Schlippenbach Trio... Jimmy Giuffre... Paul Bley... Reverend C.L. Franklin - and Aretha... Fats Navarro...

Wish I had been there department, part 45...

Darcy has a very good rundown of the Vision Festival's first day here... (I came across this via Destination Out just to get all the beret tips in order...). I had planned to be in New York to attend but was unable to go – just too bogged down with things here at the hovel. Mucho changes... But I hope to catch whoever is around when I get over in October.

Meanwhile... here's three vaguely interrelated tracks...

First up: the trio led by pianist Alexander Von Schlippenbach accompanied by the redoubtable Evan Parker and Paul Lovens on saxophones and drums respectively. This is 'Analogue: Scaled,' from the album 'Elf Bagatellen.' The trio has been one of the long-standing groups in improvised music/jazz, together now for over thirty years, so they are alive to each other's twists and turns. Opening on exploratory fragments – Parker up high in bird song register until he comes down a registerial notch – scrapings and rattles from Lovens in between the occasional roll across the kit before he sets up a tapping rhythm almost like a backbeat as the piano probes and stabs. Interestingly more asymmetrical, broken-up work from Parker than in his usual long hypnotic solo lines. Using silence and space to breathe as well as finely shaded dynamics, this track builds nicely – the Parker long line coming out at last and locking in with Schlippenbach's accompanying trajectory – then disrupted by Lovens throwing a kitchen sink downstairs to herald a wild section of interplay and wahoo to take it out...

Jimmy Giuffre and trio (the personal link? – it will all be revealed by the next track) from 1957. A conventional jazz outing just before he sailed off into uncharted improvisational seas – and disappeared off the radar for far too long. Conventional in the sense of being within the harmonic, melodic and rhythmic areas of the day – but no drums, the main pulse coming from the bass and the implied subtle rhythmic shadings of Hall and Giuffre. A swift light bounce through 'The song is you.' Four bars in he plays some triplet figures that come direct from 'Train and the river' before going to the main theme. Giuffre's tenor sound is a glancing back-memory of Ben Webster without the shooshy vibrato – if that makes sense - although he springs from the fountainhead of Prez (as an original member of the Four Brothers especially)... More muscle than is immediately apparent... this swings...

The link? Giuffre of course played with Paul Bley in some ground-breaking ensembles – and Evan Parker played with Bley in a trio in recent years, bass player Barre Phillips the other constituent. Here's Bley in the mid-sixties with 'Kid Dynamite,' one of those diagonal Annette Peacock themes with an implication of Ornette's linear conceptions. A rushing beginning that backs off to feature the bass before Bley comes back in with some bluesy figures followed by the bass and sharp asymmetric drumming – Billy Elgart I think, rather than Paul Motian. Drums have a brief solo – fairly abstract stuff as throughout - little attempt at conventional time-keeping – before the piano comes back for a breathless but brief gallop at the theme... (There is a band called 'Kid Dynamite' to confuse things – but they are of later vintage – some info and free downloads here...).

Followed by some gospel...

The Reverend C.L. Franklin (1915-1984) http://museum.msu.edu/museum/tes/gospel/franklin.htm was a well-known and controversial figure long before his daughter, the sublime Aretha, became famous in the sixties. Here's two tracks from the album he made with Aretha. Firstly, C.L. delivering his rich dark preacher-powered voice on 'I've been in the storm too long.' To find out more about a fascinating character, there's a fascinating biography of the Reverend by Nick Salvtores...

Then there was Aretha - giving her rendition of 'When the blood runs warm in my veins.' Voice like a blow-torch, with always a combination of vulnerability and distance. Probably my favourite singer...

To go out - some bop from 1946. A session under Fats Navarro and Gil Fuller's joint leadership with a collection of the great and the good - well, soon to be. Klook, Bud, Stitt et al. And the divine Fats. This is 'Everything's Cool,' parts one and two. It is...


In the Videodrome...

Sonny Stitt and some of bop's finest...

Thomas Chapin at Newport...


Aretha takes it to the Bridge... Paul who?

Horace - Senor Blues...




Schlippenbach Trio
Alexander Von Schlippenbach (p) Evan Parker (ts) Paul Lovens (d)
Analogue: Scaled
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Jimmy Giuffre (ts) Jim Hall(g) Ralph Pena (b)
The song is you
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Paul Bley
Paul Bley (p) Gary Peacock (b) Billy Elgart (d)
Kid Dynamite
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Reverend C L Franklin
I've been in the storm so long
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Aretha Franklin
When the blood runs warm in my veins
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Fats Navarro/Gil Fuller
Kenny Dorham, Fats Navarro (tp) Sonny Stitt (as) Morris Lane (ts) Eddie DeVerteuil (bars) Bud Powell (p) Al Hall (b) Kenny Clarke (d) Gil Fuller (arr)
Everything's Cool
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The Big Three - Cecil Taylor... Anthony Braxton... Ornette Coleman...

The days loom nearer: the 8th and 9th of July, respectively when Cecil Taylor, in partnership with Anthony Braxton, will be in concert at the newly-refurbished Festival Hall in London, followed by Ornette on the next night. So - here's Cecil Taylor, from the beginning almost: 1956. A surging read through Monk's 'Bemsha Swing.' The theme pops out almost surprisingly after a brief intro - Cecil plays Monk's tune fairly straight before heading off into his own space. This is Taylor right on the fault line between bop and things to come - bass and drums keep a fairly othodox swing going as he probes and tinkers with a varied palette - some delicate passages mixed with more violent dissonant chording - banging asymettric jumps across the registers. But the heritage is obvious - Monk's conceptions taken a few steps beyond and executed with a denser virtuoso technique filtered through a European harmonic world and somewhere back-wired into the blues. There is a fascinating review of a recent gig by Cecil T in New York here...

So to keep a loose theme rolling, here's Anthony Braxton with a trio in 1989. Tony Oxley at the drums – who will also be making up the numbers on the 8th of July, alongside William Parker. This is Braxton's take on 'All the things you are,' combined with 'The Angular Apron' and 'Composition 6A.' Opening on the old standard, an oblique run at the theme before Braxton spirals off into exhilarating flurries matched by Oxley's scattershot drums. The bass seems slightly distanced from these two at first, which gives this performance a widened spatiality, aided by the lack of piano on the session. Just over six minutes in and Adelhard Roidinger takes a flying fingered solo passage eventually joined by lightly pattering percussion and hoarse flutters from the saxophonist - edging now into deeper waters. Braxton switches to flute, varying the timbres. A very clean sound compared to his sax playing. The bass by now has become an equal partner in the three-way conversation. Slowing down with a switch to arco bass and clarinet played with much distorted granularity. Back to saxophone... Oxley letting off some sporadic deep bombs. The bass picks out a faster line in even notes and the temperature rises... twenty four minutes in and the saxophone is squawking and wrenching notes into hoarse vocalisations. Oxley takes a brief solo, cunningly dropping the volume until a long trilling note heralds the end of a long track that keeps the interest throughout and showcases Braxton's wide conceptual horizons and roots in older jazz...

When Ornette met Jackie... here is 'Strange as it seems,' from their album 'Old and New Gospel,' recorded in McLean plays long notes on the theme as Coleman skips round him with muted trumpet (which he played throughout this session). Settling into a steady groove as the alto takes the first solo. This is one of those rare Ornette dates with a piano included - Lamont Johnson. McLean preaches the blues over a rhythm from Higgins which combines a steady roll with more off-centre accents. Trumpet follows, a plaintive, delicate solo then piano - heavy chunks of block-chords with occasional interlacing runs - an odd solo. Alto returns and the trumpet continues its freedom dance around it... Fascinating...

Roll on July...

Cecil Taylor
Cecil Taylor (p) Buell Neidlinger (b) Dennis Charles (d)
Bemsha Swing
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Anthony Braxton
Anthony Braxton, clarinet, alto, soprano, sopranino and C-melody saxophones, flute (collective instrumentation for the album) Adelhard Roidinger (b) Tony Oxley (d)
All the things you are
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Ornette Coleman/Jackie McLean
Ornette Coleman Jackie McLean (as) Lamont Johnson (p) Scott Holt (b) Billie Higgins (d)
Strange as it seems
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Returning soon...

Things have continued to be hectic here at the hovel... but some music will be posted today... sooner or later...

I shall return... soon... tomorrow...

Things have been busy here at the hovel these last weeks... but more regular posting will resume very soon... here's three tracks to keep it rolling... Monk, leading a tentet recorded at Philharmonic Hall, Lincoln Centre, in 1963. Echoes of his famous Town Hall concert a few years earlier with an expanded lineup. Thad Jones takes initial solo honours.











'Great Black Music.' Was the aspirational and infinitely flexible wraparound for the Art Ensemble of Chicago. This is 'Ohnedaruth,' a spacy exploration of musical freedoms. 'Ancient to the future.' Indeed... From a live gig in 1972.

Going out on Bob Wills and the Texas Playboys...'Take me back to Tulsa.' The Art Ensemble of Texas from yesteryear. Tee hee... but maybe not so far from the truth... Yi ha...






More very soon- including those old airshots I am finally mastering from the original cassettes... once I get my new quarters organised





Thelonious Monk
Thad Jones (cor) Nick Travis (tp) Eddie Bert (tb) Steve Lacy (ss) Phil Woods (as) Charlie Rouse (ts) Gene Allen (bars, cl, bcl) Thelonious Monk (p) Butch Warren (b) Frankie Dunlop (d)
I Mean You
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The Art Ensemble of Chicago- (instrumentation so varied that to put it in the usual abbreviated form would be futile - and it's late... )
Lester Bowie (Percussion, Trumpet, Flugelhorn, Kelphorn, Multi Instruments, Whistle (Human), Vocals, Drums) Joseph Jarman (Flute, Sax (Alto), Sax (Soprano), Vocals (Background), Soprano (Vocal), Multi Instruments, Whistle (Human), Vocals, Sax (Tenor), Sax (Baritone), Percussion, Conga) Roscoe Mitchell (Clarinet, Multi Instruments, Whistle (Human), Vocals, Percussion, Saxophone, Sax (Baritone), Sax (Tenor), Sax (Soprano), Sax (Alto), Drums) Famadou Don Moye (Percussion, Conga, Drums, Vocals, Multi Instruments, Whistle (Human), Marimba, Gong)

Ohnadureth
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Bob Wills and the Texas Playboys
Take me back to Tulsa
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Thelonious Monk... John Patton... Art Farmer... Booker Little... Eric Dolphy/Ken Mcintyre... Matthew Shipp/Roscoe Mitchell... Howlin' Wolf...

Thelonious Monk was out on the coast in 1960 and recorded a rather happy live session at San Francisco's Blackhawk club with an expanded quartet – Charlie Rouse, John Ore and Billy Higgins were joined by locals Joe Gordon and Harold Land on trumpet and tenor saxophone respectively. This is 'Worry Later,' also known as 'San Francisco Holiday,' which maybe refers to this sojourn. This album never seems to score as high as I think it should, for some reason. There's a casual, relaxed feeling to the date – the audience are a bit chatty in places but that adds to the ambiance. Billy Higgins takes it in with drum figures that echo the melody before the ensemble play the head. Rouse first – with no great advantage of knowledge over the strangers in the front line, actually, as this tune was relatively new. Gordon follows, negotiating the changes well. Harold Land comes in strong and keeps up. Monk plays his usual games of displacing the rhythm with unexpected accents, a couple of times (amusingly) seeming to stop some of his more familiar runs abruptly which leaves you hanging, the theme never far away... He appears to be on cheerful form...

Do the boogaloo – a choppy, funky track from Big John Patton and company, 'The Turnaround,' from a 1964 soul jazz classic: 'Let 'Em Roll.' Some nice Grant Green to commence before Big John comes in, firing off a batch of bluesy runs that go to some interesting melodic areas, Green backing up with sharp chording. Green has a raucous edge to his guitar than was usual in jazz at that time, a more r and b sound. Another ensemble timbral oddity perhaps – the inclusion of vibes master Bobby Hutcherson – who does not solo on this track. Rocking stuff.


There is a calm elegance to Art Farmer's music that maybe disguises the intrinsic fire... Here is the title track from his album 'Farmer's Market,' a fast jumpy bop blues. The first solo is by Wynton Kelly and comes out of the traps at speed, complete with bop-cheeky quote from 'Buttons and Bows.' Farmer next, a fluent display. Hank Mobley follows him, breathily in the pocket. Art's twin brother Addison takes his bass for a swift sure-footes run. All held together by the young Elvin Jones in fairly conventional but swinging style. Freshly consolidated bop, from 1956, a year on the cusp of change...

The Booker Little track 'The Confined Few' can be found under his own name as part of the 'New York Sessions,' but was originally out with Teddy Charles as leader. The trumpeter was only twenty three when he died – an amazing fact when you consider the poise and control here. Charles is luckily still with us but has been off the critical map for a while – unfortunately, as he was a prominent member of the generation who set about re-modelling jazz in the fifties. A slow beginning that drops off into a steady tempo. Addison Farmer on bass again. The rather wonderful Booker Ervin is up first, booting tenor nicely tracked by Shaughnessy's drums. Mal Waldron takes a thoughtful solo, followed by fluent and melodic bass floating on Charles' vibes. Then Booker Little – fire and brio. Sharp and bright...

Two contrasting alto players – Ken McIntyre and the great Eric Dolphy. From their album 'Looking Ahead,' this is 'Curtsy.' Dolphy seemed fond of this frontline format - he recorded a couple of similar albums with Oliver Nelson, who led those sessions. The two altos come steaming in on the theme then McIntyre solos first. Some interesting curlicues – but Dolphy follows and ups the track a gear. His tone is so powerful, although his lines here are not pushing across the harmonies as far as usual. Mcintyre retaliates, rising to the game then Dolphy again, this time expanding outwards – as he continues to do in the ensuing fours, bringing to bear more of his unique intervallic conception. McIntyre, it has to be said, is not left behind. Some sure-handed piano from Walter Bishop before the theme close. A jaunty, cheerful track. Their turn to curtsy - my turn to bow ...

Coming relatively up-to-date... 1996. A duo performance by Matthew Shipp and Roscoe Mitchell. Starting off with dabbed at notes and short phrases, pointillism in action, the piece slowly expands into a swirl of dense lines, the sour-sweet horn of Mitchell swathed in the deep, cavernous sonorities of Shipp's piano. Which reminds me at times of our own Keith Tippett and his pounding storms of overtones. This is the last track from the album '2Z,' 2-Z-11 - also named 'The Physics of Angels,' which combines neatly the scientific and the spiritual. Or something. Wonderful, expansive music...

Back a few years... opening on a rough scrawl of overloaded guitar before settling into a bouncing blues. The Wolf, singing 'Mr Highway Man,' interspersing vocals with gutty harmonica. A wild slice of prime rhythm and blues from the Golden Age, thumped along by booming drums and ending on a juke-boxy scratch and scrape before the needle lifts...


In the Videodrome...

Art Farmer, with Lee Konitz and Oliver Nelson...

More Konitz – with Lennie Tristano...

Booker Little with Max Roach...

...some recent Anthony Braxton...

Thelonious Monk
Thelonious Monk (p) Joe Gordon (t) Charlie Rouse, Harold Land (ts) John Ore (b) Billy Higgins (d)
Worry Later
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Big John Patton
John Patton (org) Bobby Hutcherson (vi) Grant Green (g) Otis "Candy" Finch (d)
The Turnaround
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Art Farmer
Art Farmer (t) Hank Mobley (ts) Wynton Kelly (p) Addison Farmer (b) Elvin Jones
Farmer's Market
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Booker Little
Teddy Charles (vibes); Mal Waldron (p); Booker Little (tpt); Booker Ervin (ts); Addison Farmer (b); Eddie Shaughnessy (dr)
The Confined Few
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Eric Dolphy/Ken McIntyre
Eric Dolphy, Ken McIntyre (as) Walter Bishop (p), Sam Jones (b) and Art Taylor (d)
Curtsy
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Matthew Shipp/Roscoe Mitchell
Matthew Shipp (p) Roscoe Mitchell (as)
2-Z-11 The Physics of Angels
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Howling Wolf
Mr Highway Man
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Thelonious Monk/Gigi Gryce... Sonny Rollins... Joe Morris... Blind Lemon Jefferson... Bob Wills...

'Brake's Sake' is a less well-known Thelonious Monk composition, taken from an album under Gigi Gryce's name (who played alto saxophone on this date). Recorded in 1955 – the golden age of Monk, perhaps, when everything was still fresh. Gryce states the theme shadowed rhythmically by Monk. An appealing player, the altoist was to become better known for his composing skills. The higher range of his saxophone gives an airier feel than usual (Monk's bands were usually fronted by tenor players). Monk takes a sparkling solo, expanding the theme in his usual asymmetric manner – Blakey and Heath are steady as you go – with the drummer letting go a few figures towards the end to mark his presence...

Sonny Rollins: 'Someday I'll find you,' taken from his 1958 album, 'The Freedom Suite.' Recorded at a time when cultural and political freedoms were to become a dominating issue in American life. Yet a corollary musical freedom breathes throughout – one of the roads out of the bop box was taken by many in the fifties with the decision to drop the piano – I've talked about before about Gerry Mulligan, Jimmy Giuffre – and the most famous piano-less quartet of Ornette Coleman's – here Rollins follows suit. (No pun intended). So: different but related takes on freedom - read more here about the liner notes - Rollins original, concerned with explicit oppression and Orrin Keepnews more distanced take that moves the focus to themusical search for freedom, which was the one used by the record company. In itself, a reflection on the times... This version of an old Noel Coward song opens on a bouncing three four, with much pattering of clenched hihat from Roach, before settling into a sturdy four four. Anchored by the bass, Rollins and Roach take it out, the drummer especially busy, giving the saxophonist plenty of rhythmic stimulation. Sax and drums exchange tight one bar to and fro before the theme restatement. 'Someday I'll find you, moonlight behind you, true to the dream I am dreaming.'

More from Joe Morris's solo acoustic guitar album, 'Singularity.' This is 'Flight,' another exercise in stripped-down abrasive purity. Probing and grittily dissonant... Morris displays his mastery with his ranging runs up and down the neck of his instrument – at one point a brief section of fast-strummed chords gives a distant echo of Derek Bailey...

If you wanted portability and easy moving, a guitar was your instrument – capable of accompaniment for vocals and instrumental work – or the two combined. The early country blues singers evolved a style that still cuts and also demonstrates various enduring elements of african-american music/culture. There is a loose freedom to the blues before it became more codified, (although in the public domain, one could argue it was already set in form quite early on, via W.C. Handy et al), a spirit that I think returns, in a more explicit way, with the avant-garde in the sixties. Here's Blind Lemon Jefferson with the old staple 'Easy Rider Blues.' The form allows for considerable space where the guitar echoes and answers the voice in an ongoing dialogue... Those who regard(ed) this music as 'primitive' and count the bars to see when the canonic twelve are overridden are maybe missing a point - 'form is never more than an expression of content, ' after all, if you follow Creeley - via Olson...(Quote from here... I also like the revamp from Denis Levertov: 'Form is never more than a revelation of content.' (Quoted from here... scroll down...

For no other reason than it's on my hard drive, but there is a relationship – Bob Wills and the Texas Playboys http://www.texasplayboys.net/Biographies/bobwillsbio.htm like Blind Lemon, came from the Lone Star State. Music for dancing and fun – there's a joyful exuberance to Wills' music. And I have a kind of theory that the manner in which his bands stacked styles – country, dixieland/jazz, folk etc. - into a newly minted whole, while expressing the vitality and cross-fertilisations of Texas musics – in a way fore-runs Ornette Coleman's Prime Time bands... something in the soil? Or the air... Wills had a gig early on at the Crystal Ballroom in Fort Worth, if I remember correctly, toured all over and would also have been heard on radio throughout the south west... Here you have hoe-down fiddles, jazzy piano and electric guitar, countrified vocals and the inimitable Wills' high-piched yiha interjections: 'Aw, Brother Al Strickland now.' Stay all night, stay a little longer...


In the Videodrome...

Bob Wills and 'Ida Red'



Ornette in 1980...

and in 1974...

...and some immaculate T Bone Walker...

Gigi Gryce/Thelonious Monk
Gig Gryce (as) Thelonious Monk (p) Percy Heath (b) Art Blakey (d)
Brake's Sake
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Sonny Rollins
Sonny Rollins (ts) Oscar Pettiford (b) Max Roach (d)
Someday I'll find you
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Joe Morris (g)
Light
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Blind Lemon Jefferson (g, v)
Easy Rider Blues
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Bob Wills and the Texas Playboys
Stay all night, stay a little longer
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Sunday improvisations... Jimmy Lyons... Jimmy Giuffre... Johnny Griffin... Ornette Coleman... Blind Willie Johnson... King Oliver...

What might Charlie Parker have played like if he had lived, say he had made it to the '70s at least, through the fire and the turbulence? One of those futile speculative games, I know... Maybe it would have been something like Jimmy Lyons – Cecil Taylor's long-time cohort, who made few albums under his own name and on whom Parker was a major influence. Derek Taylor in his review of a Lyons boxed set makes the following pertinent remarks:

'When Paul Desmond started recording as a leader in late 1954, he and his employer Dave Brubeck ironed out an agreement. The gist of the unwritten pact stated that the alto saxophonist would not involve piano, Brubeck’s instrument, in any of his solo ventures. Jimmy Lyons and Cecil Taylor seem to have struck a similar bargain. None of Lyons’ solo recordings incorporate piano...' (From here...).

Carefully, one notes the guesswork: 'seem to have struck.' I don't know the truth... But there is no piano on any of them...

Here is a track from 'Jump Up,' 'Sea Trees.' Bass: John Lindberg and, on drums, the mighty Sunny Murray – an old sparring partner. Murray's cymbals rip like a splashing wind here as Lindberg moves steadily through in between the alto and the drums. Considering the storms going on around him in all his playing career with Taylor, the whirling density of it all, Lyons always seemed to keep a clear head. As here... There is something almost classical about his lines – one of the true sons of Parker who took the heritage forward in a unique manner. Certainly someone who could think almost as quick as Bird in any situation... He delivers his fluent expansions on post-bop unhurried by the fast-moving backdrop before he eventually drops out for Lindberg to step up and fire off some equally fast and accurate lines. Murray falls off briefly to give him space, returning spasmodically for colour. Some stunning pizzicato work here... This live piece unfortunately ends abruptly...

Jimmy Giuffre recorded with the Modern Jazz Quartet in 1956. Interestingly – he was moving away from piano in his groups (until the once and future collaborations with Paul Bley). This is 'Fine.' Lewis starts with his finely sprung piano, followed by a canon-like introductory procession of two bar phrases from the rest of the amalgamated band – sax, vibes, guitar, the bass players and finally Kay. An intriguing mix of shifting counterpoint – the instruments weaving around each other in a gentle but supple dance – and the blues are never too far away. At one point Giuffre plays some dancing figures that echo the theme of his 'Train and the River.' An interesting session... chamber music spliced with the blues...

I mentioned Giuffre's collaborations with Bley – here's a track from their first go-round with Steve Swallow on bass, 'Threewe,' taken from the album 'Freefall.' Again, a feel of chamber music although Bley is more tuned to the angularities and oblique strategies demanded of this situation than John Lewis, perhaps. But: horses for course - and much had happened in the intervening years... perhaps these two selections demonstrate the distance travelled...

Johnny Griffin in 1961 with an unusual album featuring two basses and french horn (Julius Watkins, not featured here) – 'Change of Pace.' This is 'Nocturne,' starting with the the basses slow tracings before Griffin enters – a solemn stating of the theme. The basses speed up as Griffin stays in the slow tempo, punctuated occasionally by faint cymbal chinks from Riley. Arco bass takes over, tracked by pizzicato from his companion. Griffin returns for more funereal late night keening. An oddity in his catalogue, more chamber jazz than the usual fast and hard tenor madness...

A live recording of Ornette and company from 1969 – opening on ethnic flute over a distant bass drone joined by a wailing sax line, this slowly builds into a squalling sonic storm, high up the frequency range in the main and buttressed by Haden's sturdy bass. Ornette on violin throughout, taking a jumping skitter of a solo at the end. The young Denardo acquits himself well... Free jazz...

Well, it's sunday... here's a gospel track from the mighty Blind Willie Johnson. 'Let your light shine on me.' Starting slowly, Johnson takes a rare excursion into his tenor singing range - which comes across as surprisingly tender. Then he picks up the tempo, his guitar accompaniment firing off some neat runs as he drops his voice to the usual rougher register, a gravelly precursor of Howling Wolf.

Lest we forget - back to 1923 and King Oliver's Creole Jazz Band, with the young Louis Armstrong in tow - soon to overshadow his mentor. (Interestingly, Armstrong shared the same birthday as the poet Percy Bysshe Shelley - two 'unacknowledged legislators of the world' indeed - August 4th). Historically always noted for Oliver's three muted choruses - but some fluent clarinet from Johnny Dodds. A jaunty swing to this: 'Oh play that thing...'

Jimmy Lyons (as) Sunny Murray (d) John Lindberg (b)
Sea Trees
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Modern Jazz Quartet/Jimmy Giuffre
Milt Jackson (vib) John Lewis (p) Percy Heath (b) Connie Kay (d) Jimmy Giuffre (ts, cl) Jim Hall (g) Ralph Pena (b).
Fine
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Jimmy Giuffre
Jimmy Giuffre (cl) Steve Swallow (b) Paul Bley (p)
Threewe
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Johnny Griffin
Johnny Griffin (ts) Larry Gales, Bill Lee (b) Ben Riley (d)
Nocturne
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Ornette Coleman
Ornette Coleman(as,vln) Don Cherry(tp,indian-fl) Dewey Redman(ts) Charlie Haden(b) Denardo Coleman(d)
Trouble in the East
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Blind Willie Johnson (g, v)
Let your light shine on me
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King Oliver's Creole Jazz Band
King Oliver, Louis Armstrong (t0 Honore Dutrey (tr) Johnny Dodds (cl) Lil Hardin (p) Bill Johnson (b) Warren (Baby) Dodds (d)
Dippermouth Blues
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