Leonard Feather Presents… ★1959★

Leonard Feather Presents

One World Jazz

Through the miracles of modern recording science, fifteen of the world's leading jazzmen meet for the first time in this unique and exciting intercontinental jam session. Seven musicians in New York, four in Paris, three in London and one in Stockholm play together to make not only a scientific, but a musical point: Jazz Is An International Language.

⁂

Although there has never before been an album of this kind, its motivation and objective were logical and desirabie. For the first time in recording history, a group of leading American musicians has joined forces with some of the top artists in other countries for an international jam session, for release in monophonic and stereophonic sound.

The idea sprang from a conversation in the spring of 1959 with Irving Townsend. When I mentioned a projected business trip to Europe and suggested that there were several fine musicians in England and France who had been heard too rarely on records in the United States, we first discussed a plan to record a separate session in each country. Suddenly a more provocative concept emerged: why not, said Irving, record them together? 

Though obviously feasible, the suggestion ealled tor long-range planning. Nat Shapiro of Columbia’s international division started setting up contacts in London and Paris. Then the plan was extended when I suggested that the musicians would be offered a stimulating challenge if they could work in the company of Americans. For geographical or technical reasons, this had never before been possible. 

The device employed was simple. A seven-piece group was assembled in New York, and on the evening of May 19, 1959, we recorded the six tracks you hear in this album. But on that evening they sounded curiously different. There were long passages left open in which only the rhythm section played. Thus there would be no need for any awkward attempts to splice conflicting ideas, match tempos, coordinate rhythm sections at home and abroad; on the contrary, the foreign musicians would have the unprecedented opportunity to be supported by the kind of American rhythmic background with which they had often expressed a desire to work.

The musicians chosen for the New York session are all well known to the Europeans who were later to enjoy their company.

⁂

It may be apt to conclude with a remark made by Jo Jones when, after I had returned from Europe with the results of this undertaking safely boxed in, he listened to the tapes and heard the startling additions that had so radically aitered the original session.

"You know what you should do?" he said. "You should send a copy of this record to the United Nations. Why, this says more about people getting together, listening to each other and understanding one another, than all of eg over at the U.N. building could ever say!"

I hope Jo was right. *Leonard Feather (from liner notes)*

Years before Frank Sinatra sang his "over the phone" set of Duets in the mid 90s, Columbia tried a similar "not all there in the studio" approach with this album of jazz played by American and international artists selected for the project. Tapes were made in New York with a lot of space in between the main soloists. These tapes were then flown overseas, where players in three cities played on top of the tapes, dubbing in solos that sound like they were part of the group. A decent enough idea technologically, we guess — but why would anyone want to subject jazz to such conditions? European players include Ronnie Ross, Roger Guerin, Stephane Grappelly, Åke Persson and Roy East — and the tunes include "Big Ben's Blues", "International Blues", "Nuages", and "Cotton Tail". *Dusty Groove, Inc.*

Side 1

1 - Cotton Tail

(Duke Ellington)

2 - Misty

(Burke, Garner)

3 - Big Ben's Blues

(Model)

Side 2

4 - International Blues

(Leonard Feather)

5 - Nuages

(Django Reinhardt)

6 - In A Mellow Tone

(Duke Ellington)

First session, (basic tape with spaces for additional sessions):

Clark Terry (trumpet), J.J. Johnson (trombone), Ben Webster (tenor sax),

Hank Jones (piano), Kenny Burrell (guitar), George Duvivier (bass), Jo Jones (drums).

Recorded in New York City, May 19, 1959

Second session, (additions to first session):

Roy East [#1, #3, #4, #6] (alto sax), George Chisholm (trombone),

Ronnie Ross [#3, #4, #6] (baritone sax).

Recorded in London, England, June 22, 1959

Third session, added:

Åke Persson [#4](trombone).

Recorded in Stockholm, Sweden, June 30, 1959

Final session, (additions to the tape):

Roger Guerin (trumpet), Bob Garcia [#1] (tenor sax),

Martial Solal [#3, #4] (piano), / Stéphane Grappelli [#2, #4, #5] (violin).

Recorded in Paris, France, July 3, 1959

Leonard Feather Presents… ★1957★

There’s a Curious irony in the fact that of the thousands of jazz albums now flooding the record stores, this is the first LP to be released with bop as its main theme. The wheel has come full circle. Bop became an epithet by the end of the decade, the victim of keyhole columnists who identified it not with music but with eccentricities of clothes, personality and personal habits. Today we can examine the scene in truer perpective and observe that Bop is simply the way most people play jazz in 1959, including the "new star" awards winners in the Down Beat critics' poll.

Among the neglected elements in Bop were not people but tunes — some of the original and exciting compositions that emerged with the first of bop creativity. They were tunes you heard played along 52nd Street; tunes that spoke with a crisp, biting accent expressed in long, unison lines, leaving the harmonic moorings to the rhythm section. All the tunes you'll hear in this LP were products of the men and groups of that day, 'though only Ornithology has become a jazz standard. The others have rarely been re-recorded and a couple have been in oblivion for years.

The music on these sides evokes the atmosphere of a typical set at one of the old 52nd Street clubs, even to the fast two-chorus treatment of the "52nd Street Theme" that invariably ended every set.

To those for whom these performances represent long-overdues revivals, the music on this LP is bound to fill a gap in your collection. If your interest is minly in the instrumentalists, these sides represent an introduction to themes that belong in every jazz library. Either way they should provide a cogent reminder that the music we used to call bop, wich today is an important part of the whole jazz, endowed us with a wealth of material, of ideation and new creation that has a lasting place in the story of jazz. *Leonard Feather (liner notes)*

Leonard Feather Presents Bop 

[a.k.a. Leonard Feather Presents 52nd Street]

This pair of 1957 studio sessions features two separate groups, with alto saxophonist Phil Woods, pianist George Wallington, and bassist Curly Russell involved in both dates, with most of the music drawn from the works of Charlie Parker and Dizzy Gillespie. Trumpeter Idrees Sulieman and drummer Denzil Best join them on the first five selections. Wallington and Woods share the solo spotlight following the scatted group introduction to the pianist's "Lemon Drop" (one of many bop variations of "I Got Rhythm"), while Sulieman also gets a taste. Woods and Sulieman re-create the magic of Parker and Gillespie in a snappy take of "Ornithology". Sulieman switches to muted trumpet for an equally enjoyable take of "Anthropology". The quintet changes for the last five tracks, with Thad Jones on trumpet and Art Taylor on drums. It is not clear who contributed the little-boy vocal to "Salt Peanuts", but it does not distract from this potent arrangement. Taylor's effective drumming powers the cooking version of "Shaw 'Nuff". The next to last track is incorrectly listed as "Billie's Bounce"; it is actually "Now's the Time". Nothing groundbreaking takes place during these bop sessions, but the playing is at a consistently high level. This Mode LP has been reissued by VSOP and the Japanese CD label Tofrec, sometimes under the title Leonard Feather Presents Bop. *Ken Dryden*

1 - Little Benny

(Benny Harris)

2 - Be Bop

(Dizzy Gillespie)

3 - Lemon Drop

(George Wallington)

4 - Ornithology

(Charlie Parker, Benny Harris)

5 - Anthropology

(Charlie Parker)

6 - Salt Peanuts

(Dizzy Gillespie)

7 - Groovin' High

(Dizzy Gillespie)

8 - Shaw' Nuff

(Dizzy Gillespie)

9 - Billie's Bounce

(Charlie Parker)

10 - Hot House / 52nd Street Theme

(Tadd Dameron / Thelonious Monk)

Idrees Sulieman [#1 to #5], Thad Jones [#6 to #10] (trumpets);

Phil Woods (alto sax); George Wallington (piano); Curly Russell (bass);

Denzil Best [#1 to #5], Art Taylor  [#6 to #10] (drums).

Recorded in New York City, August 1957

Leonard Feather Presents… ★1956 • 1958★

 In the late 1950s, Leonard Feather (1914-1994), a jazz historian and critic, and occasional composer, and pianist and bandleader Dick Hyman (1927) had an influence on American jazz that bordered on mastery.

The two men owed their success to their almost encyclopedic knowledge of all the successive styles, from the beginning. Thus they formed an all-star group bringing together the cream of East Coast musicians, at a time when cool jazz was flourishing in California.

This album brings together three sessions recorded between 1956 and 1958 by a brilliant ensemble, capable of showcasing inspired soloists, served by Dick Hyman's subtle and effective arrangements. The latter, who also wrote several compositions with Feather, is the cornerstone of groups propelled by rhythms of astonishing flexibility. As for the value of the soloists, a single glance at the composition of these combos is enough to get an idea. Virtuosity and inspiration are the order of the day, not to mention the audacity and innovations, both on the melodic and rhythmic levels. Finally, it is necessary to underline the relevance of a booklet which provides a most complete insight into the whole. *Jacques Aboucaya*

Leonard Feather & Dick Hyman

East Coast All Stars

This musical journey features four captivating East Coast All Stars jazz ensembles, guided in collaboration by the talented Leonard Feather and Dick Hyman, who, through their compositions and arrangements, present a diverse repertoire brimming with stimulating solos.

The first session highlights a six-piece unit, boasting a front line drawn entirely from the Count Basie band: Thad Jones, Benny Powell, and Frank Wess. From the rhythmic vitality of "The Goof 'n' I" to the refined elegance of "Beverly Hills" and the timeless charm of "The Sidewalks of New York", each track exemplifies the ensemble’s cohesion and the creativity of soloists.

Delving into the Hi-Fi Suite, Feather and Hyman lead two nine-piece orchestras on a sonic exploration. With contributions from Joe Newman, Jerome Richardson, Benny Powell, and Don  Elliot, the orchestrations offer a captivating blend of textures and tones, with various reed instruments providing a fascinating display of soundscapes, from the inventive "Feedback Fugue" to the lively "Squawker" and the flavorful "Hi-Fi Pie".

The subsequent line-up showcases the rhythmic intricacies of "Bass-Reflex", the melodic allure of "Tweeter", the resonant depths of "Woofer", and the ethereal beauty of "Reverberation". Here, Thad Jones, Benny Powell, Oscar Pettiford, Jerome Richardson, Frank Wess, and Bill Barber deliver compelling solo performances.

Concluding this set, the fourth All Stars band presents a dynamic rendition of Jay Livingston’s "Keep It Simple", arranged by Dick Hyman. Featuring all horns in a captivating six-minute workout, the ensemble's virtuosity shines through, offering a fitting conclusion to this exciting musical journey. *Jordi Pujol*

1 - The Goof 'n' I

(Al Cohn)

2 - Beverly Hills

(Leonard Feather)

3 - The Sidewalks Of New York

(Lawlor, Blake, P.D.)

4 - Here's Pete

(Pete Rugolo)

5 - Feedback Fugue

(Feather, Hyman)

6 - Squawker

(Leonard Feather)

7 - Hi-Fi Pie

(Leonard Feather)

8 - Bass-Reflex

(blues in 5/4, P.D.)

9 - Tweeter

(Feather, Hyman)

10 - Woofer

(Feather, Hyman)

11 - Reverberation

(Feather, Hyman)

12 - Keep It Simple

(Livingston, Evans)

#1 to #4: from the album West Coast Vs. East Coast (MGM Records E3390)

Thad Jones (trumpet), Benny Powell (trombone), Frank Wess (tenor sax, flute),

Dick Hyman (piano, organ), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, January 1956

#5 to #11, from the album Hi Fi Suite (MGM Records E3494)

#5 to #7: 

Joe Newman (trumpet), Benny Powell (trombone), Jerome Richardson (alto sax, piccolo), 

Frank Wess (tenor sax, flute), Romeo Penque (baritone sax, clarinet), Dick Hyman (piano),

Oscar Pettiford (bass), Osie Johnson (drums), Don Elliott (vibes, miscellaneous percussion).

Recorded in New York City, June 16, 1956

#8 to #11:

Thad Jones (trumpet), Benny Powell (trombone), Bill Barber (tuba [except on #8]),

Jerome Richardson (alto sax, piccolo), Frank Wess (tenor sax, flute),

Phil Bodner (baritone sax, oboe), Dick Hyman (piano),

Oscar Pettiford (bass), Kenny Clarke (drums).

Recorded in New York City, July 11, 1956

#12: from the album Oh, Captain! (MGM Records E3650)

Art Farmer (trumpet), Jimmy Cleveland (trombone), Sahib Shihab (alto sax, baritone sax),

Tony Scott (clarinet, baritone sax), Jerome Richardson (tenor sax, baritone sax, alto flute),

Dick Hyman (piano), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, February 14, 1958

Leonard Feather Presents… ★1954★

Jimmy Raney, Sonny Clark and Jazz Club U.S.A.

Jimmy Raney (August 20, 1927 – May 9, 1995) was an American jazz guitarist born in Louisville, Kentucky, known for his work from 1951 to 1952 and then from 1953 to 1954 with the Red Norvo trio (replacing Tal Farlow) and, during the same time period, with Stan Getz. In 1954 and 1955, he won the Down Beat Critics' Poll for guitar. Raney worked in a variety of jazz mediums, including cool jazz, bebop, post bop, hard bop, and mainstream jazz.

In 1946, he worked for a time as guitarist with the Max Miller Quartet at Elmer's in Chicago, his first paying gig. Raney also worked in the Artie Shaw Orchestra and collaborated with Woody Herman for nine months in 1948. He also collaborated and recorded with Buddy DeFranco, Al Haig and later on with Bob Brookmeyer. In 1967, alcoholism and other professional difficulties led him to leave New York City and return to his native Louisville. He resurfaced in the 1970s and also did work with his son Doug, who was also a guitarist. His other son Jon is a jazz pianist and maintains a website, The Raney Legacy devoted to Jimmy and Doug Raney.

Raney lived with Ménière's disease for thirty years, a degenerative condition that led to near deafness in both ears, although this did not stop him from playing. He died of heart failure in Louisville on May 10, 1995. His obituary in The New York Times called him "one of the most gifted and influential postwar jazz guitarists in the world".

Conrad Yeatis "Sonny" Clark (July 21, 1931 – January 13, 1963) was an American jazz pianist and composer who mainly worked in the hard bop idiom.

Clark was born and raised in Herminie, Pennsylvania, a coal mining town east of Pittsburgh. 

While visiting an aunt in California at age 20, Clark decided to stay and began working with saxophonist Wardell Gray. Clark went to San Francisco with Oscar Pettiford and after a couple months, was working with clarinetist Buddy DeFranco in 1953. Clark toured the United States and Europe with DeFranco until January 1956, when he joined The Lighthouse All-Stars, led by bassist Howard Rumsey.

Wishing to return to the east coast, Clark served as accompanist for singer Dinah Washington in February 1957 in order to relocate to New York City. In New York, Clark was often requested as a sideman by many musicians, partly because of his rhythmic comping. He frequently recorded for Blue Note Records as one of their house musicians, playing as a sideman with many hard bop players.

Clark died in New York City on January 13, 1963 (aged 31). The official cause was listed as a heart attack, but the likely cause was a heroin overdose.

Jazz Club U.S.A. was a weekly radio program that aired from 1950 to 1952. Hosted by jazz critic and producer Leonard Feather, it aired on the U.S. government-sponsored Voice of America network. Jazz Club U.S.A. did a remarkable job of presenting all forms of jazz, from slave-era spirituals to bebop, from Dixieland to swing, all presented as American music.

In 1954, Feather turned the Jazz Club U.S.A. "brand" into a series of concerts in Europe. One of the featured performers was guitarist Jimmy Raney, then voted "number one guitarist" by the French publication "Jazz Hot".

Raney's presence in Europe was recorded on several recordings. The ones we will present here are Jimmy Raney and Sonny Clark meeting for the first and only time.

Let's remember them...

Jimmy Raney All Stars

Leonard Feather Presents

Jazz Club U.S.A. In Sweden

This 10" album features two Jimmy Raney quintets backed by some of the highlights of the Sweden jazz scene at the time. But what makes these sessions so famous is the appearance of Sonny Clark on Side 1. Clark only has a solo choir on each track, and the overall impression of these sessions is "melancholic, relaxed, mellow chamber jazz music".

Leonard Feather composed "Jumping For Jane". This brightly boppish piece has a neat arrangement in wich the tenor sax of Gösta Theselius sounds spry, and in his opening measures Clark gives surprising acnowledgement to Lennie Tristano. There is also room for a splendid agile guitar solo, beside contributions from Mitchell and Leighton.

Raney's clever and complex "Invention" was, according to Leonard Feather, recorded with very little trouble by a group of musicians who had never seen it before. An intrincate, ingenious line, it is notable for the close rapport between Raney and Theselius and a beautiful pithy piano passage by Sonny whose firm comping is a great foundation for Theselius and Raney. Jimmy is particularly mellow and melodic, showing us the attribute conveyed by the tittle. The flowing fours by Theselius and Raney are an early example of Bebop Esperanto. By 1954 this music was universal. *Mark Gardner*

Side 1

1 - Invention

(Jimmy Raney)

2 - Jumping For Jane

(LeonardFeather)

Side 2

3 - Indian Summer

(Victor Herbert)

4 - Darn That Dream

(Jimmy Van Heusen, Eddie DeLange)

Jimmy Raney (guitar), with

#1, #2:

Gösta Theselius (tenor sax), Sonny Clark (piano), Simon Brehm (bass #1),

Red Mitchell (bass #2), Elaine Leighton (drums).

#3, #4:

Putte Wickman (clarinet); Bengt Hallberg [as Bengt Halberg] (piano),

Red Mitchell (bass), Elaine Leighton (drums).

Recorded in Stockholm, Sweden, January 13, 1954

✤✤

Jimmy Raney Quartet

Leonard Feather's Jazz Club U.S.A. Presents

Jimmy Raney Visits Paris

As part of Leonard Feather's "Jazz Club U.S.A". European tour in early 1954, guitarist Raney is presented in the fine company of pianist Sonny Clark, bassist Red Mitchell and drummer Bobby White. The music on this date, as well as the recording quality, is superb for its time. Raney and Mitchell had worked together in Red Norvo's trio, while Clark and White were the rhythmic anchors in Buddy DeFranco's group. One can't help but compare the sensitive yet energetic approach that Raney and Clark have toward their respective instruments. Both musicians have a truly artful touch with very clear articulation, never sounding hurried or arbitrary, or getting in the other's way. There are some lovely quartet interpretations of standard tunes, plus a piano trio rendition of "Once In a While". Listen to Red Mitchell's bass take the melody on "You Go to My Head" supported by Clark and Raney's sympathetic comping. *Lee Bloom*

1 - Stella By Starlight

(Young, Washington)

2 - Pennies From Heaven

(Johnson, Burke)

3 - You Go To My Head

(Coots, Gillespie)

4 - Yesterdays

(Kern)

05 - There'll Never Be Another You

(Kern)

06 - Body And Soul

(Green)

07 - Once In A While

(Green, Edwards)

Sonny Clark (piano), Jimmy Raney (guitar), Red Mitchell (bass), Bobby White (drums).

Recorded in Paris, France, February 6, 1954

Leonard Feather Presents… ★1952 • 1954★

Hot Versus Cool

Have any of your friends ever bothered you with questions about the difference between Hot Jazz and Cool Jazz? Or Dixieland and Birdland? Traditional and Modern? Moldy Pig and Bop?

Whether you’re a square or already aware, you’ll find the performances in this album the perfect answer.

To point up the differences between these two sharply contrasted schools of jazz —long recognized by musicians but ignored or misunderstood by the public— two bands were assembled at Birdland, the famous Broadway jazz spot, and both were let loose on the same four tunes.

The Birdlanders, representing the cool jazz contingent, were playing on their home grounds, but to even things up we invited a bunch of Dixieland fans to be present at Birdland that night. As you'll hear from the applause on the records, there was no prejudice in the audience; they seemed equally enthused over beth groups.

Heading the modernist faction is John Birks "Dizzy" Gillespie, a product of Cheraw, S.C., who rose in the mid-1940’s to become an international symbol of what was then known by the disarming name of bop, but has since evolved into acceptance as Cool Jazz.

Leading the Dixielanders is Jimmy McPartland, the amazingly youthful veteran whose horn was a highlight of 1927-8 recordings by pioneers like McKenzie & Condon’s Chicagoans, Ben Pollack’s orchestra, the Wolverines, and Benny Goodman’s first recording combo.

Whether your tastes in jazz run to the hot or cool, whether or not you can define Dixieland Jazz or Birdland Jazz in words, you’re bound to find something of major interest in the music on these records. And, incidentally, it ought to help settle a lot of arguments!

*Leonard Feather (liner notes)*

Cats Versus Chicks

Although the musicians on this unique session aimed at contrast rather than contest, comparison instead of competition, the fact remains that this is, in effect, a four-round fight for the terry-weight championship.

In one corner, from Detroit, Michigan, and from Terry Gibbs’ Quartet, weighing 105 pounds, wearing brown mallets and, no doubt, a terrycloth gown, we have Miss Terry Pollard, one of the youngest and swingingest new stars on the jazz scene.

In the other corner, from St. Louis, Mo. and from Duke Ellington’s Orchestra (plus previous experience with Count Basie and Charlie Barnet), weighing 185 pounds and blowing some of the most personal and delightful jazz trumpet around, we have the redoubtable Clark Terry.

The officials’ score cards read as follows:

Referee Leonard Feather gives round 1 to the cats, 2 and 4 to the chicks, round 3 even.

Nat Hentoff of Down Beat gives round 1 to the cats, 2 and 3 to the chicks, round 4 even.

Judge Barry Ulanov of Metronome (who insists he is no male chauvinist) gives all four rounds to the men. 

Result: a split decision in favor of the chicks. 

What is your verdict? *(from liner notes)*

Leonard Feather Presents

Hot Versus Cool

And

Cats Versus Chicks

Hot Versus Cool - A Battle Of Jazz

1 - How High The Moon

(Lewis, Hamilton)

2 - How High The Moon

(Lewis, Hamilton)

3 - Indiana

(Hanley, McDonald)

4 - Indiana

(Hanley, McDonald)

5 - Muskrat Ramble

(Kid Ory)

6 - Muskrat Ramble

(Kid Ory)

7 - Battle Of The Blues

(unknow)

8 - Battle Of The Blues

(unknow)

Cats Versus Chicks - A Jazz Battle Of The Sexes

9 - Cat Meets Chick

(Leonard Feather)

10 - Cat Meets Chick

(Leonard Feather)

11 - Mamblues

(Williams)

12 - Mamblues

(Williams)

13 - The Man I Love

(George and Ira Gershwin)

14 - The Man I Love

(George and Ira Gershwin)

15 - Anything You Can Do

(Irving Berlín)

#1, #8: Dizzy Gillespie's Cool Jazz Stars

Dizzy Gillespie (trumpet), Don Elliott (mellophone, trumpet), Dick Cary (trumpet added #8),

Buddy DeFranco (clarinet), Jimmy McPartland (clarinet added #8), Ray Abrams (tenor sax),

Ronnie Ball (piano), Al McKibbon (bass), Max Roach (drums)

#2, #4 [as Edmond Hall And The Hot Jazz Stars], #5, #7: Jimmy McPartland's Hot Jazz Stars

Jimmy McPartland (cornet), Vic Dickenson (trombone), Edmond Hall (clarinet),

Dick Cary (piano, trumpet), Jack Lesberg (bass), George Wettling (drums).

#3, #6: Buddy De Franco And The Cool Jazz Stars

Buddy DeFranco (clarinet), Don Elliott (mellophone), Ray Abrams (tenor sax),

Ronnie Ball (piano), Al McKibbon (bass), Max Roach (drums)

Recorded live at Birdland, New York City, November 24 1952

#9, #11, #14: Clark Terry And His Septet

Clark Terry (trumpet), Lucky Thompson (tenor sax), Urbie Green (trombone),

Horace Silver (piano), Tal Farlow (guitar), Percy Heath (bass), Kenny Clarke (drums).

#10, #12, #13: Terry Pollard And Her Septet

Terry Pollard (vibes), Norma Carson (trumpet), Beryl Booker (piano),

Mary Osborn (guitar), Bonnie Wetzel (bass), Elaine Leighton (drums), Corky Hecht (harp)

#15: Clark Terry And His Septet and Terry Pollard And Her Septet 

Recorded in New York City, June 2 1954

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