Five-Star Collection... Thelonious Monk

Thelonious Monk

Thelonious Monk With John Coltrane

Certain combinations of men have been leaving indelible marks on the music called jazz since its beginning. Some formed a lifetime association; others were together only for a brief period. Some actively shaped the course of jazz; others affected it more osmotically. All have had one thing in common; they produced music of lasting value.

One historic teaming was that of Thelonious Monk and John Coltrane at New York's Five Spot Cafe, beginning in the summer of 1957. Although the group remained together for only a half-year, those of us who heard it will never forget the experience. There were some weeks when I was at the Five Spot two and three times, staying most of the night even when I intended just to catch a set or two. The music was simultaneously kinetic and hypnotic. J.J. Johnson has compared it to the mid-Forties union of Charlie Parker and Dizzy Gillespie. "Since Charlie Parker, the most electrifying sound that I've heard in contemporary jazz was Coltrane playing with Monk at the Five Spot. … It was incredible, like Diz and Bird", Jay said.

Monk and Coltrane complemented each other perfectly. The results of this successful musical alliance were beneficial to both. In this setting, Monk began to receive the brunt of a long-overdue recognition. On the other hand, Coltrane's talent, set in such a fertile environment, bloomed like a hibiscus. 'Trane's comments in a Down Beat article (September 29, 1960), clearly describe how he reveres Monk. "Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way — through the senses, theoretically, technically. I would talk to Monk about musical problems and he would sit at the piano and show me the answers by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all", he stated.

Later in the piece, 'Trane added: "I think Monk is one of the true greats of all time. He's a real musical thinker — there're not many like him. I feel myself fortunate to have had the opportunity to work with him. If a guy needs a little spark, a boost, he can just be around Monk, and Monk will give it to him".

Monk certainly brought 'Trane out beautifully. It was in this period that John began to experiment with what at the time I called "sheets of sound". Actually, he was thinking in groups of notes rather than one note at a time. Monk's practice of "laying out" allowed 'Trane to "stroll" against the pulse of bass and drums and really develop this playing attitude on his own. 

(...)

To round out the album, three alternate masters from previously released Monk sessions are included. Off Minor and Epistrophy were heard on "Monk’s Music" (Riverside RLP 242). It is stimulating to compare the different versions and how the solos vary and coincide from take to take. Off Minor has solos by Hawkins, Copeland and Monk, but the bits by Ware and Blakey are not as developed as on the original issue. Epistrophy, in the original version, featured all the horns of the septet and Monk. Here, only Coltrane and Copeland are heard in solo.

The first Functional is on "Thelonious Himself" (Riverside RLP 235). This version is as different in individual idea and, at the same time close in spirit to the other, as two takes can be. It almost deserves a title of its own. I only wish I had two turntables. I think the two Functionals might make a wild duet for four Monk hands.

But, as intriguing as these alternate masters are, the main attraction here is the unearthing of the quartet tracks. These are milestones in jazz history and important to every serious listener.

Steve Lacy, the soprano saxophonist who worked with Monk for 16 weeks in 1960, has said of Monk's music: "Monk has got his own poetry and you've got to get the fragrance of it".

It is obvious that in 1957, Coltrane was doing some deep breathing.

*Ira Gitler (from the liner notes)*

To spell out the contents for a bit, Functional is a remarkable, unaccompanied piano solo. It is an alternate version to the one included on Thelonious Himself (Riverside 235) and so different from the original that I think it should have been given a different title.

Off Minor and Epistrophy are alternate and briefer versions from the septet date that produced Monk's Music (Riverside 242). The former has very good solos by Hawkins, Copeland, and Monk, the latter solos by Coltrane and Copeland.

Nutty, Ruby, and Trinkle are by Monk. Coltrane, Ware, and Wilson — the quartet that had an almost legendary stay at the Five Spot in New York during the summer of 1957, a prelude to Monk’s rediscovery as a major jazzman and to his current popularity and surely one of the most important (and exhilarating) events in jazz in recent years.

These three selections were recorded and the tapes were labeled "for posterity" and set aside until contractual conflicts had been resolved, permitting their release now. They are strong experiences, and if they are not as good as the performances one heard those summer nights at the Five Spot, they are nevertheless exceptional jazz.

Each member of that quartet played with great enthusiasm and at the peak of his own abilities, and through Monk's music each man was discovering and expanding his potential almost nightly.

Monk and Coltrane had exceptional emotional rapport. Technically, on the other hand, they were superb contrasts. Coltrane's techniques are obvious, Monk's more subtle. At the same time that Coltrane, with his showers of notes and his "sheets of sound", seemed to want to shatter jazz rhythms into an evenly spaced and constant array of short notes, Monk seemed to want to break them up subtly and phrase with a new freedom. Monk is a melodist: his playing is linear and horizontal. Coltrane is an arpeggio player; his approach is vertical. He is a kind of latter-day Coleman Hawkins.

But even Coltrane's earlier solo on Epistrophy shows that he found enormous harmonic stimulation in Monk's music — he seemed to know not only where Monk was but where he was headed, as very few players did. But again, as the quartet tracks show (particularly Ruby, Coltrane also knew that Monk's melodies are very strong and important and that it isn’t enough merely to run their changes. Over and over again here, Monk's materials discipline Coltrane and order his explorations in a way that no material he has since dealt with seems to have done.

Ware is, like Monk, a melodist, and he also finds surprise twists even in the most traditional approach. Wilson, whose early work had the smooth evenness of a Jo Jones, responds to Monk's hints with enthusiastic and appropriate polyrhythmic patterns.

Monk also got a remarkable variety of textures from this group — by playing with Coltrane, by playing contrapuntally against Coltrane, by laying out and leaving Coltrane to Ware and Wilson, sometimes predominately to one of them, sometimes to both equally.

Some details: On Nutty, after Coltrane has strayed further and further into elaborate harmonic implications of the piece, Monk enters for his solo with, as usual, a simple and eloquent re-establishment of the theme in paraphrase. He does the same on Trinkle, with an even more subtle recasting of that intricate melody.

Ruby is a knowingly embellished version of a lovely piece. The end of Coltrane's opening solo has a particularly beautiful (and Monkish) effect of suspension, and Monk's decision to begin his solo with lightly implied double-timing was a near master-stroke of meaningful contrast.

The best quartet performance is Trinkle. The one flaw is that the line itself, unlike most of Monk's melodies, is a bit pianistic in conception to be fully effective on saxophone. But the spontaneous interplay between Monk and Coltrane in Trinkle is quite wonderful, as is Monk's intuitive logic in knowing just when to stop it and let Coltrane stroll along against Ware and Wilson. Ware's solo is good (and I'm afraid makes one long for those evenings when he would spin several effortless choruses in each piece).

As I said, this solo Functional is quite different from the previous version. On the earlier releases, Monk manages to play variations on one of the simplest and most percussive of all blues phrases in a nine-minute tour de force of cohesive imaginative invention. Here we hear nearly 10 minutes of Monk playing the blues in a dramatic yet lyric curve of melody.

Other delights: the interplay of Ware behind Monk on Off Minor. Copeland's solo on the same piece; in his way he knows the relationship of parts of Monk's music, of melody to harmony, as well as Coltrane does.

Nostalgia can corrupt memory, of course, but even allowing for that, I don't think these quartet performances are up to the level one heard at the Five Spot from this group. However, Trinkle very nearly is. The other two are fine performances. I think that in this way Epistrophy is excellent, too. And Functional is a near masterpiece.

*Martin Williams (Down Beat, December 21, 1961 [5 stars]*

Note: Although the Original Jazz Classics CD edition cites a four-star Down Beat rating, no contemporary issue of the magazine appears to support that figure. The original Down Beat review published on December 21, 1961 awarded the album five stars, and no earlier four-star review has been documented. The discrepancy likely stems from a later typographical error rather than from the original magazine review.

1 - Ruby, My Dear

(Thelonious Monk)

2 - Trinkle, Tinkle

(Thelonious Monk)

3 - Off Minor (alternate master)

(Thelonious Monk)

4 - Nutty

(Thelonious Monk)

5 - Epistrophy (alternate master)

(Kenny Clarke, Thelonious Monk)

6 - Functional (solo piano, alternate master)

(Thelonious Monk)

Thelonious Monk (piano); John Coltrane (tenor sax); Ray Copeland (trumpet [#3, #4]);

Gigi Gryce (alto sax [#3, #4]); Coleman Hawkins (tenor sax [#3, #4]);

Wilbur Ware (bass); Shadow Wilson [#1, #2, #4]), Art Blakey [#3, #5] (drums).

Recorded at Reeves Sound Studios, New York City,

April 12 (#6), June 26 (#3, #4) and circa July (#1, #2, #4), 1957

Matthew Gee - Jazz By Gee!

Matthew Gee (1925-1979), who belatedly had the opportunity to record this album, Jazz by Gee!, his first and only one as a leader, in 1956, was one of many talented jazzmen who earned the solid and lasting respect of his peers without ever achieving the public recognition they clearly deserved. Leonard Feather described Gee as one of the "best and most underrated of bop-influenced trombonists".

Gee was first influenced—not only in style but in his decision to play the trombone—by hearing Trummy Young, who was playing ahead-of-his-time trombone with the Jimmie Lunceford band. After attending Alabama State College, where he built a musical reputation, Gee arrived in New York. His first big band job was with Erskine Hawkins's band. After military service, he worked with Dizzy Gillespie in 1946, the Gene Ammons-Sonny Stitt group, Count Basie, and Illinois Jacquet, before freelancing in the New York area. From 1959 to 1963, he played intermittently with the Duke Ellington Orchestra. Later, in the 1960s, he played in small groups with Paul Quinichette and Brooks Kerr, and in big bands with Sonny Stitt and Johnny Griffin.

Gee's favorite trombonists were J.J. Johnson and Benny Green, and some of his admiration for them could be heard in his work. But there was even more in his driving, plunging style that was uniquely Gee; and it was high time that a lot more people appreciated just how much jazz that was.

The supporting cast here rated his "star" billing. In the septet numbers, tenor sax Frank Foster, trumpet Kenny Dorham, and baritone sax Cecil Payne stood out. The quintet featured Ernie Henry, one of those few altos with a defined sound and his own ideas, in addition to the inevitable debt to Charlie Parker. The rhythm section in both sessions was driven by Art Taylor. Joe Knight, a young pianist from Brooklyn, provided remarkably solid support throughout. Bass was shared by formidable veteran John Simmons and respected Chicago newcomer Wilbur Ware.

Matthew Gee's limited discography as a leader prompted us to add five bonus tracks from albums by other artists, featuring Matthew as a soloist and sideman. *Jordi Pujol*

Trombonist Matthew Gee was primarily a section player and a valuable sideman, but as this CD reissue shows, he could have been a significant soloist too. The two sessions (Gee's only two as a leader) feature him in an unusual quintet with altoist Ernie Henry (the trombone-alto blend has a unique sound) and at the head of a septet also including trumpeter Kenny Dorham, tenorman Frank Foster, and baritonist Cecil Payne. The music is quite bop-oriented and mixes together standards with three swinging Gee originals. An underrated and generally overlooked gem by a forgotten trombonist. *Scott Yanow*

Trombonist Matthew Gee was a sideman on a couple of dozen recording sessions but only one as a leader, Jazz by Gee, for Riverside, in July and August 1956. Between 1946 and 1975, Gee recorded with Gene Ammons, Erskine Hawkins, Sonny Stitt, Count Basie, Coleman Hawkins, Nat Pierce, Dizzy Gillespie, Johnny Griffin, Archie Shepp and many others. And yet, he made just one album under his own name. A terrible oversight by record labels at the time.

Today, Gee is barely known. As a sideman, his trombone was an ingredient in other artists' creations, so he never became a household name. What's interesting about his trombone is that he played with a zesty bark. A bebopper, Gee was able to push a rich sound through his horn and keep his improvisation bouncy and dance-like.

Now, Fresh Sound has released Jazz by Gee!  Matthew Gee All Stars that includes Gee's sole leadership album as well as sideman recordings leading up to that session. The bonus tracks are Gee with three different ensemble, led by Lou Donaldson, Illinois Jacquet and Joe Newman. Of particular note about Jazz by Gee! are Gee's sidemen on the two leadership sessions. They were indeed all-stars. *Marc Myers*

1 - Out Of Nowhere

(Green, Heyman)

2 - I'll Remember April

(Raye, dePaul, Johnston)

3 - Joram

(Bill Massey)

4 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

5 - Lover Man

(Davis, Ramirez, Sherman)

6 - Gee!

(Matthew Gee)

7 - Kingston Lounge

(Matthew Gee)

8 - The Boys From Brooklyn

(Matthew Gee)

9 - Moe's Bluff

(Elmo Hope)

10 - Caracas

(Lou Donaldson)

11 - The Stroller

(Lou Donaldson)

12 - On Your Toes

(Illinois Jacquet)

13 - Close Quarters

(F. Foster, J. Newman)

#1 to #8, from the album Jazz by Gee (Riverside RLP 12-221)

#1 to #5:

Matthew Gee (trombone), Ernie Henry (alto sax),

Joe Knight (piano), Wilbur Ware (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, August 22, 1956

#6 to #8:

Kenny Dorham (trumpet), Matthew Gee (trombone),

Frank Foster (tenor sax),Cecil Payne (baritone sax),

Joe Knight (piano), John Simmons (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, July 19, 1956

#9 to #11, from the album Lou Donaldson Sextet, vol.2 (Blue Note BLP-5055)

Kenny Dorham (trumpet), Matthew Gee (trombone), Lou Donaldson (alto sax),

Elmo Hope (piano), Percy Heath (bass), Art Blakey (drums).

Recorded at Van Gelder Studio, Hackensack, NJ, August 22, 1954

#12, from the album Illinois Jacquet Septet - Jazz by Jacquet (Clef MG C-167)

Russell Jacquet (trumpet), Matthew Gee (trombone),

Illinois Jacquet (tenor sax), Cecil Payne (baritone sax),

Raymond Acea (piano), Al Lucas (bass), Shadow Wilson (drums).

Recorded in New York City, December 11, 1953

#13, from the album Joe Newman and His Band (Vanguard VRS 8007)

Joe Newman (trumpet), Matthew Gee (trombone),

Frank Wess (tenor sax, flute), Frank Foster (tenor sax),

Johnny Acea (piano), Eddie Jones (bass), Osie Johnson (drums).

Recorded in New York City, March 9, 1954

Phil Woods • Gene Quill Sextet - Phil And Quill

 

In all of the awed recognition of the overwhelming influence that Charlie (Bird) Parker has had on the way jazz has developed during the past decade, it is only occasionally that one comes face to face with the problems that follow in the wake of so pervasive an influence. These problems are most noticeable in the area of Parker's own instrument, the alto saxophone.

If Parker pointed the way for jazz as a whole, he did much more for the alto sax. He set a pattern that has seemed so definitive that every alto man who has come after him, almost without exception, has taken to his pattern as though any deviation would be unthinkable heresy. This, of course, is the natural way for a jazz musician to start—there is always someone who is the inspiration and the guide.

But before Parker, no one —not even Louis Armstrong— had established an approach that was so universally accepted by the contemporary jazz generation.

As a consequence Parker, as a model, has been a trap —an inviting and exciting trap, to be sure— but nonetheless a trap for many young altoists who managed to acquire the surface qualities of Parker but, having done that, found they had no place to go but around and around the same repetitive and uncreative circle.

Neither Phil Woods nor Gene Quill were exceptions to the mode of the times when they started out on alto. Bird was the influence and they took to it with passion.

But, having used this convenient stepping stone to launch themselves in jazz, they both had the individuality and personal creativeness to realize that they had to avoid being suffocated by this influence. Building on the foundation they inherited, they have each moved in directions that are distinctly their own, and as time goes by the sound of their original inspiration has become steadily dimmer as their own musical personalities assert themselves.

Of the two. Woods has possibly developed the most completely individual attack at this point strong, assertive and gustily swinging. But Quill, who burst from the cocoon a Itit later than Woods, has recently been moving with startling and satisfying speed toward his own jazz fate.

The idea of teaming up has been stewing in the two altoists' minds for a couple of years, ever since they met at the apartment of pianist John Williams and started playing together in various groups. They found that they felt comfortable in each other's musical company and that more flexibility and variety were possible in the sound of two altos than in pairings of most other instruments.

The close musical and personal ties that bind Gene and Phil were made even tighter after they launched their own group (two altos and rhythm).

In the sextet heard in these performances, a "bottom" is provided for the two alto saxes by Sol Schlinger's baritone saxophone. The rhythm section is made up of the brilliant, swinging pianist, Dave McKenna; bassist Buddy Jones; and drummer Shadow Wilson, a widely experienced big-band veteran (Hampton, Hines, Basie, Herman).

The arrangements come from the pens of Woods; Neal Hefli and Nat Pierce, both quondam bandleaders; Bill Potts, who made his mark as a writer with Willis Conover's Washington band; and Gene Orloff, a violinist who is in great demand as concertmaster on jazz sessions when strings are used. *John S. Wilson (liner notes)*

The meetings of alto saxophonist Phil Woods and Gene Quill, such as this 1956 sextet date for RCA, are always enjoyable. In addition to baritone saxophonist Sol Schlinger, Woods and Quill are joined by pianist Dave McKenna, bassist Buddy Jones, and drummer Shadow Wilson. The focus is on the two altoists, but there is occasionally blowing room for Schlinger and McKenna, too. Gene Orloff's snappy "Sax Fifth Avenue" and Woods' brisk "Four Flights Up" are the highlights of the date, along with several works by Bill Potts. This is a typically solid effort by Phil Woods and Gene Quill.

*Ken Dryden*

Side 1

1 - Sax Fith Avenue

(Gene Orloff)

2 - Ready Rudy

(Neal Hefti)

3 - Cabeza

(Nat Pierce)

4 - Twin Funkies

(Phil Woods)

5 - Rib Roast

(Nat Pierce)

6 - High Stepping Bizzies

(Bill Potts)

Side 2

7 - Four Flights Up

(Phil Woods)

8 - Dig You P's And Q's

(Nat Pierce)

9 - Dry Chops In The Moonlight

(Bill Potts)

10 - Una Momento

(Phil Woods)

11 - Pottsville, U.S.A.

(Bill Potts)

12 - Frank The Barber

(Bill Potts)

Phil Woods, Gene Quill (alto saxes); Sol Schlinger (baritone sax); Dave McKenna (piano); Buddy Jones (bass); Shadow Wilson (drums).

Recorded in New York City, March 15, 1956.

Joe Newman - Swinging Octets

Joe Newman Octet

All I Wanna Do Is Swing

The band Joe has assembled here is remarkable not merely for its cohesive unity, but for the individual brilliance wich each one of its members demostrates in his solo work —solo work wich is, happily, given to them at frecuent intervals.

Arrangements for this session are the work of Manny Albam, Al Cohn and Ernie Wilkins, all of whom have turned out scores in a great variety of tempos wich serve to showcase the multitudinous talents of Joe and each one of his colleagues.

Whether on mute or open horn, Joe's work is a delight to the ears —not merely because it is sane jazz in the midst of much that today is either overwritten or vacuous, but because it is always swinging, always blown from the top-drawer of inspirations. And it is remarkable tribute to all involved that this session, which ran from midnight to 10 A.M., produced jazz of this highly infectious sort. But in reality, it is undoubtedly true that regardless of the time of day or night, these men, in the midst of such telling arrangements, could not but blow wonderfully —and in these recordings, led and sparked by Joe Newman, they have all obviously engraved some of their most sincere, and jazzdom's most sparkling, efforts. *Jack Lewis and Bill Zeitung (liner notes)*

Newman is an excellent lyrical trumpeter with Count Basie band, and this set shows him off in a comfortable, Basie-inspired setting. The arramgements, by Mannie Albam, Al Cohn and Ernie Wilkins, are all in the Basie idiom — relaxed and swinging. Basie-ites Wilkins and Greene are present, along with bassist Milt Hinton, Cohn on tenor and Nat pierce —a Basie follower— on piano. The style is modern, not "progressive", swing. Solos are extremely tastly all around, and the ensembles are very smooth, and very easy on the ears. Should do okay if demonstrated.

*Billboard, July 30, 1955*

Side 1

1 - Soon

(George and Ira Gershwin)

2 - Limehouse Blues

(Braham, Furber)

3 - Dream A Little Dream Of Me

(Andre, Kahn, Schwandt)

4 - Corner Pocket

(Freddie Green)

5 - If I Could Be With You

(James P. Johnson, Henry Creamer)

6 - It's A Thing Of The Past

(Manny Albam)

Side 2

7 - Pretty Skinny Bunny

(Ernie Wilkins)

8 - Leonice

(Joe Newman)

9 - Jack's Wax

(Al Cohn)

10 - Topsy

(Eddie Durham, Edgar William Battle)

11 - Captain Spaulding

(Al Cohn)

12 - I Could Have Told You

(Arthur Williams, Carl Sigman)

Joe Newman (trumpet), Frank Rehak (trombone), Ernie Wilkins (alto sax), Al Cohn (tenor sax), Nat Pierce (piano), Freddie Green (guitar), Milt Hinton (bass), Shadow Wilson (drums). 

Recorded at Webster Hall, New York City, February 8, 1955.

⁂

Joe Newman Octet

I'm Still Swinging

A compelling octet recording – with arrangements by Ernie Wilkins, Al Cohn, and Manny Albam – with a lineup that includes Cohn on tenor, Gene Quill on alto, Urbie Green on trombone, and Freddie Green on guitar! Nice Andy Warhol cover, too! Titles include "Top Hat, White Tie, And Tails", "You Can Depend On Me", "We'll Be Together Again", "It's Bad For Me", "Daughter Of Miss Thing", "Sometimes I'm Happy", "Sweethearts On Parade", and "Slats". *dustygroove.com* 

A label or a catch phrase can be a convenient thing, but it rarely tells a rounded story. In the Thirties, in the Swing Era, Benny Goodman was called "King of Swing". As pat labels go, this one was pretty accurate, for it was Goodman who brought on the Swing Era and it was Goodman who, to the general public, was the pre-eminent figure of that era. But Goodman, at that time, was a mover and shaker, not a polisher. It was Count Basie's band, riding onto the scene in the wake of Goodman (and with Goodman's ardent support), which became the epitome of the swing band and turned out ro be the most influential band of the period.

The strength of Basie's influence, after two decades, is widely evident in the playing of numerous small groups today, particularly in recording-groups which have access to genuine, Grade A Basie sidemen. One reason —and a rather basic reason— for the continuing appeal of the Basie manner was aptly summed up by Joe Newman when he was considering the approach to be taken on these numbers.

"I want them to have a swing to them", he said, "to be easy, to be good listening. I want to try to reach the mass of people, and I think the way to do it is with things I'd want to listen to if I were a listener".

There can be little question of what Joe Newman would listen to if he were a listener. For many years he has been an outstanding member of Count Basie's band. He is steeped in the Basie tradition and so are most of the men in his octet.

Freddie Green, a member of the original Basie band who was of enormous importance in creating what has come to be recognized as the typical Basie attack, is generally considered the greatest rhythm guitarist working today. Shadow Wilson has served two stints as Basic's drummer, while Eddie Jones is Basic's current bassist. Al Cohn, though a man of parts of the jazz world, has never achieved Basiedom, but his approach to the tenor sax is patterned to a large degree on that of Basie's Lester Young.

The octet's recruits from the non-Basie world are Urbie Green, a trombonist of such versatility that he has played successfully with Frankie Carle, Jan Savitt and, most notably, Woody Herman; Gene Quill, a rising young alto star who has worked with Claude Thornhill and Charlie Barnet; and Dick Katz, a pianist closely associated with Tony Scott, who effects a remarkable adaptation of his normal, sharply modern style to fit the mood of these performances.

There are other influences besides that of Basie at work here. Joe Newman has a pungent personality of his own which constantly makes itself felt. There are lines reaching out to Duke Ellington, Benny Goodman and Mildred Bailey. There is even, as we shall see, a badly shredded skein attached to S. J. Perelman. *John S. Wilson (liner notes)*

Side 1

01 - Top Hat, White Tie, And Tails

(Irving Berlin)

02 - You Can Depend On Me

(Hines, Carpenter, Dunlap)

03 - We'll Be Together Again

(Laine, Fisher)

04 - It's Bad For Me

(Cole Porter)

05 - Exactly Like You

(McHugh, Fields)

06 - Shameful Roger

(Manny Albam)

Side 2

07 - The Daughter Of Miss Thing

(Wilkins)

08 - Sometimes I'm Happy

(Youmans, Caesar, Grey)

09 - Sweethearts On Parade

(Newman, Lombardo)

10 - Slats

(Joe Newman, Ernie Wilkins)

11 - Lament For A Lost Love

(Ellington, Bigard, Mills)

12 - Perfidia

(Dominguez, Leeds)

Joe Newman (trumpet), Urbie Green (trombone), Gene Quill (alto sax), Al Cohn (tenor sax), Dick Katz (piano), Freddie Green (guitar), Eddie Jones (bass), Shadow Wilson (drums).

Recorded at Webster Hall, New York City, October 3 (#1, #2, #6, #8, #9, #10, #11, #12), and 4 (#3, #4, #5, #7), 1955.