones)

13 - There Will Never Be Another You

(Warren, Gordon)

14 - Disappointed

(Eddie Jefferson)

15 - Hard To Get

(Jack Segal)

16 - Little Ricky

(Johnny Acea)

#1 to #4:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Joe Harris (drums), Iona Wade (vocal #1).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, April 12, 1954

#5 to #16:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Clarence Johnston (drums),Eddie Jefferson (vocal #10, #14) 

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, September 29 (#5 to #8), 1954;

January 28 (#9 to #12), 1955 and August 23 (#13 to #16), 1955

*CD 3*

Prestige Recordings

1 - Big Ben

(Benny Golson)

2 - Little John

(John Lathan)

3 - Show Eyes

(Johnny Acea)

4 - And You Called My Name

(Benny Golson)

5 - Jammin' With James

(Moody, Burns)

6 - The Golden Touch

(Quincy Jones)

7 - The Nearness Of You

(Carmichael, Washington)

8 - Donkey Serenade

(Stothart, Friml, Forrest, Wright)

9 - Moody's Blue Again

(Quincy Jones)

10 - The Strut

(Benny Golson)

11 - A Sinner Kissed An Angel

(David, Joseph)

12 - Wail Moody, Wail

(Moody, Burns)

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Clarence Johnstons (drums).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey,

August 24 (#1 to #5) and December 12 (#6 to #12), 1955