In Vancouver B.C. where we broadcast today is a statutory holiday called Family Day. In honor of Family Day we will present tonight a wide variety of famous Jazz families, We'll hear selections by The Montgomery Brothers, The Adderley Brothers, The Heath Brothers, The Mangione Brothers, The Turrentine Brothers, The Shorter Brothers, The Ayler Brothers, The Newborn Brothers (Phineas and Calvin), The Jones Brothers, A wide variety of music by all of them. Relax and enjoy The Jazz Show's tribute to Family Day.

Tonight's Jazz Feature will be heard a bit later than usual as a guest was expected. The Jazz Feature will be pianist Andrew Hill's Blue Note debut album "Black Fire". Andrew Hill was somewhat unfairly lumped into the "free form Jazz" category as his music was different from the norm and innovative and Hill did emerge in the 1960;s, a time of change for Jazz. However Hill's music while different and fresh was structured and defined by chord progressions. His compositions were unique and took odd turns and twists much like Thelonious Monk's tunes. Producer Alfred Lion new Hill's music wasn't for everyone but he believed in Hill's genius and talent much like he did of Monk a decade earlier. Lion was the first to record Monk and his music. Hill on piano is supported by some great musicians such as Joe Henderson on tenor saxophone delivering some of his most creative work here. Richard Davis on bass and the great Roy Haynes on drums who was a last minute replacement for Philly Joe Jones who was unable to make the date. I can't imagine any other drummer than Roy Haynes for this music. "Black Fire" is the beginning of a long list of important recordings by Andrew Hill for Blue Note. We must thank Blue Note's Alfred Lion for believing in Andrew Hill's talent. "black Fire": tonight's Jazz Feature.

Along with the Fundrive promos an exciting variety of music from various eras of Jazz tonight. The Jazz Feature will return next week.

Tonight The Jazz Show celebrates the 100th Anniversary of the birth of one of the important pioneers of Modern Jazz and the definitive voice of the trombone: Mr. J.J.Johnson. Johnson was born on January 22,1924 and passed away on February 4,2001 at age 77. He recorded a lot in his long career with small bands and large ensembles and of course was an accomplished composer, arranger. The album on hand is to this writer a definitive album with J.J. and his working band with Harold Mabern on piano, Arthur Harper on bass and Frank Gant on drums. It was recorded for Impulse Records on May 1, 1964. The album is called "Proof Positive" and it has been a favorite and a worthy 100th Birthday tribute to one of Jazz Music's great master, Mr. J.J. Johnson.

Tonight's Jazz Feature is a recording done at San Francisco's Jazz Workshop on October 27,1962 by the Max Roach Quartet with drum master Max Roach at the helm with Clifford Jordan on tenor saxophone, Mal Waldron on piano and Eddie Khan on bass. Two extended works are featured. The first is the title track "Speak Brother Speak" depicts speakers on a soapbox expounding on the state of the nation. The second piece is an extended work based on a theme by Villa-Lobos called Prelude by retitled by Max Roach as "A Variation". It again offers extended solo opportunities for everyone to say their say. The band is so fine that these extended performances stand up and never drag on. "Speak Brother Speak" celebrates the accomplishments of Dr.Martin Luther King and Martin Luther King Day today January 15,2024.

Tonight's Jazz Feature honors the late, great Les McCann who passed away December 29,2023 at age 88. This fine album featuring pianist McCann's working trio with bassist Herbie Lewis and drummer Ron Jefferson was called "Les McCann LTD". McCann had been appearing at New York's Village Gate with the LTD and recording for his label Pacific Jazz but this was a one-night only get together with very limited rehearsal with three of McCann's favorite horn players including trumpeter Blue Mitchell, and the great tenor saxophonist Stanley Turrentine and the lesser known Frank Haynes. All six compositions are by McCann and reflect his talents as a writer. This is one fine way to honor a musician that was loved by just about everyone. Les McCann in New York is tonight's Jazz Feature.

Tonight's Jazz Feature has been an important part of tonight's Christmas Jazz Show for many years and tradition will continue with the famous and lasting Christmas Eve (1954) recording session with the Miles Davis All-Stars. It's sometimes known as the "Bags' Groove Session" as that tune written by Milt Jackson is the opener. The All-Stars are of course, Miles Davis on trumpet, Milt Jackson on vibes, Thelonious Monk on piano, Percy Heath on bass and Kenny Clarke on drums. Four tunes were recorded and the session has gone into Jazz History as a very important document and timeless music. The men creating this music were just playing what they always played doing it so very well. The tunes are "Bags' Groove by Milt Jackson, Bemsha swing by Thelonious Monk, The Man I Love by the Gershwin Brothers, and Miles Davis', Swing Spring. The spirit of Christmas seems to be evident throughout the session without any actual reference to Christmas music, There will be more tributes to Christmas tonight so when the big day rolls around..... Merry Christmas to Jazz fans everywhere and to a brighter 2024.

Tonight's Jazz Feature is an obscure by excellent album by a group of fine players based in Los Angeles. The leader is the great Harold Land on tenor saxophone along with a fine lesser known trumpeter named Martin Banks. Amos trice is on piano, Clarence Jones on bass and Leon Pettis on drums. Save for Land, none of these players are well known but their music is world class. The album was recorded in 1960 and not ever issued until 1980, undeservedly delayed. The tunes are by Land(2) Amos Trice(1), Martin Banks(1) and one by original producer, writer Leonard Feather plus a well chosen ballad standard. The album is entitled "Take Aim" and it aims to please those who love real Jazz. It's tonight's Jazz Feature.

Tonight's Jazz Feature is a one time meeting of two great Jazz stars. They knew one another but never played together and were brought together by the producing genius of Norman Granz. Granz was one of the great entrepreneurs of Jazz. Tenor saxophonist Stan Getz was one of the major voices of that instrument and vibraphonist Lionel Hampton was one of the pioneers of that instrument and had been prominent since the early 1930s. Creative sparks flew on this session and the combination of Getz and H Hampton worked beautifully. The rhythm section was made up of people who worked with Getz throughout most of 1955 and Lou Levy is on piano, Leroy Vinnegar is on bass and the drummer is the magnificent Shelly Manne. The repertoire is a collection of good standard tunes, a ballad medley and two up tempo burners. Enjoy this classic one time get together from August 1, 1955. Hamp and Getz!

Tonight's Jazz Feature is a suite in 6 movements written by the late Gary McFarland and it's titled "America The Beautiful: An Account of It's Disappearance". McFarland wrote this music in 1968 over deep concerns about his beloved America which was in that year in turmoil...race riots, assassinations, the Vietnam War plus the wanton destruction of the environment manifested by endless shopping malls, tract housing, garbage strewn everywhere and unmitigated greed. This suite is McFarland's protest of all of these happenings. However it is not an angry suite but more a lament for what was happening to the nation. It is an orchestral piece with the odd solo movements and played by first call New York musicians such as trumpeters, Marvin Stamm, Snooky Young and reed masters like Jerome Richardson, Romeo Penque, pianist Warren Bernhardt, guitarist Eric Gayle, bassist Jerry Jemmott and Chuck Rainey and drummer Bernard Purdie to name but a few. The music of Gary McFarland and his "America The Beautiful" suite is tonight's special Jazz Feature.

Tonoght's Jazz Show celebrates the Birthday Anniversary of a trumpet player who gave a whole generation of younger players the basis for their style and approach to the trumpet/ Even though Clifford Brown died in a car crash at age 25 on June 26, 1956, his trumpet work is still the standard for most young players to strive to attain. Tonight's Jazz Feature spotlights the Clifford Brown/Max Roach Quintet at it's best that was done in the optimum conditions of the recording studio during the time the Quintet was performing at New York's leading Jazz club, Basin Street in February 1956. The Quintet had jelled to perfection and their newest member, the great tenor saxophonist Sonny Rollins and Brown made a coherent and perfectly blended front line. The rest of the bad consisted of Richard Powell on piano, George Morrow on bass and Rollins, Brown and drum great Max Roach. This recording marks the last studio performance of the Roach/Brown Quintet at their best with great arrangements by their pianist Richard Powell. This band was one of the very finest in their day and their music still remains fresh and exciting. Happy Birthday Anniversary to Clifford Benjamin Brown (Oct 30, 1930/ June 26,1956).

Carla Bley passed away on Oct 17, 2023 at age 87 but her music and her compositions occupy an important segment of modern music and Jazz. Her great legacy of compositions and her orchestra represented her broad and eclectic talent over many years and tonight's Jazz Feature is very fine representation of her music and orchestra. The album was recorded with her band full of incredible musicians from all over the world and is called "Big Band Theory". It features some very prominent players like trumpeter Lew Soloff, trombonist Gary Valente, tenor saxophonist Andy Sheppard and the great Danish alto saxophonist Wolfgang Puschnig. and violinist Alex Balanescu. Tonight's Jazz Feature is a trubute to the music of the one and only Carla Bley......enjoy and experience her world!

Tonight's Jazz Feature is an important album by pianist/composer Thelonious Monk called "Monk's Music". It is a series of older Monk compositions with one new piece played by a larger group than Monk usually recorded with at that time. It was done in one evening on June 26,1957. Monk selected the band and it included Ray Copeland on trumpet, Gigi Gryce on alto saxophone, John Coltrane and Coleman Hawkins on tenor saxophones, Wilbur Ware on bass and Art Blakey on drums and of course Monk on piano. As an extra feature I'll play the results of the evening before which seemed lost as Monk was exhausted and had to go home. The evening was salvaged by the band agreeing to record a long 12 bar blues written by Gigi Gryce that was called "Blues for Tomorrow". The Monk album was fully completed the next night and is considered one of Monk's finest recording dates. "Monk's Music" is the Jazz Feature tonight....don't miss it!

Tonight's Jazz Feature is pianist/composer Sharon Minemoto who has been a very important musician on the Vancouver Jazz scene as a leader and sidewoman. This is her latest album just released on the Cellar Live label. It's called "Dark Nights, Bright Stars" and it features her long standing group of her favorite musicians. Jon Bentley on tenor saxophone, Darren Radke on bass, and Bernie Arai on drums. These musicians all met when they were students at Capilano University and enrolled in the music program. Their chemistry and feel for one another is very evident on this fine recording. All the compositions are by Sharon Minemoto and reflective of the changes in her life and times. This album should demonstrate to anyone who hears this as to the quality and caliber of Vancouver Jazz musicians. The album is a gem and I take pride sharing it with you on tonight's Jazz Feature.

Tonight's Jazz Feature is a very fine recording from the mid-fifties that typifies New York modern Jazz of the time. The people involved are the leader, legendary pianist/composer Elmo Hope who in many ways is as important to the development of piano as Thelonious Monk and Bud Powell although he didn't get the same notoriety. For the fist 3 tunes the group is a quintet with tenor saxophone great Frank Foster and a fine lesser known trumpeter named Freeman Lee. On bass is John Ore and on drums is New York's Arthur Taylor. The set was done for Prestige Records in on Oct.4, 1955. The quintet plays one composition by Hope and 2 by Foster. That is the formal part of the date. The final 3 tunes are by Foster, Hope, Ore and Taylor and are all likely first takes created on the spot. Both sets are solid Jazz without compromise and bring in all the qualities of great Jazz....good solos, cohesion, swing and assertive playing by all. This was an album I grew up with and is still meaningful to me and I hope it is to you. Enjoy "Hope Meets Foster".

Tonight's Jazz Feature celebrates the 97th Birthday Anniversary of John William Coltrane. Coltrane needless to say was one of the most iconic and influential saxophonists in contemporary Jazz and despite his short life which ended at age 40, he accomplished so much and left and enormous legacy. Tonight's Jazz Feature is the first official recording of Coltrane's "Classic Quartet" called "Coltrane". It was done over several sessions in April, June and November of 1962 and produced 5 selections. The "Classic Quartet" included McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums and of course, Coltrane on This album represents a formidable beginning of Coltrane's musical journey.. Tonight's Jazz Feature: the music of John Coltrane.

Tonight's Jazz Feature is Part 2 of a regular annual tradition on The Jazz Show and highlights September's "back to school, back to work tradition". Basically a little enjoyable and fun music education with Maestro Bernstein explaining "What is Jazz". This is an easy and sometimes humorous explanation of what Jazz is and what Jazz isn't in terms that one doesn't need a music education to understand. Leonard Bernstein made it a life long effort to bring music to the people and to make the most complex music easy to understand. There is also a bit of unintentional humor in this recording made in 1956 and these bits will make today's person grin a little. However this is by and large an important document and always worth hearing again. Enjoy Maestro Bernstein and the many musicians involved in this project like Duke Ellington, Bessie Smith, Coleman Hawkins, Phil Woods, Miles Davis and John Coltrane and of course Maestro Leonard Bernstein..

Tonight's Jazz Feature has become an annual tradition on The Jazz Show celebrating September and "back to work" and most importantly "back to school". Tonight the venerable voice of the alto saxophone, a composer and bandleader, Julian "Cannonball" Adderley narrates a brief history of Jazz. It was recorded in 1960 and ends there however Cannonball traces Jazz history through recordings available to the small label that recorded this album....Riverside Records. Adderley's delivery is clear and lucid reflecting his years as a high school teacher in Florida before launching his full time music career. This is still a valuable document even though the music has gone through some enormous changes since 1960. This recording traces the early history of the music through the 20's to the 60's. Enjoy this annual tradition and kudos to Julian Adderley as always.

Our Jazz Feature takes you back to tan important center of Jazz action in New York in the mid-50`s. The Cafe Bohemia located in Greenwich Village. The band is the first group that master trumpeter Kenny Dorham put together. he called it ``The Jazz Prophets``. Kenny Dorham is one of the finest and original of the early Modern Jazz trumpeters. He came to maturity in the early 1950`s and was a charter member of Art Blakey`s Jazz Messengers. In 1956 he formed The Jazz Prophets. Sadly it was short-lived but made several fine recordings including this one. Kenny Dorham put together J.R. Monterose on tenor saxophone and a very young 19 year old Bobby Timmons on piano, Sam Jones is on bass and the tasty and swinging Arthur Edgehill is on drums. They play a variety of original and standard materiel in this set and are joined on the last tune, Dizzy Gillespie`s ``A Night in Tunisia`` by guitarist Kenny Burrell. All live at The Cafe Bohemia on May 31,1956. Kenny Dorham, tonight`s Jazz Feature artist.

The music of Thelonious Monk is tonight's Jazz Feature subject and a fine album from June of 1959 that spotlights the Monk working quartet with tenor saxophonist Charlie Rouse, bassist Sam Jones and the always swinging Arthur Taylor on drums. However there is a worthy addition to the Quartet which gives us the album title. That addition is cornetist Thad Jones who adds much musical spice to Monk's Quartet. If there is anyone who could have been added to Monk's working band it would be Thad. However this was a one shot recording date as Thad had a coveted position in the Count Basie Orchestra and had a little time off from Basie to do this date. The compositions are a mix of old and new all by Monk of course. Two new ones written for the date are "Played Twice" and "Jackie--ing" and the older ones are "Straight, No Chaser", "Ask Me Now" and "I Mean You". Thad in this writer's opinion is the star of the date and adapts so well to Monk's music. "Five By Monk By Five" is the Jazz Feature tonight.

Tonight's Jazz Feature is one of those once in a while get-togethers by a group of musicians who don't normally play together gel into an iconic and wonderful recording date. Pianist John Lewis who was the musical director of the Modern Jazz Quartet was contracted to do a recording session and he chose some musicians who he had just heard and put them together in the studio and magically the cohesion and the musical chemistry worked beautifully and produced a classic. This is elegant understated Jazz which combines all the elements that are needed like, great solos, swing and feeling. The people involved are pianist John Lewis, bassist Percy Heath, drummer Chico Hamilton, guitarist Jim Hall and tenor saxophonist Bill Perkins. All in all an album worthy of the title: "Grand Encounter", tonight's Jazz Feature.

Tonight on the program`s Jazz Feature is the music of Charles Mingus. It`s an important album in the Mingus recorded legacy and it was his initial album for the Impulse label. It was called ``The Black Saint and the Sinner Lady`` Mingus considered this one of his finest documents. It is a suite of music played by an 11 piece ensemble with some incredible solos by all involved like alto saxophonist Charlie Mariano and soprano and baritone saxophonist Jerome Richardson and trombonist Quentin Jackson and others. It is an intense that covers the gamut of emotions from anger, despair to hope. Mingus looms large as a pianist, bassist and composer of this work and he was given full control of the music, editing and sequencing. It`s his show and he made the best of it. Tonight`s jazz feature: Mr. Charles Mingus!

Tonight's Jazz Feature focuses on one of the pioneers of Modern Jazz: Earl Rudolph Powell: known as Bud Powell. Powell brought the modern style of Jazz piano to the fore and he is as much of a musical genius as Charlie Parker. Powell became the all pervasive influence on Jazz piano that continues to this day. Tonight's Jazz Feature is his final record for Blue Note Records a label that captured some of his best playing over the years. Powell was set to move to Europe and he entered the studio to do this recording before he left. It was done just after Christmas in 1958 and captures him playing a program of original compositions with Paul Chambers on bass and Arthur Taylor on drums. Powel is in great form and displays his genius and his creativity on this disc. The album is a great send off to several more creative years overseas. Tonight's Jazz Feature Bud Powell's "The Scene Changes".

Tonight`s Jazz Feature can be deemed a classic. It was the second album under Sonny Rollins` name since his return to the Jazz scene in late 1955 as a new member of the legendary band, the Max Roach/Clifford Brown Quintet. It was decided by Rollins and Prestige Records owner that Sonny could record with the Max Roach/Clifford Brown group with musical choices by Rollins and with Rollins` name on the album title. Hence ``Sonny Rollins Plus 4``. Sonny picked 3 standard tunes that were not part of the Roach/Brown repertoire and wrote two original compositions that entered into that band`s repertoire. ``Valse Hot`` and ``Pent-Up House`` were the two intriguing Rollins` originals and the other 3 standards were quite obscure as Rollins always liked odd and lesser known tunes. Sad to say this turned out to be the very last studio recording by the Roach/Brown band. It was recorded on March 22, 1956 and Brown and pianist Richard Powell were killed in an auto crash in June of 1956. The trauma reverberated in the Jazz community as much as Charlie Parker`s death the year before. The people involved here are Sonny Rollins on tenor saxophone, Clifford Brown on trumpet, Richie Powell on piano, George Morrow on bass and Max Roach on drums. A classic Jazz Feature tonight!

Tonight is a concert presentation of the "Second Great Gerry Mulligan Quartet" before a rapt and enthusiastic French audience in Paris in June 1954. The first edition of the Mulligan pianoless Quartet had trumpeter Chet Baker on the front line with baritone saxophonist Mulligan and was one of the most popular and talked about combos of it's time. Due to a variety of circumstances the Baker & Mulligan Quartet ended and after a time Mulligan reassembled the group with valve trombonist Bob Brookmeyer on the front line with Mulligan plus a new rhythm section with the great Red Mitchell on bass and the shamefully underrated drum master Frank Isola. They were booked to play in Paris and were welcomed like a liberating army. Both Mulligan and Brookmeyer were also great composers along with being two of the leading voices on their horns so it was a perfect fit. These concert recordings are tonight's Jazz Feature and demonstrate how fresh and new this band still sounds after so many years. Check it out tonight and you'll be glad you did.

Tonight`s Jazz Feature is a kind of meeting between east and west. The leader is the great tenor saxophonist Harold Land and he is paired with trumpeter Joe Gordon who had moved to Los Angeles from Boston and guitarist Wes Montgomery who was living for a time in San Francisco. Those three made up the western contingent. The eastern group consists of Barry Harris on piano, Sam Jones on bass and Louis Hayes on drums who all were Cannonball Adderley`s rhythm section and one of the best. This adds up to a solid straight-ahead Jazz record date. It was recorded at The Jazz Workshop, San Francisco`s leading Jazz club on a night when it was closed, The venue was chosen for it`s good acoustics. The album consists of 3 new Harold Land tunes, Wes Montgomery`s famous `West Coast Blues` (the title track) a ballad by Billie Holiday called `Don`t Explain` and a Charlie Parker tune. All in all a good record date with lots of inspired moments. All recorded in May of 1960 and tonight`s Jazz Feature.

Tonight an iconic recording and a classic. Tenor saxophone master John Coltrane and his seminal recording "Giant Steps". Coltrane performs here with a hand picked quartet with the magnificent Tommy Flanagan on piano who with his light touch and lyricism provides a perfect foil for Coltrane's intensity. Coltrane's favorite bassist is here...Mr. P.C. aka Paul Chambers and drum great Arthur Taylor whom Coltrane liked for his tough swing and great cymbal ride. All the compositions are by Coltrane and they cover the gamut of feelings from blasting intensity to the soft ballad styling of "Naima" dedicated to Mrs. Coltrane to the playfulness of Syeeda's Song Flute, for his daughter.. All of this was recorded in New York for Atlantic Records on May 8, 9,1959. "Naima" was from a later recording date with Coltrane, Wynton Kelly on piano, Chambers on bass and Jimmy Cobb on drums. Coltrane chose the sequence of tunes and liked this later version of Naima and chose it for the album. That's it...tonight's Jazz feature: "Giant Steps".

Tonight's Jazz Feature is a tribute to our great nation by one of the greatest musicians that this country has produced. July 1 was Canada's 156th Birthday and as we celebrate that milestone on tThe Jazz Show as The Jazz Feature, the music and the compositions by Mr. Peterson will reflect his love and pride for the country of his birth which took place in Montreal on August 15, 1925 and died at his home in Mississauga on December 23,2002. Peterson wrote the "Canadiana Suite" in 1964 while he was touring with his famous, long standing Trio with Ray Brown on bass and Edmund Thigpen on drums. The 8 part suite begins in the East and goes across our vast nation with musical portraits It stands as an important work and a tribute to what Canada stands for in the world. We will add one more piece to the Suite and that is Peterson's famous anthem to freedom and liberty entitled "Hymn To Freedom". That sentiment applies to all nations throughout the world. The Canadiana Suite plus is tonight's Jazz Feature. Enjoy!

Tonight's Jazz Feature is by a fine pianist/composer who literally played with everyone of importance from Charles Mingus, Max Roach, John Coltrane to Billie Holiday and many more. Mal was the "house pianist" for Prestige Records in the mid and late 50's and recorded prolifically as a sideman and leader. Tonight's album is arguably his finest as a leader up to the time yet it is unfairly overlooked. It was done on March 20, 1958 at RVG Studios. His trio has Addison Farmer on bass and Albert "Tootie" Heath on drums and it's a very cohesive date. The album was called "Impressions" but that's just a title and nothing to do with the famous Coltrane tune. Mal's Overseas Suite in 3 movements kicks of the album then some solid standards like "You Stepped Out of a Dream" and a ballad "All The Way" Mal's wife of the time wrote a fine waltz called All About Us" and the wrap up tune is Rogers and Hart's "With a Song in My Heart". As an extra I've added a solo piano composition by Mal called "Nervous" to end the Feature. It's like a mini portrait of New York and a fun listen. Tonight Mal Waldron!

Tonight's Jazz Feature honors one of the most productive and influential musicians in Canadian Jazz and that is Phillip Rista Nimmons, who was born in Kamloops B.C. June 3,1923 and he just celebrated his 100th Birthday. He is alive and well and healthy. Tonight's Jazz Feature spotlights Phil Nimmons' JUNO Award winning "Atlantic Suite". A suite in 5 movements featuring his great band "Nimmons 'n' Nine Plus Six" . It was recorded in Toronto in June of 1975 and won one of the first JUNO Awards for Jazz in 1976. Following the Atlantic Suite will be the work called "Suite P.E.I" which features a live performance of Phil Nimmons leading The Canadian Jazz All-Stars. This is a composition by Nimmons and it features his innovative and very modern clarinet playing. He deserves much wider recognition for his clarinet playing. The Canadian Jazz All-Stars is full of prominent Canadian musicians like Moe Koffman, Guido Basso, Don Thompson and Terry Clarke and others. The Atlantic Suite and Suite P.E.I. are presented to honor Phil Nimmons tonight.

Sonny Rollins needs no introduction here but this incredible album that is tonight's Jazz Feature is often overlooked in favor of some others yet it represents an early milestone in Sonny's life and career. He had recovered from his drug addiction and a healthy Sonny joined the famous Max Roach/Clifford Brown Quintet which was one of the finest Jazz groups at that time in the mid 50's. This was his first album after his rehab and it presents a new and stronger Sonny and is considered his first "great' record. It was Sonny's first 12' LP and issued on Prestige Records as "Work Time". Sonny's hand picked quartet consists of the great Max Roach on drums and strong bassist George Morrow and on Miles Davis' recommendation a fine then young pianist from Philadelphia named Ray Bryant. There is only one Rollins original on this date called "Paradox". The set opens with Irving Berlin's "There's No Business Like Show Business" then Paradox then Billy Strayhorn's "Raincheck" followed by the great ballad "There Are Such Things" and the set ends with Cole Porter's "It's All Right With Me". Worktime is historic and a real beginning for Sonny Rollins and it's tonight's Jazz Feature.

Tonight's Jazz Feature is an unearthed recording, one of the many by pianist composer Andrew Hill. In an interview with Mr. Hill with Blue Note Records archivist, Michael Cuscuna, Andrew mentioned the many unreleased sessions he recorded for Blue Note naming all the personnel. Hill said some were good and some were just okay. All were eventually released except for one which he said he was very happy with. Cuscuna as soon as he left Hill went into the Blue Note archives looking for this session that Hill mentioned but alas the tape was out of phase and unuseable. Cuscuna persisted and in a few weeks he was rewarded with finding a faultless multi-track tape of the session that had been misfiled. He brought it to Hill and Andrew was elated. The session was released in 2003 and drew accolades from critics and fans alike and was hailed as 'the discovery of the year". The album features 7 Hill compositions played by two great trumpeters: Woody Shaw and Dizzy Reece, trombonist Julian Priester, Robert Northern on French horn, Howard Johnson on tuba and bass clarinet and multi-instrumentalist Joe Farrell on tenor and soprano saxophones, English horn, bass clarinet and alto flute. Mr. Hill is on piano with Ron Carter on bass and a young Lenny White on drums. The album was called "Passing Ships" and it's a latter day classic and tonight's Jazz Feature.

The Jazz Episles were a very short lived Jazz group from South Africa. They were inspired by Art Blakey`s Jazz Messengers and like the early Messengers, they were a co-operative band. The band was the brainchild of pianist Dollar Brand, who after his conversion to Islam became Abdullah Ibrahim. The others in the band were Kippi Moeketsi on alto saxophone (sometimes called the Charlie Parker of South Africa), trombonist Jonas Gwangwa, trumpeter Hugh Masakela. bassist Johnny Gertze, and drummer Makaya Ntshoko. The album was recorded in Capetown in 1960. Sadly due to a variety of circumstances this was their only recording but it shows the strength of the spirit of Jazz that a recording of this quality could be made under the repressive circumstances of apartheid South Africa. The tunes include a trio track and a piano solo track by Dollar Brand. An ensemble tune by Brand and one tune by Hugh Masakela and one by Jonas Gwangwa and three by Kippi Moeketsi. Verse 1 stands as a monument to the qualities of freedom and joy of Jazz music.

Tonight's Jazz Feature is one of the many that alto saxophonist Jackie McLean did for Blue Note Records during his early years with the label from 1959 to 1967. Jackie reached musical maturity during his Blue Note years and his playing progressed by leaps and bounds. This album seems unjustly neglected and deserves a hearing as the music is superb. It marks the recorded debut of trumpeter/composer Charles Tolliver. Charles contributes 3 compositions to the set which was recorded at Rudy van Gelder's Studio on August 5, 1964. Jackie McLean picked the great rhythm section with Herbie Hancock playing some very adventurous solos, On bass is Cecil McBee and on drums is the always creative "Mr Snap-Crackle" (Roy Haynes).. Mclean contributes 3 tunes to the set including the title track: "It's Time!". This Jazz Feature is a belated Birthday tribute to Mr. McLean who was born on May 17, 1931 in New York. It's Time for Jackie McLean!

Tonight's Jazz Feature is a unique one of a kind recording by the great tenor saxophonist Stan Getz. He said when interviewed near his passing that "Focus" was his favorite album. It it essentially Stan Getz improvising over 7 compositions that could stand on their own by Eddie Sauter. They tried many approaches at rehearsals and came up with this simple formula, Stan would use his skills as a master improviser to make all these pieces happen. The seven compositions cover a huge range of moods from exciting to romantic to whimsical to fanciful. This album stands alone as one of the masterpieces of 20th century music. Stan Getz, Eddie Sauter's compositions and the large string orchestra conducted by Hershy Kay. It was recorded over several sessions beginning in July 1961 and wrapping up in October of 1961. Focus is Getz' masterpiece and tonight's Jazz Feature.

Tonight's Jazz Feature is a fine album which harkens back to Don Cherry's early days leading a band called "The Jazz Messiahs" which existed in 1956/57 but sadly never recorded. This album done in August of 1988 is kind of a recreation of the Messiah's music and sound. It is much more traditional than many of Cherry's recordings. The band is Don Cherry on trumpet, James Clay on tenor saxophone, Charlie Haden on bass (replacing the original bassist Don Payne) and Billy Higgins on drums. 3 Ornette Coleman tunes are featured and one by Thelonious Monk, two by Don Cherry and two ballad features for James Clay (minus Cherry). The album called "Art Deco" is a wonderful experience and everyone is in top form. That's tonight's Jazz Feature.

Tonight`s Jazz Feature honors the Birthday Anniversary of John Arnold ``Johnny`` Griffin 111 who was born on April 24,1928 in Chicago and died from a heart attack at his home on Mauprevoir, France on July 28,2008. He played his last gig on July 21, 2008 at age 80, so he was playing right up to the end. This album was considered one of his finest under his name at the time and was recorded in New York in August 1959. Rather than a quartet date or a jam type date this one was well planned. Norman Simmons, a wonderful pianist/composer arranger also from Chicago scored the date and brought in 3 of his tunes as well. It was a sextet date with Richard ``Blue`` Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam jones on bass and Albert ``Tootie`` Heath on drums.``The Little Gian`` stands the test of time and is tonight`s Jazz Feature. Happy Birthday Anniversary Johnny!

Tonight's Jazz Feature is the third album in young Herbie Hancock's Blue Note Records era. All of his Blue Note albums are "classics" but this one is lesser known but an important document. It was supposed to be a straight forward piano trio album with Herbie playing well known standards, plus a couple of originals and a couple of 12 bar blues. Herbie had something very different in mind and created some tunes that left open a lot of room for improvisation. They all had interesting properties and enhanced by a solid rhythm section made up of Paul Chambers on bass, Willie Bobo (aka William Correa) on drums and Oswaldo "Chihuahua" Martinez on added percussion. The five Hancock compositions explore a variety of moods and leave a lot of space for exploration. It is a unique document and a credit to Hancock's adventuresome musical spirit. "Inventions and Dimensions" was the album title and in honor of Herbie Hancock's 83rd Birthday on April 12, 2023 we feature his amazing music.

Tonight is a special Jazz Feature as it it the music of Charles Mingus but not by his Jazz Workshop band but by Mingus alone at the piano. It is unique in his recorded legacy and features Charles playing his own compositions and standards that he loved on the piano alone. The piano had always been part of Mingus` musical journey and it was occasionally heard on some recordings especially one with his band called ``Oh Yeah!``. This album was recorded in New York on July 30, 1963 with the studio made warm and comfortable and the lights dimmed. Mingus explores some of his favorite standards and his original creations and brings us a more contemplative and introspective side of Charles with of course a few hints of turbulence too! Enjoy almost an hour of the music of Charles Mingus at the piano, tonight`s Jazz feature.

Tonight`s Jazz Feature is the recording debut of a young prodigy named Eric Kloss. Eric is celebrating his 73rd Birthday today and playing his music is a good idea to honor his recorded legacy. Eric was born blind and learned music and the saxophone at the Western Pennsylvania School for Blind Children and made his professional debut at age 12!! He continued to perform in and around Philadelphia at concerts and festivals and made his recording debut at age 16! This album was called ``Introducing Eric Kloss`` and was the first of ten for Prestige Records. He is heard here on alto and tenor saxophones with the great Don Patterson on Hammond organ, Pat Martino on guitar and Billy James on drums. Eric went on to record for Muse Records in the 70`s and mixed straight-ahead Jazz with fusion. He also taught at various colleges but health problems curtailed his playing and recording activity and he has kept a low profile since. Today he celebrates his 73rd Birthday and I hope we might hear him once again. Enjoy his debut tonight right here!

Tonight's Jazz Feature is in effect our final tribute to the passing of saxophonist/composer Wayne Shorter. The album is by Miles Davis and "The Second Great Quintet" with Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and the young master drummer, Tony Williams. The album represents the Quintet at a creative peak and as the band was very busy with engagements, it was the right time to enter the recording studio. The album was done in New York in June and July 1967. Three of the compositions are by Wayne Shorter and it's his compositions and concepts that kept the band very fresh. Wayne wrote "Nefertiti", "Fall" and "Pinocchio" and Hancock wrote "Riot" and "Madness" and Tony Williams wrote "Hand Jive". All in all a very important document by one of the finest ensembles in Jazz History and tonight's Jazz Feature.

Tonight we present a very special concert that took place in Vancouver at the newly opened Queen Elizabeth Theatre and was presented by the old Vancouver New Jazz Society. It took place on a Sunday night on December 6, 1959. The star was the great Modern Jazz pianist Russ Freeman. Mr. Freeman was one of the leading and busiest pianists on the West Coast as he had played with Charlie Parker, Chet Baker, Art Pepper ,Dexter Gordon, Sonny Criss and many other greats. He was a hard swinging and inventive pianist who had his own style. Russ and Hampton Hawes were the two leading lights of Jazz piano on the Coast. He was very happy with his two accompanists and inspired by their talents. They were Vancouver legends Stan "Cuddles" Johnson on bass and swinging drummer Jimmy Wightman. Russ didn't do many trio albums under his name and this disc issued by Montreal's Just a Memory label adds greatly to his legacy. Sadly these fine musicians are all gone but their music lives tonight as The Jazz Show's Jazz Feature.

Tonight's Jazz Feature is a bit of a catch-up as we return to live broadcasting. This Jazz Feature is an extended tribute to Black History Month and part 1 is Sonny Rollins' famous piece "The Freedom Suite" which was recorded in February of 1958 for Riverside Records. Mr. Rollins wrote this suite and performed it here with two pioneers of Modern Jazz, bassist Oscar Pettiford and drummer Max Roach. It is Rollins' statement to the trials and triumphs of African Americans and was a ground breaking recording. It is in 3 movements and spans about 20 minutes of magnificent playing by all, Part 2 of tonight's Jazz Feature is a performance by the John Handy "New" Quintet at New York's Village Gate. Handy is on alto saxophone with Bobby Hutcherson on vibes, Pat Martino on guitar, Albert Stinson on bass and Doug Sides on drums. The piece is dedicated to the great but underrated civil rights advocate, James Meridith who risked his life to integrate the University of Mississippi in Jackson. It is sometimes referred to as "Old Miss". Meridith was successful and today there is a statue at the university in his honor. John Handy wrote and performs his composition dedicated to Meridith called "Tears Of Old Miss" (Anatomy of a Riot). It is a stunning and intese performance depicting the effort it took Meridith to accomplish what he did. Both pieces are a tribute to Black History Month.

Tonight's Jazz Feature is one of Charles Mingus' most intense and incendiary recordings. It was done with his core band that worked a long gig with him at a New York club called "The Showplace". The gig was coming to an end and his two horn players were about to leave. As Mingus had just signed a contract with a new independent label called Candid Records, it gave him the opportunity to record the band and so it came to be: "Mingus Presents Mingus". Mingus introduces the tunes as he would in a club and the band is ready to deliver. The core band is just a quartet but what a quartet! Mingus drives the band on bass and drummer Dannie Richmond kicks everyone along with some hard swing. The two horns are Ted Curson on trumpet and Eric Dolphy on alto saxophone and bass clarinet. Many consider this album one of Mingus' most important recordings....listen and you might agree. Tonight's Jazz Feature continues to honor Black History Month with the music of Charles Mingus.

Tonight's Jazz Feature pays tribute to Black History Month with this seminal recording by Herbie Hancock. It was his final album for Blue Note records and the first by his new working band. He had left Miles Davis' band and was embarking on his own career as a leader in 1969. This album was written and created as a musical statement reflecting the turbulent times in the USA and the anger and discontent with the lack of movement in civil rights. Plus there were the assassinations, the Vietnam War and a general malaise in the USA at this time too. Hancock worked on these compositions very hard and Blue Note was kind enough to give him a larger budget for this recording as he wanted to add some musicians to the ensembles to create a larger sound. He succeeded by leaps and bounds. His core group was the great Joe Henderson on tenor saxophone, Johnny Coles on trumpet and flugelhorn Garnett Brown on trombone, Buster Williams on bass and Albert "Tootie" Heath on drums. Three non soloing horns are added: flute, bass clarinet and bass trombone. The selections save on are all by Herbie Hancock. The title track is "The Prisoner" followed by "He Who Lives in Fear" then "I Have a Dream" dedicated to the memory of Martin Luther King followed by Buster Williams' "Firewater" then ends on a quiet positive note of hope with "Promise of The Sun". The Jazz Show's tribute to Black History Month.....Herbie Hancock's "The Prisoner".

Tonight's Jazz Feature is a bit different as this is our Fundrive Edition of The Jazz Show and I wanted to have a shorter Jazz Feature interspersed with reminders to donate to CITR's Fundrive by going to www.citr.ca/donate. For the Jazz Feature we present four classic recording sessions with the great alto saxophonist and pioneer of Modern Jazz. We will hear these four sessions spanning 1947 to 1953. Charlie Parker will be heard with trumpeter Miles Davis, pianists Bud Powell, Duke Jordan, John Lewis and Al Haig and bassists Tommy Potter, Curley Russell and Percy Heath and master drummer Max Roach. That will be tonight's Jazz Feature : a small tribute to Bird.

Chicago born John Arnold Griffin 111 is better known as simply Johnny or in some cases "The Little Giant." Griffin was and is one of the major voices of the tenor saxophone. He emigrated to New York in late 1956 and was soon causing musical excitement in the Big Apple. He recorded his first Blue Note album and it was getting lots of play and in early 1957 he joined Art Blakey's Jazz Messengers. He was doing sideman record dates as well. Tonight's Jazz Feature is his second Blue Note date and it's basically a jam type date with long tunes and plenty of solo time for all. Griffin requested this and it was agreed upon by Blue Note boss Alfred Lion. Griffin picked the young trumpet sensation still in his teens, Lee Morgan. Hank Mobley and John Coltrane were his other tenor saxophone partners. The rhythm section was powerful with Wynton Kelly on piano, Paul Chambers on bass and Griffin's boss, Art Blakey on drums. Two standard tunes were played and two Griffin originals comprised the date and everyone had a chance on all of these tunes to show their stuff. Unlike many blowing jam type sessions, the level was top notch on this one. This is Jazz at it's best.....in other words: the real deal! A Blowin' Session, tonight's Jazz Feature.

Tonight`s Jazz Feature is one of the few albums under his name that he recorded despite the fact that master drummer Arthur Taylor was on literally hundreds of recording sessions in the 50`s and 60`s. He played with everyone of note from Coleman Hawkins, Charlie Parker, John Coltrane, Thelonious Monk et al. The Jazz Feature album is called `A.T.`s Delight` and it is one that Art Taylor was proud of. He selected the tunes and picked the personnel. First up is the underrated and under recorded trumpeter Dave Burns. On tenor saxophone is a young up and coming star, Stanley Turrentine. On piano is Wynton Kelly and Taylor`s favorite bassist, Paul Chambers. Where heard is the great conga player Carlos `Patato` Valdes, he is on some tunes. The set is a good one beginning with Coltrane`s `Syeeda`s Song Flute` followed by Thelonious Monk`s `Epistrophy` and that is followed by the up tempo `Move`. Trumpeter Kenny Dorham was commissioned by Art Taylor to write two tunes for this date and the first is called `High Seas`. Following this one is a Taylor composition reflecting his Caribbean heritage called `Cookoo and Fungi` (a West Indian dish). The final tune is the second Dorham composition called `Blue Interlude`. Taylor was happy with this date done at RVG Studio on August 8, 1960 and you will be too when you hear it.....`A.T.`s Delight`.

Drum great Max Roach is tonight`s Jazz Feature Artist. Mr.Roach was always aware of civil rights and was politically aware of the changes in American society but around about 1960 he decided to combine his music with the politics of civil rights and made a statement that he would never play any music that didn`t have social significance. Tonight`s Jazz Feature is his fine album, his first of two for the newly formed Impulse Records. Roach wrote and arranged all six pieces all dedicated to aspects and people involved in the fight for rights and freedom. Along with Roach on drums, Art Davis is on bass, Mal Waldron is on piano and the horns include trumpeter Booker Little, trombonist Julian Priester, tenor saxophonist Clifford Jordan, the great Eric Dolphy on flute, bass clarinet and alto saxophone. Abbey Lincoln is the vocalist on two tracks and two percussionists are added on some tunes, Carlos `Patato` Valdes on conga drum and Carlos `Totico` Eugenio on timbales and percussion. Tonight`s Jazz Feature is dedicated to the legacy of Dr. Martin Luther King and celebrates not only the US holiday but his Birthday Anniversary which was January 15th. Politics coupled with great music by Max Roach and his Ensemble.

Tonight's Jazz Feature is our first for 2023 and it spotlights the talents of Dizzy Gillespie and Stuff Smith. Dizzy Gillespie is of course a Jazz pioneer and the major voice of Modern Jazz trumpet. Hezekiah "Stuff" Smith is a a rarity in Jazz, a master violinist. Stuff has that raw sound derived from the blues and a deep swing and a style that is very adaptable. Producer Norman Granz was right when he brought Stuff and Dizzy together as their outgoing musical personalities meshed and they lit a fire under each other. Dizzy chose the rhythm section wisely. Pianist Wynton Kelly, bassist Paul West and swinging drummer J.C. Heard. There are only four tunes but they all allow the musicians to say their say. The first combines blues and exotica and is by Gillespie and is called "Rio Pakistan", the second is a bouncy standard familiar to all called "It's Only a Paper Moon" and the third is a minor key blues by Stuff and Dizzy called "Purple Sounds" and the last which begins with a rhapsodic intro by Stuff then launches into an up tempo swinger is Irving Berlin's "Russian Lullaby". Happy New Year from Stuff, Dizzy and company and from The Jazz Show!

Tonight's Jazz Feature is a special one as composer arranger Gil Evans did not record many albums under his name. He became prominent as an important collaborator with Miles Davis and they produced three important and iconic albums, "Miles Ahead", "Porgy and Bess" and "Sketches of Spain". Davis was the principal soloist and the arrangements for the accompanying orchestra was conducted and arranged by Gil Evans. A magical combination!. Evans, through these famous recordings was able to form his own band and record under his own name. Tonight's Jazz Feature album is one of his very finest and is called "Out of The Cool". It was a marvelous band that had that exclusive Gil Evans sound and featured many of his favorite players. We hear great solos by trumpeter Johnny Coles, trombonists Jimmy Knepper and bass trombonist Tony Studd, tenor saxophonist Budd Johnson and then young bassist Ron Carter and drum great Elvin Jones. The band was beautifully recorded and this date became a milestone in Gil Evans' career. "out of the Cool" is tonight's Jazz Feature and it's a treat!

Tonight's Jazz Feature is of course a classic and one of tenor saxophonist Sonny Rollins' great recorded moments. It was a meeting with two great musicians that Sonny had never played with or met before the recording session! It could have been either a triumph or a disaster but of course it was a triumph and even the self-critical Mr. Rollins likes the results. It was beautifully recorded by Contemporary Records in Los Angeles while Sonny and bassist Ray Brown were in L.A. and with drum great Shelly Manne who had lived in L.A. for many years. It was a great meeting of musical minds. "Way Out West" celebrates Sonny's West Coast adventure with three tunes celebrating that trip. Johnny Mercer's "I'm An Old Cowhand" and the even older "Wagon Wheels" and Sonny's whimsical original called "Way Out West" plus some well chosen standards. It all made for one of Mr. Rollins' true classic albums and it's tonight's Jazz Feature. Don't miss this one!

Tonight's Jazz Feature is a masterful album by one of the most distinctive voices of the alto saxophone John Lenwood McLean, better known as "Jackie". This is a date that he was proud of and rightly so. Mclean is in top form with this hand-picked quartet with pianist/composer Larry Willis on piano, the great Bob Cranshaw on bass and the dynamic Clifford Jarvis from Sun Ra's Archestra on drums. There are only four tunes on this date "Eco" by McLean opens the set with a bang. This is followed by the mournful and sad ode to the late Eric Dolphy by Larry Willis called "Poor Eric" the next is the uplifting and jagged "Christel's Time" by Mr. Willis and finally the exciting title track by trumpeter Charles Tolliver called "Right Now!". This often overlooked gem stands as one of Jackie McLean's finest outings and is over too soon! Check it out!

William "Red" Garland leads this classic quintet tonight on The Jazz Show's Jazz Feature. In the Fall of 1957 Red had some time off as Miles Davis' regular pianist because Miles was on a tour of Europe and involved in making the soundtrack from the French noir film "Elevator to the Scaffold". Red secured some gigs in and around New York with this band which included tenor giant John Coltrane, trumpeter Donald Byrd, drum ace Arthur Taylor and a newcomer on bass from Memphis named George Joyner who soon later became Jamil Nasser. The band gelled instantly with minimal arrangements and fuss and sounded like a long standing working band. Red was contacted by Prestige Records and the band did two marathon recording sessions. One in November and the other in December of 1957. The results from these sessions were issued on a variety of Lps and later Cds as was Prestige's policy. The three extended tunes come from an album called "All Mornin' Long". It came from the first session on Nov.15,1957. The playing is on an extremely high level and demonstrates you can make high quality music with the minimum of complex arrangements and such from these five master players. "All Mornin' Long" is tonight's Jazz feature....sit back and enjoy!

Tonight's Jazz Feature is a new voice on the big baritone saxophone. His name is Jason Marshall. He is an "in your face" player with a huge deep sound and tons of technique and facility to get around the big horn. He has had great teachers like Hamiet Bluiett, Ronnie Cuber and Gary Smulyan. His inspiration comes from listening long and hard to Bruce Johnson, Leo Parker and Nick Brignola and of course Pepper Adams. Jason has a concept all his own and plays with deep respect for the great Jazz tradition of melodic and swinging improvisation.. He is backed on this quartet date by Marc Cary on piano, Gerald Cannon on bass and the great Willie Jones III on drums. This rhythm section can't miss! Enjoy this wonderful album by some of the young veterans of Jazz and Jason Marshall, a great new baritone saxophone voice. "New Beginnings" is tonight's Jazz Feature and it comes from the Cellar Live label thanks to producer Jeremy Pelt and Cory Weeds.

In honor of a recent Birthday Anniversary of the great alto saxophonist Phil Woods, tonight's Jazz Feature is a concert by one of Mr. Woods' finest ensembles, his European Rhythm Machine. Woods formed this band right after a move to Europe in 1968 that revitalized his career and his music. Tonight's Jazz Feature is from a concert that took place at the Montreux Jazz Festival in Switzerland. The band included Mr. Woods on alto saxophone, George Gruntz on piano, Henri Texier on bass and the great Daniel Humair on drums. Four selections make up the repertoire beginning with Gruntz' "Capricci Cavallereschi". This is followed by Leonard Feather's composition "I Remember Bird" that is followed by Carla Bley's tune "Ad Infinitum" and ends with a furious version of Herbie Hancock's "Riot". That is tonight's Jazz Feature and it's some of the most passionate Jazz music you will ever hear thanks to Mr. Woods and company!.

Tonight's Jazz Feature is part of this month's series of unissued or newly unearthed albums. This one falls into the latter category. People were aware this date took place as it was listed in discographies but only one tune was ever actually issued. John Coltrane's contract with Impulse Records included a clause that he would have private tapes of everything he recorded for the label. When he died in 1967 some tapes went to his first wife Naima and some went to his second wife Alice. When they passed away the estate was turned over to his son saxophonist Ravi Coltrane. Ravi unearthed this long forgotten and lost recording session by Coltrane's "classic" Quartet. In the Quartet were Coltrane on soprano and tenor saxophones, McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. They were at their early peak on March 6, 1963 when this recording happened. Seven compositions will be heard, two are untitled originals by Coltrane. Two standards are included: "Nature Boy" by Eden Ahbez and "Vilia" by Franz Lehar. Three well known Coltrane originals make up the rest: "Impressions" and "One Up, One Down"and a "Slow Blues". This album is an amazing discovery worth your attention and is tonight's Jazz Feature.

Tonight's Jazz Feature is part of this month's series of unissued or newly unearthed albums. This one falls into the latter category. People were aware this date took place as it was listed in discographies but only one tune was ever actually issued. John Coltrane's contract with Impulse Records included a clause that he would have private tapes of everything he recorded for the label. When he died in 1967 some tapes went to his first wife Naima and some went to his second wife Alice. When they passed away the estate was turned over to his son saxophonist Ravi Coltrane. Ravi unearthed this long forgotten and lost recording session by Coltrane's "classic" Quartet. In the Quartet were Coltrane on soprano and tenor saxophones, McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. They were at their early peak on March 6, 1963 when this recording happened. Seven compositions will be heard, two are untitled originals by Coltrane. Two standards are included: "Nature Boy" by Eden Ahbez and "Vilia" by Franz Lehar. Three well known Coltrane originals make up the rest: "Impressions" and "One Up, One Down"and a "Slow Blues". This album is an amazing discovery worth your attention and is tonight's Jazz Feature.

Horace Parlan was born in Pittsburg, Pennsylvania and came to prominence with the 1958/59 edition of the Charles Mingus Jazz Workshop. after leaving Mingus he recorded prolifically as a sideman and signed a contract with Blue Note Records. His albums did well and he was a busy pianist. He developed a unique style of playing because of a handicap brought on by childhood polio which paralysed two fingers on his right hand. His albums for Blue Note sold well and yet this fine session was never issued until 1986 even though it was recorded in 1963. It was given a catalogue number and advertised but never issued at the time and this is the reason it is being spotlighted as part of our unissued Jazz Features this month. The music is superb and features a great band with Parlan leading on piano, Johnny Coles on trumpet, Booker Ervin on tenor saxophone, Grant Green on guitar, Edward "Butch" Warren on bass and Billy Higgins on drums. 6 original tunes are played by Parlan who wrote 2, Ervin who did 1 as did Johnny Coles and 1 by pianist Randy Weston. The intriguing opener called "Home is Africa" was penned by Sun Ra bassist Ronnie Boykins. The album is called "Happy Frame of Mind" and it's tonight's Jazz Feature.

The Dave Brubeck Quartet is our Jazz Feature from a live concert from The College of the Pacific on Dec. 14,1953 with Paul Desmond on alto saxophone, Ron Crotty on bass and Joe Dodge on drums playing his very first gig with the band. This concert was special for Brubeck as it was at his alma mater. Desmond in particular loved the acoustics of the hall too as it brought out special properties of his alto saxophone. Brubeck, with the help of his wife, Iola had opened the doors in the early 1950s to presenting Jazz to college audiences and he had done a few cross country tours at universities throughout the nation. But this was a special one. A classic album had been released with 6 selections from the concert and is now along with an album recorded at Oberlin University, two of Brubeck's finest from his early years. This album is from the College of the Pacific concert but it never saw the light of day for over 50 years and is a series of great tunes.! An undiscovered treasure will be heard tonight. This is a further continuation of this month's Jazz Features with previously unreleased or undiscovered recordings this one has the Brubeck quartet at it's early best.

This recording by Art Blakey and The Jazz Messengers was not released until 2021 even though it was recorded in 1959. It is tonight's Jazz Feature and the theme of the five Mondays in the month of October will be albums that were never issued at the time of their recording. This marvelous Blakey album was never issued by Blue Note Records because the band, 6 weeks after this session was recorded, went into Blrdland, New York's leading Jazz club then and it was decided to record there in front of a great audience. Two volumes of music was issued and this session was therefore moot and shelved and forgotten. Tonight we hear this first session. The band includes the young 20 year old herald of the trumpet Lee Morgan in top form, Hank Mobley on tenor saxophone making a return to the band. Bobby Timmons is on piano and Jymie Merritt is on bass along side the great firestoker Art Blakey. Mobley wrote 3 of the 6 tunes and Timmons wrote 2. One good standard is heard as well. This is an important discovery of a long lost session by one of the great bands in Jazz History. The album is called "Just Coolin'" and is tonight's Jazz Feature.

Tonight's Jazz Feature is a fine album by the "welterweight champion of the tenor saxophone", Hank Mobley. The music typifies New York Jazz of the mid-50's and is timeless and always contemporary sounding. The people involved are Mobley and trumpeter Bill Hardman who was working at the time with Art Blakey's Jazz Messengers, pianist Sonny Clark, bassist Paul Chambers and ace drummer Arthur Taylor. What makes this session very special in the presence of alto and tenor saxophonist Shafi Hadi (born Curtis Porter). Hadi's unique style on both horns makes this session one of a kind.. It is also the only known recording outside of the Charles Mingus fold by Hadi. Hadi was with Mingus from 1956 to 1958 and is on almost all of Mingus' records of that time. Hadi essentially disappeared from the playing and recording scene after 1959. So anything by him is valuable and as this one is a non-Mingus date, it is important. So it's the Hank Mobley Sextet with Shafi Hadi tonight as our Jazz Feature.

Tonight's Jazz Feature is a Jazz Show tradition that we present every year at this time as it's "back to school". This is an entertaining and educational recording and gives one a good idea about how Jazz music evolved. Even though the recording was made in 1960, many of the concepts and sounds are still heard in today's Jazz music so in many ways a recording like this is an important door to explaining what compromises Jazz music. Julian "Cannonball" Adderley was one of the most important voices of the alto saxophone and was a great bandleader as well. Not only that he was a great communicator and always respected and communicated with the audience by drawing them in with great pacing of the sets and announcements of the various pieces played. Mr. Adderley accomplished a lot in his relatively short life as he was born on Sept 15,1928 and was only 46 when he died from a stroke on Aug. 8, 1975. Even if you have heard this before there is always something new to learn and if you've never heard this before you're in for a treat. Entertainment and education is on tap courtesy of Cannonball Adderley.

Tonight's Jazz Feature is a very regular tradition on The Jazz Show at this time of year which of course is "back to school, back to work etc" This presentation although historical is an important document even if one has heard it before where Maestro Leonard Bernstein discusses what is and what isn't Jazz. Bernstein understood and respected Jazz music and it's players and composers and held them to the same high esteem as his classical counterparts. Part 1 is what is and what isn't Jazz and Part 2 delves into the construction of a popular song and then with the help of many major musicians like Coleman Hawkins, Phil Woods, Miles Davis etc. demonstrates what Jazz players can do to improvise on that song and interpret it in their way. Of course there are a few dated and funny references as well as this was recorded in the mid-1959s but with the narration and the participation of these master musicians, this remains a fun and educational recording. What is Jazz with Leonard Bernstein is tonight's Jazz Feature.

One of the most overlooked masters of the alto saxophone is Frank Strozier. Frank is still alive in New York but reclusive. Mr. Strozier was one of the many talented musicians who was born in Memphis. He came up with pianist Harold Mabern, tenor saxophonists George Coleman, Charles Lloyd and trumpeter Booker Little. Frank like most of these players moved to Chicago and graduated from the Chicago Conservatory of Music then made his way to New York. Frank was praised by none other than John Coltrane as "having one of the most advanced harmonic senses of any young player on the scene today". Frank worked briefly with Miles Davis and then with drummer Roy Haynes and then moved to Los Angeles where he played with drummer Shelly Manne and big bands led by Oliver Nelson and Don Ellis and did movie and studio work. He moved back to NYC in 1971 and soon began recording for the Danish based Steeplechase label. Tonight's Jazz Feature is his second date done in November 1977. It spotlights Frank on alto saxophone and also flute along with the great but little known trumpeter Danny Moore on some tunes. Harold Mabern is on piano and he sparks this session. The rhythm is premier: Stafford James on bass and the great Louis Hayes on drums. The title track of course is the Marvin Gaye classic arranged by Harold Mabern and begins the date on a high level. Another Mabern selection follows and then three compositions by Frank Strozier conclude this important Jazz Feature. Check it out tonight!

Tonight's Jazz Feature is an all-Canadian one. The leader is one of the foremost bassists in Canada, the incredible Michel Donato. Donato has played with everyone but notably with Oscar Peterson, Oliver Jones and singer Karen Young. Michel provides the harmonic and rhythmic foundation for this unique pianoless quartet. On tenor saxophone is the late Brian Barley. Barley passed away at a young age and we'll never know how far he could have gone. His style is a mix of Wayne shorter, Archie Shepp and Sonny Rollins but is all Brian Barley. On trumpet is one of Canada's leading lights on that instrument, Alan Penfold. and last but certainly not least is the legendary Claude Ranger. Claude was admired by all the visiting American drummers and his dynamics, innovation and inspiration is obvious here. The band reflects a little of Miles Davis' "Second Great Quintet" with Hancock, Shorter et al but has it's own sound and direction. The concert here was recorded for Radio-Canada ion May 30,1969 and one tune on June 27, 1969 on the program "Jazz en Liberte". The concert took place at L'Ermitage, a fine small concert hall in Montreal. Enjoy the sounds of Michel Donato and Co.

This is a very special album with two very kindred souls. The music is reflective and mostly introspective and intimate. Guitarist Jim Hall and pianist Bill Evans are melodic and lyrical and have a very special musical relationship. This was their second duet recording and was done in the spring of 1966.The album is entitled "Intermodulation" It features two standard tunes and then a touching composition by Bill Evans in a tribute to his Father called "Turn Out The Stars" and a tune by pianist Joe Zawinul called "Angel Face". One by Claus Ogerman named "Jazz Samba" and ending with Jim Hall's "All Across The City". Enjoy this gorgeous pairing of two musical souls.

Pianist/composer Kenny Drew recorded this wonderful album for Blue Note Records just before departing for Europe and it's a minor classic. All the compositions are by Kenny Drew and the hand picked band sounds like a working band even though they only assembled for this date. The people involved are the "welterweight champion of the tenor saxophone" : Hank Mobley. On trumpet, someone who would define trumpet playing in the 60's and beyond, Freddie Hubbard. Borrowed from Cannonball Adderley's band was one of the eras finest rhythm sections with Sam Jones on bass and Louis Hayes on drums. Drew's piano is in full force here and the dancing quality in his concept is from his West Indian heritage. The album is called "Undercurrent" and was issued on Blue Note and is definitely a joy to hear. Check it out!

With all the "Sonnys" in Jazz, especially those who are saxophone players, one who seems always to be forgotten is William "Sonny" Criss. He is tonight's Jazz feature artist. Sonny had been around for a few years but his career was rather spotty but in 1965 he sent a demo tape to Prestige Record's producer Don Schlitten and Sonny was signed to a contract and recorded seven superb albums for Prestige from 1966 to 1969. We hear his initial date tonight recorded in RVG Studio on October 21,1966, 2 days before Sonny's 39th Birthday. Sonny appears with Walter Davis Jr. on piano, Paul Chambers on bass and the magnificent Alan Dawson on drums. The repertoire of 8 tunes is mostly standards but Walter Davis composed one and Sonny composed one also. As the cover of the album states "here is an alto saxophonist whose consummate artistry approaches perfection". That quote is no exaggeration and I'm sure you'll agree. "This is Criss!" tonight's Jazz Feature.

Pianist Count Basie was asked to select a group of his favorite musicians for an impromptu jam session style recording. He selected the players wisely and chose trumpeter Harry "Sweets" Edison, alto saxophone masters, Benny Carter and Willie Smith and tenor giants Stan Getz and Wardell Gray and the herald of the modern clarinet, Buddy DeFranco,. In the rhythm section of course Basie chose guitarist Freddie Green, his right hand man for many years. On bass, the reliable John Simmons and the fiery Buddy Rich on drums. Basie is replaced on the lengthy ballad medley by pianist Arnold Ross and on the final "Blues For The Count" , Basie switches to organ while Ross stays on piano. The format is simple as the set opens on a high level with "Apple Jam". The ballad medley follows with everyone displaying their wares on a group of standard songs. Then the exciting "lady be Good". This standard by the Gershwin Brothers was often used in jam sessions and is one of the high points here. The final "Blues For The Count" is self explanatory. All of this took place in Los Angeles on August 18,1953 under the wise supervision of the great impressario Norman Granz. Sit back and enjoy master musicians in an informal setting playing their best.

Tonight's Jazz Feature is all about pianist Sonny Clark. Sonny was only 31 when he passed away, a victim of drugs. However he left a wonderful legacy of recordings as a leader and sideman in his short life. Never a virtuoso or a technical wizard but an extremely distinctive pianist who played long beautiful lines and when playing with horns was a master accompanist. This album, recorded when he was 28 displays his talents as a player and composer. All eight pieces are Sonny's and this once in a lifetime trio was augmented by the great George Duvivier on bass and drum pioneer Max Roach. They bring out the best in Sonny. The album was recorded for Time Records on January 5&6,1960. It displays Sonny at his very best and it's tonight's Jazz Feature. Check it out!

Gene Ammons is tonight's Jazz Feature artist. He was and remains one of the most important voices of the tenor saxophone. He was noted for his huge sound and blues based concept. He successfully combined the influences of Coleman Hawkins and Lester Young into a style that was Gene Ammons. This recording called "Live in Chicago" was recorded in Gene's home town in a local club with two fine Chicago based players. Eddie Buster is the Hammond organist and he's a great accompanist and provides the base for Gene's outpourings. On drums is Gerald Donovan who later became known as Ajaramu. Here he is a model of drive and swing. Gene is more outgoing here and takes more risks than he would normally do in a recording studio and it's a kick to hear. All of this was done at a small club on Chicago's South Side on a warm Tuesday night on August 29,1961. Gene Ammons: "Live in Chicago" is tonight's Jazz Feature and worth your time.

A very special meeting tonight as our Jazz Feature. One of the greatest of Jazz singers was Carmen McRae and the iconic Dave Brubeck Quartet in a live recording done in New York at the prestigious club "Basin Street East" in September of 1961. Carman was intrigued and wanted to sing something different and Brubeck wrote a bunch of melodies that she loved and Brubeck's wife Iola put lyrics to the tunes and Carmen was hooked. It was a very different venture from singing Gershwin and porter standard tunes. Carmen performs twelve wonderful pieces with Dave and the Quartet with Paul Desmond on alto saxophone, Eugene Wright on bass, Joe Morello on drums before a very appreciative audience. The result was issued on Columbia Records and called "Take Five" and yes that tune by Paul Desmond comes complete with lyrics! Tonight's special Jazz Feature...check it out!

Weather Report was one of the most prominent bands of the 70's and 80's . It existed from 1970 to 1986 and was initially begun as an idea from pianist/composer Joe Zawinul, saxophonist/composer Wayne Shorter and virtuoso bassist/composer Miroslav Vitous. They were initially inspired by the late 70's music of Miles Davos from his "In A Silent Way" album and his ground breaking "Bitches Brew" recording. All three had worked with Miles. The three principals foresaw a new vision for Jazz moving away from many of the more traditional forms plus the use of electronic instruments such as the electric bass and synthesizer. For want of a better definition, their music was called "Jazz Fusion". Alphonse Mouzon was their first drummer very soon replaced by Eric Gravatt and various percussionists were tried by finally Brazilian master Don Um Romaro was the ideal. Tonight's Jazz feature is from a concert in Tokyo recorded in January of 1972 and represents Weather Report at it's early artistic best before it began to use more R&B and funk elements and catered to a wider audience. The music moves through a variety of moods and tempos and is very dynamic and open. This album was only available in Japan for many years but finally issued domestically in the CD era. Enjoy Weather Report tonight!.

Tonight's Jazz Feature is the only American recording, under his name, of Belgian born guitar master Rene Thomas. Rene emigrated to the US in 1958 and then returned to Europe in 1962. He sadly passed away at age 47 from a heart attack after a concert in Spain. Rene's reputation preceded him when he arrived in the US and he was able to sit in and play with Miles Davis, Zoot Sims and many others. He worked briefly with Sonny Rollins and appeared on Sonny's album called "Sonny Rollins and The Big Brass". On tonight's "Guitar Groove" album Rene chose his sidemen wisely as he had worked with them in both Montreal and New York. On tenor saxophone, one of the most distinctive was J.R. Monterose and on piano the underrated Hod O'Brien. Bassist Teddy Kotick and drummer Albert "Tootie" Heath make up the solid rhythm section. The tunes are very well paced with 3 originals by J.R.Monterose. A beautiful Thelonious Monk ballad, "Ruby, My Dear", The complex Miles Davis/John Lewis tune "Milestones" (known as the "first" Milestones) and two standard tunes that feature Rene plus rhythm without J.R. "Guitar Groove" is one very fine album and leaves one wanting more. Rene Thomas and co., tonight's Jazz Feature.

Tonight's Jazz feature is the only domestic recording by The Toshiko Mariano Quartet. Toshiko Akiyoshi was one of the first Japanese musicians to gain national acclaim in the USA. Pianist/composer Toshiko Akiyoshi was born in Manchuria on Dec.12,1929 and she is still writing and performing. She emigrated to the Us in 1956 and began recording and gigging. She met and married alto saxophone master Charlie Mariano in 1959 and they decided to form a band in 1960: hence The Toshiko Mariano Quartet. They recorded this classic album in 1960 when they found their ideal rhythm section of bassist Gene Cherico and drummer Eddie Marshall. The album consists of two tunes by Charlie Mariano and an arrangement of an old spiritual ("Deep River") plus two tunes co-composed by Akiyoshi and Mariano. This album is a beauty and is tonights Jazz Feature!

Tonight the Jazz Feature spotlight is on a sadly neglected and forgotten great voice of the tenor saxophone: Walter Benton. Walter after touring with Latin bandleader Perez Prado Walter returned to his home town of L.A. and freelanced there until he decided to move to New York in 1960. Here he joined Max Roach and his band and achieved a higher profile. He was asked to do an album for Jazzland Records, a division of Riverside Records run by the indominable Orrin Keepnews. This album is our Jazz Feature but sadly Walter Benton's only album under his name. Walter was given carte blanche and he picked a young Freddie Hubbard on trumpet for the front line and Miles Davis' rhythm section for the rest with Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums for the first session and Albert "Tootie" Heath replacing Cobb for the second session a few days later. This fine album has 5 good original compositions by Walter and two fine standards beginning with the title track "Out of This World" and Walter's ballad feature "Lover Man". The highlight is Walter's smoky sounding saxophone and his authoritative concept. Walter was a distinctive and original player who deserved much more recognition and opportunities than he received but I'm very happy to share this fine album with you as our Jazz Feature tonight.

Tonight's Jazz Feature is an ad-hoc session that Miles Davis did just before he formed his first great quintet. in the Fall of 1955. Miles selected some players that he knew and liked. Milt Jackson, the premier vibist in Modern Jazz was one of them, Jackie McLean was invited and brought along two new compositions to record at Miles' request. Ray Bryant was selected on piano. He was new to New York and beginning to make waves. Bassist Percy Heath was a long standing associate of Miles as was drummer Arthur Taylor. Two Jackie McLean compositions ("Dr.Jackle" & "Minor March") were recorded then without McLean two more tunes were done. The first was a complex composition by trumpeter Thad Jones called "Bitty Ditty" and the second was a Ray Bryant creation entitled "Changes". All in all a wonderful session with everyone in inspired form. The only drawback is that it is a short album lasting just over 1/2 hour. In the old showbiz saying "leave 'em wanting more". Miles Davis and Milt Jackson and company....tonight's Jazz Feature.

This is the last installment of our May Jazz features that spotlight short-lived bands. We'll do this again later this year. The band in question tonight was led by one of the pioneers of Modern Jazz, trombone master J.J.Johnson. This band came from J.J.'s desire to put together a group of young up and coming players. He accomplished this by hiring a young Freddie Hubbard on trumpet, Clifford Jordan on tenor saxophone, Cedar Walton on piano, Arthur Harper on bass and Albert "Tootie" Heath on drums. In the case of Hubbard, Jordan, Walton and Heath, they became some of the most influential Jazz artists of the 60s and well beyond. They played several concerts and club gigs and fortunately made this, their only recording for Columbia Records. J.J. called the band "J.J. Inc.". The band recorded these brand new tunes written and arranged by Mr. Johnson in August of 1960. Soon after the recording J.J. regrettably disbanded as he was weary of dealing with clubs and booking agents but more importantly needed time to fulfill a lot of writing commissions that were coming his way including composing for TV and movies too. So this is what we have, this fine album by J.J. Inc. to remember this band by. Tune in and check out this amazing group, your ears will love you for it!

We continue our May series on short-lived bands. This one was exceptional and actually made two fine recordings for Blue Note Records at the end of the 60s. Pianist Kenny Cox is one of the many fine pianists who came out of Detroit but he is lesser known as he remained in that city. He did travel around the country for many years as singer Etta Jones' accompanist and arranger but she was the star. Kenny Cox decided to form this band and build a repertoire. The style of the group was influenced by Miles Davis' Second Quintet of the 6os but this band had it's own distinctive quality. Tonight's Jazz feature is their first date on Blue Note and it was met by excellent critical acclaim. The musicians involved in the Contemporary Jazz Quintet were of course all Detroit based players and were appreciated locally and had a fair amount of work in that city. On trumpet was Charles Moore, Leon Henderson is on tenor saxophone and yes he's Joe Henderson's younger brother! On bass is Ron Brooks and on drums, the dynamic Danny Spencer. The repertoire is by Kenny Cox (two tunes), Leon Henderson (two tunes), Charles Moore (one tune) and Detroit pianist Dave Durrah (one tune). Check out The Contemporary Jazz Quintet tonight and you won't believe your ears!

Tonight we continue our exploration of short-lived Jazz groups. This one existed from the Spring to the Fall of 1957. It was formed by two of the most prominent alto saxophonists in Jazz. One went on to a long illustrious career and that was Phil Woods but sadly the other while very active in the 50s and 60s faded into obscurity and is kind of a forgotten man and that was Gene Quill. They became friends and played together a lot from 1954 on in various bands but by 1957 decided to form a group to work around New York and elsewhere. The called themselves "Phil & Quill". Tonight's Jazz feature is their final recording and their best. Both are on fire! They are backed by the fine piano of Bob Corwin, bass master Sonny Dallas and driving drummer Nick Stabulas. They work their way through some fine Jazz standards like "Doxy" and "A Night in Tunisia" and "Scrapple from The Apple". Tonight it's "Phil Talks with Quill". Don't miss this one!

The Oscar Pettiford Orchestra led by the great pioneering bassist and cellist was a short lived big band that existed for several months in 1957. This Jazz feature is our on going tribute to short-lived bands. Pettiford had always dreamed of having a big band and he was able achieve it for a short time with the assistance of player/arrangers like alto saxophonist Gigi Gryce and tenor saxophone great Lucky Thompson. The band had a unique sound with two French horns (Julius Watkins and David Amram) plus a harp (Betty Glamman). Well hear solos by Pettiford on bass and cello plus some fine moments by trumpeters Art Farmer and Ernie Royal and trombonist Jimmy Cleveland plus of course alto saxophonist Gigi Gryce and tenor saxophone master Lucky Thompson and pianist Tommy Flanagan and the French horns. A great bog band with inspired playing throughout. The Oscar Pettiford Orchestra on tap tonight!

This is our first Jazz feature into short-lived Jazz groups for the month of May. The Pepper-Knepper Quintet only made one album and it existed for a short time playing a few venues and concerts in New York City in 1958. Pepper Adams is one of the great masters of the baritone saxophone and Jimmy Knepper is one of the finest and most distinctive of the modern Jazz trombonists. They met while playing the occasional gig with Charles Mingus and became friends and musical colleagues. They decided to form a band and fortunately they were heard on one of their rare gigs by producer and Jazz critic Leonard Feather and he arranged to have them recorded. Adams chose the ideal rhythm section in Wynton Kelly on piano and organ on one piece, Doug Watkins on bass and the great Elvin jones on drums. The compositions are by Adams and Knepper and one by producer Leonard Feather plus a couple of Ellington ballads make this album a fine one and sadly this little band's only date. Here it tonight as our Jazz Feature!

As we conclude our tribute to the 100th Birthday Anniversary of bassist/composer/band leader Charles Mingus, we present tonight's very long Jazz Feature. It is a concert by what many believe is his last great band. The concert takes place in Bremen, Germany at Postaula, a concert venue, on July 9,1975. The band and most of the repertoire was heard on two Atlantic Records albums "Changes 1 & 2" but on the studio recordings some of the tunes had to be edited for space. This doesn't occur here as they were in concert and there are no edits. Hence the length of tonight's Jazz Feature. The band consists of Jack Walrath on trumpet (the only living member), George Adams on tenor saxophone, Don Pullen on piano, Dannie Richmond on drums and Mingus. Each tune is given a long exploration and is one of the most compelling and exciting Mingus performances from this period. Check it out tonight as our Jazz Feature, you won't regret it!

As we conclude our tribute to the 100th Birthday Anniversary of bassist/composer/band leader Charles Mingus, we present tonight's very long Jazz Feature. It is a concert by what many believe is his last great band. The concert takes place in Bremen, Germany at Postaula, a concert venue, on July 9,1975. The band and most of the repertoire was heard on two Atlantic Records albums "Changes 1 & 2" but on the studio recordings some of the tunes had to be edited for space. This doesn't occur here as they were in concert and there are no edits. Hence the length of tonight's Jazz Feature. The band consists of Jack Walrath on trumpet (the only living member), George Adams on tenor saxophone, Don Pullen on piano, Dannie Richmond on drums and Mingus. Each tune is given a long exploration and is one of the most compelling and exciting Mingus performances from this period. Check it out tonight as our Jazz Feature, you won't regret it!

Out continuing Jazz Feature tribute continues tonight with a long feature in concert at the Antibes Jazz Festival at Juan-les Pins, France on July 13,1960. It was Mingus's first tour of Europe. His Jazz Workshop of 1960 consisted of Eric Dolphy on alto saxophone, flute and bass clarinet, Booker Ervin on tenor saxophone, Ted Curson on trumpet and Dannie Richmond on drums and of course Mingus on bass and occasionally piano. This was his core band at that time and they had played together for several months and were in-sync with one another. The band is on first before a very appreciative audience and this set was very well recorded. Four of the tunes were Mingus staples and the final jam on the standard "I'll Remember April" is a feature for the band with the great ex-pat Bud Powell joining the group on piano. Bud acquits himself very well here and it's a happy reunion between Mingus and Powell. This complete concert is our Jazz Feature tonight and not to be missed. By the way, this music wasn't released until 1976 and was an amazing discovery. Tune in tonight!

Out continuing Jazz Feature tribute continues tonight with a long feature in concert at the Antibes Jazz Festival at Juan-les Pins, France on July 13,1960. It was Mingus's first tour of Europe. His Jazz Workshop of 1960 consisted of Eric Dolphy on alto saxophone, flute and bass clarinet, Booker Ervin on tenor saxophone, Ted Curson on trumpet and Dannie Richmond on drums and of course Mingus on bass and occasionally piano. This was his core band at that time and they had played together for several months and were in-sync with one another. The band is on first before a very appreciative audience and this set was very well recorded. Four of the tunes were Mingus staples and the final jam on the standard "I'll Remember April" is a feature for the band with the great ex-pat Bud Powell joining the group on piano. Bud acquits himself very well here and it's a happy reunion between Mingus and Powell. This complete concert is our Jazz Feature tonight and not to be missed. By the way, this music wasn't released until 1976 and was an amazing discovery. Tune in tonight!

Tonight's Jazz Feature is a continuation of this month's tribute to Mr. Mingus. "Charles Mingus Month" is celebrating his 100th Birthday Anniversary. The Feature album is "East Coasting" done in August of 1957 during the time when Mingus was still an "underground" musician and composer. This was a period when the Charles Mingus Jazz Workshop (the name he called his bands) had a relatively stable personnel. The same band existed from late 1956 until the end of 1958. The only revolving door was the different pianists. The horns consisted of Jimmy Knepper on trombone, Clarence Shaw on trumpet and Shafi Hadi (aka Curtis Porter) on alto and tenor saxophones and of course mainstay drummer Dannie Richmond. For this recording Mingus called upon a young Bill Evans who came to the date and sight-read his parts and contributed s lot to the success of this recording. Mingus' bass was beautifully recorded and the set was first issued on Bethlehem Records. With the exception of the opening selection "Memories of You" the remaining 5 compositions are all new Mingus creations. The unity of spirit of evident throughout the date and it's one of Mingus' masterpieces. It is tonight's Jazz Feature and well worth your time.

This month The Jazz Show will be presenting a Charles Mingus Jazz Feature on the four Mondays in April. This is to honor the 100th Anniversary of the birth of Charles Mingus Jr who was born in Nogales, Arizona on April 22,1922. Tonight's recording is an early mature statement by The Charles Mingus Jazz Composer's Workshop which later became the Charles Mingus Jazz Workshop. Mingus' music here reflected a more formal stance with a lot music written out and scored coupled with improvisation. Mingus later abandoned this approach when he switched to delivering his ideas orally or from the piano (Mingus was an accomplished pianist) to the players in his bands. The people involved here are three fine and well trained saxophonists: John LaPorta on alto saxophone and clarinet, Teo Macero on tenor and section baritone saxophone and George Barrow on baritone saxophone. Mal Waldron is on piano and Rudy Nichols is on drums. Mingus is a tower of strength on bass and delivers some rather astounding solos throughout. the six compositions. Four Mingus compositions are featured plus two standards reconfigured and rearranged by Mingus. The date was recorded in New York for Savoy Records on Oct. 31,1954. An early masterpiece by Mr. Mingus. Our first Jazz feature honoring the great man.

This is the last installment this month of one-offs and rare recordings by obscure but fine players and tonight's Jazz Feature is no exception. We will do this again some other month this year as there are many more. The rather mysterious figure is a fine, original and swinging pianist named Roosevelt Wardell and this recording entitled "The Revelation" is the one and only date under his name. Roosevelt entered the musical world as an R&B singer but on the side he was learning the piano and aspired to be part of the Jazz world. R&B was a way of staying in music and making a modest living. Cannonball Adderley set up the date when he heard Roosevelt in L.A. in 1960. Adderley gave Roosevelt carte blanche to select his men for the date and Roosevelt wisely asked and got Adderley's rhythm section....bass great Sam Jones and swinging drummer Louis Hayes. The Revelation is divided between well chosen standard tunes and originals by Mr. Wardell. It's too bad there wasn't any more from this fine pianist but we have to be grateful for this album which was first issued on Riverside Records as part of the "Cannonball Adderley Presents' series. It's tonight's Jazz Feature and it's a fine more than promising debut for Roosevelt Wardell. Check it out!

We are continuing this month of March with one-off and rare recordings and tonight's Jazz feature is just that. Not too much is known about the leader, tenor saxophonist Joe Alexander except he was originally from Birmingham, Alabama but spent most of his playing career in Cleveland, Ohio where he found steady work. His only other recorded appearance is on Tadd Dameron's album "Fontainebleau" from 1956.. This album called "Blue Jubilee" is Joe's only recording under his name. Joe recorded this in June of 1960 while he was on a short tour of duty with Ray Charles' band. Joe and equally obscure trumpet player John Hunt teamed up. John was a long time player with Ray Charles. Joe and John are backed by an all-star rhythm section made up of Bobby Timmons on piano, Sam Jones on bass and Albert "Tootie" Heath on drums. Blue Jubilee turns out to be a fine solid Jazz album that presents two rather obscure players in the best light. Sadly this album never was issued domestically on CD but can be found on the European Fresh Sounds label. Enjoy a rare treat on tonight's Jazz Feature.

Mose Allison was a man of many parts....a pianist, vocalist and composer of songs that touched upon life, fun, politics and down-home wisdom. He was a very popular artist and had a very long career in his 89 years on the planet. His music had very broad appeal but he came from a solid Jazz background. As we are featuring rare recordings this month, this one qualifies as it was Mose's first album with arrangements and horns. Mose most always performed with just himself and bass and drums. Here he is heard both vocally and instrumentally with his arrangements and compositions with horns. Mose wrote 6 originals and arranged the other two pieces that were lesser known standards. He is accompanied by the distinctive trombone of Jimmy Knepper and the solid tenor saxophone of Jim Reider. Addison Farmer is on bass and the great Frankie Dunlop is on drums. The album is divided between vocals and instrumentals and Mose's voice and fine piano playing is a standout. The album is called "Swingin' Machine". Sit back and enjoy tonight's Jazz Feature from the great Mose Allison.

Tonight for the month of March, The Jazz Show's Jazz Features will be albums that are one of a kind. Mostly albums by fine musicians that only had one recording issued in their lifetime. This was in no way that these players were second rate but simply circumstance and the vagaries of the Jazz recording business. Ron Jefferson is a case in point. He was a fine and in demand drummer who really increased his profile when he moved to Los Angeles from his home town of New York in the late 1950's. Jefferson became a founding member of one of the most popular bands of the time, Les McCann Ltd. (pianist Les McCann's trio).. Jefferson was given the opportunity to record under his name and leadership and he produced this fine album that was issued on World Pacific Records. Jefferson chose well, Lawrence "Tricky" Lofton on trombone and tenor saxophonist Wilbur Brown blend beautifully. Both Lofton and Brown are lesser known names but prove their worth here. An emerging star here is a young Bobby Hutcherson in prime early form. On piano was "the Wynton Kelly of L.A.", Frank Strazzeri and the great Leroy Vinnegar on bass. Ron Jefferson picked the music and plays for the band and does not hog the spotlight. "Love Lifted Me" is a fine ,solid and varied album which deserves an airing. That happens tonight on our Jazz feature!

This band was born out of the social awareness that Gary Bartz possessed. Gary of course in one of the leading voices of the alto and soprano saxophones and at 81 is still very active as a player and teacher. Bartz rose to prominence with Art Blakey's Jazz messengers, Max Roach's Quintet, McCoy Tyner's Ensembles and most significantly with Miles Davis all by the early 70's. During his time with Miles Davis , Gary Bartz formed his NTU Troop and the music of the Troop reflected the times in America, the assassinations of prominent figures, the Kennedy's, Malcolm X, Dr. M.L.King and the ongoing Viet Nam War and of course the civil rights of Black Americans. The band included Bartz on alto and soprano saxophones, the big voice of Andy Bey. electric and acoustic bassist Juini Booth, drummer Harold White and master percussionist Nat Bettis. The album entitled "Harlem Bush Music" is out Jazz Feature. It was recorded in New York in November of 1970 and as Gary Bartz states "this music is dedicated to two warriors, John Coltrane and Malcolm X".. Tonight's Jazz Feature is our final tribute to Black History Month but not ever the end of Black History!

Oliver Edward Nelson was not only a formidable saxophonist (alto/tenor/soprano) but a prolific composer/arranger and band leader. In his short life, he accomplished much in his 43 years on the planet. He died it is said from overwork from a premature heart attack. Tonight's Jazz Feature is The Jazz Show's continuing tribute to Black History Month. "Afro-American Sketches" is a large orchestra work instrumentally tracing the history of African-Americans through slavery, emancipation, etc. All the phases of Black History in the USA. It was all completed and recorded in September and November of 1961. Nelson assembled a star studded band of New York's finest. Nelson himself is featured on alto and tenor saxophones and powerhouse trumpeter, Seattle born pianist Patti Bown, bassist Art Davis, flutist Jerry Dodgion and the great percussion section of Ed Shaughnessy on drums and Ray Barretto on congas, bongos and percussion are all heard in solo spots. Afro-American Sketches is an overlooked masterwork and a worthy tribute to Black History Month. Don't miss it!

This remarkable album is The Jazz Show's further tribute to Black History Month. It is reflective of the changing social mores of African-Americans during a volatile period of American History. It was recorded in 1969 and the climate in the USA was shaken by the assassinations of President John Kennedy and later his brother Bobby, Malcolm X and Dr. Martin Luther King coupled with the Vietnam War. The basic band here included Bobby Hutcherson on vibes and his co-leader, tenor saxophonist Harold Land.. Two fine pianists split the chores here, Kenny Barron and Stanley Cowell,. The bassist is Herbie Lewis and the drummer , Joe Chambers. Augmenting the group is Wally Richardson on guitar, and Candido Camero on congas. A four voice female choir is added and importantly the magnificent voice of one of the great soul and r&b singers, Gene McDaniels. McDaniels also co-wrote several songs on the set. The album reflects the times and is a powerful document the title is "Now!". It's tonight's Jazz Feature.

Tonight's Jazz Feature honours Black History Month and throughout February we'll spotlight music that has social significance. We'll open with a piece by drummer Max Roach's band from 1980 first. The piece is a composition by Mr. Roach, and it's called "The Dream/ It's Time". It features the Roach Quartet interspersed by sections of Dr. Martin Luther King's Famous "I have a dream" speech. The band includes Max Roach on drums with Cecil Bridgewater on trumpet, Odean Pope on tenor saxophone and Calvin Hill on bass. Then we go to Roach's famous album with his working band from 1962 plus a 16 voice chorus. The album was called "It's Time!" The band includes Clifford Jordan on tenor saxophone, Richard Williams on trumpet, Julian Priester on trombone, Mal Waldron on piano, Art Davis on bass and of course Max Roach on drums. The chorus is conducted by Coleridge Perkinson. It's a unique combination of chorus and band. Mr. Roach wrote all of the music. The music is primarily instrumental but reflects Roach's concern with civil rights in the USA. The compositions are "It's Time!", "Another Valley", "Sunday Afternoon", "Living Room", "The Profit" and the only vocal by Max Roach's then wife Abbey Lincoln and she sings "Lonesome Lover". This is a fiery and intense listening experience and unique in Max Roach's legacy. "It's Time!" is tonight's Jazz Feature.

This is a very fine look at a short-lived band co-led by the great Art Pepper on alto saxophone and Jack Montrose on tenor saxophone. This band displayed amazing chemistry and intuition between the two co-leaders. The rhythm section was also the cream of the crop on L.A. based musicians. Claude Williamson on piano, the ever reliable Monty Budwig on bass and the multi talented Larry Bunker on drums. The band was busy with gigs and we're fortunate that a small independent label, Discovery Records recorded this group in August of 1954. Due to the chaotic life led by Art Pepper, it turned out to be his only recording in 1954. He ran into drug trouble and was incarcerated from 1954 to 1956. This date is a gem as 5 Pepper compositions are heard along with 3 well chosen standards. This is a valuable document as to the greatness of Art Pepper and also the group. Enjoy the Art Pepper/Jack Montrose Quintet as tonight's Jazz Feature.

This is an important album in the recorded legacy of Miles Davis. It is the first studio recording of what was referred to as Miles Davis' Second Great Quintet. It was recorded in Los Angeles in January of 1965. The band with Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums was on a west coast tour and Miles agreed to record the band under producer Irving Townsend as Miles had a temporary falling out with his long time producer Teo Macero. The Quintet is in inspired form and all the compositions are new to the Davis oeuvre. Strangely only one, Miles Davis' "Agitation" entered the band's nightclub and concert repertoire. The rest were as far as I know never played after this recording. Wayne Shorter wrote the title track "E.S.P." and "Iris". Herbie Hancock contributed "Little One", Ron Carter wrote "R.J." and "Mood". 1965 was a difficult year after this for Miles and due to a bad car accident and hospitalizations for blood and liver problems, Miles and the Quintet were inactive for most of that year but they emerged late in December 1965 and the odyssey continued. This recording is a great moment and deserves attention as this music never seems to date despite being recorded nearly 60 years ago!

Today our Jazz Feature celebrates the Birthday of one of the pioneers of Modern Jazz and it's leading drummer, Maxwell Lemuel Roach. Max Roach was born in North Carolina on Jan 10, 1924 and raised in New York. He lived to 83, passing away on August 16,2007. Max had formed one of the leading bands of the 1950's with trumpeter Clifford Brown. They toured and recorded some iconic records but tragedy struck in June of 1956 and Brown and the band's pianist/arranger Richard Powell died in a car accident on their way to a gig. After a suitable period of mourning and a commitment by the band's saxophone star, Sonny Rollins and the band's bassist George Morrow, Roach reformed the band with stellar trumpeter Kenny Dorham and pianist Ray Bryant. Max Roach's first album after the tragedy was this one, "Max Roach Plus Four". It is a wonderful date and demonstrates the new found chemistry and cohesion in this band. Six tunes are featured, 2 originals by Roach and one by George Russell and one by Dizzy Gillespie and a ballad. Happy Birthday Mr. Roach!

This recording by Miles Davis and the Gil Evans Orchestra is one of the great iconic recordings in Jazz. Recorded and issued in 1957 It marked the first of a trio of recordings by Miles Davis and Gil Evans. "Porgy and Bess" followed then the famous "Sketches of Spain". This was however the first and it put arranger/composer Gil Evans in the spotlight. This recording is a little different as it consists of alternate takes from these famous recording sessions. Nothing is really altered here except the solos by Miles Davis on flugelhorn (a larger more mellow trumpet). It is an interesting recording and compares favorably with the originally issued classic. It is not in any way second rate. If you know the original recording by heart, this will be a delightful surprise. Have fun!

Serge Chaloff was only on the planet for 33 years and led a chaotic life blighted by drugs but left an important legacy. He was considered albeit arguably the first important Modern Jazz voice of the baritone saxophone. Perhaps Leo Parker might share the honors but Chaloff was more prominent. He emerged in the mid 1940's and rose to Jazz stardom in the famous Woody Herman Band known as "The Second Herd". Chaloff returned after Herman to his hometown of Boston and in 1955 went to rehab for his drug habit. He emerged clean and sober and made two of his finest albums. We hear the second of those two as tonight's Jazz Feature. The album was called "Blue Serge" and recorded in L.A. in March of 1956, It's a free blowing session that has Serge in front of a hand picked rhythm section of 3 of the finest. Sonny Clark on piano, Leroy Vinnegar on bass and "Philly Joe" Jones on drums. Serge plays well chosen standard tunes that haven't been overplayed plus a couple of Jazz originals , one by his friend Al Cohn and one of his. Sadly Chaloff died the following year from spinal cancer that left him in a wheelchair. He passed away on July 16, 1957. He was just 33. "Blue Serge is considered his masterpiece and is tonight's Jazz Feature. Don't miss it!

Tonight's Jazz Feature is by one of the finest Jazz pianists who was so good and consistent during the brief 39 years on the planet that he was taken for granted and dismissed with terms like "pleasant", "aimiable" etc. He was a unique stylist and was sought after for many classic recording dates. He worked with Miles Davis for 4 1/2 years. During his tenure with Davis from 1959 to 1963 he recorded several piano trio albums and this is his best. It was recorded in April 1960 and was with bassist Paul Chambers and drummer "Philly Joe" Jones. The trio was well recorded and sounded like a permanent working band. Philly Joe gives the trio that extra "edge" as well. "Kelly at Midnight" is a rare treat and one of the finest piano trio albums ever! It's tonight's Jazz Feature so dont miss!

The MJT+3 was a band put together in Chicago by Chicagoans, Walter Perkins, a fine drummer and bassist Bob Cranshaw. They worked a lot together in the Windy City and backed many a visiting Jazz star and great locals too. They called themselves the MJT and that stood for "The Modern Jazz Two". They decided to form a band, a quintet and they called it The MJT+3. After some shifting in personnel the group settled on alto saxophonist/flutist Frank Strozier and trumpet ace Willy Thomas. The pianist was the formidable Harold Mabern. They made 3 albums that were well received by fans and critics for the Chicago label Vee-Jay Records. On tonight's Jazz Feature that was never issued on LP back then but discovered in 2000 and issued on CD on Koch Jazz. It turned out to be their last album before they all moved to New York and the band dissolved after a few NYC engagements. The album title was "Message from Walton Street" which was Walter Perkins' house in Chicago where they rehearsed. The music is energetic, fresh and cohesive and you have to realize what a fine little band was The MJT+3. That's what will be heard tonight on The Jazz Show.

The great Pat Martino passed away on November 1, 2021, he was 77. Tonight's Jazz feature is a lengthy tribute to this incredible guitarist. It is from a live concert at Oakland's "Yoshi's", one of the leading Jazz clubs in the Bay area. It features Pat with the great master of the organ, Joey DeFrancesco and ace drummer Billy Hart. It is a fine showcase for Pat Martino's range and musicality. It was issued on Blue Note Records and is just one of the many great recordings by this magnificent artist.

This album came about as a result of a gig Stan Getz had in Los Angeles at a high-end club called "Zardi's" in July 1955. Getz put together this ad hoc band of some of his favorite players living in L.A. and fortunately they were available of this long gig. The people were trumpeter Conte Candoli, pianist Lou Levy, bassist Leroy Vinnegar and drum great Shelly Manne. The band gelled on the first night at Zardi's and as word got around the club did a land office business. It was decided at mid point of the gig to bring the band into the studio and record an album and this is it! Getz of course needs no introduction as he was one of the major voices of the tenor saxophone and unequaled in his flowing, melodic improvisation. He is at ease at any tempo and a great ballad player. The rest of the band is obviously inspired by Stan and this album was one of the best from this period. It was recorded on August 9 and 15, 1955. The title of the album is "West Coast Jazz" but that only refers to the fact that everybody at the time was living in L.A. They were all from somewhere else. The band has a New York kind of energy and flow. Enjoy Mr. Getz and co., tonight's Jazz Feature.

This Jazz Feature is a fun date full of energy and swing. Vibes master Terry Gibbs is still with us at age 97 performs here with his usual drive and energy. He also wrote the 9 original tunes and although they are simple frameworks they work well. The co-star is tenor saxophone heavy Sal Nistico who impressed Terry so much when he sat in with the 1963 edition of the Woody Herman Band in 1963. Terry arranged for this record and used Woody's rhythm section. Nat Pierce plays organ instead of his usual piano and it works well in this context. Turk Van Lake on rhythm guitar. Chuck Andrus on bass and the great hard swingin' Jake Hanna on drums. All in all an unpretentious session that in in the great Jazz tradition and sprit. We're glad that Terry Gibbs and Sal Nistico met and made some fine music. Tonight's Jazz Feature!

This Jazz Feature album is a rather rare one and it's the debut recording as a leader of drum master Louis Hayes. Louis Hayes was just 21 when he recorded this date on April 26,1960. He was by then working steadily with Julian "Cannonball" Adderley and he chose musicians that he enjoyed playing with and of course 3 of them were also working with Adderley. Louis chose Nat Adderley on cornet, Barry Harris on piano and Sam Jones on bass. The other important member was an early mentor of Louis' and the man who gave him his first gigs. That man was the great Yusef Lateef. Yusef is heard here exclusively on tenor saxophone and his big dark sound is one of the album's highlights. Louis wisely chose music not associated with the Adderley Quintet but selected the tunes for themselves and that fact marks this date as distinctive. This is a great debut for a most talented young man. Louis didn't record again as a leader until the mid-70's. Louis Hayes and company equals high quality Jazz!

A seminal album recorded in June of 1957 by Thelonious Monk and an all-star septet. It stands as one of Monk's greatest and most significant recordings. Creativity and intense playing abounds and despite a few minor flaws has many fine moments rarely captured in any recording studio. The four horns are Monk choices: Trumpeter Ray Copeland, a Monk favorite. Alto saxophonist Gigi Gryce had worked in some of Monk's infrequent gigs and was a reliable advisor on the session. Two major tenor saxophonists in the persons of John Coltrane and one of Monk's mentors, "the father of the tenor saxophone", Coleman Hawkins. On bass was Wilbur Ware who was working steadily with Monk at the time. On drums was Monk's great friend and the one drummer who fully understood Monk's concepts, Art Blakey. All in all here is "Monk's Music"....tonight's Jazz Feature in honor of the Birthday Anniversaries of Monk and Blakey.

There is really no argument that Wes Montgomery was one of the most important guitar stylists to emerge from relative obscurity in the early 1960's. His rise to Jazz stardom began with his signing with Riverside Records and eventually moving on to the larger Verve Records. His working band of 1964/65 is tonight's Jazz Feature recorded in Paris at Le Theatre Des Champs-Elysees on March 27,1965 a few weeks after Wes' 41st Birthday. The quartet is very cohesive with the great Harold Mabern on piano, young Arthur Harper on bass and the wonderful Jimmy Lovelace on drums. We move through some Montgomery originals and a couple of standards and a John Coltrane tune "Impressions". The great Wes Montgomery at his best tonight!.

The late Hugh Fraser was one of the most prominent Canadian musicians who was recognized throughout the world. Hugh was a teacher, composer, bandleader, a master trombonist and pianist. He led two bands and made his mark. One was V.E.J.I. (Vancouver Ensemble of Jazz Improvisation) and the other was his fabulous Quintet. It is the Quintet we hear tonight on The Jazz Feature. All of the musicians live and work in Metro Vancouver. Hugh of course will be heard on piano and trombone. Campbell Ryga is heard on alto and soprano saxophones, The late and wonderful Ross Taggart is heard on tenor saxophone and piano. Ken Lister is on bass and he is replaced on some of the latter tunes by Rick Kilburn. On drums is the dynamic Blaine Wikjord. All of the compositions are by Hugh Fraser. Even though he is gone, Hugh's great legacy remains. Enjoy this amazing music tonight on The Jazz Show.

This is The Jazz Show's second traditional Jazz Feature. As we welcome the coming of Fall and back to school, work and business, we present a Jazz Feature that is both entertaining and educational. Cannonball Adderley was one of the foremost voices of the alto saxophone, band leader and erudite speaker. This recording gives one a simple picture of how Jazz music evolved along with recorded examples and words by Mr. Adderley. It was done many years ago and therefore is finite leaving out many of the latest developments in Jazz but it's still very relevant to those wishing to know how this unique form of American music developed and evolved. Many of the concepts and traditions are reflected in today's crop of creative musicians. Enjoy Mr. Adderley as he explains the history and movements of this music tonight on The Jazz Feature.

Maestro Leonard Bernstein narrates "What Is Jazz". Tonight's Jazz Feature is a Jazz Show tradition as it honors this time of year when school starts and the Fall season commences. Bernstein's classic recording with musical examples by some of Jazz music's great stars demonstrates to the non musically educated listener what Jazz is and what it isn't. It's education and entertainment rolled into one. Sit back and enjoy and possibly learn something too from Leonard Bernstein and company in "What Is Jazz".

Teddy Edwards was a major star of the tenor saxophone. A long time resident of L.A. and not New York lessened his reputation but not his musicality. Teddy possessed a deep smoky tone on the horn and had a unique way of phrasing. By the time of this recording Teddy had fully matured as a stylist and was instantly recognizable by only hearing a few notes. Teddy was also a very consistent performer and never gave less than his all. He recorded a lot during the late 50s and early 60s for both Pacific Jazz and Contemporary Records and they are all worth your time. One of Teddy's best get togethers was this album called "It's About Time" which brings Teddy in front of the wonderful Les McCann Trio better known as "Les McCann Ltd". This was a very tight little trio and was a perfect fit with Teddy's soulful tenor out front. The trio was Les McCann on piano, Leroy Vinnegar on bass and the wonderful Ron Jefferson on drums. "It's About Time" is a warm and soulful date to mark the end of Summer. Tonight's Jazz Feature.

Jack Wilson is sadly not a household name but should be better known. He was a very fine pianist who reflected the influences of Hank jones and Tommy Flanagan...in other words a pianist with a light lyrical touch. He was also a fine composer. He was born in Chicago on Aug. 3,1936 and died at age 71 on Oct.5,2007. He recorded for Atlantic records and then did 3 albums for Blue Note and tonight's Jazz feature is the very best of the Blue Note three. It features a hand-picked band by Mr. Wilson that includes Lee Morgan on trumpet, Jackie McLean on alto saxophone, Garnett Brown on trombone, Bob Cranshaw on bass and Billy Higgins on drums. Wilson wrote 4 of the six compositions and arranged them all. A trio track with just bass and drums has Jack Wilson interpreting Johnny Mandel's beautiful tune, "A Time For Love". The other non Wilson tune played by the full band is by saxophonist Frank Strozier and called appropriately enough "Frank's Tune". ""Easterly Winds" is a minor classic and should be better known and tonight it is The Jazz Show's Jazz Feature.

The gist of tonight's Jazz Feature is not only to present one of the greatest and most influential bands in Jazz history but to present rare and previously unissued performances. The Quintet was of course Miles Davis on trumpet, John Coltrane on tenor saxophone, William "Red" Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums. When Miles formed this permanent band in September of 1955, he signed with Columbia Records and began recording for them. As Davis was under contract with the independent Jazz label, Prestige, until the end of 1956, Columbia couldn't issue anything until 1957. These are mostly with one or two exceptions rare and unissued alternate takes of many of the tunes were put out on Miles Davis' first Columbia recording, the best selling "Round About Midnight". These are all complete takes and all are stellar performances and worthy of hearing a few are even better than the originally issued versions. That is tonight's Jazz Feature and worthy of your ears!

This is a very special edition of The Miles Davis Quintet. After the departure of pianist Bill Evans and Julian "Cannonball" Adderley, Miles Davis performed with John Coltrane, Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums)....a quintet. John Coltrane decided to leave the group as he was about to form his own band and Miles Davis needed another saxophone player. Davis' first choice was Jimmy Heath but circumstances prevented Jimmy from travelling outside of New York and Philadelphia so Miles chose his old pal who he knew since the 1940's....Sonny Stitt. Stitt was adept on both alto and tenor saxophones and knew thousands of songs! Unfortunately during Stitt's six month stay in the band, there were no domestic recordings. Fortunately while on a short Fall tour in 1960 this special quintet was recorded in England and in Sweden. It's the Swedish concert that is our Jazz Feature tonight. It was recorded by Swedish Radio and has great audio quality. The playing is superb with Miles in great form with some inspired Sonny Stitt. The best rhythm section in Jazz propels them both to great heights. Miles Davis, Sonny Stitt, Wynton Kelly, Paul Chambers, Jimmy Cobb....five giants of music.....enjoy!

This album was only issued this year but was actually recorded in March of 1959 by a great edition of Art Blakey's Jazz Messengers. It was forgotten and never issued because not long after this date Blakey got a 2 week gig at Birdland, then New York's leading Jazz club and it was decided to record there rendering this session moot. The session was forgotten. The live date at Birdland produced 2 fine albums called "Art Blakey and The Jazz Messengers at The Jazz Corner of the World". However the music on this previously unissued and forgotten session was superb and only recorded a month earlier by the same band. Art Blakey of course is on drums with Lee Morgan on trumpet who was having an amazing day! Bobby Timmons is on piano and Jymie Merritt is on bass. Tenor saxophonist Hank Mobley had returned to the band (he was in the 1st edition of The Jazz Messengers from 1954 to 1956). Hank is in energetic form and is breaking in a new metal mouthpiece that he used for the rest of his career. The music on this studio date has an edge and most of the tunes were new ones added to the Messenger repertoire. Four of the six tunes were on the aforementioned live date and two are only heard here. One is by Bobby Timmons, a fast burner called "Quick Trick" and the other might have been written by Timmons or bassist Merritt called "Jimerick". The others are by Hank Mobley....."Hipsippy Blues", "M&M", and the title track "Just Coolin'". The remaining tune is a standard called "Close Your Eyes" The energy and swing on this record is amazing and I'm happy it was finally issued and I hope you are too!

Secondo "Conte" Candoli was one of the foremost trumpeters in Jazz. An able studio musician and bandsman and a striking soloist who combined the concepts of Dizzy Gillespie and Miles Davis into his own style.. Conte was born in Indiana but migrated to Los Angeles and made his mark basically in that city and was the epitome of an all-round musician. We lost him in December of 2001 at age 74. Tonight's Jazz Feature is a very rare and overlooked date that was issued on a small cut-rate drug store label so somehow it got bypassed undeservedly. It was recorded in 1960 in Los Angeles and featured a hand picked quintet of stellar players. Along with Conte's great trumpet work and his compositions and arrangements is the great Buddy Collette, a master of all the saxophones, flute and clarinet and the first African-American to work the Hollywood movie studios. Buddy is featured here exclusively on tenor saxophone and sounds his usual amazing self. On piano is the great Vince Guaraldi, of "Charlie Brown" fame who delivers some hard swinging piano in the Hampton Hawes/Horace Silver vein. On bass is "The Walker", Leroy Vinnegar laying down that solid bottom and last but not least is one of the finest drummers in Jazz, Stan Levey. The band is tight and plays Conte's original compositions as if they had been playing together for years. Enjoy an overlooked masterpiece of solid Jazz in "Little Band, Big Jazz".

Harold Land was one of the leading tenor saxophonists in Jazz but he is often overlooked as he wasn't based in New York City. His sound is very distinctive with a dry unsentimental quality yet there is warmth and intensity too. This album is a series of broadcasts with three different ensembles led by Harold Land done at what was Seattle's leading Jazz club: The Penthouse. The first group is Harold Land on tenor saxophone with Carmell Jones on trumpet, Buddy Montgomery on piano, Monk Montgomery on bass and Jimmy Lovelace on drums. The second band is Harold leading Hampton Hawes on piano, Monk Montgomery on bass and Mel Lee on drums. The third is the Harold Land/Monk Montgomery Quartet with John Houston on piano and the incredible Philly Joe Jones on drums. This album of previously unissued performances will add much to the legacy of Harold Land and will become a prized possession by Jazz fans everywhere. Thanks to Cory Weeds and Zev Feldman for making "Westward Bound" available.

Herbie's album done in March of 1965 has proven to be one of his most famous albums and now listed in journals as one of the 100 essential Jazz albums in anyone's collection. Herbie Hancock picked his quintet members with great discretion. On trumpet is the mighty Freddie Hubbard and on tenor saxophone is one of the great living masters, George Coleman. On bass is another living master, Ron Carter and on drums providing the incredible textures that Hancock's five compositions demand is the one and only, the late Tony Williams. Two of the album's compositions became "Jazz Standards" played by everyone: "Maiden Voyage" and "Dolphin Dance". With this album, we are now back to live broadcasting and this is our first live broadcast after the pandemic lockdown and it's appropriately a "Maiden Voyage".

This once rare recording is a fine document of tenor saxophonist/flutist/composer Yusef Lateef. It is a tight band and well rehearsed and together. At the time all these men were based in Detroit and came to New York to record for the Savoy label and this album for Verve Records. It is a great example of Yusef Lateef's tunes and a pleasure to hear young Curtis Fuller in trombone, Hugh Lawson (an underrated master) on piano, Ernie Farrow on bass and a teenaged Louis Hayes on drums. Seven of the eight tunes are by Yusef Lateef and they explore a wide variety of moods. The final tune is a classic by Charlie Parker. "Before Dawn" is a fine experience in timeless Jazz and one of Yusef Lateef's early triumphs.

This recording is a Jazz Show tradition and we present this every September to welcome back the school year. It is a brief history of Jazz narrated by the great alto saxophonist/bandleader Cannonball Adderley. He takes us through the early forms of the music and up to when this album was recorded in 1960. It is interspersed with musical examples. Despite the changes in the world and music since 1960 much of this recording is still relevant as it gives one a simple history of the music and makes one realise that certain traditions of this unique American music arfe still carried on today. Sit back and enjoy a little entertainment and education with Mr. Adderley. Next week we will present "What is Jazz" narrated by Leonard Bernstein.

This Jazz Feature is Part 1 of a tradition on this show done at this time of year. Maestro Leonard Bernstein was a person who despite his massive reputation in classical music loved and understood and respected Jazz, it's players and the music. Bernstein was a pioneer through recordings and television who made the complexities of music understandable to the lay person. He succeeded and this album is an example of this as it pertains to Jazz music. Bernstein explains what is and what isn't Jazz and does it in a non-academic way. No matter how many times one hears this recording there is always something new to learn. So we always make this recording available in September when students return to school. Bernstein's narration is augmented not only by his own piano playing but by artists like Coleman Hawkins, Louis Armstrong, Bessie Smith, Phil Woods, Miles Davis etc. Part 1 is all about what makes Jazz unique. Part 2 takes apart a old pop song and demonstrates how musicians from different eras and styles play the tune. "What is Jazz" is worth your time and is educational and entertaining. Thank you Leonard Bernstein.

Guitar master Ralph Towner plays the 6 string and the 12 string acoustic guitar here and a little piano on this masterful album called "Batik". Towner's music is impressionistic, spacey, energetic and meditative and his 5 compositions here reflect his open concept. Towner has made scads of albums for ECM but this is one of his best. He is accompanied by two great musical masters in the persons of bassist Eddie Gomez and drummer Jack DeJohnette. Experiencing Towner's many moods explored in these selections gives one an idea of his range and imagination. Batik is a wonderful musical excursion so check it out tonight.

This pivotal album was really the first of Coltrane's great recordings and the beginning of his ascent. This recording done in August of 1957 while Coltrane was part of Thelonious Monk's great quartet show his immense improvement over his recordings in 1956. Coltrane had settled his demons (alcohol and drugs) and had been inspired by Monk to practice and improve what he started out to be. Coltrane by this recording had become a major influence and along with Sonny Rollins, the most important voice of the tenor saxophone. Here he is with a perfect rhythm section with Red Garland on piano, Paul Chambers on bass and the always swinging Arthur Taylor on drums. The true beginning of Coltrane's greatness right here.

This gem from the thousands of recording that Ellington made is rather special. It was made during the time when the Ellington Orchestra was signed to Frank Sinatra's Reprise Records. All of the band's recordings during this period offered fresh new material and in this case and this album, music with a more exotic flavor. The title "Afro-Bossa" is a bit misleading as it is not strictly a bossa-nova recording but Ellington's concept of that unique Brazilian rhythm coupled with African influences and the multi-colors of the orchestra. All the major players are here in short solos, Paul Gonsalves, Ray Nance on trumpet and violin, Johnny Hodges on alto saxophone, Jimmy Hamilton on clarinet, Cootie Williams and powerhouse Cat Anderson on trumpets and Lawrence Brown on trombone and others. Some of the band members play percussion instruments on a few selections. All in all the 12 tunes are fresh and new and offer a great look at the immense creativity of Ellington and his compositional alter-ego Billy Strayhorn. Tonight "Afro-Bossa"...a true gem.

This album is one of the most impressive recording debuts in Jazz history. Walt Dickerson emerged from total obscurity with this wonderful document. He was a totally individual voice of the vibraphone unbeholden to either Milt Jackson or Lionel Hampton. This was the first of an impressive four discs for the Prestige/New Jazz label and later there were more for other companies. Dickerson appears here with his working quartet with six of his own original compositions. His style is fully formed, warm and with technique to burn. Along with Walt are Austin Crowe on piano, Bob Lewis on bass both relative unknown but fine players from Walt's hometown of Philadelphia. The drummer here making his debut is the great Andrew Cyrille who went on to become one of the most innovative of percussionists. Check out "This is Walt Dickerson! and you won't be disappointed.

One of the world's finest trombonists was the late Frank Rosolino. He was a mainstay in Stan Kenton's best bands of the 1950's and later became in integral part of the Los Angeles Jazz scene. Our Jazz Feature album was Rosolino's favorite but although recorded in Dec. 1958, for a variety of unknown reasons never came out until 1986. Many years after Rosolino's death in 1978.Frank picked the great Harold Land as his front line partner on tenor saxophone. Victor Feldman plays piano and Leroy Vinnegar plays bass and the swinging Stan Levey is on drums. The tunes are a mix of known standards arranged by Rosolino and two Rosolino originals. One by Feldman and one by Levey make up the rest. The date is a solid classic and really reflects and changes the idea that so called "West Coast Jazz" is dry and bloodless.....this album burns and swings like any date made in New York. "Free For All" is tonight's Jazz Feature.

Drummer Max Roach's quartet was recorded at The legendary Jazz Workshop in San Francisco in October of 1962. Two long selections are heard on this album which was Roach's last before he was boycotted for three years by all the record companies for his militant stance and the politics of his music. He resumed recording in 1965 with Atlantic Records. Mr. Roach leads a power quartet here with the great Clifford Jordan on tenor saxophone, Mal Waldron on piano, Eddie Khan on bass. Each player gets on his soapbox and "speaks his piece" on "Speak Brother Speak!" . The other tune is called "A Variation" and it's an extended piece based on Heitor Villa-Lobos' "Prelude" once again extended solos are on the menu. Inspired, militant and powerful music abounds!

This was the final album of saxophonist John Handy's contract with Columbia Records and it's a gem. Recorded by his new band called "The John Handy Concert Ensemble" in April of 1968. The music is varied, innovative and dramatic. Handy plays his alto saxophone and the saxello (a soprano saxophone variant) and the flute here with the late Michael White on violin, Mike Nock on piano, Bruce Cale on bass and the late Larry Hancock on drums. Compositions are 4 by John Handy, 3 by Mike Nock and 1 by Michael White. A rich and varied album that is often overlooked. Tonight we celebrate John Handy's 87th Birthday. He is alive and healthy in Oakland and still performs occasionally. Happy Birthday old friend!

Don Patterson was one of the most distinctive of the many Hammond organists that came onto the Jazz scene in the late 50s and 60s in the wake of the pioneering efforts of Jimmy Smith, who took the Hammond into the modern Jazz area. Patterson had his own style and was closer to the hard bop tradition. He played lines on the organ like Bud Powell. Patterson signed with Prestige Records in 1963 and recorded a lot with the label as a leader and sideman. This is his Prestige debut date and it also features as a giant plus, tenor saxophone great Booker Ervin. Patterson plays a variety of tunes here with Ervin and swinging drummer Billy James. Altoist Leonard Houston guests on the slow blues called "Hip Cake Walk". This is a cool debut by one of the great masters of the Hammond, Mr. Don Patterson!

Paul Chambers was one of the most recorded and prolific bassists of the mid-50s and 60s. He was still in his teens when he moved from Detroit to New York in 1954 and in 1955 became part of Miles Davis "first great quintet". Chambers was with Davis from 1955 through 1963. He made about half dozen albums under his own name as well as hundreds of sideman appearances. He made 3 for Blue Note and tonight's Feature is the most obscure. It presents a hand picked quintet of great players mostly from Detroit. Trumpeter Donald Byrd is here along with piano master Tommy Flanagan and drummer Elvin Jones, about two years away from joining Coltrane. The ringer is Chicagoan Clifford Jordan on tenor saxophone and he blends with Byrd beautifully. Two great tunes are here written for the date by Benny Golson. Two by Chambers and two good standards. The music is swinging, cohesive and maintains a high level with ease. The Paul Chambers Quintet presents "Mr. P.C." in a good light.

Don Cherry of course is associated with Ornette Coleman but this album shows us by 1965, he was his own man on the trumpet and as a composer. This wonderful album done for Blue Note Records who by the mid-60s had opened it's doors to some of the more adventurous Jazz players like Cecil Taylor, Andrew Hill, Eric Dolphy, Ornette Coleman and of course Don Cherry. Cherry put together a great quartet with newcomer Leandro "Gato" Barbieri from Argentina on tenor saxophone, Henry Grimes on bass and the always creative Edward Blackwell on drums. Two compositions make up the date and both are mini-suites. The first is "Complete Communion" and the second is called "Elephantasy" both are divided into various movements. Freedom and cohesion dominate this date and the band sounds as if it's having fun. There is a wonderful joy and dancing quality to the music along with more introspective moments too. Complete Communion is a gem in Don Cherry's discography.

This amazing album could be considered a bit of a comeback for Miles Davis. It was recorded in October of 1966. 1965 was a bad year for Miles. It began just fine but a bad car accident broke Miles hip and then came a severe liver infection with a 3 month hospital stay plus a heavy divorce and a tiff with Columbia records and virtually no playing. The band which was called his "second great quintet" consisted of Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums and they all busied themselves with recording, gigs etc. during this period of Miles' inactivity. Eventually with all the troubles behind him, Miles went back to work and the band was ready. Concerts, club dates, tours were all happening and Miles took the band into the recording studio and did this album of all new material. The album was issued as "Miles Smiles" and Miles Davis was back in force. Three tunes are by Wayne Shorter, one by Miles, one each by saxophonists Eddie Harris and Jimmy Heath. It was the real beginning of this group's artistic ascendency. Miles deserved to smile after this one! Happy New Year all!

The great soulful voice of the tenor saxophone Gene Ammons made a number of jam session type albums for Prestige, all of them good solid Jazz. Ammons was flown in from his home city of Chicago and recorded this series of informal Jazz recordings with some often profound results. Tonight's Jazz Feature and the last one for 2019 is called "The Happy Blues". It features Gene with alto saxophonist Jackie McLean (one of Ammons' favorites), trumpeter Art Farmer, pianist Duke Jordan, Addison Farmer on bass, the always swinging Arthur Taylor on drums and the great Cuban conguero Candido Camero on conga drums. Only four tunes make up this date done in April of 1956. The first tune is the title track penned by Art Farmer. The second tune is called "The Great Lie" which Gene played when he was in Woody Herman's band. Tune 3 is a relaxed old standard called "Can't We Be Friends?"and the session winds up with Jackie Mclean's fast riff on the chords of "What Is This Thing Called Love" that Jackie called "Madhouse". All in all a super get together with like minded musicians playing at their best. Happy New Year to all and the best for 2020!

The Jazz Show continues with our annual Christmas tradition as we've done for many years as we present this legendary Christmas Eve (1954) recording session with the Miles Davis All-Stars. The music here is not Christmas music per se but as always it carries the Christmas spirit. Perhaps because the session was held on Christmas Eve or it was just the incandescent sound of Miles Davis' horn or the bell-like vibrations of Milt Jackson's vibraharp.....perhaps a combination of both gives it that Christmas sound. The music here is classic and although the players were merely playing the way they always played, somehow they made the music produced here immortal. Pianist Thelonious Monk adds the spice and edge to the music and bassist Percy Heath is rock solid. Drum pioneer Kenny Clarke is so tasteful and hard swinging in an unobtrusive way that blends beautifully with Miles, Monk and Milt. This music is one of the finest examples of musical chemistry between five Jazz Masters. With this Jazz Feature and along with some other Christmas music heard tonight, that you won't hear in malls, the Jazz Show and myself Gavin Walker with you a very Merry Christmas.

Betty Carter was one of the most individual and adventurous of Jazz singers. No less than Carmen McRae said that "there is only one Jazz singer.....only one and that's Betty Carter". A strong citation indeed. This live set recorded at San Francisco's "Great American Music Hall" is one of her very best. She feeds off the audience and the audience is enraptured with her. Her magnificent trio is comprised of the great John Hicks on piano, Curtis Lundy on bass and the dynamic Kenny Washington on drums. Betty presents her own tunes and a few standards with her unique phrasing and her totally original approach. "The Audience With Betty Carter" is in awe of her creativity and so will you be. Betty Carter tonight on The Jazz Feature!

Hampton Hawes is a major piano stylist who rarely gets mentioned when piano giants come up in conversation. Hawes was widely admired by many including Oscar Peterson, Horace Silver, Andre Previn and others. Perhaps because Hawes was based for most part in his hometown of Los Angeles that maybe kept him out of the spotlight. Hawes was a major stylist with a very developed approach to the instrument and most were surprised that he was self taught and wasn't knowledgeable about theory and was not a great reader of music. He did have a photographic memory and could play anything he heard once. This is a fine date with Hawes' own trio with the great Red Mitchell on bass and Chuck Thompson on drums. Hawes runs through many great .standards and plays several of his own blues based original compositions. "Presenting Hampton Hawes" is a fine introduction to this major player.

This wonderful album is a prelude to the more famous "The Blues and The Abstract Truth" by Oliver Nelson. This album recorded 10 months before "The Blues...." is definitive Nelson and very nearly captures the brilliance of the more famous album. "Screamin' The Blues" features six great compositions by Nelson and features the leader on tenor and alto saxophones. Like all Nelson dates, this band assembled only for the record session sounds like a working band. With Nelson is the iconic and adventurous Eric Dolphy on alto saxophone and bass clarinet. The powerhouse trumpet of Richard Williams and the elegant piano work of Richard Wyands is on tap.. George Duvivier is on bass and he works hand in glove with "Mr. Snap-Crackle" aka Roy Haynes on drums.. Truly a fine definitive recording by one of the great Jazz Masters: Oliver Edward Nelson.

This album signals a new era for Mingus with the addition of two new and talented saxophonists to the ranks of his "Jazz Workshop". John Handy on alto saxophone and Booker Ervin on tenor blend beautifully and of course are fine musicians and original stylists. Their presence signals a new beginning for Mingus' music and a great productive period. This album is part of a concert performed at the Nonagon Art Gallery in New York on January 16,1959. 1959 was one of Mingus' great years. Horace Parlan was Mingus' regular pianist and he was called away on a family emergency but Handy recommended his friend Richard Wyands to sub. Wyands played Mingus' difficult music with no problem and fit right in. Only four tunes make up this album but they are all superb. Handy, Ervin, Wyands all driven by Mingus on bass and Dannie Richmond's creative drumming. From the The excitement of "No Private Income Blues" to the ballad mastery of John Handy and Mingus on Vernon Duke's "I Can't Get Started" to "Nostalgia in Times Square" to the haunting "Alice's Wonderland" this is a great concert. Strangely when first issued it was given only 2 out of 5 stars and dismissed as inconsequential. This is the last album of under reviewed albums that deserved much more. No one would dismiss this classic today so enjoy and check out the majesty of Mingus' music with this superb edition of his Jazz Workshop.

Tonight's Jazz feature isn't a classic but simply a fine record of a tight little band playing straight forward warm-blooded bluesy Jazz. This is the 3rd Jazz Feature of an album that was initially slagged and low-rated but upon investigation turned out much better than the initial review. Sadly in the case of Fred Jackson it turned out to be the end of his recording career for Blue Note Records. Fred was a fine tenor saxophonist and put together a good little band with Earl VanDyke on organ, Willie Jones on guitar and Wilbert "G.T." Hogan on drums. Fred wrote all the tunes and they are all basically expressions of the blues as Fred came from an R&B background. This music will warm you up on a cold November night and make you feel good. It deserved a much better reception that what it got initially. "Hootin' 'n' Tootin' " will turn the heat up but good!

This is the second album in our November series of recordings that were slagged and low rated when they first were reviewed. This one was especially undeserving of a 2 star (out of 5) review. It contains some of the best playing by all concerned in this fabulous quintet. The date comprises of four long tunes so there is plenty of blowing room by the soloists. There is a cohesion and a unity of purpose with this session too unlike some blowing dates. Young trumpet sensation Lee Morgan heads the date and at age 21, he displays a maturity well beyond his years. Jackie McLean, one of the most individual voices of the alto saxophone joins Lee for the first time on records and they blend beautifully. Bobby Timmons is on piano and he delivers. Both Morgan and Timmons were in the Jazz Messengers at this time...April 1960. Bassist Paul Chambers is a tower of strength and Lee's boss Art Blakey drives and inspires the band to great heights. Four interesting tunes fill the date but no ballads. No matter the whole date works and once you hear you'll realize that the initial rating of 2 stars was totally wrong. Lee-Way is the right way!

We begin the month of November with a group of 4 Jazz Features that when first issued received dismissive reviews from the esteemed Jazz critics of publications like Down Beat and related magazines, Three of the four this month are now considered classics and essential listening. First up is an album that initially got 2 stars out of 5. This is a superb piano trio date led by still living drum master Roy Haynes. Roy picked the great Paul Chambers on bass but most importantly the leading voice here is piano virtuoso Phineas Newborn Jr. Phineas today is considered along with Art Tatum, Bud Powell, Oscar Peterson, Herbie Hancock, Keith Jarrett etc, one of the world's greatest Jazz pianists. His mastery is so evident on this recording and it's his playing that makes this album called "We Three" a classic piano trio date. The chemistry between the three men is amazing and it's like they have played together for years rather than just a few gigs before this recording. The critics were wrong on this one as this music rated 41/2 or 5 stars out of 5! Enjoy it tonight.

One of the finest trombonists to grace the planet and respected by all the great trombone masters was Carl Fontana. For years he played in big bands and was limited by that context but to hear him at a jam session was unbelievable! Fontana spent years in Las Vegas as a member of the music community there playing shows and the like. Finally someone recorded him in a proper Jazz context and the result was this amazing disc. Carl picked his favorite men and recorded this date. Fontana on trombone with the great Al Cohn on tenor saxophone, Richard Wyands on piano, Ray Drummond on bass and Akira Tana on drums. They play a fine program of standard tunes and some select Jazz originals. The title is no exaggeration and describes the music succinctly......."The Great Fontana".

John Birks "Dizzy" Gillespie was born on Oct 21,1917 and today we celebrate his 102nd Birthday Anniversary with one of his finest albums with his great working band that stayed together for well over 5 years. Dizzy on trumpet was one of the pioneers of Modern Jazz and he is in magnificent form here. James Moody is heard on alto and tenor saxophones and of course, flute. A young Kenny Barron is on piano at the beginning of his storied career. The rhythm section is the great team of Christopher White on bass and Rudy Collins on drums. The "something old" idea is Dizzy's updating four of his his tunes that he recorded back in the mid 1940s. We'll hear "Bebop", "Good Bait", A segue of "I Can't Get Started and 'Round Midnight" and "Dizzy Atmosphere". The n"something new" is three then new compositions by the talented Tom McIntosh: "November Afternoon", "The Day After". "The Cup Bearers". "This Lovely Feeling" is a bossa nova by Arif Mardin and Margo Guryan. The album ends with Dizzy's night club closing theme "Early Mornin' Blues". All of this was recorded in April of 1963 and is a great representation of this powerhouse band. Happy Birthday Dizzy!

This is one of the many great bands that drummer Art Blakey led. In honor of his centenary: Blakey was born in Pittsburg Pennsylvania on October 11,1919 so tonight we pay tribute to his Birthday Anniversary, This particular edition lasted from 1961 through to mid 1964 with the same personnel and they achieved a greatness few other groups possessed. This album called "Free For All" was recorded near the end to this band's existence and remains one of it's most intense and valued recordings. It is a good representation of how the band could sound in person on a good night. The music was captured in the recording studio the the energy is palpable. Only four tunes grace this album: two by Wayne Shorter, one by Freddie Hubbard and one by Clare Fischer. The band's personnel is Freddie Hubbard on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor saxophone (he was also the band's musical director), Cedar Walton on piano, Reginald Workman on bass and of course Mr. Blakey on drums. The Jazz Messengers!

This overlooked album was Monk's fourth for Columbia and of course featured his wonderful quartet with his right hand-man, Charlie Rouse on tenor saxophone and two fresh faces in the bass and drum department who would remain with Monk for four years. They are Larry Gales on bass and Ben Riley on drums. The Monk Jazz Feature is to honour his Birthday Anniversary which takes place on Oct. 10. This is one fine album that many people forgot about and has a variety of tunes that are standards given the unique Monk treatment. A delightful version of the children's song, "This Old Man" is given a Monk guise. A Monk solo piece on an old obscure ballad by Irving Berlin is a sheer delight. Two Monk originals also grace the recording done on October of 1964. Happy 102nd Birthday Mr. Monk, your music is a fresh as tomorrow.

VSOP was started during the time of Miles Davis' voluntary "retirement" from 1975 to 1980. The former members of Davis' "Second Great Quintet" wished to recapture some of the musical magic that happened in that band. VSOP then was formed with Wayne Shorter on soprano and tenor saxophones, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums. The great Freddie Hubbard took the place of Miles Davis on trumpet. The repertoire at first was a recap of many of the tunes from Miles' band but then the group moved away from that to feature new compositions played in the same style.This had happened when this live concert took place in July of 1979 in Tokyo. They played in the pouring rain to over 10,000 ecstatic fans and delivered a concert worthy of their collective greatness. That is tonight's Jazz Feature VSOP: "Live Under The Sky". Say no more!

Sonny Stitt was one of the true masters of the saxophone and a favorite of just about every other saxophonist and yet he remains underrated. His flow and his ideas and both alto and tenor saxophones is unparalleled. Stitt recorded prolifically and mostly in a quartet setting with piano bass and drums or with organ, guitar and drums. Here he is on one of his finest outings done a few days after his birthday on Feb. 8,1972. Stitt is backed by a "Cadillac" rhythm section of Barry Harris on piano, Sam Jones on bass and Alan Dawson on drums. Our Jazz Feature album is called "Tune Up" and Stitt offers us his interpretations of some good standards and some Jazz originals. As always he is masterful and one can hear on this recording why he was everyone's favorite. Sonny Stitt...Jazz mastery!

Julian Cannonball Adderley really needs no introduction to most Jazz fans and casual listeners. He was one of the foremost voices of the alto saxophone, a great bandleader and a great communicator who knew how to bring the real thing to the people. This album, part 2 of our Jazz Show tradition of this time of year celebrating fall and "back to school". Mr Adderley narrates "A History of Jazz" with recorded examples and gives one an overview of the music's development over the years up to 1960. His easy eloquence makes things very clear and makes this album educational and entertaining. It's too bad that Mr. Adderley wasn't called upon to update this type of recording every five years or so but we do have this and it's always worth a listen. Check it out tonight.

Victor Feldman was one of the finest musicians that Great Britain ever produced. Victor was born in London on April 7, 1934 and was only 53 when he died in L.A. on May 12,1987 from an asthma attack. Victor was a child prodigy and began playing drums at age 7, piano at age 9 and vibes at age 14. He moved to the US in 1955 and returned to London for a while after touring with Woody Herman and others. He returned to LA and settled there and began working not only in Jazz but in the studios for movies and TV as well. His Jazz gigs led to this album his first US recording under his name. Victor is accompanied by 21 year old Scott LaFaro who makes his recording debut here. The great Stan Levey is on drums. The album called "The Arrival of Victor Feldman" explores 10 tunes, mostly standards and a few Feldman originals. It's a fun and very pleasant listen. Nothing revolutionary here but good solid Jazz played by three master musicians. Enjoy Victor Feldman and Co. tonight!

This is the only recording of this edition of Art Blakey's Jazz Messengers. He had many and some were widely recorded, some were not and some went unrecorded. This was a good one. Trumpeter Bill Hardman who played with Blakey in 1956/57 returns a more fully developed player along with newcomer originally from Panama, tenor saxophonist Carlos Garnett. Joanne Brackeen is on piano and she is the first woman ever to be a Jazz Messenger and of course she is great. Czech bassist Jan Arnet is strong and keeps the bottom happening. Blakey is Blakey, strong, swinging, masterful and exciting. The repertoire is standard Blakey material but sounds fresh. Tunes like "Moanin'", "Whisper Not", "Blues March" and of course "A Night in Tunisia" and others are all here. The band was recorded in Tokyo on February 19,1970 hence the title. Check it out. No flies on this band!

Lou Donaldson is one of the great masters of the alto saxophone and possesses great technique and control but he never overtly displays this as he plays music not "chops". Lou plays many styles and as he came out of Charlie Parker, he created his own style, a pared down version of Parker's concept with a more bluesy feel. Donaldson for a period liked to work with a Hammond organ and this album reflects that concept. it's fun, funky, appealing and will make you want to dance and pat your feet. Lou performs here with Melvin Lastie Sr. on cornet, George Benson on guitar, (Dr.) Lonnie Smith on organ and Leo Morris (aka Idris Muhammad) on drums. They explore a bunch of great tunes in a funky, bluesy style yet it's pure Jazz and fun to listen to. "Alligator Bogaloo" is a fun listen and good for the soul. It's happening tonight!

Harold Floyd "Tina" Brooks occupies a place in Jazz History as being a great and distinctive voice of the tenor saxophone who had a lot of bad luck, no real fame and an early death. One very sad lifetime but now that he is long gone, his artistry is acknowledged by all. Of his 4 Blue Note dates under his own name only one was issued. Now everything he recorded as a leader and sideman is now out and available. He died in 1974 at age 42 but his reputation was revitalized when all of his albums were unearthed and released in the early 1980s on LP and CD and in box sets. This is one of his "unreleased" albums. His third for Blue Note and it's a great one. It features Tina (pronounced "Ty-na") on tenor saxophone leading trumpeter Blue Mitchell, pianist Kenny Drew, bassist Paul Chambers and drummer Arthur Taylor plus on one tune a cameo appearance by alto saxophone master Jackie McLean. Brooks contributes three tunes and two more obscure standards complete the date. The standard tunes are "For Heavens Sake" and "The Ruby and The Pearl". The album is called "Back To The Tracks" and it was given a matrix number and advertised in Jazz publications but never issued. The story of brooks' life. Check it out tonight.

This fine album was never issued until three years after Getz' death in 1991. It was recorded during Getz "bossa nova period" but is a straight-ahead pure Jazz recording. Getz career was revitalized during his bossa nova period and this recording and the only studio recording by this unique band was shelved as it did not feature any bossa nova tunes. The powers that be felt at the time that it would not be to Getz' advantage to put this album out so it was sadly shelved. Now that we have it it is a minor classic and a real treasure. Getz, of course is in top form and tackles each tune with intensity and enthusiasm and delivers his lyrical, creative and beautifully stated message all over this disc. His band included the young Gary Burton, who at the time was very new on the national Jazz scene and shows his maturity and emergence as a future star. The bassist is the late, great Gene Cherico. The drummer is the underrated Joe Hunt, who today is still active playing and teaching. This is the only documentation of this Getz quartet and we the listener ought to feel grateful that is finally received the light of day. The album contains ballads, standards, originals by Burton and altoist Phil Woods and composer Mike Gibbs. "Nobody Else But Me" is Getz at a peak in 1964.

This was a special band that Bobby Hutcherson put together in the mid-70s and it was composed of mostly Bay Area musicians as Bobby himself had moved there permanently. The core band was Bobby Hutcherson leading and playing vibes and marimba. Manny Boyd played tenor and soprano saxophone, James Leary III was the bassist and Eddie Marshall was on drums. Piano was added to the core band here by Larry Nash who plays acoustic and electric piano. The band could swing hard but also had a delightful lyrical and ethereal quality too and had a very special sound. This period is somewhat overlooked in the long career of Bobby Hutcherson and this is one of the reasons to hear this fine recording called "View From The Inside".

Charles Lloyd was born on March 15, 1938 and today at age 80, he still tours, teaches and records with his working quartet. He remains a formidable tenor saxophonist and he also plays flute, soprano saxophone and a wide variety of ethnic instruments. Lloyd is a wonderful composer as well. His strong spirit drives him and seems to give him renewed energy. He has recorded prolifically over the years mostly in a quartet setting. Here on this recording Charles leads Swedish piano genius Bobo Stenson, bassist Anders Jormin and American drum master, Billy Hart. This album is composed of all Lloyd compositions and the band is full of creative energy. The album is called "All My Relations". It is an inspiring document to one of today's living masters.......Charles Lloyd.

Max Roach is acknowledged to be one of the great Modern Jazz drummers and a pioneer of this music. He really needs no introduction and he has led many important and ground breaking bands throughout his long career. He first began leading a band in 1953 and continued with various aggregations until his death. This band was unique in that it contained three excellent players from Pittsburg. The Turrentine Brothers: Stanley and Tommy. Stanley went on to become one of the most influential and easily identifiable tenor saxophonists in Jazz. Brother Tommy was an excellent trumpeter with an original style and a big burnished sound. His career wasn't as successful as Stanley's and Tommy faded from the scene in the late 60's. Bassist Bobby Boswell was a Pittsburger and a fine strong bassist who held this band together as Max Roach had dispensed with the piano. The third horn was Julian Priester in fine form on trombone. He had just left Sun Ra to join Roach. This band had a very identifiable sound. The tunes are by Tommy Turrentine, Leon Mitchell, Bill Lee, Kenny Dorham and Julian Priester and there is one standard tune in the 6 that make up this album. Quiet As It's Kept is one fine date and was done in New York in January of 1960.

This album is considered Walt Dickerson's masterpiece. It was his final date of the four he did for Prestige/New Jazz. Dickerson is to this day underrated, he was the most unique and original voice of the vibes or vibraphone to emerge in the 60s. He wasn't beholden to Milt Jackson or Lionel Hampton but was entirely his own man. He was called "the Coltrane of the vibes" for his sweeping and fast technique but this technique only allowed him to express his music better. This album is dedicated to Walt's wife, Elizabeth and hence the long title track is called "To My Queen". It's a suite of different moods and properties. After the title track is a great take on Irving Berlin's "How Deep is The Ocean" and the album ends with a duet between Walt Dickerson and bassist George Tucker on Billie Holiday's immortal "God Bless The Child". Dickerson is accompanied by pianist Andrew Hill who is always worth hearing for his originality. George Tucker as mentioned is on bass and the great Andrew Cyrille on drums. Tonight "To My Queen".

William "Red" Garland emerged as a member of the "first great quintet" of trumpeter, Miles Davis. Red's piano style is so distinctive with a light touch and beautifully executed two-handed block chords. His influences are Bud Powell and Erroll Garner that he combines into his unique style. He did two tenures with Davis and made a slew of trio albums, all solid stuff for Prestige Records. He took a break in the mid-60s and returned in the 70s and continued gigging and recording until his passing in 1984. Tonight's Jazz Feature involves a short lived quintet that Red Garland led in late 1957. John Coltrane was on tenor saxophone, Donald Byrd on trumpet, George Joyner (aka Jamil Nasser) on bass, Arthur Taylor on drums and Mr. Garland. One solid group and this album called "Soul Junction" was one of the best of the several albums this band recorded. From the slow blues title track to the final tune, "Hallellujah" the band sails through comfortable and familiar Jazz materiel in a hard swinging creative set. "Soul Junction" is a perfect album to check out after the excitement of the recent Jazz Festival 2019.

As a way of relaxing after a busy Jazz Festival weekend The Jazz Show presents a low-keyed bluesy album that has always been a favourite among Blue Note Records fans. Master guitarist Kenny Burrell made this album in the sympathetic company of tenor saxophonist Stanley Turrentine and Burrell and Turrentine are perfect fits. There are 9 tunes on the album and Burrell wrote 7 of them. The other two are by bassist Major Holley called "Mule" (Holley's nickname) and the bluesy standard by Redman and Razaf called "Gee Baby, Ain't I Good To You" This relaxed and easy-listening album is the real deal and fine music. Burrell and Turrentine are accompanied by the aforementioned Major Holley on bass, drummer Bill English and conguero Ray Barretto. A perfect band for this album called "Midnight Blue".

This show is a special edition and features all artists who perform at the Vancouver International Jazz Festival for 2019. The music will be picked by one of the founding fathers of the Jazz Festival, Mr. John Orysik. He will discuss the music with some interjections from me, Gavin Walker, your regular host. This is an important show featuring one of the cultural highlights of the year......The Vancouver International Jazz Festival.

"The Teddy Charles Tentet" is a seminal recording by a short-lived group led by vibist/composer Teddy Charles. This band stole the show at the 1955 Newport Jazz Festival and went onto several gigs and concerts in the Fall of 1955. Teddy Charles signed with Atlantic Records and took the band into the studio to make this recording in January 1956. The idea of the band was to combine writing and improvising and it worked! The people involved are Art Farmer on trumpet, Gigi Gryce on alto saxophone, J.R.Monterose on tenor saxophone, and either Saul Schlinger or George Barrow on baritone saxophone, Don Butterfield on tuba, Mal Waldron on piano, Jimmy Raney on guitar, Teddy Kotick on bass and Joe Harris on drums and of course Teddy Charles on vibes. We'll hear compositions by Teddy Charles, Mal Waldron, Jimmy Giuffre and George Russell and an arrangement of a standard by Gil Evans. Rich and varied and classic. This album is listed in the 100 Essential Jazz Albums. It's our Jazz feature this evening.

"Tenor Conclave" is an apt title for tonight's Jazz Feature. Four major tenor saxophonists performing on this date backed by a superb rhythm section. Zoot Sims and Al Cohn were established by the time of this date and John Coltrane and Hank Mobley were then up and coming stars. The great rhythm section was Red Garland on piano, Paul Chambers on bass and Arthur Taylor on drums. Two originals by Hank Mobley and Hank's arrangements for the four tunes on the date. This was a fine and rare session where making music was a priority and not ego and pyrotechnics. The four saxophonists cohere and compliment one another and swing you into bad health! Enjoy "Tenor Conclave" tonight and as always guess who is taking the solo. Think of Cohn and Sims as brothers and Coltrane and Mobley as cousins. Have a ball!

Tonight is our final Feature with drummer/leaders for the month of May. Our Feature artist tonight is one of the most widely recorded drummers in Jazz, Arthur Taylor. After a long career playing and recording with just about every Jazz musician of importance. Arthur Taylor headed for Europe for many years and continued to play with many American ex-pats. Upon his return home he formed a band of young and energetic musicians and resurrected the band name "Taylor's Wailers" that he had used in the 1950's when he gigged as leader. This young band is tonight's Jazz Feature. The album was recorded in 1991 and consisted of Willie Williams on tenor saxophone, Abraham Burton on alto saxophone, Marc Cary on piano, and Tyler Mitchell on bass and Mr. A.T. (aka Arthur Taylor). The band cooks and is all driven by Arthur's amazing big beat. There is a great selection of tunes like the title track written for Arthur by fellow drummer Walter Bolden called "Mr.A.T." Randy Weston's "Hi-Fly" is here along with Mal Waldron's beautiful ballad "Soul Eyes". There are many other highlights on "Mr. A.T." so check it out tonight. "Taylor's Wailers-Mr.A.T.".

The third drummer/leader in this month's series is the redoubtable Elvin Jones. Elvin was one of the most unorthodox and innovative drummers in Modern Jazz History and he really became well known after spending the years 1960 through 1965 as an important part of John Coltrane's "classic quartet". After Coltrane and a short stint with Duke Ellington, Elvin led his own bands of various sizes but one of his finest ensembles was his Trio. It consisted of the versatile Joe Farrell on tenor and soprano saxophones and flute/alto flute and piccolo. Joe is a strong voice. On bass was Elvin's long time bandmate Jimmy Garrison. They gigged and did a couple of albums for Blue Note and tonight's Jazz Feature is the first one called "Puttin' It Together". The cohesion and the variety provided by the various horns played by Farrell make this an extremely satisfying group despite it's size. Seven tunes and seven different moods make up the date. Compositions by Garrison, Jones, Farrell and some standards make "Puttin' It Together" a wonderful musical experience. Check it out!

Anthony Williams was nothing short of a musical phenomenon. Anthony or Tony came to New York when he was 17 and was heard by Miles Davis and joined the Davis group which was known as "The Second Great Miles Davis Quintet". Tony revitalized Miles and impressed all who heard him. Refreshing, innovative, strong were just a few of the adjectives describing this young man's work. He did two edgy and innovative albums for Blue Note during 1964/65 and tonight's Jazz Feature is his second. The album was called "Spring". Five Williams compositions are heard and the participants are tenor saxophonists Wayne Shorter and Sam Rivers. Herbie Hancock is on piano and the bassist is Gary Peacock. The music is edgy and fresh and takes some unexpected turns. The music is as I describe "freedom with responsibilities". "Spring" will wake you up and Tony Williams is the second of our month long look at some dummer/leaders.

This is a special edition of Art Blakey's Jazz Messengers as it is the only recording of the two most famous Marsalis Brothers playing together in the great drummer's band. This was recorded live at the legendary Keystone Korner in San Francisco in January 1982. Bobby Watson. who was Blakey's alto saxophonist had just left and Blakey was looking for a replacement and Wynton suggested his brother Branford and the rest is history. The Marsalis Brothers are working with tenor saxophonist Bill Pierce on the front line. Donald Brown is on piano, Charles Fambrough is on bass and of course Art Blakey on drums. This is an inspired band and Blakey was proud to have all these "young lions" in the group. The first in this month's series spotlighting drummer/leaders. Art Blakey and His Jazz Messengers.

Tonight TWO (count 'em) TWO Jazz Features. One is the celebration of Duke Ellington's Birthday Anniversary today (April 29) with his epic "Far East Suite". A suite of 9 movements celebrating Duke's tour of the Middle and Far East. Recorded in December of 1966. Most of the key members of the Ellington Orchestra are here and playing at their peak: Johnny Hodges, Paul Gonsalves, Cootie Williams, Jimmy Hamilton and of course Duke himself. This is a great recording and and on the the pinnacles of Ellington's later career. The second Jazz Feature celebrates albeit belatedly the Birthday Anniversary of Charles Mingus. He was born on Earth Day (April 22, 1922). Tonight we will hear what is his arguably "last great quintet" recorded in concert in Bremen, Germany on July 9, 1975. Mingus, who succumbed to ALS was still in fine health with this great band composed of Jack Walrath (trumpet), George Adams (tenor saxophone), Don Pullen (piano) Mingus on bass and Dannie Richmond on drums. This is a well recorded and rather amazing concert and is NOT available on commercial records and discs. There it is, the Jazz Show's TWO great Jazz Features. Don't miss them!

Herbie Hancock is tonight's Jazz Feature Artist and this is one of his pivotal recordings done during a very fertile period in Herbie's career. Herbie had signed with Blue Note Records and was playing with Miles Davis in his "second great quintet". The album is called "Empyrean Isles" and features four varied Hancock tunes. The people involved are Freddie Hubbard on cornet in magnificent form. Bassist Ron Carter and the teenage drum genius, Tony Williams and of course Herbie Hancock. Despite the lack of a saxophone for a deeper sonority this album works and is one of Hancock's finest outings. Let Herbie take you to the Empyrean Isles tonight!.

This is a wonderful concert by The Miles Davis Quintet done in Paris on March 21, 1960. This was a special night as not only was the band on fire but John Coltrane was pulling out all the stops on his solo spots. The usually vociferous French audience didn't seem to know how to react to Coltrane. Their applause is a mixture of joy and derision. Coltrane at first refused to do this tour as he was at this time basically out of Miles' band and concentrating on practicing and forming his own band and it was only by Davis begging him to do the tour that he agreed. He used this time to play as long as he wished and what he wanted and on this night he pulled out all the stops. The French audience wasn't quite ready for his outpourings even though they knew him from his records. The repertoire is all standard Davis tunes from this period and the solid and study rhythm section never lets up. That's Wynton Kelly on piano, Paul Chambers on bass and the only living member of this incredible band, drummer Jimmy Cobb. Here tonight is the Paris concert in it's entirety. It's important and essential music from five of the finest musicians to grace the planet.

This was the startling debut recording by Eric Dolphy. It was his first under his name. Today is the 59th anniversary of the date as it was recorded on April 1,1960. Eric was from L.A. and had settled in New York and was soon playing a variety of gigs and had joined Charles Mingus' Jazz Workshop. Prestige (New Jazz) was on the search for new talent at this time and Eric was introduced to the label and given carte blanche to pick a band and record, This album was the result. Eric was a virtuoso and a fearless improviser on all his horns, the alto saxophone, the bass clarinet and the flute. Eric picked his room mate of the time, a young Freddie Hubbard to share the front line with him. Jaki Byard was on piano and newly arrived from Boston and his concept adds greatly to this album's success. George Tucker on bass was recommended to Eric by Mingus and on drums was none other than a perennial favorite, "Mr. Snap-Crackle"....Roy Haynes. Four of the six tunes are by Eric and they show his compositional talent. Eric's version of "On Green Dolphin Street" features his bass clarinet and the ballad, the obscure "Glad To Be Unhappy" spotlights his flute. As an added treat a short blues with Eric on flute and the rhythm section is added. It was never issued on the original CD and the vinyl. All in all a major debut for an artist whose life and creativity was cut short by illness at age 36. There will never be another Eric Dolphy. Outward Bound tonight!

This album by guitar giant Grant Green is rather special. Green, of course recorded many albums for Blue Note in the early part of his short career. They varied from guitar trios, to organ dates that were more funky and some straight ahead modern Jazz with horns.. This album was a bit different with a fine group comprising of the then new voice of the tenor saxophone Joe Henderson, and newcomer to New York, vibist Bobby Hutcherson, Duke Pearson was the pianist and musical director of this set and wrote two pieces, the slow languorous title track "Idle Moments" and the brighter "Nomad". The rhythm section of bassist Bob Cranshaw and drummer Al Harewood are perfect here. Green wrote the cookin' "Jean De Fleur" and the album ends with a wonderful version of John Lewis' "Django". Idle Moments is a standout album for Grant Green and co. and should be heard more often. So here it is!

Composer/theorist and bandleader George Russell is an important figure in the development of Modern Jazz. Russell remains more of a background figure but he did lead his own groups from 1960 through 1964. The groups had personnel changes but all reflected Mr. Russell's concepts and of course Mr. Russell played piano more than competently in these bands. His groups recorded for Riverside and Decca records. Tonight's Jazz Feature is a fine album that despite the title was recorded in New York after the band's gig in Kansas City in early 1961. Russell leads trumpeter Don Ellis, tenor saxophonist Dave Young, trombonist David Baker, bassist Chuck Israels and drummer Joe Hunt through a series of fine tunes ironically none were composed by Russell but have his magic touch. All of these players went on to prominent places in Jazz. The sound of the Russell Sextet doesn't sound dated at all and that is a tribute to Mr. Russell's leadership and direction. The George Russell Sextet in K.C. is a fine outing and arguably one of Russell's best.

Jimmy Heath at 92 is one of the living Jazz Masters and still going strong playing, composing, touring and band leading. Jimmy was from the illustrious Heath Family which included the late bassist Percy and the still living youngest brother, drummer Albert "Tootie" Heath. Our Jazz Feature album is a fine example, more then fine, perhaps one of the best examples of Jimmy Heath's playing done in 1975 when he was 49. "Picture of Heath" places Jimmy playing mostly tenor saxophone but on soprano saxophone on two tunes in front of a great rhythm section with the still living Barry Harris on piano, Sam Jones on bass and Billy Higgins on drums. Only one standard is heard here and that's the ballad "Body and Soul" where Jimmy plays both horns. The five remaining tunes are all Jimmy's. "For Minor's Only", "Picture of Heath", "Bruh' Slim", "All Members" and "CTA". "Picture of Heath" paints a great musical picture of one of Jazz music's great masters.

Tonight we are suspending the regular Jazz Feature to remind you of the annual CITR Fun Drive. Call 604-822-8648 (604-UBC UNIT) or donate online at citr.ca/donate. We are raising money to keep the unique programming and improve education opportunities for young people interested in producing the fine an unique programming to CITR. If you donate please mention The Jazz Show.....we would deeply appreciate it. Thank you.

As we honour Black History Month, we present another of drummer Max Roach's albums that reflect not only his concern with innovative music but his political stance on justice, equality and civil rights. Roach radically changed his approach to music in the volatile climate of the USA in the early 1960's. Has it really changed much? Mr. Roach and his Ensemble and 6 of his compositions grace this album, his first for Impulse Records. It was called "Percussion Bitter Sweet". Roach's Ensemble consists of trumpeter Booker Little, trombonist Julian Priester, the amazing Eric Dolphy on flute/bass clarinet and alto saxophone, Clifford Jordan on tenor saxophone, Mal Waldron on piano, Art Davis on bass, Carlos "Patato" Valdes on conga drums and Carlos "Totico" Eugenio on percussion and timbales. Vocalist Abbey Lincoln appears on the first two compositions...wordless on the first called "Garvey's Ghost" and with words by Mr. Roach on "Mendacity". Check out Max roach and his music tonight as our tribute to Black History Month.

Two Jazz Features are happening tonight....Ladies and gentlemen A DOUBLE FEATURE! As we were unable to broadcast live last week due to bad weather we are here live tonight and last week's planned Jazz Feature is on tap tonight. Canadian trumpet virtuoso Ingrid Jensen has a new album out and it's a beautiful tribute to the late great composer Kenny Wheeler. Ingrid and tenor saxophonist Steve Treseler, who doubles on clarinet and bass clarinet teams with Ingrid and piano giant Geoffrey Keezer, bassist Martin Wind and drummer Jon Wikan plus a cameo appearance by Ingrid's talented sister Christine on soprano saxophone in a series of Wheeler compositions.The music is fresh and vibrant and recently recorded in 2018 for the Whirwind label. "Invisible Sounds for Kenny Wheeler" explores the many lyrical, poignant and energetic compositional explorations by the immortal Kenny Wheeler. Our second Jazz Feature is called "Joe Henderson in Japan". It features the tenor saxophone giant at his very best supported by a Japanese rhythm section. It was recorded live in a small club full of very vocal enthusiasts. Joe was happy with the band and the audience ambiance and delivered one of his finest performances on record. For years on the domestic recording, only 4 lengthy tunes were issued but tonight we hear the deluxe edition with 5 tunes. Of the many many albums by Joe Henderson, this one stands near the top. Joe, of course was along with Wayne Shorter in the 1960s was someone who set the standard for tenor saxophone playing and he is still very influential today despite his passing in 2001 at age 64. Joe Henderson in Japan....don't miss this one! Tonight's DOUBLE FEATURE! TWO FOR THE PRICE OF ONE!

Drummer Max Roach was a Jazz great and one of the pioneers of Modern Jazz. His history is easily available on the internet but tonight's Jazz Feature is a tribute to Black History Month. This album was issued on a small independent label was a musical turning point for Mr. Roach. It reflected his musical philosophy that his music be socially relevant and express his concern for equality and civil rights. It featured Max's Ensemble augmented with some percussionists and with Max's then girlfriend, singer Abbey Lincoln doing the vocals. Mr. Roach wrote all the music and the words were written by poet/singer/ philosopher, Oscar Brown Jr. Guest artist, tenor saxophone great Coleman Hawkins makes an emotional appearance on the first track called "Driva Man" . The rest follows. The Freedom Now Suite occupies an important place in the music of Max Roach and of Black History. Experience it now!

This Jazz Feature is tonight's last one for January as we have looked back to the year 1959 and all the great Jazz classics that were recorded that year, 60 years ago. There will be two more months this year devoted to looking at 1959 but that's for later. Tonight it's pianist/composer Horace Silver and his Quintet and Trio. Silver had formed his first band in 1956 and began recording usually two albums per year for Blue Note of his own tunes. The personnel varied but the instrumentation was always trumpet, tenor saxophone, piano, bass and drums. By 1958 the personnel had stabilized and Blue Mitchell and Junior Cook were the horns, trumpet and tenor saxophone respectively. Eugene Taylor was on bass and a young Louis Hayes was on drums. This album called "Blowin The Blues Away" was exceptionally good....great if you will! The energy and the cohesiveness is very evident and the music has a relaxed intensity. The Quintet tracks are superb as are the two Trio tracks with just Horace, bass and drums. "Blowin' The Blues Away" will work for you, check it out tonight!

As the third of The Jazz Show's features of classics recorded in 1959,, we present Charles Mingus and his breakthrough album, "Mingus Ah Um" done for Columbia Records. This was the remarkable recording that rose Mingus up from the underground of Jazz to national prominence. Not only was this a productive period in Mingus' career, he also had one of his finest working bands as the 1959 edition of his "Jazz Workshop". John Handy on alto and tenor saxophone and clarinet, Booker Ervin on tenor saxophone, Horace Parlan on piano, Dannie Richmond on drums and of course Mingus on bass and occasionally piano. For these sessions Mingus was allowed to bring in some alumni from previous Workshops. Trombonists Jimmy Knepper and Willie Dennis are heard on various pieces as well as alto and tenor saxophonist Shafi Hadi who doesn't solo but fills out the ensembles with his sound. The album is beautifully produced and Mingus supervised everything, editing, order of the tunes, the notes. It marked the recorded debut of three of his most enduring compositions, "Better Get It In Your Soul". "Goodbye Pork Pie Hat" and "Fables of Faubus" among many other gems. "Mingus Ah Um" opened many door for people and Charles Mingus and we'll hear it tonight!

The Dave Brubeck Quartet had by 1958 a very stable personnel in Paul Desmond on alto saxophone who was there from the outset and Brubeck himself on piano. Many bassists and drummers passed through the Quartet but Eugene Wright (aka "The Senator") was the permanent bassist and the virtuoso drummer, Joe Morello was on board too. They remained together until the breakup of the Quartet in 1967. Brubeck had been immensely popular since 1954 but some changes were taking place. The Quartet's repertoire had with a few exceptions been made up of standards from the Great American Songbook done up Brubeck style. However Brubeck began writing more and more originals and using different time signatures. This new move culminated in this classic album. It was done over 3 sessions in June, July and August of 1959. When the album was released it became an instant hit and best seller. 6 compositions were written by Brubeck but Paul Desmond contributed the smash it....."Take Five". As we are looking back to that classic year 60 years ago in 1959 this famous date is our second Jazz Feature. Like our first which was Miles Davis' "Kind of Blue" this album reached many household collections of people who were casual or eclectic music lovers. In other words it transcended the "Jazz" category. It remains a best seller 60 years later and is always worth a visit. Tonight is "Time Out" time!

To begin the New Year we are going to look back 60 years to the year 1959 and as so many iconic and essential recordings were made in that productive year we will be exploring four hand-picked recordings for the four Mondays in January and later in the year we will return to 1959 a couple more times to explore more classic recordings from that golden year. We begin tonight with perhaps the most iconic Jazz recording ever. Miles Davis's "Kind of Blue". This record continues to sell and is listened to by people even those with limited or no interest in Jazz. It has transcended labeling. Miles Davis composed all the tunes and his band included Julian "Cannonball" Adderley on alto saxophone, John Coltrane on tenor saxophone, Wynton Kelly on piano (on one tune only), Bill Evans on piano on the rest, Paul Chambers on bass and Jimmy Cobb on drums. Tonight we'll hear this recording in a new way in the sequence that the band originally recorded the tunes. Doing it this way can make listeners familiar with the music hear things in a new way. The recording was done in two sessions. The first on March 2,1959 and the second on April 22,1959. Kind of Blue is this month's first Jazz Feature so a Happy New year to all.

As this is the last Jazz Show for 2018 and for our annual Christmas Edition, we present the legendary and iconic Miles Davis date recorded on Christmas Eve in 1954. The music is not Christmas music per se but the spirit of Christmas is all pervasive here. Miles , vibes master Milt Jackson, pianist Thelonious Monk along with bassist Percy Heath and drummer Kenny Clarke all came together despite a few minor disagreements between the headstrong Miles and the equally headstrong Monk. All was resolved and the music set the standard for Modern Jazz that prevails today. The tunes are Jackson's blues "Bags' Groove", Monk's "Bemsha Swing", Davis' "Swing Spring" and the Gershwin's "The Man I Love" all were finished in the afternoon and early evening of December 24th, 1954. There will be more Christmas music on tonight's show that you will not hear in malls. So Merry Christmas all and a very Happy New Year from The Jazz Show.

Tonight'd Jazz Feature beams the spotlight on Johnny Griffin, one of the foremost masters of the tenor saxophone. Hard hitting, fast, and passionate, Griffin was not one you fooled with as he could outplay just about anybody. This album is one of his best as it features a well-rehearsed sextet with fresh compositions by a colleague of Johnny's, pianist/composer/arranger Norman Simmons. They both were from Chicago and went to school together. Simmons brings some very fresh sounds to the date here as he arranged all the tunes and wrote 3 fine tunes. Johnny picked Blue Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam Jones on bass and Albert "Tootie" Heath on drums. "The Little Giant" remains one of Johnny's most iconic albums. Hard hitting Jazz from the Windy City!

Joe Henderson was one of the two major saxophonists who emerged in the 1960s. The other was Wayne Shorter. Joe's style came from Stan Getz, Sonny Rollins and John Coltrane but was all his own. His facility and his original phrasing and ideas were all Joe. In 1962 Joe entered the New York scene after spending much time in Detroit and a few years in the US Army (playing music). Joe hooked up with trumpeter Kenny Dorham and through Kenny got a Blue Note contract. He made five albums under his own name and many many sideman appearances with artists like Lee Morgan, Andrew Hill, Grant Green etc. Tonight's Jazz Feature is Joe's last Blue Note album before he moved to leadership of his own bands and other labels. "Mode For Joe" is an all-star date but well organized by Joe. It's a septet with Lee Morgan on trumpet, Curtis Fuller on trombone, Bobby Hutcherson on vibes, Cedar Walton on piano, Ron Carter on bass and the dynamic Joe Chambers on drums. Joe wrote three tunes, Cedar Walton wrote the title track and one more and Lee Morgan contributed one. This is a very cohesive date with a unity of thought and purpose and everyone brings their best game here. "Mode For Joe" stands as one of Joe Henderson's finest outings and it's on tonight!

This is the last trumpeter in our Jazz Features spotlighting unheralded trumpeters for November. Carmell Jones was from Kansas City, Kansas but became a a major trumpet voice on his horn when he moved to Los Angeles in 1960. He recorded his first albums there and worked with Harold Land, Curtis Amy and the big band of Gerald Wilson and others before moving to New York in 1964 to join Horace Silver's revamped Quintet. Carmell was on pianist Silver's famous date called "Song For My Father" In 1966 he moved to Europe and was there until 1980 then he returned home to Kansas and taught and played locally before his death at age 60. in 1996. Tonight's Jazz Feature is his fine only date for Prestige in 1965. Carmell picked a great band with Jimmy Heath on tenor saxophone and Barry Harris on piano adding much energy to the proceedings. George Tucker on bass and Roger Humphries on drums drive the music along in swinging fashion. Carmell's main influence was Clifford Brown and with his warm full sound and abundant technique Carmell reflects that wonderful influence by being Carmell! Check out "Jay Hawk Talk" tonight!

This is the third Jazz Feature on underrated and under recorded trumpeters. Boston born Joe Gordon started young and worked with Georgie Auld, locals Charlie Mariano, Jaki Byard and toured with Lionel Hampton. He was also first call when Charlie Parker played in Boston. Gordon moved to New York in 1954 and worked and recorded with Art Blakey and joined Dizzy Gillespie's big band and toured the Middle East and recorded with Dizzy. He also played with pianist Horace Silver then seemed to disappear. He emerged in L.A. in 1959 and became first call Jazz trumpeter and worked with Harold Land, Wes Montgomery and recorded with Thelonious Monk. Joe's real fame came when he joined drummer Shelly Mann'e Quintet and toured Europe and recorded many albums. Shelly's Quintet was one of the great groups in Jazz history. Tonight's album was done in 1961 and was only Joe's second under his name however it not only featured his crackling and fiery trumpet but 8 of his compositions He appears here with alto saxophonist Jimmy Woods making his recording debut. Dick Whittington is on piano, Jimmy Bond on bass and the swingin' Milt Turner on drums. "Lookin' Good!" was Joe's last recording as he died in a house fire in November of 1963 at age 35. Check out Joe Gordon tonight, you'll be glad you did!

Continuing our series of underrated. overlooked and under recorded trumpeters, we present Ted Curson. Curson was a most distinctive trumpeter who performed with Cecil Taylor, Mingus and others and led many groups here and abroad. Here is a rare recording done in concert in Montreal in Sept. 1962. Ted leads four Montrealers, altoist Al Doctor, piano genius Maury Kaye, bassist Charles Biddle and drummer Charlie Duncan through 5 Curson compositions. All are in great form and Al Doctor with his assertive fiery alto makes a great front line partner for Ted Curson. Check this out tonight!

Tonight and throughout the month of November The Jazz Show throws the spotlight on obscure, underrated and under recorded trumpeters. All are master musicians but for a variety of reasons, none got the recognition they so richly deserved. In the case of tonight's the wonderful Wilbur Harden , it was a case of his career being curtailed by ill heath both mental and physical. He had recorded with the great Yusef Lateef and John Coltrane and was held in very high esteem. He signed with Savoy Records in 1958 and recorded four wonderful dates, two of which make up tonight's Jazz Feature. Wilbur appears on flugelhorn, his preferred horn with the mighty John Coltrane, trombonist Curtis Fuller, pianists Howard Williams and Tommy Flanagan (splitting the chores), bassist Alvin (aka Ali) Jackson and drum great Arthur Taylor. These two recordings were done in June of 1958 and first issued separately on two LPs. We hear them both tonight. Wilbur Harden wrote four of the seven tunes and Curtis Fuller wrote two and the ballad feature is the old standard "Once in a While". Wilbur made his final record in 1960 and sadly died in obscurity in 1969 at age 44. Hear him at his best tonight!

The last of our obscure, underrated and under recorded exponents of the alto saxophone makes an appearance tonight. Earl Anderza is perhaps the most mysterious. Due to an unfortunate personal life from foster homes to reform school to jail terms Anderza was little known or heard. He was born in Los Angeles in 1933 and died in 1982 in Chicago before his 50th birthday. Somewhere along the line he learned the clarinet and alto saxophone. He was a boyhood friend of Eric Dolphy's and they both studied with the great teacher Lloyd Reece. Earl Anderza only made one recording under his name and it was his first and last. He was heard at a session on one of his releases from jail by Richard Bock, the head of World Pacific Records who was impressed by Earl and made this recording. Earl picked the great pianist Jack Wilson, bassists George Morrow (who is on most tracks) and Jimmy Bond, who plays on a couple. The drummer is the swingin' Donald Dean. There are 3 tunes by Earl and the title track is by Jack Wilson. The rest are known quality standards. This is a fine portrait of a musician who had the potential to be great but his life style held him back from success. Outa Sight! is all we have and we should be happy with this small sample. Check Earl Anderza out!

This is a fine album and a debut date for flutist Prince Lasha and alto saxophonist Sonny Simmons. Both of these men from different states met when they both moved to Oakland, Calif. Both were influenced by the music and philosophy of Ornette Coleman. They formed a mutual musical alliance and wrote all of their repertoire together. They performed as a unit around small clubs in Oakland and the Bay area and ventured down the coast to Los Angeles where they were heard by head honcho of Contemporary Records Lester Koenig. They recorded "The Cry!" in November 1962. Lasha and Simmons have two bassists. One is Mark Procter and the other is a young Gary Peacock. Peacock is the dominant bassist and Proctor takes a secondary roll. The drummer is Gene Stone who does all the right stuff for this music. The primary soloist here is Sonny Simmons and is the third lesser known voice of the alto saxophone that we're featuring this month. Sonny is the dominant voice here. The tunes exhibit a variety of moods and the whole album is a rather startling debut of two very creative underground players with new things to say. Check out "The Cry!" tonight.

Alto saxophonist John Jenkins was prominent in the late 50s as he emigrated to New York from his hometown of Chicago in March 1957. He first worked with Charles Mingus and recorded as a sideman. John was a very distinctive alto saxophonist and a well trained player. Tonight's Jazz Feature is his debut album that came out on Blue Note. John only did one other date under his own name but this one is a gem, Jenkins dropped out of the scene in 1960 discouraged by the "music business" and pursued other directions he resumed playing in the 80s but died fairly young at age 62 in 1993. This album has John and the great guitarist Kenny Burrell on the front line with Sonny Clark on piano, Paul Chambers on bass and Dannie Richmond on drums. It's a well balanced date with a mix of Jenkins' originals and two well-chosen standards. It's a fine debut but unfortunately Jenkins' musical career didn't pan out. He deserved more as you'll hear. Enjoy!

For the second of our Jazz Features spotlighting great voices of the alto saxophone who are either overlooked, underrated or under recorded, we present perhaps the best known exponent of this month's line-up William "Sonny" Criss. Sonny was a passionate player who was influenced by Charlie Parker but whose sound recalled earlier voices of the instrument like Benny Carter or Pete Brown. Sonny had an erratic career and was overlooked at many periods of his life but his mastery was never in doubt. Tonight we present a previously rare quartet date that Sonny did in early 1956 for the small Imperial label. The album was one of three he did for that label and this one was called "Go, Man!". It features some powerful Sonny with another Sonny on piano named Clark. Sonny Clark delivers some wonderful solos too. Leroy Vinnegar is on bass and Lawrence (aka Larence) Marable is on drums. Go, Man! is a great testament to Sonny's confidence, power and absolute virtuosity and individuality. Sonny Criss!

This month of October The Jazz Show presents as our Jazz Features lesser known or obscure exponents of the alto saxophone. All of these players are well worth hearing and if you've never heard of most of them it's because in the majority of cases they recorded little or were on the Jazz scene briefly. In the case of tonight's artist Jimmy Woods, he only recorded two albums under his own name and we are presenting his first and his debut date. It's a real showcase for his talent and his individual approach to the alto. Jimmy has an adventurous concept and a beautiful haunting hollow sound from his horn. He is also a fine composer too. This album is in two different sessions, the first with either Martin Banks or Joe Gordon on trumpet with Jimmy out front and a fine rhythm section with Amos Trice on piano, Jimmy Bond on bass and Milton Turner on drums. The second is Jimmy alone with Dick Whittington on piano, Gary Peacock on bass and Turner on drums. Jimmy disappeared from the Jazz scene in the mid 60s and although he was born in St Louis on Oct.29,1934 his whereabouts are unknown. "Awakening!" is a masterful debut album and should have catapulted Jimmy Woods to a long career in music but didn't. It's a listening treat.

This album marked a comeback of sorts for Sonny Rollins. He had left New york in late 1954 to get his personal life together and shed some bad habits. This date signaled his return to New York in late 1955 and coincided with his joining the Clifford Brown/Max Roach Quintet, one of the most important Jazz bands of the time. Sonny entered the studio with a young pianist from Philadelphia named Ray Bryant who Miles Davis had recommended for the date. George Morrow was selected on bass. Morrow was a member of the Roach/Brown group and last but not least, drum master Max Roach. Five tunes were done and each performance is masterful and shows Sonny's new-found strength and confidence. The album is the first stepping stone to Sonny going from a fine player to a great player. "Worktime" remains one of Mr. Rollins' finest dates. It's tonight's Jazz Feature don't fail to check it out.

This is the second of The Jazz Show's "back to school" feature which involves education and entertainment with the classic recording narrated by Leonard Bernstein. Bernstein tells you with musical examples by his piano and his voice plus examples by famous musicians like Duke Ellington, Louis Armstrong, Bessie Smith, Coleman Hawkins, Phil Woods, Miles Davis, John Coltrane and many more. With these examples he tells you what is and what isn't Jazz. He tells you what makes Jazz music unique and he does it with great knowledge and respect. Later in the album Bernstein takes apart an old standard tune and shows you how different Jazz players interpret it. "What is Jazz" is an excellent example of Bernstein's ability to communicate many of the mysteries of music without sounding pedantic and academic. Sit back and enjoy the album even if you have heard it before there is always something to learn from this classic.

This album has been considered the "holy grail" of discoveries and just issued a few months ago. A n undiscovered recording session by John Coltrane's "classic quartet" at their peak. This session from March 6,1963 was never issued before. The reasons are long and complex but basically the session was done and forgotten during a very busy time in Coltrane's career. Gigs, concerts and other recording projects were happening at this time and as with all the recording sessions done for Coltrane's label, Impulse Records, he was given a tape to take home and assess and listen to in his own time. It was found in the possession of Naima's estate. Naima was Coltrane's first wife and she died in 1996. The tape was processed and programmed by Coltrane's son Ravi and issued to the public a few months ago. What a discovery! The Classic Quartet has John Coltrane on tenor and soprano saxophones and McCoy Tyner on piano, Jimmy Garrison on bass and the incredible Elvin Jones on drums. They are at their intuitive best here and they perform as one. There are seven tunes here, two are untitled Coltrane originals. Eden Ahbez' great composition "Nature Boy" is given a fine treatment and less challenging than his later 1965 version. "Vilia" by Franz Lehar is an unissued version with Coltrane on tenor saxophone. Then there is a great 12 minute blues proving Coltrane once again as a master blues player. Finally another Coltrane original called One Up, One Down closes the set. Sonny Rollins is quoted as saying that "this is like finding a new room in the great pyramid". That describes the music to a tee. Tonight's Jazz Feature "Both Directions at Once".

Bassist Richard Davis has always been one of the leading exponents of that noble instrument. Davis has had long experience in many styles of music from symphony work with the New York Philharmonic to recordings and gigs with some of Jazz music's most adventuresome spirits like Eric Dolphy, Booker Little, Andrew Hill, Booker Ervin, Miles Davis and many others. He was a charter member of the famous Thad Jones/Mel Lewis Orchestra. Davis for all his ubiquity made few recordings under his own name and this is one of them. It concludes our exploration of rare recordings by well known or lesser known artists. Tonight's Jazz Feature was recorded live at a club in New York called Jazz City in September of 1972. The band includes one of the day's leading tenor saxophonists, Clifford Jordan and powerhouse trumpeter Marvin "Hannibal" Peterson, cutting edge pianist Joe Bonner and drummer Freddie Waits and of course Richard Davis. The music is very edgy and adventurous and the band explored only two tunes but both are lengthy. Thelonious Monk's "Epistrophy" goes where even Mr. Monk wouldn't venture and Charlie Parker's blues "Now's The Time" gets a long workout into every nook and cranny of style. The music goes from straight-ahead to the outer reaches and back again. The adventurous spirit of Richard Davis is in tonight's spotlight and thanks to Muse Records we can experience "Now's The Time".

Tenor saxophonist Roland Alexander gets the Jazz Feature spotlight tonight. as our month of obscure records continues. This time most of the artists here including Mr. Alexander are undeservedly obscure. Roland worked and recorded with several leaders including trumpeter Howard McGhee, drummer Charlie Persip and His Jazz Statesmen , Max Roach, Sun Ra, and Abdullah Ibrahim among others but made only two albums under his own name and this is his first. It's called "Pleasure Bent" and also contains four fine Alexander originals. Roland picked the great Detroit based trumpeter Marcus Belgrave as his front line partner. Belgrave rarely went to New York as he had a great career teaching and playing in Detroit. Pianist Ronnie Mathews and bassist Gene tTaylor are acually better known than the leader and they work well on this date. Drummer Clarence "Scoby" Stroman was everybody's favorite in New York and was an always available sub for some drummers who were late for gigs or were no-shows but Scoby rarely got any record dates which was unfortunate but we get to hear him drive the band here with swing and taste, "Pleasure Bent" was one of the rarer items in the Prestige/New Jazz catalogue and was sought after as a "collector's item" by record buffs. Obscure or not...this is one fine recording session thanks to Roland Alexander and company.

This album continues The Jazz Show's policy for this month.....rare recordings. This album gets it's rare status as it is often overlooked in the many recordings that bassist/composer Charles Mingus did. The main reason being is that it doesn't feature his Jazz Workshop ensemble but a piano trio with bass, piano and drums. Pianist Hampton Hawes who Mingus liked from his early days in Los Angeles was visiting New York and as Mingus had this record date booked with a hip Jazz loving producer, Mingus wished to do a trio album featuring Hampton Hawes. His wish was granted and the date took place on July 9,1957. Mingus is definitely the leader here but Hawes is the co-star. The tunes are varied between standards and Mingus originals as well as an exciting Hawes' tune. Dannie Richmond, Mingus' regular drummer gives sympathetic support throughout. Not only do we get superb performances from Hawes but also some great Mingus bass solos. "Mingus Three" is a unique and very special recording and deserves a more prominent place in the Mingus discography.

This was trumpeter Johnny Coles' debut album under his name and this begins a series for August of rare and sometimes hard to find recordings by artists well known or more obscure. Coles lies in the middle as he like many musicians should be better known. His distinctive approach to the trumpet marked him as being a superbly individual voice. Johnny was widely admired but never achieved that legendary status. This rare date is a fine example of his work and should have placed him in the top rank of trumpeters but instead it became a "collector's item". It was done for Epic Records (a Jazz subsidiary of Columbia Records in 1961. Epic put out some fine dates and some became famous but some remained obscure, this was one of them and it didn't deserve that fate. Johnny picked pianist Kenny Drew for the date as well as John "Peck" Morrison on bass and Charli Persip on drums. At Johnny's request pianist/composer Randy Weston was invited to supervise the playing and interpretation of some of his tunes and on the final two selections Randy takes over the piano chores from Kenny Drew. Randy performs on his song "Where?" and his delightful "Babe's Blues". All in all this was an auspicious debut for Johnny Coles, it's just too bad few people heard it at the time. Hear "Little Johnny C." at his best tonight and enjoy "The Warm Sound".

Walter Davis Jr. was a pianist of major stature who had been unfairly overlooked. He appeared on many Blue Note dates but only made this one called "Davis Cup". This wraps up our month long series of Jazz Features that spotlighted artists who only made one album under their name for Blue Note. Walter was a classically trained pianist who was influenced by Bud Powell and Thelonious Monk but brought his own concept to the table. He was also a fine composer of hip. hummable and melodic tunes.This album represents to this writer a summing up as it were of New York Jazz before it changed with the arrival of Ornette Coleman, Cecil Taylor, Eric Dolphy etc. This is a well planned and well-rehearsed date and 6 of Walter's compositions are featured. The people involved are hand picked by Walter and represent his favorite players, Donald Byrd is on trumpet and the great Jackie McLean is on alto saxophone. The blend of Byrd and McLean has always been one of the best combinations. On bass is the mighty Sam Jones and on drums is the ubiquitous Arthur Taylor. "Davis Cup" hits the ball over the net ever time and every tune! Walter Davis Jr. packed a lot of music into his 57 years when he was with us and this album is a delight.

Art Taylor was one of the most ubiquitous musicians on the Jazz scene in the 50's and 60's and recorded with everyone from Charlie Parker to Thelonious Monk, Bud Powell...everyone! Art appeared on hundreds of recording sessions because not only because he was great but because he was easy to record and his clear distinctive cymbal ride was one of his great assets. His drum style combined his two mentors, Max Roach and Art Blakey. He made only a few albums under his own name despite being on so many sessions as a sideman. This is only his third. The first two were for Prestige Records and this one was done for the Blue Note label. This month we are featuring one-shot albums for Blue Note. This date benefits not only by inspiring and well-programmed music but Blue Note's excellent production standards. Arthur picked all the men for the date and we begin with the underrated trumpeter Dave Burns. Burns is on the front line with the great then new voice of the tenor saxophone, Stanley Turrentine. Wynton Kelly on piano graces the session with his relaxed eloquence. Paul Chambers who recorded as often as Art Taylor is on bass and on three tunes the band is augmented by the great Cuban conguero, Carlos "Patato" Valdes. Great tunes and inspired playing are definitely A.T.'s Delight!

Sonny Red (birth name Sylvester Kyner Junior) was a distinctive and passionate voice on the alto saxophone. He is one of the lesser known young men who were born in Detroit and learned to play there and who in the mid-50's emigrated to better opportunities in New York. Kenny Burrell, Curtis Fuller, Thad and Elvin Jones, Donald Byrd, Tommy Flanagan were some of the better known emigres but Sonny Red was an important and sadly overlooked voice. He recorded as a sideman with trombonist Curtis fuller and others and was signed for a series of good albums under his own name for Jazzland Records in 1960. However his best and most personal album was his only date for Blue Note Records and that is tonight's Jazz Feature. Sonny's "Out Of The Blue" is our second one-shot Jazz Feature done for Blue Note. It's a wonderful quartet album and the fine Blue Note quality captures Sonny's great sound and approach on the alto. He's backed on the first 6 tracks by Wynton Kelly on piano, Sam Jones on bass and fellow Detroiter Roy Brooks on drums. For the final 2 tunes, Sonny and Wynton are backed by Paul Chambers on bass and Jimmy Cobb on drums. The date is balanced by Sonny's 4 originals and some very well chosen and less frequently played standards. This one shot date was a gem for Sonny Red who sadly didn't get a lot of breaks in his career. Sonny was born in Detroit on Dec. 17,1932 and died from a chronic lung ailment on March 20,1981 at age 48. Enjoy Sonny and "Out Of The Blue" tonight.

This month our Jazz Features will consist of some fine albums recorded for Blue Note Records by artists that only recorded one date under their own name. They may have been frequent sidemen on various dates for the label but for unexplained reasons only did a single album under their name. Pianist Duke Jordan had a long history in Jazz working with Charlie Parker, Stan Getz and many others. Duke was also a fine composer and wrote many melodies that became frequently played "Jazz standards". This album is a gem and Duke assembled a great band with Jamaican-born Dizzy Reece on trumpet, the great Stanley Turrentine on tenor saxophone, the then up and coming Reginald (Reggie) Workman on bass and the often recorded Arthur Taylor on drums. Seven wonderful Jordan originals grace this date plus a trio ballad...."I Should Care" written by Paul Weston and Sammy Cahn. This is a well produced and inspired date. "Flight to Jordan" is certainly worth the airfare. Come along for the ride!

This album was the debut date for this creative young trombonist/composer: Grachan Moncur 111. Grachan had apprenticed with bandleaders Nat Phipps and Ray Charles and Art Farmer and Benny Golson's Jazztet before plunging headlong into the more adventurous side of the New York Jazz scene with alto saxophonist Jackie McLean who in the early 60s was looking at some new ways to express himself. Pioneers like Ornette Coleman, Bill Dixon, Cecil Taylor had opened new doors in Jazz and other musicians like Grachan Moncur were embracing that influence. Moncur along with the late Roswell Rudd were the new voices of the trombone in the early 60s. Moncur had another ace up his sleeve as he was a fine composer with an open imagination. This album called "Evolution" is his first and was released on Blue Note as that label had opened the door to the new sounds of the 60s as well. Grachan picked alto saxophonist Jackie McLean and trumpeter Lee Morgan as the horns and Morgan sounds amazing here in this context. Bobby Hutcherson's vibes add to the free sounds and Bob Cranshaw's bass keeps everything grounded. The teenage drum sensation Anthony "Tony" Williams is as usual creative and adds a great deal to the success of this date. Only four tunes are contained on this session and they are all Moncur creations. The exciting "Air Raid" leads of followed by the mournful, moody "Evolution" to "The Coaster" which has a fetching melody and hard swing. Finally a tribute to Thelonious Monk called "Monk in Wonderland" wraps things up. Grachan Moncur and his music is in the spotlight as tonight's Jazz Feature...check it out!

Tonight's Jazz Feature is a special one as it spotlights a working band led by one of the bright lights of the vibraphone, the late Bobby Hutcherson. Bobby emerged in the 60s and played many styles of Jazz with his very adaptable concept and open mind. From straight-up swinging bop to the outer reaches of the avant-guard, Bobby was there. After resettling in the Bay Area Bobby formed this band with all San Francisco based players and they did a series of albums for Blue Note in the mid 70s.. With Bobby is tenor/soprano saxophonist Manny Boyd, pianist and electric pianist Larry Nash, bassist/ composer James Leary 111 and drum master Eddie Marshall. Bobby Hutcherson took the vibes to a whole new level and was touched by genius. We will hear that tonight. Bobby wrote 3 tunes for the date and Boyd wrote one and Leary contributed 2. One standard "For Heaven's Sake" ends the date. "The View from The Inside" is a wonderful example of Bobby Hutcherson's art and concept.Enjoy!

Tonight's Jazz Feature from March of 1960 was John Coltrane's last hurrah as a regular sideman with Miles Davis. Coltrane by this time had recorded several important albums under his own name and was at this time the most influential voice of the tenor saxophone. He was also part of Miles Davis' bands. Miles, with the departure of alto saxophonist Julian "Cannonball" Adderley had reverted to a quintet. A tour of Europe came up un early 1960 and although Miles' rhythm section was committed with Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums John Coltrane was not. When asked he said "no" and Davis begged him to do this tour and after much pleading, Coltrane said "okay". Tonight's recordings show Coltrane working on some new approaches and using the freedom he was given to experiment and play as long as he wished and he took full advantage of this opportunity with some amazing results. Miles is inspired as is the rest of the band and the audience in Sweden is very receptive of Coltrane's playing as it must have shocked more than a few. We are lucky to have these documents and the Swedish concert is special in that after the selections finish, we'll here a short interview with Coltrane done backstage at Konserthuset in Stockholm on March 22, 1960. Hear it tonight and you'll be glad you did!

This special edition of The Jazz Show is one of the very best overviews of The Vancouver International Jazz Festival. Host Gavin Walker defers to one of the founding fathers of The Jazz Festival and the Media Director of The Coastal Jazz and Blues Society, the producers of the Festival and also a radio host of his own show on CO-OP Radio 100.5 FM...I'm speaking of Mr. John Orysik. John will pick all of the music tonight and provide commentary with the odd interjection from yours truly. Tune in and check out this very special annual edition of The Jazz Show tonight!

This Jazz Feature is a continuation of our exploration of the traditional "Jazz Quintet". This Jazz Feature is a rarity as it became a hit not only for the artist but for Blue Note Records. The album is trumpeter Lee Morgan's "comeback" date called "The Sidewinder". Lee had fallen badly from late 1961 through 1963 due to drug addiction. He entered rehab and embarked on pulling his life together and began to rack up some important sideman appearances on several records in 1963 for Blue Note. He was resigned to the label and this Sidewinder session was his first in a while. Lee picked the band and wrote all the tunes. It's a solid date. When they had finished the four tunes Lee brought in there was time left and one more was needed to complete the date. Lee wrote the tune, "The Sidewinder" in 20 minutes in the washroom in the studio and the band ran it down and it was recorded last. It became a Jazz hit and made Lee good money and put Blue Note Records back in the black. It became one of the best known Jazz tunes of it's day and was used on several commercials. The other tunes are also great on this date but it's The Sidewinder that everyone remembers. Lee Morgan picked a great band and they operated and sounded like a working band...great chemistry. Lee Morgan on trumpet, Joe Henderson on tenor saxophone, veteran Barry Harris on piano, Bob Cranshaw on bass and the great Billy Higgins on drums. Tonight's Jazz Feature "The Sidewinder"....look out! As we were not on the air last week due to a holiday we offer another Jazz Feature tonight with Lee Morgan, Wayne Shorter on tenor saxophone, Bobby Timmons on piano and Jymie Merritt on bass and of course Art Blakey on drums. This was Blakey's favorite edition of his Jazz Messengers. The second Jazz Feature is called "The Witch Doctor" and is from March 1961. It's a rare item as it wasn't issued until the mid 80's. Two Jazz Features in one tonight both with the great Lee Morgan. Lee was the real deal!

This gem is one of alto saxophonist Jackie McLean's more overlooked gems. It's part 2 of our look at the "standard quintet" (tenor or alto saxophone, trumpet,piano,bass and drums). The standard quintet is one of the most common set-ups in Modern Jazz. This album is wonderful and it's not a working band but one put together for the recording session. Jackie McLean and his distinctive "no sugar added" alto saxophone was one of that instrument's major stylists. His front line partner is the very underrated Tommy Turrentine on trumpet. Tommy was the brother of the more famous tenor saxophonist Stanley. The rhythm section can't be beat. Sonny Clark on piano, Butch Warren on bass and the great Billy Higgins on drums handle the groove like a smooth running Cadillac. Clark contributes two tunes to the date as does McLean and Turrentine and Warren ech contribute one each. The date is called "A Fickle Sonance" and was part of Jackie McLean's mature period on Blue Note Records and it's a good one!

This album is the result of Horace Silver's first tour of Japan as a bandleader. He wrote this special new music for the tour and his regular working quintet was on board. The only exception was his regular drummer Roy Brooks had taken ill and was on a leave of absence and his place was taken by the more than able John Harris Jr. who was from the same Connecticut town as Mr. Silver. The regulars were Blue Mitchell on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass and along with John Harris, Mr. Horace Silver on piano. All had been internalized by the band on the tour and were ready for the recording studio. The five tunes are all unique and very much Horace Silver. This album is the first of The Jazz Show's tribute to the classic Jazz quintet...trumpet, saxophone (alto or tenor) piano, bass and drums.This will be happening all May and "The Tokyo Blues" by the Horace Silver Quintet is a great start. This album is a favorite of your host and it may be yours too after you hear it!

Dave Holland is to this day one of the premier bassists and composers of Jazz. This iconic album was made after Holland emigrated to America and had just finished a long tenure with Miles Davis. From Davis he became part of a short-lived band led by pianist Chick Corea. It was called "Circle" and had Corea, multi-instrumentalist Anthony Braxton, Holland and drummer Barry Altschul, Corea soon broke up the band to form the Latin flavoured band "Return to Forever" however Holland had formed a musical bond with Braxton and Altschul. Sam Rivers on tenor/soprano saxophones and bass clarinet was chosen to work with the other three and this iconic recording was born. It was called "Conference of the Birds" and that composition along with 5 others made up the recording done in New York on November 30,1972. All the compositions are by Holland and reflect a more edgy sound and skirts the edges of the "avant-guard". This is one of the finest recordings of Holland's long career and stands as a milestone. Check it out tonight!

For the fourth episode of The Jazz Show's Jazz Features we are spotlighting some of the creative changes in Jazz music in the late 60s and early 70s. We turn to master musician Herbie Hancock who at age 78 is still a vital force in the music. This album marks a special period in Hancock's varied and eclectic explorations of almost every conceivable musical style. Hancock, after leaving Miles Davis in 1969 after being with him for 7 years formed his own band. It was a sextet and was exploring acoustic Jazz. After some personnel changes the sextet format was retained but the sound became more electric and more contemporary and Hancock began to explore some of the concepts that he learned from Miles Davis' post "Bitches Brew" period. Hancock played electric Fender Rhodes piano with various attachements and led Eddie Henderson on trumpet and flugelhorn, Julian Priester on trombone, Bennie Maupin on bass clarinet and flute and sometimes tenor saxophone, Buster Williams on acoustic and electric bass and Billy Hart on drums. The players all adopted alternate names from the Swahili tradition. Hancock became "Mwandishi" (the word means writer). Tonight we hear their first album called "Mwandishi". They did two more before Hancock changed courses once again with his his "Chameleon" and the album "Rocket". The Mwandishi Band is a special one and the chemistry is unique. Tonight we hear the full album. Enjoy!

Chick Corea moved from the bubbling chauldron of Miles Davis' band to the adventurous quartet called "Circle" and soon after left Circle in late 1971 to form "Return to Forever". Return to Forever combined flamenco, bossa nova, samba and Afro-Brazilian rhythms to the mix. The music was accessible, light, lyrical but deep as well. The instrumentation of Return to Forever combined the vocals of Flora Purim with the flute and soprano saxophone of Joe Farrell with the virtuoso bass of a young Stanley Clarke and the drums and percussion of Airto Moriera. Chick Corea played Fender-Rhodes electric piano exclusively with RTF. The four extended compositions heard on this, their first recording are by Corea, This recording was done in February 1972 and ironically was not released in North America until 1975. It became an instant hit and a classic in it's style. RTF brought depth to a lyrical and light style of music that is always pleasing to the ear.

Tonight is our second look at a major band from the early 70s that reflected many of the changes in Jazz Music. Weather Report was a co-operative band in every way and although they derived some of their concepts from Miles Davis, they established very quickly their own direction. They remained together for over 16 years. Saxophonist Wayne Shorter and pianist Joe Zawinul were the spearheaders the group and over the years different bassists and drummers and percussionists played in the band. For tonight we go to Tokyo in the early days of Weather Report with their original bassist Miroslav Vitous and their new drummer, Eric Gravatt and their new percussionist Dom Um Romao. The creativity and high energy is in full force here. Shorter on soprano and tenor saxophones, Zawinul on acoustic piano and a battery of electronic keyboards, Vitous on acoustic and amplified bass and some powerhouse drumming by Gravatt with additions by Don Um Romao. The Japanese audience was stunned and amazed by this band and you will be too!

Tonight begins a month of music that reflected some of the bands and the changes that were happening in Jazz music in the late 1960s and early 1970s. Rock and funk music and electric instruments were being absorbed into Jazz by various bands but the real mover and shaker was Miles Davis, whose music was undergoing a major transformation. Gone were the old tunes and the mainly acoustic instruments. The music of "Miles In The Sky", "Filles of Kilimanjaro", "In A Silent Way" and of course "Bitches Brew" were about the changes in Miles' music. The next step was to play those concepts with an increase in energy and volume and that is what tonight's Jazz Feature is about. It is a set recorded at the famous New York rock palace, Fillmore East, with his working band of 1970. Davis on open trumpet with a 19 year old wonder on tenor and soprano saxophones, Steve Grossman. Two great keyboard wizards are on board playing a variety of electric keyboards, Keith Jarrett and Chick Corea. Dave Holland on acoustic and electric bass, Jack DeJohnette on drums and Airto Moreira on percussion, flute and vocal. This is a complete and unedited set as played at the Fillmore East and points at future directions by the mercurial Mr. Davis. Check it out tonight and tune in on successive shows in April for more of the early happenings in what became known as "fusion".

This is The Jazz Show's last installment on our tribute to the music of Thelonious Monk. This event was a well publicised concert at New York's Town Hall on February 28,1959. The first part of the concert was to be a short set by Monk's working Quartet with Charlie Rouse on tenor saxophone, Sam Jones on bass, and Arthur Taylor on drums. Three tunes played were all Monk staples then a short intermission leading to the main event: The Thelonious Monk Orchestra! Monk with the help of orchestrator Hall Overton created a group of big band arrangements of Monk compositions. The band consisted of three non-soloists, Jay McAllister on tuba, Eddie Bert on trombone and Robert Northern on French Horn. The other players were soloists: trumpeter Donald Byrd, Phil Woods on alto saxophone and Charlie Rouse on tenor and Pepper Adams on baritone. Sam Jones on bass and Arthur Taylor were the rhythm section. The tunes begin with a short version of "Thelonious" then the enigmatic four bar opus called "Friday The Thirteenth". "Monk's Mood" follows and then "Little Rootie Tootie" where Monk's original piano solo from his original 1952 recording is played by the full orchestra! Then an early classic, "Off Minor" and the concert ends with Monk's dedication to his beloved wife with "Crepuscule With Nellie". This event augured well for Monk as the 60's proved to be the decade where the tours, the signing to Columbia Records and the Time Magazine cover and some good financial rewards all happened for him but most of all recognition that Monk was a pianistic and artistic musical giant.

Tonight's Jazz Feature is one of Monk's most powerful musical statements on record. It was recorded by an especially assembled septet with Gigi Gryce on alto saxophone, Ray Copeland on trumpet and Coleman Hawkins and John Coltrane on tenor saxophones. Wilbur Ware on bass was Monk's favorite at this time and on drums was Monk's great friend an most sympathetic drummer, Art Blakey. Gryce helped Monk voice some of the arrangements and the musical happenings are astounding. On this album Monk looks forward by looking back. All the compositions are early ones except for the beautiful "Crepuscule With Nellie", written for Monk's devoted wife. In this piece there is no improvisation and it is a fully realized composition. "Monk's Music" is one of his most significant dates from his most creative period in the mid 50s. Listen here!

The title says it all. It was Monk's first album for Riverside Records. It was done over two nights in July of 1955. Monk's new producer, Orrin Keepnews wanted to move Thelonious into a bigger spotlight and have him record a trio album of more familiar material than his own tunes. Monk was good with the trio idea but lukewarm as to recording an album of Gershwin, Porter or Arlen tunes but Orrin Keepnews persisted and the light bulb went on and Keepnews said "Duke Ellington tunes". Monk smiled and said "yes indeed!". Hence this beautiful date. Monk picked the great Oscar Pettiford on bass and pioneering drummer Kenny Clarke and selected a bunch of great Ellington tunes. The album opened the door for Monk as it sold well and was heard on Jazz radio too. Monk was emerging from marginalized obscurity and into the limelight. This album began a long association with Riverside Records and some of his best work. Tonight "Monk Plays Ellington".

Pianist/composer Thelonious Monk was and still is one of the most important figures in Modern Jazz. In the 1950s he was neglected by the critics and many musicians. He did have his supporters in both fraternities but work was scarce and his records didn't sell and his music was never heard on Jazz radio. Tonight the Jazz Show presents two pivotal recording sessions that are now classics although they were pretty well ignored in their time. The first is Monk's final session for Blue Note from May of 1952. This well organized date was for a sextet with trumpeter Kenny Dorham and saxophonists Lou Donaldson and Lucky Thompson on alto and tenor respectively. Nelson Boyd on bass and the great Max Roach on drums and Mr. Monk. Five then new tunes were recorded and a trio track. The second session was one of his most relaxed and successful for Prestige Records done in 1954. A fine quintet with trumpeter Ray Copeland, a Monk favourite and a then new voice on the New York scene, tenor saxophonist Frank Foster. They blend well. Curly Russell is on bass and Monk's best buddy, Art Blakey is on drums. Three new Monk tunes are presented here and one great old standard, "Smoke Gets In Your Eyes" is given a wonderful Monkish treatment. This was not a working band but it sounded like one. Early Monk from 1952 and 1954 in super form tonight. The beginning of a month long series of Jazz features with Thelonious Monk.

Jane Ira Bloom is without a doubt one of the most distinctive voices of the soprano saxophone. She is an accomplished and educated woman with a Master of Music degree from Yale and she is also a tenured professor at New York's School of Jazz and Contemporary Music. She composes as well. The soprano saxophone is her exclusive instrument and she has made it her own voice. The album on The Jazz feature tonight is called "Mighty Lights" and Jane is accompanied by the great Fred Hersch on piano and one of the great iconic rhythm sections in all of improvised music namely bassist extraordinaire Charlie Haden and drum master Ed Blackwell. Many will remember that these two first played together in Ornette Coleman's ground breaking Quartet in the early 60s.Everyone works together for Jane's benefit and the recording is an organic whole. Five of the six tunes are by Jane and one rarely played standard is by Kurt Weill called "Lost In The Stars" is interpreted with deep emotion by Jane. "Mighty Lights" is a minor masterpiece by four superb musicians. Tonight's Jazz Feature!

The late guitarist Emily Remler is the third Jazz Feature with female instrumentalists. Emily's time here was sadly short-lived as she died at age 32. She was very prominent on the Jazz scene for about 9 years. She was praised by all the still living guitar greats like Barney Kessel, Tal Farlow, Charlie Byrd and especially Herb Ellis who loved her playing so much that he made sure she got a recording contract. Most of her work was documented on Concord Records and tonight we'll delve into those recordings to present a fine picture of Emily, who deserves to be remembered. She was born on Sept. 18,1957 and died on May 4,1990. She deserved a much longer life but we must be grateful for her fine recordings. She is backed by various musicians on this Feature like pianists Hank Jones, James Williams and bassists Don Thompson and Buster Williams and drummers Terry Clarke and Marvin "Smitty"Smith and others. Check out Ms.Remler tonight....you'll love her!

This is a wonderful album by piano great Renee Rosnes who was born in Saskatchewan and raised in North Vancouver. Renee by the time this was recorded in 2003 in Vancouver had "made it" in New York. She had gone there earlier and by the time she returned to Vancouver to record this beautiful date she had played with trumpeter John Faddis, saxophonists Wayne Shorter and Joe Henderson and bassist Buster Williams and many others and had recorded a series of albums on Blue Note! This date was a reunion of sorts. Alto and soprano saxophonist Campbell Ryga was always one of her favorites and she had also had a musical and personal relationship with drummer Rudy Petchauer. The great bassist Neil Swainson was in town and available so this band was ready. They recorded the whole date at CBC Studios in Vancouver and it was very briefly available by the CBC. Now it is a very rare item. It is first class music and demonstrates without a doubt that Vancouver has produced so many fine Jazz players. The album is a fine balance between original tunes by Ryga and Rosnes and mixed with one by Monk, Buster Williams and pianist Stanley Cowell and ends with the beautiful standard by Alec Wilder called "While We're Young". Deep Cove is the name of the album and is our second Jazz Feature dedicated to great female Jazz instrumentalists.

Mary-Lou Williams begins our month of Jazz Features spotlighting great woman instrumentalists and Mary-Lou Williams was the "first lady of Jazz". A musical pioneer, Mary-Lou was active as a pianist/composer and arranger from the early 1920s until her death at 71 on May 8, 1981, This album done in 1974 captures Mary-Lou at her creative best with younger energetic sidemen and playing her own compositions. Her piano playing is contemporary and her tunes are so modern. Mary-Lou was a great influence on some of the pioneers of modern Jazz piano like Thelonious Monk, Bud Powell, Elmo Hope and others. All of the compositions are hers with the exception being "Olinga" written for her by Dizzy Gillespie. For the bulk of the date Mary-Lou is backed by Bob Cranshaw on bass and Mickey Roker on drums and later near the end she is backed by bassist Milton Suggs and conga master Tony Waters. "Zoning" is a pivotal album and a fine musical portrait of a great innovator....Mary-Lou Williams.

This album was done in May of 1957 and represented a grand reunion of the solo ability of Miles Davis, who plays flugelhorn throughout the album and the arranging and conducting of Gil Evans. A perfect union of two great musical souls. The 18 to 19 piece orchestra is primarily brass with trumpets, trombones, french horns and a tuba and there are reeds, oboe, flutes, clarinets and bass clarinet and one alto saxophone (Lee Konitz). There is no piano and Paul Chambers plays bass and Arthur Taylor plays drums. The album which came out on Columbia Records was an instant Jazz hit and had rave reviews from the critics. The 10 selections are segued together continuously in the form of a suite. Unique programming for it's time. It was truly an instant classic and marked the first of a trio of classics from Miles Davis and Gil Evans. The second was their interpretation of Gershwin's opera "Porgy and Bess" and the third was the amazing "Sketches of Spain". "Miles Ahead" is still miles ahead despite it's age! Our Jazz Feature tonight!

The great Sonny Stitt was a true master of the alto and tenor saxophone and yet was saddled by some critics as being "an imitator". On alto he bore some superficial similarities to Charlie Parker but that was as he said, "Bird and I listened to the same cats and were influenced by them". On the larger tenor his influences were less clear and he wasn't criticized as much but because of his flowing ideas and his formidable technique but he was often accused of being "glib". Somehow he couldn't win and yet every prominent saxophone player listed Stitt as one of their favorites. Stitt recorded a lot and mostly in quartet settings with piano, bass and drums or with organ, guitar and drums, Here is one of his finest dates done in May 1957 with a short-lived working band with a young Bobby Timmons on piano, Edgar Willis on bass and the dynamic yet tasteful Kenny Dennis on drums. Stitt is inspired by the band and has a great day here. The critics loved "Personal Appearance" and so will you! Sonny Stitt forever!

This album which received raves from the critics and public alike was bassist/composer Charles Mingus' debut on a major label, Columbia Records. It was Mingus' breakthrough from the Jazz underground. Not only was the music great and played by one of Mingus' best bands but it was beautifully recorded. Mingus was given free reign to hire and do what he wished and was also allowed to program the record and supervise the post-recording editing. It became Mingus' best selling record as well. Mingus regular working band at the time (1959) was a quintet and it comprised three newcomers to New York. Alto and tenor saxophonist John Handy (heard mostly on alto here), and tenor saxophonist Booker Ervin and pianist Horace Parlan and Mingus' reliable and dynamic drummer Dannie Richmond. Columbia permitted Mingus to add alto and tenor saxophonist Shafi Hadi to fill out the ensembles and Jimmy Knepper and Willie Dennis on trombone....all Mingus alumnae. It's all here from the gospel tinged "Better Git it in Your Soul" to the mournful "Goodbye Pork-Pie Hat" to the bitter "Fables of Faubus".....a Mingus classic and tonight's Jazz Feature!

Our first Jazz Feature for the New Year! We begin a month of Features that are classics and also raved about and praised by the Jazz critics and press. In November we featured albums that were dismissed by the critics but despite that became Jazz classics. This month's Features are classics and critically acclaimed. Dexter Gordon's "Go!" is a classic. The great tenor saxophonist is in top form and backed by a superb rhythm section with Sonny Clark on piano, Edward "Butch" Warren on bass and Billy Higgins on drums. This also is Dexter's own personal favorite of his many recordings. One original, "Cheese Cake' by Dexter opens the album on a high level then various standards and ballads are performed plus the definitive version of Cole Porter's "Love For Sale". "Go!" is an essential album in anyone's collection. Hear it tonight!

This music is forever and is some of the most wonderful classic Modern Jazz ever made. It was recorded on December 24,1954 and that is why we feature this album every year on The Christmas Jazz Show and this year it's also our final show for 2017. Not to fear for we return on January 8,2018. The Miles Davis All-Stars are of course, Milt Jackson on vibes, Thelonious Monk on piano, Percy Heath on bass and Kenny Clarke on drums. Even though it's not overt, the Christmas spirit seems to run through this session. The incandescent beauty of the Davis trumpet and the bell-like clarity of Jackson plus the percussive stabbing of pianist Monk all add up to something very special.. The four master takes begin with Jackson's blues, "Bags' Groove", Monk's "Bemsha Swing", the Gershwin's "The Man I Love" and the Davis/Bud Powell tune called "Swing Spring". There will be more tonight in the Christmas spirit with tunes not heard at the malls and a visit from Lord Buckley doing "The Story of Scrooge" . Merry Christmas to all and a Happy New Year! Jazz will carry on!

This is the second of our "soundtrack" Jazz Features for the month of December. This time the legendary Miles Davis and his famous score for the French mystery film noir entitled "Elevator to the Gallows. Miles Davis is on trumpet with the great American ex-pat drummer Kenny Clarke and three wonderful French musicians.They are: tenor saxophonist Barney Wilen, Rene Urtreger on piano and Pierre Michelot on bass. The moods established by these pieces are incredible and Davis plays with a depth of feeling that even for him is rare. The music stands on it's own and is a very moving and emotional experience. Check it out tonight.

Tenor saxophone icon Sonny Rollins composed his first film score in 1965 for the movie that put Michael Caine in the map. The movie was "Alfie". Caine played a British cad who used his looks and charm to manipulate women until he met his match and had to grow up. Rollins composed and played the music that was used throughout the film and the score was issued on a fine recording that you will hear on tonight's Jazz Feature.. We hear Sonny in wonderful form backed by an orchestra conducted by Oliver Nelson who expanded Rollins' compositions for a big band. Sonny is heard extensively but there are fine solos by guitarist Kenny Burrell and pianist Roger Kellaway. A strong rhythm section with bassist Walter Booker and great drummer Frankie Dunlop are heard to wonderful advantage. We will also follow the Rollins album with a complimentary version of the famous Bert Bacharach/Hal David tune that was also featured in the movie: "What's It All About Alfie?" (aka "Alfie"). This tune will be played by Rahsaan Roland Kirk. This will be the first of two Jazz film scores for movies that had nothing to do with Jazz. Next week, one by Miles Davis.

Harold Floyd Brooks was nicknamed "Tina" (pronounced "Ty-na") as a corruption for "tiny" as he was a small man. A small man with a big talent! Brooks is the last of our Jazz Features of albums that were dismissed initially by the Jazz critics. The other three that we featured were not really affected by these bad reviews and their albums went on to be treated as classics. Tonight's Jazz Feature disc is a classic but the bad initial review led to Brooks' other sessions for Blue Note not to be issued in his lifetime. Sad to say Brooks fell into a state of decline due to drugs and alcohol and never recorded after 1961.This album was the only one ever issued and because of the poor review it was never repressed. People in the know bought the record and it for many years was a valuable collector's item. However it is no stretch to say that poor Brooks' career was not affected badly. The album is now of course "classic". Brooks is one of the most original tenor saxophonists in Jazz with a big broad bluesy sound and individual concept. A powerhouse! Here his group consists of the up and coming young trumpeter Freddie Hubbard, veteran pianist Duke Jordan and the ideal rhythm section of bassist Sam Jones and master drummer Arthur Taylor. Five of the six compositions are Brooks' originals and all explore different moods. One obscure standard ends the date and it has been uniquely arranged by Mr. Brooks. Tina Brooks only lived to age 42 and deserved much more than he received in his lifetime. At least in death, he is recognised and respected and all his albums are now available. True Blue is a masterpiece!

Continuing in The Jazz Show's series of underrated recordings when they were first reviewed, this one is the most surprising as it is considered one of this artist's best and best loved dates. Alto saxophonist Jackie McLean's third album for Blue Note called "Capuchin Swing" is on tap tonight. Jackie McLean's Blue Note period is considered his best as he was now a mature artist rather that a "promising young talent". Capuchin Swing, named for the McLean Family's pet monkey was Jackie's third for Blue Note and deserved a far better treatment from the "esteemed" Jazz critics. Jackie is in full force here with a full bodied sound and some new ideas. Hid front line partner is the great trumpeter Blue Mitchell, who matured fast by working steadily with pianist Horace Silver's Quintet. Walter Bishop Jr. had been off the scene for a few years but was welcomed back on this date by Jackie and delivered two fine compositions and a trio track all to himself. Bassist Paul Chambers and drummer Arthur Taylor can't be beat and are perfect. Aside from Bishop's tunes, Jackie McLean wrote three new ones for this date including the title track. This is one of McLean's finest dates and the critic's that greeted it with disdain be damned!

This edition of drum master Art Blakey's Jazz Messengers was said to be his favourite of all. The band included the young trumpet virtuoso Lee Morgan, tenor saxophonist/composer Wayne Shorter who brought his original sounding tenor to the band AND his composing and arranging talent. Wayne soon became the "musical director" of the band. Pianist/composer Bobby Timmons was a great star in this band as well and wrote several of the group's hits. Bassist Jymie Merrit was referred to as "the workhorse of the band" with his sure time and big sound. Art Blakey as leader needs very little introduction as he was one of the most distinctive and influential drummers in Modern Jazz. This album is now considered a classic despite the fact that it got a poor rating and was slagged by the esteemed Jazz critics. This date was the first official recording of this superb edition of The Messengers. The premise of this month's Jazz Features are albums that initially got terrible ratings in the Jazz press and became classics. This date was no different. It features three new compositions by Wayne Shorter and one by Bobby Timmons and one by ex-messenger Bill Hardman and Shorter's arrangement of the standard "It's Only a Paper Moon". "The Big Beat" tonight is worth checking or re-checking. One of Blakey's best!

The title here explains it all. Julian "Cannonball" Adderley in 1959 left the Miles Davis Sextet after making music history with the band, especially the album "Kind of Blue" and others of course but Adderley and his cornet playing brother Nat were ready to re-form their quintet. The first one was not too successful financially and Nat joined Woody Herman's band and later trombonist J.J.Johnson and Cannonball went with Miles but by 1959 the time was ripe. The Adderley Brothers settled on a stable personnel in the persons of pianist /composer Bobby Timmons, late of Art Blakey's Jazz messengers, bassist Sam Jones, late of Thelonious Monk's group and young drummer, Louis Hayes, late of Horace Silver's quintet and during an engagement in San Francisco at the legendary Jazz Workshop in October of 1959 the group came together and made this recording. It became a best seller for Riverside Records and put Adderley on the map as a great bandleader. This was the beginning. The premise of this month's 4 Jazz Features are recordings that were dismissed as inconsequential by the "esteemed" Jazz critics. This album was given a poor rating and dismissed. It is now a classic and one of the best loved of Adderley's vast output.We will present one of these types of dates in all the Jazz features in November. So tonight enjoy the warm swinging and funky sounds of Cannonball Adderley and Company at The Jazz Workshop.......a classic!

Hank Bagby is a name few people would know and is our last obscure but talented musician/leader in this month's series of Jazz Features. Hank Bagby was born in Denver, Colorado in 1923 and began is musical life as a singer in his home town then he ventured to the West Coast and worked in Los Angeles and San Francisco. He took up the saxophone in the late 40s and soon was playing in the Los Angeles underground Jazz scene with people like, pianist Kenny Drew, drummer Frank Butler and many others. He hooked up with piano legend Elmo Hope in 1960 to form the "Bagby-Hope" Quartet but they never recorded and soon after Hope returned to New York. Bagby worked with many bands including Onzy Matthews and was recognised as a fine tenor saxophonist. He never recorded until 1964 and tonight's Jazz feature is his only recording. It's a goody and has until very recently been a valued collector's item. The Japanese issued it on CD in 2012 and one can find it on Amazon. The album is called The Hank Bagby Soultet: "Opus One" and it featured 6 Bagby compositions with Hank on tenor saxophone and the great but obscure trumpet star Chuck Foster. Foster played with Buddy Rich and others. The pianist is the excellent Dave MacKay. MacKay, who is blind from birth has worked with many people in Los Angeles and also in the Hollywood studios. He is a very talented player. The bassists and obscure but good...Gary Driskell on one tune and Al Levitt on drums. Levitt has worked with Stan Getz and Lee Konitz. The 5 other tunes have Al Hines on bass and the better known Charles "Chiz" Harris on drums. This is a solid date with great playing by all and it is as good as anything you'll hear from better known players. Bagby eventually moved to Modesto, California and continued to play locally and worked for the California government as a drug and alcohol counselor until he retired. Bagby died there in December 1993 at age 71. Hank Bagby...a good name to remember and check out!

Wilbur Harden continues our Jazz Feature series this month on unknown or obscure musicians. Wilbur Harden fills the bill nicely. He was a wonderful player whose career was cur short by illness so he was only on the Jazz scene from 1957 until his final recording in 1960. Harden was born in Birmingham, Alabama on Dec. 31,1924 and was a self-taught trumpeter. He began playing in R&B bands and when he was touring with Ivory Joe hunter, he ended up in Detroit when he committed himself to playing Jazz and joined tenor saxophonist Yusef Lateef's band and switched from trumpet to the more mellow flugelhorn. He was one of the first to do this. He later went to New York and played with John Coltrane and began recording for Savoy Records. He made four wonderful dates for them in 1958, three with Coltrane as a sideman. Our Jazz feature tonight is his first called "Mainstream 1958". 6 Harden compositions are featured. Harden with Coltrane are backed by all ex-Detroiters: Tommy Flanagan on piano, Doug Watkins, bass and Louis Hayes on drums. Harden was not a flashy player but an original thoughtful player who would have made more of a contribution had not illness curtailed and ended his playing career. He died in obscurity in New York on June 10, 1969.

Brian Barley was a great Canadian musician who died very young at age 28 as a result of a severe car accident. He only made one recording under his name for CBC Records in Montreal in June 1970. Barley died a year later on June 28,1971. Barley was a fine classical clarinettist who for years played Jazz on the side. He took up the saxophone at age 13. After playing in The National Youth Orchestra and The Vancouver Symphony and some Jazz gigs on saxophone. Barley moved in 1966 to Montreal where he embarked full time into Jazz and the tenor and soprano saxophone. Tonight as part of The Jazz Show's obscure musician series, we give you Barley's only recording with his band that he called "Aquarius Rising" (aka The Brian Barley Trio). Barley is on tenor saxophone and plays soprano on one tune. He's accompanied by electric bassist Daniel Lessard and drum legend Claude Ranger. This is a rather amazing and very adventurous date and definitely has a "New York feel" to it. Barley's influences are Sonny Rollins, Archie Shepp and Ornette Coleman but he really is his own man. It's too bad his life ended so early as he could have given so much more. Four of the compositions are by Barley and one is by drummer Claude Ranger. This is a superb and challenging document and a great listen.

Valdo Williams continues this month's obscure and lesser known names as the Jazz Feature presentation. Valdo Williams is a pianist/composer who although he played with many artists including Charlie Parker and Lester Young among others made only one album of his own music under his own name. It was recorded in December 1966 for Savoy Records. Valdo lived a good long life as he was born in New York in 1928 and died there at 80 in 2010. I'm told he was pleased with this album as it represented his music and a culmination of his concepts honed over many years. It is both straight-forward and abstract too and completely original. Valdo was pleased with his sidemen who he described as "ideal". Bassist Reggie Johnson and drummer Stu Martin fill the bill. There are only four long compositions on the album all, of course by Mr. Williams. I know this artist will be a revelation to even the most dedicated and knowledgeable of Jazz fans. Here is Valdo Williams!

Tonight we are beginning the month of October with a whole series of very obscure but near great players. Some of these names not even the most devoted fans know about. There are 5 Mondays in October so tune in and hear some fine music from these unsung greats. Our first is John Erskine "Rocky" Boyd who was born in Boston in 1936. Rocky came to New York in 1958 and made an impression on the scene and eventually took Stanley Turrentine's place in drummer Max Roach's band. Later on he joined Miles Davis for about 3 months and a bit later in the 60s he played in groups led by alto master Jackie McLean and piano legend Elmo Hope. Sadly he left music and died in obscurity sometime in the mid 70s. Rocky only made one album and it's tonight's Jazz Feature. It was made in March of 1961 for the very small Jazztime label. Rocky picked the great "uncrowned king" Kenny Dorham for the front line and a driving rhythm section with the great Walter Bishop Jr. on piano, a young Ron Carter on bass and Pete LaRoca (Sims) on drums. A fine program of originals and a couple of standards make up the date. The sad irony was although this record is well respected now and is in high demand on the collector's market, it got short shrift when it was released and Down Beat gave it 2 out of 5 stars. It deserved much better and so did Rocky Boyd. Check out this talented man tonight with "Ease It!".

This was a pivotal album by Miles Davis' "second great quintet". Miles Davis with Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums. The band worked a lot in 1966 and Miles, who had a health scare and a car accident in 1965 came back in force with his health restored and his energy intact for this amazing recording done in October 1966. This album more than anything else that Miles had done was the signal to all that this group was a force to be reckoned with. The album was called "Miles Smiles" and when you hear it, you'll know why.

This is Part 2 of The Jazz Show's traditional homage to the idea of "back to school". We do this every year at this time and tonight it's the historic, informative and entertaining narration delivered by Maestro Leonard Bernstein on "What is Jazz". Bernstein was a most influential musician, conductor and communicator of the 20th Century and really needs no introduction. He loved and respected Jazz music and this little documentary will explain what is and what isn't Jazz. Bernstein avoids the obvious historical look at this music and goes into a non-academic narrative with musical examples by a host of legendary players and explains what the music is all about. He explores it's unique qualities with humour and clarity. I hope you find this album entertaining and informative. There are a few unintentional humerous moments as the disc was recorded in the mid50s but it's message still rings true today as Jazz music is not only a music of today but a music of yesterday as well and an art form. Enjoy "What is Jazz".

This Jazz Feature recording is a bit of a Jazz Show tradition in that we welcome September with a "back to school" feature. This week we present a wonderful recording done in 1960 narrated by the great alto saxophonist/bandleader Julian "Cannonball" Adderley in which he traces a historical overview of Jazz music from it's beginnings until 1960, when this was recorded. Despite the fact that it ends in 1960, it is still a very valuable learning tool as the basis of this music is still being played today. Jazz has continually evolved but certain traditions remain and are still a part of today's Jazz. For those that have heard this recording, there are still things to discover here and for those that have never heard this recording, I'm sure you will learn something aabout this music and be entertained as well. Tonight: "A History of Jazz".

This great band was and has been somewhat overlooked when one reassesses the long career of vibist Bobby Hutcherson. This group was a working band made up of four core members: Bobby Hutcherson on vibes and marimba, Manny Boyd on soprano and tenor saxophone and flute, James Leary III on bass and Eddie Marshall on drums. The band as you might have gathered was based in SanFrancisco. For special gigs and recording sessions the basic quartet was augmented by adding piano, usually George Cables and percussion, usually Kenneth Nash to the mix. That's who will be heard on this date called "Waiting".There are seven tunes here, all originals and five are written by bassist James Leary who not only is a powerhouse on bass but a fine composer as well. Bobby Hutcherson wrote two and composed what he called the "sweet spot" of the date, a composition dedicated to John Coltrane called "Searchin' The Trane". This band employed many facets of music and yet was a pure Jazz group. Their sound was very contemporary and if you didn't know that all of this was recorded in 1976, one would think it was done yesterday. "Waiting" is worth waiting for......enjoy!

This was one of the finest tenor saxophone tag-team bands in Jazz. The two contrasting tenor saxophone masters stayed together for almost three years (1960-63) before Lockjaw Davis rejoined Count Basie's band and Johnny Griffin headed for greener pastures in Europe. Eddie "Lockjaw" Davis and Johnny Griffin recorded many albums for both Prestige records of which Davis was under contract and Riverside (Jazzland) who Griffin was contracted to. The rhythm sections changed over the years but on this their first date together as a band, the pianist was Norman Simmons who was also a fine composer/arranger. The bassist was Victor Sproles. Both Simmons and Sproles were like Griffin from Chicago. The drummer was the up and coming Ben Riley who went on to play with Thelonious Monk for many years. This album sets the tone for the way this band operated.....lots of great hard blowing and mucho excitement and lots of wonderful exchanges between the two tenormen. In this band, Davis was always the first soloist. "Battle Stations" is the name of the date and although these men were not at war there was always a scent of a battle. Enjoy!

Jutta Hipp was from Leipzig, Germany and came to America in 1955. She had a very short recording career and sadly for a variety of complex reasons left music entirely by the end of the 50s. She recorded three fine albums for Blue Note Records. Tonight's Jazz feature draws from her first two. They were live albums with her Trio with British bassist Peter Ind and the great Ed Thigpen on drums. These came out in two volumes and were recorded at New York's leading piano Jazz club, The Hickory House. Jutta excels here and displays a beautiful touch and a full understanding of the music. The trio is tight and her arrangements are interesting too. It makes it all the more sad that she dropped out of music before the decade closed. Here is the great Jutta Hipp.

The Basie Band of the 1950s was sometimes called "The Atomic Band" as one of their hit records had a photo of an atomic bomb blast on it. It was recorded in 1957 and called "Basie Plays Hefti" (Count Basie plays the arrangements of Neal Hefti). This album heard tonight is basically the same band with a few minor personnel changes. It was recorded on May 31,1959 during a one-nighter at the Americana Hotel in Miami, Florida for the Disc Jockey Convention. The band played to a packed house and dance floor starting at 2am and went on until breakfast time, hence the title. The personnel was full pf Basie regulars. The two Franks, Wess (tenor and flute) and Foster (tenor) plus the great Billy Mitchell also on tenor saxophone.. Trumpets: Thad Jones, Joe Newman, Wendell Culley and Snooky Young. Trombones were Al Grey, Henry Coker and Benny Powell, The rhythm section beginning with Basie at the piano, Freddie Green on guitar, Eddie Jones on bass and the amazing Sonny Payne on drums. A great inspired performance by the Basie crew and well recorded to boot. Basie basics tonight!

Our Jazz feature album is Cannonball Adderley's "Fiddler On The Roof". It is an overlooked gem in the vast discography of master alto saxophonist Julian "Cannonball" Adderley. Not only is his band not playing their usual repertoire they are playing music from an iconic Broadway hit play about life in the Jewish ghetto in early 20th Century Russia. The music and the story are so well known and it's a tribute to the musicianship of Adderley and his band that they have made a very credible album of what is really non-Jazz music.The great tenor saxophonist/flutist Charles Lloyd had just replaced the mighty Yusef Lateef in the band and although his stay was short-lived he made a significant contribution to this date. Lloyd soon launched his own band and went on to become one of the most popular Jazz artists of the late 60s. The rest of the band should be familiar to all: Julian "Cannonball" Adderley on alto saxophone/leader with Nat Adderley on cornet, Joe Zawinul on piano, Sam Jones on bass and Louis Hayes on drums and of course Charles Lloyd. The arrangements are by Cannonball and Joe Zawinul. Enjoy Jazz versions of this familiar and greatly loved music.

Wynton Kelly was an extraordinary pianist by any standard. He exhibited a wonderful touch and command of the instrument. His musical concept expressed a dancing quality and a great lyricism plus the absolute joy of making his music. All of this translated to the listener. Wynton only lived for 39 years but his recorded legacy is long both as a sideman and as a leader. Many people have said that tonight's Jazz Feature called "Kelly at Midnight" may be the best piano trio record ever made. One may argue that point but when you hear Wynton with bass master Paul Chambers and drum genius "Philly Joe" Jones you can decide for yourself. Two Kelly originals are here along with two compositions by his friend Rudy Stevenson and one moody ballad by singer/poet Babs Gonzales. The music leaps out of the grooves and everyone gets a chance to shine. You will too after you hear this date. It was originally recorded for Vee-Jay Records in April of 1960 and is still fresh sounding. Good music lasts forever.

This classic album was recorded in February of 1956 in Los Angeles and is a masterpiece of elegant understated Jazz music. "2 Degrees East" refer to the nominal leader, pianist John Lewis and bassist Percy Heath both based in New York.. "3 Degrees West" refer to the lyrical Lester Young influenced tenor saxophonist Bill Perkins, guitarist Jim Hall and brush master, drummer Chico Hamilton all based in Los Angeles. 2 Degrees etc. also refers to the title tune that John Lewis wrote specifically for this record date. The chemistry was immediately established between the participants and the date cohered. The music moves at a leisurely pace but has that quiet intensity that makes for great listening. This album has over the years become a favourite of many and is a perfect album for a warm summer night. "Grand encounter" it was!

Vibraphonist Milt Jackson is an acknowledged pioneer of Modern Jazz. Jackson s brought the vibes into the modern era. He was inspired mostly by Lionel Hampton but forged his own concept and sound on that instrument and gave birth and inspiration to people of his era like Terry Gibbs, Joe Roland, Cal Tjader and others and of course influenced the younger players like Gary Burton, Dave Pike and especially Bobby Hutcherson who in turn inspired present day players like Steve Nelson, Stefon Harris and Warren Wolf. Jackson was the most prominent voice of the famous Modern Jazz Quartet who were together for over 40 years. Jackson recorded a lot on his own and this album which is tonight's Jazz Feature is one of his gems. The album is called "Opus De Jazz" and aside from Jackson, the co-star is the great flutist/tenor saxophonist Frank Wess. Frank is on flute for 3 of the 4 tunes and plays tenor saxophone on one. Flute and vibes is a wonderful combination. Jackson and Wess are backed superbly by the elegant Hank Jones on piano, Eddie Jones (no relation) on bass and the great drummer Kenny Clarke. This is a delightful album that could convert the most anti-Jazz listener into a fan. Check out "Opus De Jazz" tonight for the real deal that's also easy on the ears.

This fine album was Booker Ervin's first for the Prestige label under his name. This fine beginning was obviously well planned by Booker and he picked his sidemen well. Booker Ervin during his short ten year time on the national Jazz scene proved himself to be one of the most identifiable and strongest voices of the tenor saxophone. A big walloping sound and a great blues-based concept made him a favorite. He was also Charles Mingus' favorite tenor saxophonist and was heard in various Mingus Jazz Workshops from 1959 to 1964. Ervin picked alto saxophone master Frank Strozier as his front line partner and the two very different players blend very well and compliment each other beautifully. Strozier is to this day shamefully underrated and deserves a higher place in the Jazz echelon. Ervin's other players are his close pal Horace Parlan on piano, Edward "Butch" Warren on bass and the always swinging Walter Perkins on drums. Ervin wrote three intriguing originals for this date, there is one good standard in "Just In Time" and Walter Perkins wrote "No Man's Land". June 19, 1963 was a good day for all these gentlemen and for us. Exult in "Exultation!"

Charles Earland was one of the leading Jazzmasters of the mighty Hammond Organ and he organized and arranged this great set with a full brass section and some superb soloists to augment this date. The soloists aside from Earland himself were tenor saxophonist Billy Harper, flutist Hubert Laws and most importantly the master trumpeter Lee Morgan. Sadly this was Lee Morgan's last date as he was shot and killed two days after this recording by his estranged partner. He was just 33. Morgan shines on this date and it makes his passing that much sadder. The music is superb and very much a cut above the usual Hammond Organ date. The powerhouse rhythm section has of course Earland's pulsating bass lines (he wasn't called "The Mighty Burner" for nothing) coupled with the funky drumming of Billy Cobham and the congas of Sonny Morgan (no relation to Lee). The album is called "Intensity" yet it is very accessible and musical. Check it out tonight! Following the Earland Jazz Feature will be in honor of Canada's 150th Birthday, Oscar Peterson's magnificent "Canadiana Suite" with Oscar, bassist Ray Brown and drummer Ed Thigpen. This 8 movement suite will be heard in it's entirety. Tune in!

Our final show and presentation dedicated to Jazz Festival Month (June 2017). For the Jazz Feature, we've been presenting a series of great live performances done at clubs, concerts and arenas all over the globe. Tonight you can expect to hear guitarists Charlie Christian jamming in a Harlem after-hours club in 1941, Wes Montgomery and Grant Green. You'll also hear Sonny Rollins, Ornette Coleman, Cannonball Adderley, Miles Davis and many more tonight. This show will conclude this type of feature and we'll return next month to presenting single albums and individual artist/leaders starting in July. Enjoy tonight's music and support live sounds always.

As this is Jazz Festival month, The Jazz Show is presenting some classic live performances by the greats in concert or in clubs and we'll continue this until the end of the month. Expect to hear tonight: Charles Mingus, Tadd Dameron and His Band with Fats Navarro, John Coltrane, Thelonious Monk with a Big Band, Art Blakey with Clifford Brown and much more. Live music is best and some of the best will be heard tonight....tune in!

Gavin Walker, your host and guest John Orysik, a founding member of the Vancouver International Jazz Festival takes over The Jazz Show and presents music that will be at this year's Jazz Festival. This is a show not to be missed as it only happens once a year. Tune in!

For the month of June it's Jazz Festival Month in Vancouver so to honour that, the Jazz Show will be presenting as The Jazz Feature for June 5, 19, 26 some great live performances done in concerts, clubs and other venues. These performances will be randomly picked every week for the month of June so you may expect to hear, Benny Goodman, Charles Mingus, Miles Davis, John Coltrane, Lionel Hampton and many more. The exception will be June 12. That will be our annual Jazz Festival Show and the guest host will be the Jazz Festival's Media Director and founding member, Mr. John Orysik. Mr. Orysik and myself, Gavin Walker will be presenting music by Jazz Festival 2017 artists and will provide a great overview of Vancouver's leading cultural event...The Vancouver International Jazz Festival.

This great band comprising a groups of living veterans of Jazz music is one of the great working bands of today. Working bands are rare in this day and age but this band tours the world playing in clubs and doing concerts. They play a great repertoire that comes from the members of the band and they have a wonderful collective spirit much like Art Blakey's Jazz Messengers from yesteryear. The organizer and the "brains" behind the band is it's youngest member, trumpeter David Weiss. The personal are all long time veterans of the contemporary Jazz scene of the last 60 odd years. Along with Weiss on trumpet is another major voice, Eddie Henderson, Tenor saxophonist Billy Harper is a powerhouse as is it's newest member New Orleans born alto saxophone master Donald Harrison. Piano great George Cables is superb and bassist Cecil McBee has walked with the giants of Jazz as has drummer Billy Hart. The Cookers are a real band and are living proof that Jazz music can still swing, sound fresh and have real blues inflection and not sound cold and academic. These men play from their minds and their souls. "Time and Time Again" is their latest musical statement and it's worth your time.

Trombonist Locksley Wellington Hampton was nicknamed "Slide" as he mastered the trombone. Slide mastered other horns as well but also writing and arranging. He formed a hip working band in the early 60s called "The Slide Hampton Octet". Eight strong pieces but when budgets and circumstances allowed, Slide would augment the Octet for a bigger sound. It is thus with this album called "Sister Salvation" A few horns are added for a bigger sound and more involved writing. The results are a very disciplined recording but even with the tight ensembles and nice background riffs, the air of a small group prevails with lots of inspired solos by a young Freddie Hubbard, tenor saxophone master George Coleman, powerhouse baritone saxist Jay Cameron, Bernard McKinney (aka Kaine Zawadi) on euphonium and Slide Hampton himself on trombone. There is no guitar or piano in the rhythm section but Nabil (Nobby) Totah is a powerful bassist and Pet LaRoca (aka Peter Sims) is a killer drummer. This is a satisfying album for it's combination of small group freedom and the discipline of a big band all thanks to Slide Hampton. Of the 6 tunes, Slide arranged four and composed 3 of the pieces including the gospel flavoured title tune. Randy Weston's "Hi-Fly" is rendered a fine arrangement by Billy Frazier and George Coleman's arrangement of Gigi Gryce's "Minority" is a standout. Sister Salvation is refreshing and fun date and it's nice to know that Slide is still with us.

Tonight's Jazz Feature is all about some of the "keepers of the Jazz flame". These five talented gentlemen are some of the busiest and most active people on the New York Jazz scene.They are all internationally known and all of them are leaders on their individual instruments. They play in other bands but they all come together as they do on this disc and make some significant music. This album recorded just last year in June of 2016 is a fine example of the kind of playing that reflects the advances in Jazz but adheres to it's noble traditions such as swing, melody and an overall feeling of the blues. "That Feelin'" is the name of the album and the players are: organ master Mike LeDonne, tenor saxophonist Eric Alexander, alto saxophonist Vincent Herring, guitarist Peter Bernstein and the always swinging Joe Farnsworth on drums. Nine great tunes cover the spectrum of sound here and the tunes range from the challenging first cousin to Coltrane's "Giant Steps" in Donald Byrd's "Fly Little Bird Fly" to Ray Brown's "Gravy Blues" to Natalie Cole's "This Will Be Everlasting Love". Sit back and enjoy some real Jazz by some of the living and youthful great on today's scene.

This beautifully introspective and reflective album features two great music masters. Gary Peacock, one of the premier bassists in the history of Jazz and improvised music and classical and 12-string guitarist Ralph Towner. The music here is also quietly intense and belies the fact that only two people are playing and acoustically at that! This wonderful album was recorded in Oslo for ECM Records in May of 1993. The rapport between these two is uncanny and 6 of the 9 selections are Peacock compositions. Towner wrote two and the title track "Oracle" is a co-composition. Regrettably Peacock has now retired from active public playing due to age and hearing loss but Towner is still very active and productive. Oracle is a testament to their great artistry. Enjoy.

Phil Woods was one of the great alto saxophone masters. He arrived on the New York scene in the early 50s and established himself as a major voice. Arguably the 3 young heralds of the alto saxophone after Charlie Parker's death in March 1955 were Phil Woods, Jackie McLean and a young school teacher from Florida named Julian "Cannonball" Adderley. Woods recorded as a leader and worked with Dizzy Gillespie, Thelonious Monk and Quincy Jones. In the 60s he was everywhere but despite his success and ubiquity he left the country with his family and settled in Europe for almost 5 years and was a total success there with his "European Rhythm Machine". Upon his return newly single and an unhappy experiment living in L.A., Mr Woods landed in New York where he felt at home and made this momentous recording with this superb all-star rhythm section. Woods was challenged as he had never played with them before but rose to the challenge and delivered this wonderful album, definitely one of his finest! "Music Du Bois" is a Woods' classic. Two great Woods' originals grace the date. A new take on "Willow Weep For Me". Wayne Shorter's exotic "Nefertiti". The gorgeous ballad by Michel Legrand: "The Summer Knows" and a fine finish with Sonny Rollins' "Airegin". Musique Du Bois stands as a monument to Woods' vast output and is tonight's Jazz Feature.

Charles Mingus looms large as one of the true greats of American Jazz. Composer, virtuoso bassist and pianist and a man who like Duke Ellington created his own brand of music. Two different recording sessions are represented here. The first is from January 1963 with an 11 piece ensemble. Two updates of Mingus compositions featuring the passionate alto saxophone work of the late Charlie Mariano. "I X Love" and "Celia" are the two tunes with some familiar Mingus melodies. The second session from September 1963 with similar personnel had Eric Dolphy replacing Mariano and Mingus regulars, Booker Ervin and Richard Williams in the ensemble and Walter Perkins replacing Mingus' drummer Dannie Richmond. Most of the 6 tunes here are updates of older Mingus compositions with new titles. All great performances. This is one of Mingus' finest albums and one of his most accessible too! Git it!

These recordings were made for two small related labels when pianist/composer Elmo Hope returned to his native New York in 1961 after four up and down years in Los Angeles. These labels called "Beacon" and "Celebrity" were poorly distributed and sadly for Elmo Hope, received scant attention and yet they were some of his finest compositions and playing. They are fortunately more available today and are heard a little more widely. Mr.Hope is one of the great pioneers of Modern Jazz piano yet he remains relatively unknown alongside his closest friends and peers, Bud Powell and Thelonious Monk. His style is less percussive than Monk's and has less of that driven and demonic virtuosity that Bud Powell had but Hope's depth and intricate harmonies are what make his style unique. He is in a-one form here in 1961 with the great Paul Chambers on bass and his close friend Philly Joe Jones on drums. Nine compositions are heard here all by Mr. Hope. If you are not familiar with his music and tunes, you're in for a rare treat and you will discover Hope's greatness when you check out tonight's Jazz Feature. "Here's Hope" indeed!

Saxophonist Oliver Nelson was a man for all musical seasons. He played all of the saxophones specializing in alto, tenor and later soprano saxophone. He was a masterful composer and arranger. Even though he recorded prolifically and was responsible for a few real classics, this session is a little bit overlooked. It is a well organized session as all Nelson's records are but with less emphasis on arrangements and more on blowing and getting it on. His partner on the front line is the dynamic and fiery trumpeter Joe Newman, a veteran of many big bands including the Basie Band. Nelson and Newman hit it off and they are backed superbly by the premier pianist of the time, Hank Jones. George Duvivier is on bass and Charlie Persip drives things along on drums. Ray Barretto adds his might to the rhythm section on congas. Ray swings and is never intrusive. Six tunes are presented. The Ellington title track kicks things off with a high energetic standard and the album ends with a relaxed version of the old standard "Tangerine" the rest are Nelson originals that bring out the best in all. Nelson plays mostly tenor saxophone here but does two tunes ("J&B" and "Latino") on alto. Main Stem is a knockout date and fun to listen to!

Roy Haynes is now 91 years' old and still performing and touring and has lost nothing to age. He has always when not fully committed to a band led a small group and usually a quartet with a horn, piano, bass and himself. We go back to Los Angeles for a very rare date done in May 1964 with his Quartet. Frank Strozier is one of the unsung giant of the alto saxophone possessing a sound and individual concept all his own. He is also heard here on a few tunes on fluite. Sam Dockery was an ex-Jazz Messenger and a fine tasteful and swinging pianist. Larry Ridley, one of the heavy newcomers on the scene in 1964 anchors everything down on his mighty bass. There are 10 tunes on this date and all are old or newer standards. This little album has variety and each tune is a small gem in itself. The title track: "People" was a big hit for Barbara Streisand and is given a soulful and sensitive treatment by Strozier. All in all an enjoyable album by some young and and old Jazz master: Mr "Snap Crackle" aka Roy Haynes.

The mystery behind this little Chicago based band is simple. The MJT stands for the "Modern Jazz Two" This was bassist Bob Cranshaw and drummer Walter Perkins. They were the most sought after rhythm players on the Chicago scene in the late 50s. They recruited two horn players and a pianist and they comprised the "+3". After a few personnel changes, the band was set. Willie Thomas, a fine brass proud trumpeter was the man. On alto saxophone, one of the finest and most overlooked real voices of that instrument, Frank Strozier. On piano was a great player, Harold Mabern, who at 81 is still touring, lecturing and playing every bit as good as he does here when he was in his youth. This little band was very popular around Chicago and the general area and recorded several albums for Vee-Jay Records. This is one of their best and it's called "Make Everybody Happy!" This tight little band might not re-invent the wheel but they swung, were cohesive and had their own sound. The album was recorded in 1960. Soon after all of the members headed for New York and never recorded as a unit again. They all became stars in their own right. Meantime we have this delightful and creative little band to enjoy and I know you will. "Make Everybody Happy"...you too!

Tonight's Jazz Feature is possibly the final recording by virtuoso bassist Gary Peacock. Mr Peacock has been at the forefront of this music for many years and has explored many avenues of this music. He is perhaps best known for his work with Keith Jarrett, Jack DeJohnette in that magical and profound trio. Peacock has ventured out on his own as leader a few times and this album will be perhaps his final statement as he is now due to age and hearing loss retired from active playing. This thoughtful and introspective recording was done in July of 2014 and features the piano of Marc Copland and the drums of Joey Baron. 7 of the eleven compositions are by Peacock and he is a marvelous composer. Copland wrote two and Baron, one. Peacock honours his contemporary and late friend bassist Scott LaFaro with a version of LaFaro's "Gloria's Step". All in al this album is a wonderful way to wind up a stellar career........"Now This" will be memorable.

Ken McIntyre (alto saxophone/flute) and Eric Dolphy (alto saxophone/flute/bass clarinet) combine their talents on this wonderful one-off outing done for Prestige (New Jazz) in June 28,1960 (Eric Dolphy's Birthday). These two saxophonists had been signed by Prestige and it was suggested that they record together as they were both reflective of some of the new ideas that were coming into Jazz in the late 50s and early 60s spearheaded by Ornette Coleman, Cecil Taylor, John Coltrane and others. Dolphy and McIntyre had basically just met but they blended well on this fine date. They are backed by a quintessential New York rhythm section hell bent on swinging straight down the line. Walter Bishop Jr. on piano, Sam Jones on bass and Arthur Taylor on drums. Five of the six tunes are by McIntyre and one is a Gershwin standard. Dolphy and McIntyre have now passed onto Jazz history and one wishes they had made more discs like this together. McIntyre went on to live a long life and taught university for 25 years and played gigs. Dolphy, of course died young and had achieved iconic and legendary status and is still studied and emulated today. "Looking Ahead" is a fine chapter in their histories.

Howard McGhee was one of the first trumpeters to play the new Jazz music of the 40s called Bebop. Howard came out of several big bands and played with Coleman Hawkins and even more importantly, Charlie Parker during Parker's time in California in 1946/47. McGhee was at the top of his game when he returned to New York and made some historic recordings with his friend Fats Navarro in the McGhee/Navarro Boptet. The 50s were up and down for McGhee and he made some good albums but was also dealing with a heavy drug problem which led to arrests and such. He emerged in the late 50s and began recording for various labels and was a member of James Moody's little band. McGhee was back! In 1961 he made the Jazz Feature recording we'll be hearing. It's called "Maggie's Back In Town". "Maggie" is Howard's nickname. Howard picked the genius of the piano, Phineas Newborn Jr. and bass great Leroy Vinnegar and on drums the creative Shelly Manne for this fine date made up of a few originals and standards all well chosen. It's one of McGhee's most personal dates and demonstrates his unique style which while modern has traces of "old school" trumpet playing. Maggie at his best. Tonight we celebrate his birthday...March 6, 1918. McGhee died in 1987 at age 69.

This was a gathering of a group of then young men, mostly in their 20s in January 1959 in New York for this informal get-together. All of these men were now living in New York and had established themselves on the national Jazz scene. Several were part of some great working bands and some were freelancing. They all came together on this recording. All of these men were born and had their first early musical experiences in their hometown of Memphis Tennessee. On trumpets: Louis Smith and Booker Little. On saxophones: George Coleman on tenor saxophone and Frank Strozier on alto. The great Phineas Newborn on piano, Newborn's brother Calvin on guitar. On bass George Joyner who became Jamil Nasser when he adopted Islam. On drums, the reliable and tasteful Charles Crosby. Only four tunes make up this date and all of the musicians are featured to a greater or lesser extent in long solos. Phineas Newborn carries "After Hours". Frank Strozier is featured on "Star Eyes". Everyone gets a chance on "Things Ain't What They Used To Be" and "Blue 'n' Boogie" These four tunes were all jam session favourites and everyone scores a hit on each one. Sit back and enjoy, "The Young Men from Memphis".

This was the album that showed guitar great Jim Hall the door to becoming the Jazz icon that he was. This was Hall's debut date under his own name and proved that this young man in January 1957 when this date was recorded was headed for greatness. Hall went on to become one of the most influential guitarists in Jazz History and had a long and very productive career. His partners here include the legendary pianist Carl Perkins who left us in 1958 as a result of o drug overdose. A sad end to a very very promising career. Perkins is a magnificent accompanist and soloist. Anchoring everything is Keith "Red" Mitchell, one of the finest bassists on the planet. Eleven standards are explored here and Hall's feel and blues oriented playing is marvelous. "Jazz Guitar" is an apt description of this recording. Deep and easy on the ears.

Walter Benton was a fine tenor saxophonist who's career was long and productive, especially as a sideman but he remained in undeserved obscurity. His only recording under his name is tonight's Jazz Feature. He deserved more but it never happened. The recording was done when Walter had ventured to New York from his native Los Angeles to join Max Roach's band. He was given this date and hand-picked the players. Walter wrote 5 of the 7 tunes on the date. He picked a young Freddie Hubbard for his front line horn and they blend very well. The rhythm section on the first 3 tunes is Miles Davis' rhythm section of the time, 1960. Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. On the final 4 tunes, Cobb is replaced by the able and swinging Albert "Tootie" Heath. Walter proves himself on this date and to show off his beautiful haunting sound there are 2 ballads, one by Walter and his rendition of the great tune "Lover Man". It's sad he never had a chance to record more under his name. Walter died in obscurity and poverty in Los Angeles in 2000 at age 69. A sad end to a fine player. This album stand the test of time.

Thelonious Monk had a long and productive contract with Columbia records but in 1968 it was coming to an end. Soon after his saxophonist of 11 years, Charlie Rouse was leaving and Monk's health was a bit fragile as well. This was the penultimate Columbia album and the final documentation of Monk's working Quartet. The album was called "Underground" and it's iconic cover won more awards and attention than the fine music therein. The album featured some brand new compositions by Monk and 3 delightful trio tracks without Rouse. One rare track was with vocalist Jon Hendricks who sung his words to Monk's tune "In Walked Bud". That in itself was something very new for Monk. The 3 full Quartet tracks with Charlie Rouse on tenor saxophone, Larry Gales on bass and Ben Riley on drums are superb and the 3 tracks are all brand new Monk compositions. "Boo Boo's Birthday" is for Monk's daughter Barbara and a wonderful ballad in 3/4 time (Monk's only waltz) is called "Ugly Beauty" and the best is "Green Chimneys" in which the band stretches out for 13 minutes.This is one fine album and was recorded in December 1967 to February 1968. Check it out this evening or when you have time...it's worth it!

This edition of the Stan Kenton Orchestra was one of his finest and when this 7 part suite was commissioned by Stan for composer Johnny Richards, it was perfect timing. Richards was of Mexican and Cuban ancestry although born in the USA and this suite reflects his Latino heritage. Richards was a prolific writer and arranger and this suite is one of his finest works. The big Kenton Orchestra is augmented by 5 Latin percussionists to enhance the flavor of the music. The band in May 1956 when this was recorded was full of incredible soloists, Lucky Thompson, Bill Perkins, Carl Fontana, Sam Noto, Lennie Niehaus to name only a few. "Cuban Fire!" is loved even by non-Kenton fans! It is a magnificent orchestral work and is a worthy tribute to both Kenton and Richards. Caliente!!!!!!

This amazing edition of master drummer Art Blakey's Jazz Messengers was together with this same personnel from the Fall of 1961 until the Spring of 1964. This powerful band made many great albums both live and in the studio. Tonight's album was the final statement by this band with this group of players and the four tunes on this record captured the band at it's very best just like it would sound in a hip club except it was in the optimum conditions of the recording studio. The players were Freddie Hubbard on trumpet, Wayne Shorter on tenor saxophone and the band's musical director, Curtis Fuller on trombone, Cedar Walton on piano, Reginald Workman on bass and the essential ingredient.....the mighty Art Blakey on drums. Shorter wrote two tunes including the title track and Hubbard wrote one and the album ends with a very pulsating but gentle bossa nova styled piece by pianist/composer Clare Fischer called "Pensativa". Free For All represents the very best of this great band. Check it out!

This modern classic album is arguably considered to be a "perfect recording". We all know that "perfection" in art is not possible but I must say this album comes very close to that ideal. There is a total unity of purpose in this band and in Hancock's music. Herbie Hancock had by the time of this recording established himself as one of the major piano players of the 60s along with McCoy Tyner. Hancock assembled this band with three members that he had or was working with in the Miles Davis Quintet. Tenor saxophonist George Coleman had just left Davis but bassist Ron Carter and drum genius Tony Williams were with Davis. The other horn along with Coleman is trumpeter Freddie Hubbard, who was like Hancock one of the major voices of the trumpet by the time of this date, The underlying theme of all the tunes is the sea. The sea in it's majesty, power and mystery. Many have heard this album or parts of it frequently but I might ask, have you heard it recently? Here is your chance to hear this great classic date by one of the Jazz Masters, Herbie Hancock recorded in March of 1965.

This historic and ground-breaking record date was done on December 24, 1954 and was a meeting of all-stars. Miles Davis on trumpet was the nominal leader and he performs with Thelonious Monk on piano, Milt Jackson on vibes, Percy Heath on bass and Kenny Clarke on drums. This record date has become a Christmas Jazz Feature on The Jazz Show and an annual tradition. It's not Christmas music per se but the "feel" of Christmas is evident throughout this date. None of these great musicians were trying to make a recording that would influence and alter the sound of Modern Jazz but they did just that by simply playing their best and expressing themselves. This date became known as "The Bags' Groove Session" because of the wonderful version of Milt Jackson's simple blues tune. Three others make up the date: Monk's "Bemsha Swing", Davis' "Swing Spring" and the band's interpretation of the Gershwin classic, "The Man I Love". Enjoy the music and enjoy Christmas and Hanukkah and the Holiday Season and Happy and prosperous 2017 to all.

Clifford Jordan is from Chicago and is a graduate of the legendary DuSable High School music program. Many many famous musicians and performers graduated from this school and the music program was under the venerable Captain Walter Dyett who taught, reading, discipline, tone and ability to blend with other instruments. Jordan worked with Horace Silver, Max Roach, J.J. Johnson and Charles Mingus and others and recorded a whole series of albums under his own name for many labels. Jordan was one of the most distinctive and easily recognizable tenor saxophonists that Modern Jazz ever produced. Tonight is one of his most personal albums. Jordan is the only horn and he is backed by a free flowing rhythm section with the great Cedar Walton on piano and Teddy Smith on bass, a newcomer to New York at the time of this recording in 1961/62. The open and very individual drumming of J.C. Moses makes this rhythm section distinctive and gives it that free and floating quality.The album is called "Bearcat" (named for a wrestler friend of Jordan's: "Bearcat" Wright) and it contains 5 Jordan originals, all memorable and melodic. One standard and one Jazz standard is included. This is a fine date by Jordan and one of his best.

The title really explains it all. This great self-taught guitarist is considered one of the finest players of his instrument in Jazz music. In 1956 Talmadge "Tal" Farlow had several long club gigs in New York with this drumless trio comprising of piano virtuoso Eddie Costa and bassist Vinnie Burke. They took the Farlow Trio into the recording studio on May 31, 1956 and recorded this wonderful uplifting album that featured not only Farlow's unique guitar style but some great interplay between the three musicians. This intimacy could only be really achieved through working together for a long time. They came up with "The Swinging Guitar of Tal Farlow" one of the pivotal Jazz guitar albums. Enjoy!

Little is known about Fred Jackson except he was born in Atlanta, Georgia in 1929 which today would make him 87 or 88. if he is still with us. He dropped out of the music scene around 1965 and nothing since. He came from a Rhythm and Blues background and worked with Little Richard, B.B. King and especially Lloyd Price where he was Mr. Price's musical director. Jackson is a tenor saxophonist in the style of Illinois Jacquet, Gene Ammons, Houston Person etc. Big sound, bluesy concept and total control of the horn from top to bottom. He appeared as a sideman on Baby Face Willette's classic Blue Note date called "Face to Face" and impressed Blue Note's honcho Alfred Lion who loved Jackson's playing. He did two dates for the label but only one was issued and it's tonight's Jazz feature. Fred Jackson appears with his Lloyd Price cohorts, Earl Vandyke on organ, Willie Jones on guitar and Wilbert (aka G.T.) Hogan on drums. Seven Jackson original;s reflect his blues and R&B background. "Hootin' 'n' Tootin" is a boss date.

This session began as a small group date with Mingus' Jazz Workshop band but because he was recording for major label Mingus convinced the powers that be to increase the budget to bring in more people. This happened and this turned out to be a date for a large ensemble...24 pieces! It was done in 2 sessions, one with the very large ensemble and the other the next day with his expanded small band. It is a unique date and foreshadows some of Mingus' large ensemble projects that he did later in the 60s and 70s. Some great solos abound here, Booker Ervin, Yusef Lateef and others but this date emphasizes Mingus' compositions. Some were written very early in his life and updated here. The original album was called "Pre-Bird" and then later rel;eased as "Mingus Revisited". All in all a rewarding listening experience.

George General "Gigi" Gryce was one of the most important Jazz musicians in the 1950s and early 60s. He collaborated with most of the major musicians as an alto saxophonist, composer or arranger. He wrote some memorable tunes and they are often played to this day. In around 1962, he quit music altogether and for the rest of his life became an inspiring inner-city school teacher. He began to use his Muslim name after leaving music and became Basheer Quism and after his death in 1983 at age 57, the school where he taught was renamed for him. The answers to why he left music are contained in a great book called "The Rat Race Blues" (after one of his tunes). Gryce was well-spoken and highly educated and was unlike so many musicians of his era a non-smoker, non-drinker and never ever used drugs. Our Jazz feature is a recording of the last of his organized bands. He did 3 albums for Prestige (New Jazz) and one for Mercury and some independent dates for obscure labels and then after 1961, there was no more. Tonight's album is one of his finest from that latter period and called "The Hap'nin's". Gryce on alto saxophone, powerhouse trumpeter Richard Williams on the front line, elegant pianist Richard Wyands and a strong rhythm section with Julian Euell on bass and Philly swinger Mickey Roker on drums. A superb album by a great talent that featured two of Gryce's best known tunes plus his arrangements on all of them. Check out Gigi Gryce!

Drummer Chico Hamilton led a very successful Quintet through the late 50s that was one of the most popular groups in Jazz. The music he played was fun but very stylized and tightly arranged and it allowed some freedoms but with restrictions. Chico grew restless and was growing tired of this style of Jazz despite it's commercial success. Hamilton was hearing and being exposed to some different sounds and he decided to break up the "old" Quintet and in time formed his "New" Quintet. More freedom, more energy and more contemporary sounds were on the "New" Hamilton Quintet menu. All the players were relative unknowns beginning with Memphis- born tenor saxophonist and flutist, Charles Lloyd. Hungarian-born guitarist Gabor Szabo was the other important voice in this group along with buttery sounding trombonist George Bohanon, who replaced the cello in the "old" Quintet. Young virtuoso bassist Albert Stinson was the final cog in the wheel. They made a variety of albums for different labels but tonight's Feature is their pinnacle date. It was recorded for Impulse records and called "Passin' Thru" and 4 of the 6 compositions are by Charles Lloyd who proves here to be also a fine composer. One good standard is included and one exotic composition by guitarist Gabor Szabo might be the prize tune on the album. Despite the fact that this date was recorded in September 1962 it is as modern as next week. Enjoy "Passin' Thru" tonight!

Tonight's Jazz Feature is our small celebration to Halloween as tonight is October 31st! Joseph Rudolph Jones aka "Philly Joe" a nickname he adopted to distinguish himself from the older Basie drummer Jo Jones. Philly Joe came to national fame as part of Miles Davis' "first great quintet" and became one of the most in-demand sideman and appeared on so many classic recordings in the 50s and 60s and beyond. He recorded some albums under his own name that may not be classics but are damn good! One of them is this date with tenor saxophonist fireball Johnny Griffin, trombonist Julian Priester and cornetist Nat Adderley who shines on this date. Tommy Flanagan is on piano and a young Jimmy Garrison is solid on bass. Four great tunes are featured for the band to stretch out on and the final fifth tune is called "Blues For Dracula". It's a slow blues with Philly Joe's voice overdubbed. Philly Joe does his best Bela Lugosi imitation and the slow blues turns into Blues For Dracula. Serious fun and a small tribute to Halloween. All in all a fine representative recording and a tribute to one of the most influential drummers in Modern Jazz.......Mr. Philly Joe Jones!

Alto saxophonist William "Sonny" Criss was undeservedly overlooked for most of his rather frustrating career. He truly is one of the very greats on his instrument and a powerful emotionally direct player with a beautiful full singing tone. Sonny's most prolific recording period was the 1960s when in 1965 he was signed with Prestige Records. The seven or so albums he did for that label are all real gems. Most of Sonny's albums are in a quartet or quintet setting with Sonny out front as the single horn. That was his preference. This album on tonight's Jazz Feature is different as it is Sonny with a nine piece band.. The band was formed as a co-operative effort between Sonny and pianist/composer Horace Tapscott. Tapscott wrote and arranged all six pieces to feature Sonny. Tapscott conducted the band. The other soloists are pianist Tommy Flanagan, tenor saxophonist Teddy Edwards and trumpeter Conte Candoli. The other non-soloists are David Sherr on alto saxophone, Pete Christlieb on baritone, Dick Nash on trombone, Ray Draper on tuba, Al McKibbon on bass and Everett Brown Jr. on drums..Kudos to producer Don Schlitten for recording this very short-lived band as it remains a unique recording in the short discography of the great Sonny Criss.

This album came about because of Miles Davis. Gil Evans who was a composer/arranger collaborated on a trio of Miles Davis recordings that became instant classics: these were "Miles Ahead", "Porgy and Bess" and "Sketches of Spain". Through these albums, Gil Evans' name became a household one in the late 50s and early 60s and through his notoriety he was able to form his own orchestra and the magnificent results are here on his first document of his new band called "Out Of The Cool". All the uniqueness of the Evans' concept is here in abundance, the odd voicings, the odd combinations of instruments and the unexpected riffs and backgrounds. Evans is like no other arranger/composer. We even have his fairly modest talents displayed here on piano which add even more atmosphere to this great and classic recording. Gil's soloists are here too in the person of Johnny Coles on trumpet, Jimmy Knepper on trombone, Ray Crawford on guitar and Budd Johnson on tenor saxophone and others. Ron Carter on bass and the incredible Elvin Jones on drums plus help from percussionist Charlie Persip provide the rhythmic foundation for this band. "Out Of The Cool" is one of Evans' essential recordings and one of the essential Jazz recordings of all time.Visit it tonight.

Tonight on The Jazz Feature we present a group pf recording sessions that feature two great iconoclasts of Jazz music.: Art Blakey and Thelonious Monk who are celebrating their Birthday Anniversaries on Oct 10 (Monk) and Oct. 11 (Blakey). Blakey and Monk not only shared musical empathy but a lifelong friendship. Blakey was the drummer on Monk's very first recordings in 1947 and they continued that association over the years. Our first session is a trio date, his first for Prestige records in 1952. The second is a fine quintet date again for Prestige in 1954 with trumpeter Ray Copeland a and and tenor saxophonist Frank Foster. The third is a date that features an early working Monk band from late 1955, a quartet featuring alto saxophonist Gigi Gryce. It was issued under Gryce's name as Monk had just signed a new recording contract and didn't wish to jeopardize it. It's a fine date with four great compositions that are rare in Monk's repertoire. Finally from 1958, a live date from the legendary Five Spot Cafe with Monk's quartet with tenor saxophonist Johnny Griffin and Art Blakey sitting-in for the final tune of the night. All of these performances show the beautiful musical empathy between Thelonious Monk and Art Blakey, two giants who shaped Jazz music forever.

This album was recorded at the legendary Jazz Workshop in the North Beach area of San Francisco in October of 1962. In 1959 Max Roach declared that his music would from that time on reflect not only his musical stance but his political stance as regards civil rights for his people of African-American heritage. After this recording, Mr. Roach was boycotted by many booking agents and the record companies of the day. He did not resume recording until he signed with Atlantic Records in 1965. This album brings his working band to the fore and unfortunately doesn't include his wife, vocalist Abbey Lincoln but it is all about his powerhouse quartet with included tenor saxophonist Clifford Jordan, pianist Mal Waldron and bassist Eddie Khan and of course Mr. Roach. Two long pieces are included on this recording and both are in the form of a suite designed to feature everyone in the band extensively.. "Speak Brother, Speak!" is the first long suite based in the blues and the second piece entitled "A Variation" based on a theme by Heitor Villa-Lobos is another foray into a minor key. Both are so effective and moving. "Speak Brother, Speak!" speaks to us all so listen up!

This is a classic John Coltrane recording to celebrate his 90th Birthday Anniversary. The album was his only date for Blue Note Records and it occupies the position of Miles Davis' "Kind of Blue", Brubeck's "Take Five" or Coltrane's "A Love Supreme" as being an essential Jazz album. Coltrane was given rehearsal time and was able to hand pick the personnel. He chose a young Lee Morgan on trumpet who was 19 at the time! Curtis Fuller was a new voice on the trombone with his distinctive sound. Kenny Drew on piano was a wise choice with his rhythmic accompaniment and his dancing darting solos. Paul Chambers on bass and the great Philly Joe Jones on drums make up what is arguably the best rhythm section in Jazz at that time. Coltrane had emerged as a stunning soloist when this date was done and had reached an early peak in his playing He had thrown off drugs and alcohol and had embarked with the encouragement of Thelonious Monk and others to practice hard on his horn and the results of that work are here on this pivotal recording that in 1960, Coltrane said was "my favourite". When we listen tonight I think we'll all hear why. Check out "Blue Train".

This classic recording done in the mid-50s is our second Jazz feature into the "back to school" idea with an educational and entertaining lecture into what Jazz music is and what it isn't. Leonard Bernstein loved, understood and respected Jazz music and was a master communicator. This is less a history of Jazz but an analysis in a non-academic fashion of many of the unique musical elements that make up this great American art form. In the second half, Maestro Bernstein takes apart a popular song and brings in many players to improvise and personalize the song. Bernstein unlocks some of the mysteries of the music and it is a fun listen. One last note, some of the references will bring a smile to you face as this recording was done in the mid-50s and reflects some of the values and ideas of that time. This recording has much relevance and that is why we feature it every year. "What Is Jazz" is a classic.

This Jazz feature is a long time September tradition on The Jazz Show as it is entertaining and educational. It celebrates the usual September time of "back to school, back to work" and so on. Julian "Cannonball" Adderley was one of the leading alto saxophonists in Jazz music and a great bandleader and Jazz communicator. He was a former school teacher before embarking on his fabled musical career. This record tonight was recorded in 1960 for a small record label so it his it's obvious limitations but it is still a fine overview of Jazz music's history up until that time and consequently still a valuable document and a good educational tool for the new and the old listener to this music. Check it out tonight "A History of Jazz" narrated by Cannonball Adderley.

This incredibly innovative album is from 1961 and combines the intuitive artistry of the one and only Stan Getz with the innovative string compositions by Eddie Sauter. Tenor saxophonist Getz is one of the most lyrical and distinctive voices on that instrument and displays all his great talents on this album of which he was most proud. Many great Jazz stars recorded with strings but nothing ever matched this recording in terms of freshness, originality and creativity. Eddie Sauter's compositions stand on their own and with Getz weaving in and out of the passages the magic of this recording is totally evident. It's no wonder that of all the hundreds of recordings Stan was on, this was the album he was most proud of and it was his favourite. The recording was done over several sessions in 1961 and issued quickly to great acclaim on Verve and was called "Focus". Seven wonderful moods are explored here by Getz and Sauter snd they are all worth your time.

Tonight's Jazz Feature was the last recording of one of tenor saxophonist Stan Getz' finest bands. This was a truly magical band that included Getz and valve trombonist Bob Brookmeyer, they both exhibited a genuine 6th sense and blended and played together so well. The band for this session was re-united for a series of concerts and this recording done in Los Angeles on November 9,1954. There was only one change in personnel and that was bassist Bill Anthony who replaced the original bassist, Teddy Kotick. This band was together for a major part of 1953 and recorded extensively then re-united in 1954. The band consisted of Getz and Brookmeyer and a wonderful pianist from Vermont named Johnny Williams, The aforementioned Bill Anthony was on bass and a wonderful drummer who was a model of lightness and taste named Frank Isola. They recorded 6 tunes here, four standards and one Basie blues and an original by Brookmeyer and that was the end of what was arguably one of Stan Getz' best bands and for some people, one of the finest Jazz groups ever! The sound was cool and the music was hot!

This set was recorded in October 1960 for the new Candid label. Writer and close Mingus friend Nat Hentoff was the producer and Mingus brought his core band in a reunited effort to capture the music that Mingus had played on a long gig at a Greenwich Village club called "The Showplace". There were no recordings from there and this date was set up to capture the excitement and creativity of that gig. It worked! Mingus did the announcements as if they were in the club and the band played for their lives. Just four musicians in this edition of The Jazz Workshop. Multi-instrumentalist and innovator Eric Dolphy is heard in bass clarinet and alto saxophone. Trumpeter Ted Curson has never sounded better than here and he and Dolphy are a perfect match. Mingus is of course a powerhouse on bass and drummer Dannie Richmond achieves maturity right here with some of his best playing. "Mingus Presents Mingus" stands as one of Charles Mingus' finest ststements and one of his best recordings and captures what this band really sounded like.

Duke Ellington wrote this suite after performing with his band and later spending a few days going to plays and experiencing the great Shakespearean Festival in Stratford, Ontario in 1956.. Ellington was so inspired by all of this that over almost a year he and his alter-ego Billy Strayhorn composed the twelve movements of "Such Sweet Thunder". All of the pieces are Ellington and Strayhorn's concepts of Shakespearean characters. Lady McBeth, Othello, Henry V, Hamlet etc. The orchestra is at it's peak and all of the legendary members are at their best. Johnny Hodges, Clark Terry, Quentin Jackson, Paul Gonsalves, Jimmy Hamilton and others are on board for twelve movements of amazingly original music. "Such Sweet Thunder" is an Ellington masterpiece.....sit back and enjoy!

Walt Dickerson (1928-2008) was one of the most individual voices of the vibraphone, He is one of the very few who was NOT influenced by Milt Jackson. He developed his own sound and approach to the vibes by listening to horn players. He was also a fine composer of original works. Dickerson never achieved the recognition he richly deserved as he emerged in the 1960s...it was Gary Burton and Bobby Hutcherson who got the accolades and Dickerson operated in obscurity. After finishing university and doing his time in the US Army, Dickerson worked on the West Coast but never recorded. He returned to his hometown of Philadelphia and made frequent forays to New York and worked with his quartet. It was in 1961 that he made this amazingly mature debut recording called "This Is Walt Dickerson" Eric Dolphy introduced him to the Prestige/New Jazz label and he made this and three other fine recordings for New Jazz. "This Is Walt Dickerson" offers his working quartet with the obscure Austin Crowe on piano and Bob Lewis on bass and the soon to be prominent Andrew Cyrille on drums. The album has six of Walt's original compositions and is a very strong musical statement. More should have happened to Walt as he was an important voice. He was called "the Coltrane of the vibes" by more than a few people. Enjoy his debut recording tonight.

John Coltrane signed with Impulse Records in 1961 and in May began to record his monumental first album for Impulse called "Africa/Brass"... however he was informed that he still owed one more recording to his previous label, Atlantic Records. Coltrane honored this commitment by bringing in his working Quartet with McCoy Tyner on piano, Reginald Workman on bass and Elvin Jones on drums. He added three more musicians from the new Impulse session to expand the Quartet and they are: Freddie Hubbard on trumpet, Eric Dolphy on flute and alto saxophone and a second bassist, Art Davis. The main tune on this date is the title track, "Ole". It's in 5/4 time and has a Spanish/Moorish feel and is an immediately appealing composition with the two bassists, Tyner and Jones providing a great carpet for Coltrane on soprano saxophone, Dolphy on flute and Hubbard on trumpet to play over. The other tunes are fine as well. This album, while it's an overlooked item is a fine door opener for those who wish to enter into Coltrane's world and are sometimes a little shy of some of his work. Try this on on for size. Tonight's Jazz feature: "Ole".

When you hear the alto saxophone of Art Pepper, there is no doubt as to who it is. Art's sound and emotional directness hits hard and as someone put it, "Art plays for his life". Art's life was a convoluted mess and interrupted by long prison sentences for drug use but Pepper always played his best, no matter the circumstances. This album called "The Trip" was made in 1976 after his release from rehab and his life for a while became productive and stable. Art's wish was fulfilled by the people on this date, three men who he loved and wished to work with. George Cables was his favorite pianist, Art called George "Mr.Beautiful". Bassist David Williams and especially drummer Elvin Jones lived up to Art's high standards. Art worked hard to make this date great and brought in 3 original works including the haunting title track..."The Trip". One tune each by trumpeters Joe Gordon and Woody Shaw. The beautiful ballad high point is Michel Legrand's lovely "The Summer Knows". Art Pepper among his other attributes was a superb ballad player. This album is a keeper and one of Art Pepper's finest..........check out "The Trip"

This is a a rather special Jazz Feature and it is a complete solo concert by one of the great geniuses of the piano....Keith Jarrett. Little has to be said here as Mr. Jarrett before performing one of these concerts completely clears his head of an preconception and lets his muse take over. For me, Gavin Walker, this solo concert has never in the many years since I first listened to it has never failed to move me and make me feel that I have experienced a transformation of sorts. The concert was very well recorded by ECM and there is no foot stomping or vocal interjections by Mr. Jarrett which many find very annoying. The muse was present this evening and I wish to share this experience with you courtesy of Keith Jarrett.

Composer and Gary McFarland only loved until he was 38 years old but accomplished much in his musical life. His recorded legacy is vast and is worth a check on the internet. Tonight as a tribute to The Fourth of July we present what is considered McFarland's masterpiece...."America The Beautiful-An Account of it's Disappearance". Written in 1968, a time when America was in the midst of a very unsettled time. This is in many ways a protest piece but much more. The emotions here range from joyousness to sadness to satire and anger and hope too. McFarland's music expresses so much about his feelings about being American at this time. The music speaks too about America today as anxious times are here again. This large orchestra of 25 to 30 pieces with strings says it all. Gary's love and sadness for his country is evident throughout this suite of 6 movements. There are some fine solos too. Experience this music tonight and Happy Fourth of July!

Cornettist Nat Adderley was a great musician who was somewhat overshadowed by his big brother Cannonball Adderley. Nat was a formidable musician oin his own right. He preferred the smaller and sharper sounding cornet to the trumpet and excelled. He put together this great band for a one night stand at an LA club called Memory Lane. His front line partner is Joe Henderson, one of the great tenor saxophonists ever. The rest of the band consists of Joe Zawinul on piano, Victor Gaskin on bass and Roy McCurdy on drums. This is a great set done with the energy that only a live audience can supply. Check it out tonight!!

Alto saxophonist Charles McPherson is truly one of the living masters of the alto saxophone and at age 77 is very active, playing, traveling, teaching, recording, composing. McPherson has been on the Jazz forefront since the late 50s, first with the volcanic bassist Charles Mingus on and off for more than 15 years. Pianist Barry Harris was one of McPherson's mentors from his early days in Detroit and McPherson and Harris have played together and recorded many times since then. This album called "McPherson's Mood" is one of McPherson's personal favourite recordings and one that he enjoys listening to. Charles is the sole horn and his elegant phrasing, great tone and his lyricism is fully evident. McPherson took the lyrical and melodic side of Charlie Parker's concept into his own wonderful style. McPherson is accompanied by his early mentor Barry Harris on piano, the great Buster Williams on bass and the talented and tasteful Roy Brooks on drums. Six tunes are featured here with 4 by McPherson and two standards beginning with the familiar Cole Porter tune, "I Get A Kick Out of You" and the contemporary standard, "Mon Cherie Amour" made famous by Stevie Wonder. All in all a fine portrait of a great living Jazz Master: Charles McPherson.

This band was a mix of two generations of players. Tenor saxophonist Harold Land was one of the leading tenor saxophonists on the scene and had rose to fame in the early 50s. Vibist Bobby Hutcherson was about a dozen years younger than Land and came up in the turbulent 60s and established himself as the leading post-Milt Jackson vibist who was capable of playing in "straight-ahead" contexts and "avant-guard" settings. They formed a band and were able to use various rhythm sections over the four or so years they performed together. They recorded for various labels but their most significant dates were for Blue Note and this date in particular is really one of their high points. The date is called "Total Eclipse" and features an ace rhythm section with Chick Corea on piano, Reggie Johnson on bass and Joe Chambers on drums. Of the five tunes, four are by Bobby Hutcherson and one is by Chick Corea. This music is timeless and in reality a modern day classic.

The Jazz festival host Gavin Walker turns things over to John Orysik this evening. John is the Media Director and the chief spokesperson for The Coastal jazz and Blues Society, the organization that every year produces the Vancouver International Jazz Festival. John will pick all the music for tonight's show. Listen up!

This band, led by Miles Davis reveals his complete move to original material and his complete transformation of his music bringing in elements of rock and funk and mixing electric and acoustic instruments. It is really in this writer's opinion one of his finest electric post "Bitches Brew" bands. It was not well represented on records until Columbia issued this set of 6CDs in 2005 called "Miles Davis-The Cellar Door Sessions-1970". The band includes Mr.Davis on trumpet, Gary Bartz on alto and soprano saxophones, Keith Jarrett on Fender Rhodes Electric Piano and Fender Electric Organ, Michael Henderson on electric bass and Jack DeJohnette on drums, The band unlike some of Davis' bands from his post 70s period is cohesive and exhibits real direction by all concerned and everyone's solos are worth hearing. This music is the logical outgrowth of "In A Silent Way" and "Bitches Brew" and "Miles At Fillmore". Hop on and enjoy the ride with this complete set recorded at Washington D.C.'s Cellar Door. Miles ahead!

This album marked a change and impending changes in Miles Davis music and his life. It also was the last recorded statement of the Second Great Quintet. The album is often overlooked and yet it is a rather profound musical journey. The recording took place in two different sessions. The first from June of 1968 consists of three new Miles Davis compositions recorded over three days. These were the final recorded statements from the Second Great Quintet. The changes were not only the tunes but the instrumentation, Herbie Hancock is now playing Fender-Rhodes Electric Piano and Ron Carter is playing only electric bass. Carter departed a few weeks after these recordings as he preferred not to play the electric but he and Davis remained on good terms. The three tunes reflect the concept changes by Miles and are both introverted and outgoing and are graced with changing rhythms. The tunes have all French names too. They are (1) Petits Machins (2) Tout de Suite and (3) Filles de Kilimanjaro. Thr second session took place in September of 1968 and there were two new people in the working quintet. Chick Corea took over from Hancock and Corea played an RMI Electra Piano which sounded like an acoustic and a harp. From London, England Miles brought in Dave Holland on acoustic bass. Two tunes were recorded here and both of these Davis compositions were dedicated to Miles' new wife, Betty Mabry. The tunes are (1) Madamoiselle Mabry and (2) Frelon Brun (aka Briown Hornet). These dates led to "In A Silent Way" and then a quick step to "Bitches Brew" and a new phase for Miles Davis was opened and the rest is history. This album stands as an overlooked masterpiece and is worth your time.

This was the evolutionary and revolutionary band led by trumpeter Miles Davis that is referred to as his "second great quintet". The final stage of the quintet was formed in late 1964 when the last member, tenor saxophonist Wayne Shorter came aboard. The band was essentially together as a unit until 1968 when personnel changes took place and Davis' music took a different direction. The second great quintet consisted of Miles Davis, Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams. They were unlike any other Jazz unit...they seemed to breathe as one, tempo shifts, stop time, movement in every direction. These performances are on a very different level than the band's many studio recordings. The looseness and freedom of this band is amazing. As was Miles' practice at this time the tunes are segued and are together almost as a suite. The Jazz Show's third tribute to the legacy of Miles Davis, who this month celebrates his 90th anniversary of his birth.

Drummer Tony Williams declared in a published statement that "Milestones is the greatest Jazz recording of all time". It might be over the top but Tony, who played with Miles Davis from 1963 through 1969 was only 17 when he joined Davis and this recording was a large part of his learning process. It was done in two sessions on February and March of 1958 and featured Miles Davis' best rhythm section, Red Garland (piano), Paul Chambers( bass) and Philly Joe Jones (drums) and Julian "Cannonball" Adderley on alto saxophone and John Coltrane on tenor saxophone whose playing improved by leaps and bounds in 1957 after a tenure with Thelonious Monk. The band is so strong and like all Miles Davis' band, it's built on solo power and this band had it in spades! After listening to this classic, see if you agree with Tony Williams. I know if I had only one Miles Davis album to take to a desert island, this would be it!

We begin our month long Jazz Feature tribute to Miles Davis who was born in Alton, Illinois on May 26,1926 and this month would be the 90th anniversary of his birth. Tonight our Jazz Feature presents "the first great quintet". Miles Davis had a difficult time in the early 50s, unemployment, depression and discouragement was dominant and Davis slid into the pit of heroin addiction. After several years of this he put himself into isolation and quit. In 1954 things were brightening up with a series of significant recordings and a return to good health. In the summer of 1955 after his triumph at the Newport Jazz Festival, Miles formed this great band. Drummer Philly Joe Jones helped Miles pick the players, and young bassist Paul Chambers came into the band as did light fingered Red Garland on piano. Miles wanted Sonny Rollins on the front line but he wasn't ready as he was dealing with his own addiction problems and so Miles turned again to Philly Joe for advise and Joe said "John Coltrane". The rest is history and the "first great quintet" was born. Tonight is a selection from one of their finest and most intense recording sessions and their final one for Prestige Records. Oct 26,1956 was the date and the band ran through it's club repertoire and everything was done on one take. The selections were issued over a series of Prestige albums but the bulk of tonight's Feature comes from the album "Cookin' With The Miles Davis Quintet". This album is considered one of the finest examples of Modern Jazz. Enjoy our first tribute to Miles Dewey Davis.

The was the debut recording of a very distinctive and unfortunately obscure West Coast alto saxophonist named Jimmy Woods. Jimmy only made two dates under his name and this was his first. Jimmy possessed not only a unique sound on the alto but a unique style as well and beholden to no one. His career unfortunately never took off and he dropped out of music in the mid-60s to pursue a job in social work. This date shows his promise and was done with two different groups. The first session and the first tune has Jimmy alone with the rhythm section on a standard entitled "Circus" then he is joined on two originals by trumpeter Martin Banks then on one more original with trumpeter Joe Gordon replacing Banks then the two trumpeters join Woods for Cole Porter's "Love For Sale".. The other players are, Amos Trice on piano, Jimmy Bond on bass and Milton Turner on drums. The second session has Woods as the only horn with Dick Whittington on piano, Gary Peacock on bass and Milton Turner on drums and contains 3 Woods' originals. This is a fine debut recording and should have pushed Jimmy Woods to the forefront of alto saxophonists...it didn't and he was relegated to undeserved obscurity. This date is worth your ears!

One of the finest and yet most underrated guitarists was Chuck Wayne (1923/1997). Chuck was on of the guitar pioneers of Modern Jazz and recorded and played with Dizzy Gillespie and Charlie Parker and later with Woody Herman's great "Second Herd". He made very few albums under his own name although he was revered by all the guitarists like Barney Kessel, Wes Montgomery, George Benson etc. This fine album recorded in 1963 was a fine showcase for Chuck's talents and it's called "Tapestry" Chuck performs here with bassist Ernoe Furtado and drummer Jimmy Campbell. It's a nice mix of Waye's originals and well chosen standards from the Great American Songbook. You'll hear why Chuck Wayne was so respected and why he was great!

This incredible album was the recording debut of one of the most unique voices on the flute, Jeremy Steig and it was also the debut of the awesome pianist Denny Zeitlin. It was done for Columbia records in 1963 and Steig and Zeitlin had never been in a recording studio before. They produced what is one of the most startling debuts in Jazz history and sadly this recording has been forgotten. Steig and Zeitlin are backed very ably by the well known bassist Ben Tucker and Thelonious Monk's drummer, Ben Riley. Steig is uses humming and singing into the flute at times to produce a hair-raising effect. Denny Zeiltin went on to an amazing career and he is still very active in the Bay Area where he works both as a pianist and as a psychiatrist. Dr.Denny Zeitlin!! The album consists of a nice mixture of standards from the Great American Singbook and some very well known Jazz standards by Miles, Monk and Sonny Rollins. "Flute Fever" is a classic and has lain fallow to too long...hear it here!

These two extremely fine players like our Jazz feature artists for the month of March and again into April seemed to operate under the radar. Many devoted Jazz people are unaware of many of these very talented and near-great players. Tenor saxophonist Bill Barron and trumpeter Ted Curson were from Philadelphia and they had been playing together since their teen years. In the early 1960s, they decided to form a working group and did a fine series of albums for various labels. One of their finest was this one called "Now Hear This!" The quintet members along with Barron and Curson were Barron's younger brother, Kenny Barron on piano. Ronnie Boykins was the bassist and the fiery Dick Berk was on drums. This fine album on one of their finest statements. Three tunes by Bill Barron and two by Ted Curson and three rarely played standards make up this 1962 date. Curson went on to a fine career mostly in Europe and Barron became a professor of music in various colleges. They both never stopped playing until their deaths. Barron lived to only 62 and Curson lived until 77. Now Hear This! is a fine document of these two leaders and worth your ears and time.

This is episode number 4 from this month's Jazz Features on musicians who have been forgotten or have operated under the radar. The members of the Jazz Lab are all well known except for the co-leader, alto saxophonist/composer/arranger Gigi Gryce. Gryce was a very very important figure in the 1950s but dropped out of the scene and quit music in 1961. It's a long story but he spent the next 20 years up to his death in 1983 as a school teacher and has a school in Harlem named after him. Gryce was a very distinctive alto saxophonist with a small, even sound and though he may not have played with the drama of Jackie McLean or Phil Woods, he was an original stylist. He was also a great arranger and composer and his tunes were played by everyone of consequence. The Jazz Lab co-led by trumpeter Donald Byrd and Gryce existed for about 10 months in 1957 and they recorded for Columbia and some independent Jazz labels and this album for RCA called "New Formulas From The Jazz Lab". Ironically it is one of their finest albums but it was never issued in the USA....only in France and Japan! Byrd and Gryce excel with the great Hank Jones on piano, Paul Chambers on bass and Arthur Taylor on drums. The album has two tunes by Gryce, two by pianist Jones and one by Byrd and one more by pianist Ray Bryant (who occasionally played with the Lab). New Formulas From The Jazz Jab is in no way "far out" or experimental but solid modern Jazz that swings, is melodic and sounds very fresh. It is the sound of a working band rather than a pick-up crew. It's worth your time and Mr. Gryce will surprise you too!

Trombonist Matthew Gee is our Jazz Feature artist and the third in this month's presentation of great and near-great Jazz players who operated under the radar. In Matthew's case it was because he only recorded two albums under his name and the other one was a co-leadership with tenor saxophonist Johnny Griffin. Tonight's Feature is all Matthew and it's his first. It was recorded for the then new Riverside label in 1956 and it remains a rare item. It is in two sessions with two different bands. Trombonist Gee had a long career in Jazz and played with Sonny Stitt and Gene Ammons. Illinois Jacquet and Lou Donaldson plus tenures with the big bands of Dizzy Gillespie, Count Basie and Duke Ellington. The first session contains three Gee originals with an all-star group with Kenny Dorham on trumpet, Frank Foster on tenor saxophone and Cecil Payne on baritone and Mr. Gee on trombone and Joe Knight on piano, John Simmons on bass and Arthur Taylor on drums. The second session is looser and is mostly standard tunes with Mr. Gee leading Ernie Henry on alto saxophone, Joe Knight on piano, the great Wilbur Ware on bass and again Arthur Taylor on drums. No nonsense Jazz is this. "Jazz By Gee!"

Jerome Richardson was one of the most prolific and respected men of Jazz and appeared on hundreds, if not thousands of record dates....pop, r&b, funk, country and western and classical too! He played with Lionel Hampton's band for years and was a charter member of the modern Thad Jones/Mel Lewis Orchestra as well as appearing in many large groups put together by bassist/composer Charles Mingus. As this is The Jazz Show's second presentation of musicians who should be better known you might question why the prolific Mr. Richardson is included. The reason is that he did very very few recordings under his own name. This date is one of them and it's his second for the Prestige/New Jazz label, "Roamin' With Richardson" is a quartet date with Jerome on tenor and baritone saxophones and flute. He is backed by his buddy from Oakland, California where Richardson is from, pianist Richard Wyands, George Tucker is large on bass and the great Charlie Persip is on drums. Three originals one each by Tucker, Richardson and Wyands and three good standards are featured in a fine date which showcases Mr. Richardson at his versatile best. If this is your introduction to Jerome Richardson, you've come to the right place!.

Duke Pearson only lived until he was 47 as be died young from Multiple Sclerosis. He is the musical pride of Atlanta, Georgia and there will be soon a day dedicated to Duke. Duke Pearson Day! He was a pianist, bandleader, arranger/composer and a record producer. A man for all musical seasons. He recorded everything from piano trio dates to big band dates and appeared as a sideman on many recordings. Tonight's Jazz Feature is called "Wahoo" and was done for Blue Note Records. Duke was unique in a way as he had a contract with both Blue Note and Atlantic Records and did great albums for them both. Wahoo! is one of his very best dates and features an all-star band. Pearson's abilities as a composer/arranger makes this band sound like a working band rather than one organized for the recording. Donald Byrd is on trumpet and Byrd and Pearson go way back as Duke was pianist in a combo led by Byrd and baritone saxophonist Pepper Adams. James Spaulding is on alto saxophone and flute and is a powerful addition. Joe Henderson on tenor saxophone needs no introduction as he is one of the true giant on his horn. Bob Cranshaw always plays in the "pocket" on bass and Granville "Mickey" Roker is still one of the finest drummers on the planet. Pearson wrote 5 of the 6 tunes and Byrd contributed one. Pearson's arranging touch is all over this date and is what makes this one great. Duke Pearson deserves wider recognition and this album is one good reason why.

This album is The Jazz Show's final tribute to Black History Month. Judging from the album title: "Feelin' The Spirit"; this may give you more than a clue as to the album's content. It is an instrumental interpretation of what are traditionally known as "Negro Spirituals". Most of these songs were written before the abolition of slavery in the USA and provided Black people some solace and hope for eventual liberation. They are all songs that most people Black or white know and these are open instrumental interpretations of these beautiful melodies by the great guitarist Grant Green. Mr. Green has the redoubtable Herbie Hancock on piano, Edward "Butch" Warren on bass and Billy Higgins on drums and on three of the six selections, Garvin Masseaux on tambourine. This is just one of the many fine Blue Note recordings by one of the premier guitarists in Jazz history but "Feelin' The Spirit" is especially appropriate to our final tribute to Black History Month.

This album is one of bassist/pianist/composer Charles Mingus' great musical triumphs. Mr. Mingus was finally able to put out a recording of all original music and had full control of the production. The cover, the notes, the editing and post-production and of course the music. It was everything he wanted and this album is arguably one of his very best. He was able to get this band into shape via a long engagement at New York's Village Vanguard. The music is a suite of basically four movements. The band consists of 12 pieces and the chief soloists are Jerome Richardson on baritone and soprano saxophones, Quentin "Butter" Jackson on trombone, Charlie Mariano on alto saxophone, Jaki Byard on piano Jay Berliner on guitar and Mingus on bass and piano. The music is dense and powerful and runs an incredible gamut of emotions from pristine beauty to angry chaos. As I stated this is one of Mr. Mingus' triumphs.......The Black Saint and The Sinner Lady.

Tonight's Jazz Feature pays once again tribute to Black History Month with this classic by Miles Davis and Gil Evans. This is their personal and instrumental tribute and interpretation of the Gershwin's music for the famous folk opera "Porgy and Bess". The story is essentially about the love found and lost and found again between a poor black fisherman, Porgy and the town's most beautiful and desirable woman, Bess. It takes place in a southern fishing village in 1912. The opera was first produced in 1934 and the music has become some of the best known and loved in American History. This was the second collaboration between Miles Davis and Gil Evans and perhaps the deepest of their four recorded albums together. Miles Davis is Miles Davis and Gil Evans is the most unique arranger and musical alchemist ever. The Evans orchestra is made up of top New York p[layers and is full of brass, trumpets, trombones, French horns, tubas, flutes, oboes, saxophones and clarinets. The bass is provided throughout by the great Paul Chambers and Jimmy Cobb is the drummer on all selections save for three tunes where the incredible Philly Joe Jones takes charge. This album is a true classic and a credit to the deep and profound artisrty of Miles Davis and Canadian-born Gil Evans.

Drummer/composer and Modern Jazz pioneer Max Roach did two wonderful albums for the Impulse label and as second tribute to Black History Month we present the first of these two recordings called "Percussion: Bitter Sweet". As is common knowledge, Max Roach's music became more political in about 1959 when he stated that he would never play or record anything that didn't have political or social significance as regards the African-American and civil rights. Max Roach's Ensemble consists of his then wife Abbey Lincoln on vocal on the first two tunes. The instrumentalists are trumpeter Booker Little, tenor saxophonist Clifford Jordan, trombonist Julian Priester, and Eric Dolphy on alto saxophone, flute and bass clarinet, Mal Waldron on piano, Art Davis on bass and where heard percussionist Carlos "Patato" Valdes (conga drum) and Carlos "Totico" Eugenio (percussion and timbales). There are six compositions on the record and the music is militant, powerful and inspired. Percussion: Bitter Sweet is a classic.

Drummer Roy Brooks had a long career in Jazz music as he began playing drums as a small child in Detroit, where he was born on March 9, 1938. However he never really became well known until 1959 when he came to New York to join pianist Horace Silver's Quintet. Roy replaced another Detroiter, Louis Hayes who left Silver to join Cannonball Adderley's band. Brooks went on after Silver to play with so many people it would take too long to mention. He was with saxophonist James Moody in the early 70s and toured with Charles Mingus in 1972-73. He also joined drummer Max Roach's percussion ensemble called M'Boom. Brooks later returned to Detroit and performed with many until mental illness crippled him and he died in a home for the mentally ill at age 67. Tonight's Jazz Feature is a special band led by Mr. Brooks at Baltimore's Left Bank Jazz Society on April 26,1970. The band includes the great Woody Shaw on trumpet and the amazing and still alive George Coleman on tenor saxophone. The underrated Hugh Lawson on piano and the still living master of the bass, Cecil McBee. There are only four long tunes on the date first released on Muse Records. The album was entitled "The free Slave" and that is the first tune composed by Mr. Brooks. The recording reflects in an oblique way the political climate of the times in the USA and is The Jazz Show's opening Feature dedicated to Black History Month. After the tune, "The Free Slave", two compositions by Woody Shaw follow, the first is called "Understanding" and the second is entitled "Will Pan's Walk" which leads to the final tune again by Roy Brooks called "Five For Max" dedicated to Mr. Brooks' biggest influence, Max Roach. The band performs before a vociferous audience that demonstrates it's deep appreciation for the music. Check out "The Free Slave"....real Jazz played by masters of their music.

This is a Birthday celebration to one of our great living Jazz Masters. Today (January 25) marks the 87th Birthday of tenor saxophonist/composer/arranger and Jazz Master Benny Golson. Golson has been a part of Jazz history since breaking into the bands of Tadd Dameron, Dizzy Gillespie and Art Blakey's Jazz Messengers and then forming his own groups along with his important band The Jazztet with trumpeter Art Farmer. Tonight's Jazz Feature is an album that features his mellifluous tenor saxophone playing unfettered by complex arrangements hence the album's title..."Free". Golson is heard here with the "poet of the piano", Tommy Flanagan, bassist Ron Carter and the ubiquitous Arthur Taylor on drums. Two Golson originals are on this set and an intriguing original by obscure pianist Will Davis called "Sock Cha". The rest of the six tunes are made up of good quality standards. "Free" is a testament to the wonderful playing of Benny Golson who somehow combines the sound of his early mentors, Don Byas and Lucky Thompson with his very modern concept. No one sounds like Benny and a very HAPPY BIRTHDAY Mr. Golson!

Donald Winston Thompson is one of Canada's national treasures. He is internationally recognized and has played with so many important movers and shakers in Jazz that it would take more space than this to mention everybody. Not only has he worked with every major musician in Canada but with Jazz super stars like saxophonists, John Handy, Lee Konitz, Paul Desmond, Zoot Sims, Charlie Rouse, Stan Getz to name only a few. Don is a pianist and an incredible vibist and he has performed on vibes with the great George Shearing. Also he is one of the finest bass players on the planet. If that's not enough, he is a fine composer. He has taught at various Canadian universities and is a member of The Order of Canada. He is indeed a treasure. In tonight's Jazz Feature recorded in 2003 in his home town of Powell River B.C., Don leads a stellar quartet of Vancouver based players including the late and great Ross Taggart (1967-2013) Ross is heard on soprano and tenor saxophone as well as piano where Thompson switches to vibes. Bassist Ken Lister and drummer Dave Robbins demonstrate why they are first-call players in the Vancouver area. Mr. Thompson leads the band through 6 of his amazing compositions and the concert ends with a piano solo on Billy Strayhorn's beautiful "Lotus Blossom" Today, January 18,2016 is Don Thompson's 76th Birthday and we on The Jazz Show honour him with "Don Thompson-Live In Powell River".

This session is very rare and never heard before as it was unissued and forgotten in the Blue Note vaults and just recently discovered. The reason why is was lost and forgotten in the vaults wasn't because of the music but because a month later the very same band had a two week engagement at New York's leading Jazz club, Birdland. It was decided to record there and the records were released by Blue Note on a two LP set (later on a double CD set) hence this set by the very same band was rendered moot. The people involved are 20 year old Lee Morgan who is on fire and has his style established. Tenor saxophonist Hank Mobley, who composed 5 of the 6 tunes and was the band's musical director. Hank had replaced Benny Golson in this position. The pianist is Bobby Timmons who combines gospel-like figures with a Bud Powell concept.Last but far from least if the band's backbone, bassist Jymie Merritt. This is a fine and energetic session and you're hearing it for the first time right here!

This fine recording is a minor classic. It was recorded for a 10"LP for Blue Note Records in June of 1953. Ironically Mr. Johnson was not even employed as a full-time musician then. He had to take a job as a draughtsman at the Sperry Gyroscope Factory to support his growing family. You would never know this when you hear this well-planned and well organized recording. Johnson selected all these players wisely and knitted them together so they sounded like a working band. Along with the great voice of the trombone...Mr.Johnson, we have a then new trumpet sensation in 22 year old Clifford Brown who manages to steal the show on several selections. Jimmy Heath (the only surviving member of this sextet) is heard on tenor saxophone and he displays a Rollins-like concept and swings like mad. He also doubles on baritone saxophone in the ensemble on two tunes. John Lewis who like Johnson is a composer and arranger is heard on piano. Lewis does all the right stuff behind the horns and his solos on piano are models of economy. Percy Heath is on bass and is Jimmy's older brother. The great pioneer of Modern Jazz drums is Kenny Clarke. The tunes are mostly arranged by Johnson with the exception of John Lewis' majestic "Sketch 1". The band is tight and together and everyone gets to say their say in under five minutes per tune. Enjoy the sounds of Mr. Johnson and company.

This album is a fine example of a young group of New York based musicians who can be called true "keepers of the Jazz flame" They are advancing the Jazz tradition and contributing to it's evolution without moving far away from that grand tradition. They are not trying to re-create a past era and be fashionably "retro". These players are all very much in the present and play with a genuine energy and creativeness that recreating the past in music and fashion does not possess. They are for real and of today. Trumpeter Jim Rotondi reflects his influences of Freddie Hubbard and Lee Morgan but brings his personality to the fore as does tenor saxophonist Eric Alexander in reflecting his main influences, George Coleman, Sonny Rollins and "Blue Trane" period John Coltrane. Bassist John Webber is solid in the way Paul Chambers and Sam Jones were and is a bass player's bass player. Drummer Joe Farnsworth reflects the playing style of his mentor Arthur Taylor and he tempers this with the taste of Billy Higgins. The glue that holds this band together is the veteran pianist Harold Mabern who has played with virtually anybpdy who is anybody in the Jazz world . His presence and guidance is not lost on these younger men. Harold has kept his youthful energy by associating, inspiring and making music with these men and others of the same age and philosophy. M "Mabes" is forever! The tunes on this set called "Jim's Bop" are well chosen. A mixture of original tunes by Rotondi, Alexander and Farnsworth are heard plus a beautiful ballad, "We'll Be Together Again" and a rarely played Horace Silver tune called "Moonrays" is heard plus a fine arrangement of the latter day Stevie Wonder classic, :You Are The Sunshine of My Life". All in all "Jim's Bop" is a fine showcase for everyone's talent and a damn fine record date.

This famous Christmas Eve session has for years been our Christmas Jazz feature and 2015 is no different. This all-star record date by a band nominally led by trumpeter and Jazz icon Miles Davis contains Jazz that will live forever and has influenced countless players over the years. A true musical landmark. Mr. Davis is paired with three members of the Modern Jazz Quartet which included Milt Jackson on vibes, Percy Heath on bass and Kenny Clarke on drums, who was the MJQ's first drummer. Davis was pleased with the lineup but Prestige Record's head honcho, Bob Weinstock insisted that Thelonious Monk be on piano. Miles at first objected but finally agreed and the addition of Monk to this mix was a touch of magic. Monk was the spice on this musical concoction. The musical chemistry was wonderful here and tonight we hear the four master takes from this session beginning with Milt Jackson's blues, "Bags' Groove" which contains one of Monk's most fascinating solos. Next is a Monk tune called "Bemsha Swing". Following that is the brightest tune of the set in Miles Davis' tune "Swing Spring" and the set ends with the band's interpretation of the George and Ira Gershwin standard "The Man I Love". Great Jazz for the ages and the spirit of Christmas is heard throughout the set. Merry Christmas to all!

J.R. Monterose is certainly not a household name in Jazz music but he is one of the important tenor saxophonists who was in New York in the md-50s during the Jazz boom. Monterose was born in Detroit but raised in upstate New York in Utica and paid his dues in various big bands and by the mid-50s was heard on recordings by vibist Teddy Charles and bass master Charles Mingus. Monterose worked off and on with Mingus from 1954 to 1956 when he appeared on a famous and important Mingus recording called "Pithecanthrophus Erectus". Soon after he left Mingus and joined trumpeter Kenny Dorham's short-lived band called "The Jazz Prophets" and it was from a live recording with Dorham that Monterose came to the attention of Blue Note's head honcho Alfred Lion. Lion gave Monterose his first opportunity to record under his own name and this great recording is the result. J.R.'s hard-hitting tenor saxophone dominates and his partner, Chicago legend Ira Sullivan provides a great foil with his fast crackling trumpet. The rhythm section is one of New York's finest and was picked by J.R. specially for their astuteness and deep groove. Horace Silver on piano, the great Chicago bassist Wilbur Ware and the dynamic drummer Philly Joe Jones. The tunes are three by J.R., one by trumpeter Donald Byrd, one by bassist Paul Chambers and a hip original by drummer Philly Joe Jones. All in all this was one great debut recording and a perfect example of New York Jazz from the 1950s. J.R. Monterose!

The Gramercy Five was actually a sextet as it was Artie Shaw AND his Gramercy Five. Mr. Shaw was one of the great bandleaders in the "swing era" when big bands ruled and Jazz music was very popular with the masses in the 1930s and 40s. Like many bandleaders, Benny Goodman, Duke Ellington, Count Basie, Bob Crosby, Tommy Dorsey and others had small groups formed with select members of their orchestras. This was their artistic side and these groups usually reflected their Jazz soul. The big bands had their function but the small groups presented more listening Jazz and gave more room to the excellent soloists that populated these big bands. The Shaw Gramercy Five was tight and disciplined but provided a beautiful balance between ensemble playing and improvisation and the music was fun to play and fun to listen to. The band only made a total of 14 tunes, most of them composed by Artie Shaw and there were just two editions one edition in 1940 with clarinet, trumpet, harpsichord, guitar bass and drums and the second with piano replacing the harpsichord in 1945. The masterful Shaw clarinet dominates these tunes and it's easy to see why he was considered one of the best clarinetists in the world. These sides are classics in small group swing and the only regret is that there weren't more recordings by this great little band. However we have these.....enjoy!

That title really sums up tonight's Jazz Feature. This was Wes Montgomery's second album for Riverside's head honcho Orrin Keepnews and the one that really put Wes on the national Jazz map. The first was excellent with Wes' working organ-based group from his home town of Indianapolis but this was different. Orrin Keepnews and Wes put their heads together and came up with an all-star New York based band made up of established Jazz stars. They are: pianist Tommy Flanagan, bass great Percy Heath and Percy's younger brother Albert "Tootie" Heath on drums. The album sold exceedingly well and got airplay all over the US and Canada. The critics lauded the album and everyone asked....where did this guy come from? Wes had been working in his home town of Indianapolis and San Francisco for years honing his skills so by the time this album was made in January of 1960, he was more than ready. So this is it....the date that brought Mr. Montgomery to the fore as one of the most loved and influential Jazz guitarists of all time. "The Incredible Jazz Guitar of Wes Montgomery is no exaggeration!

Some of Monk's best live music is the subject of tonight's Jazz Feature This was all recorded at the legendary Five Spot Cafe in New York in August of 1958 and originally came out on two LPs then was re-issued on CD with more material. This band included "The Chicago Fire", tenor saxophone monster Johnny Griffin, who replaced John Coltrane as Monk's tenor saxophonist of choice. These are Monk's only recordings with Griffin as the Quartet's permanent member. The bassist is the steady and reliable Ahmed Abdul-Malik. On drums was the ultra dynamic and creative "Mr. Snap Crackle", the magnificent Roy Haynes. This was an exciting group with Griffin who was more outgoing and emotional than either his predecessor John Coltrane or his sucessor, Charlie Rouse. Monk is also more animated than usual and lighter and less percussive. These are great recordings that not only capture the music but the ambience of the club as well. Monk and griffin and company at the Five Spot.....Jazz at it's best!

When you hear this music, it's hard the believe that it's 53 years old. The date was done in February of 1962 by drummer Max Roach and his group plus a 16 voice choir,. The combination was innovative and very new to the world of Jazz and demonstrates the advanced thinking of Max Roach. Roach as most people are aware was a pioneer of Modern Jazz and it's major drummer. We have Charlie Parker, Dizzy Gillespie, Bud Powell and Max Roach as the real fathers of Modern Jazz. Mr. Roach was always aware of his place in society as a proud African-American and this music reflects his pride, his militancy, his anger, his joy and his triumph. His group consisted of himself on drums, Art Davis on bass, Mal Waldron on piano, Julian Priester on trombone, Richard Williams on trumpet and the powerful Clifford Jordan on tenor saxophone. The choir is 16 voices strong and under the direction of Coleridge T. Perkinson. The compositions and arrangements of the six movements are by Max Roach. "it's Time!" stands as on of Mr. Roach's most innovative and significant recordings in a very long and illustrious career. Yes indeed.......It's Time!

The legendary recording is in so many people's collections and even though it was recorded on September 19,1955 and released on Columbia later that year it remains to this day the all-time best selling Jazz record. The concert took place in the Sunset Theater in Carmel, California. Piano master Erroll Garner was in top form with his tight Trio with the reliable Eddie Calhoun on bass and the brush master, Denzil DeCosta Best on drums. It took 60 years for Columbia to issue the complete concert because of legal issues with the Garner Estate but they did themselves proud by issuing the complete concert as only 43 minutes had ever been out before on LP then CD. The sound is pristine and much improved over previous issues. This historic reissue of this concert by one of the most appealing and major stylists of the piano is here with additional tunes, an interview with Garner and company. The Complete Concert By The Sea is a keeper forever.

During his years in Europe from 1968 to 1973, alto saxophone master was at his happiest and most creative. He had left the USA in 1968 discouraged by the political and social unrest and was greeted with open arms in Europe. He was a recognized artist and acknowledged as such. He was able to form The European Rhythm Machine and it was a perfect vehicle for where Woods was at in his musical quest. They, including Mr. Woods, were all virtuoso players. Gordon Beck from England played acoustic and electric piano and Henri Texier from France was the bassist and Daniel Humair from Switzerland was the band's drummer. This concert is from the Frankfurt Jazz Festival which took place on March 21,1970. The German audience was totally in awe of this concert and it's a credit to the band that they were in absolutely top form. Today, November 2, is Mr. Woods' Birthday anniversary. He was born in 1931 and died just recently at age 83 on September 29, 2015. Happy Birthday Mr. Woods, you may be gone but you music stays with us!

Warne Marsh was an uncompromising artist and always stuck to playing only music he believed in. From 1948 on he studied with the great pianist/teacher/guru Lennie Tristano. He appeared on Tristano's ground breaking 1949/50 recordings and many thereafter. Marsh had a unique sound, acerbic and cerebral to be sure but still warm and full. His melodic ideas were all his own and his place since his death in 1987 has been re-evalued and he is now considered one of the great masters of his horn and joins the ranks of John Coltrane, Sonny Rollins, Stan Getz et.al. To celebrate Marsh's Birthday (Oct.26) this evening we present him in a favourite setting. His sole horn backed by a great rhythm section including pianist Lou Levy (one of his favourites), bassist Fred Atwood and drum great Jake Hanna. The tunes are written by Marsh, Levy and lee Konitz. Two great standards appear as well. The beautiful "Easy Livin'" and the latter day classic by Johnny Mandel. Happy Birthday Warne Marsh.....you are "All Music".

This wonderful edition of Woody Herman's Band scores in a complete set of great tunes played before a responsive audience at this great Jazz club. The band was youthful and full of great soloists like trumpeters Don Rader, Dusko Goykovich, Bill Chase and Bobby Shew. Trombone virtuoso Harry Southall is also featured. The great tenor saxophonist Sal Nistico was really a star in this band and heard extensively on many tunes. A superb rhythm sections with Nat Pierce on piano and the dynamic Ronnie Zito on drums cooks on every tune. Great arrangements by Rader, Chase, Ralph Burns, Bill Holman and others and a wide variety of tunes make this a wonderful set. The woody clarinet of Mr. Herman is also heard along with the leader's mellow alto saxophone. The "Old Man" (Woody Herman) had a right to be very proud of this edition of the Herman Band. You'll enjoy it too, I'm sure.

This Jazz Feature tonight is a once-in-a-lifetime meeting between pianist Thelonious Monk and drum master Art Blakey and his Jazz Messengers. It all took place in New York for Atlantic Records on May 14 and 15th, 1957. Monk and Blakey were best of friends and frequent musical associates and Blakey had been Monk's drummer on many of his important recordings but here the situation was reversed. This time it was Monk joining Art Blakey's crew. Monk happily agreed to the date but had two requests, one was that he wished to use his favourite bassist, Wilbur Ware and the other was that the band play mostly Monk compositions on the date. Unfortunately Wilbur Ware showed up very drunk and stoned and was rendered unable to play. It looked like the date would be called off but Blakey pursuaded Monk to use his bassist if available. James "Spanky" DeBrest was quickly called in to replace Ware and the date was commenced in earnest. As trumpeter Bill Hardman was unfamiliar with Monk's tunes, he had to learn them on the spot but got much help from tenor saxophonist Johnny Griffin who was at least familiar with a few having played with Monk in Chicago in 1955. The date took all night but Atlantic agreed and paid for the time because they knew they had something unique. Five of the six tunes were Monk's and the sixth was a minor key blues by Griffin called "Purple Shades". Hence though thick and thin we have a classic recording by two of the most ground-breaking players in all Jazz music. Check out "Art Blakey's Jazz Messengers With Thelonious Monk" tonight.

This date which took place in New York or Brooklyn to be specific at the Putnam Central Club was put together by bassist/composer Charles Mingus. It's not a Mingus styled date but more of an informal jam. Mingus who along with drummer Max Roach owned Debut Records decided to record this special evening and put it out. Mingus picked his four favourite Modern Jazz trombonists. Mingus loved the trombone and these men represented the elite of contemporary trombonists. J.J. Johnson was the first and most prominent. Bennie Green with his distinctive smooth approach was second. Kai Winding was another hip and oft recorded modernist with his outgoing, energetic style. Willie Dennis was the young favourite of Mingus and he strove for originality of concept with an approach influenced by his studies with guru Lennie Tristano. Mingus used John Lewis on piano and New York's busiest drummer Arthur Taylor. The tunes are by and large jams with extended solos by everyone. This was a special once in a lifetime meeting that produced some great music and extended Mingus' love of the trombone. Perhaps it will extend your love of this instrument which goes back to the earliest days of Jazz history.

Leonard Bernstein was one of the great institutions of American music. He was a pianist, conductor, composer and communicator. He was truly a "man for all musical seasons". Bernstein loved and respected Jazz music and the musicians that perform it. He drew no lines between Jazz and so-called "classical music".....in his eyes they were equals. He was unlike many of his contemporaries in the classical field who look askance of Jazz. This album despite some funny and unintentionally dated references (it was after all recorded in 1956) still has great relevance in explaining what and what isn't Jazz in a simple non-academic manner of which Bernstein for all his erudition was and expert at. This is Part 1 of The Jazz Show's annual tribute to September's "back to school" idea. All hail Maestro Bernstein and his document "What Is Jazz".

Today is is the 85th Birthday of Sonny Rollins, who was born in New York City on September 7,1930. Sonny of course is one of the major figures in the development of post-war Jazz music and without a doubt one of the most important saxophonists in Jazz history. His story is very evident in books and the internet and some wonderful interviews can be seen on iTunes that were conducted by Bret Primack and ALL of them are worth seeing. Tpnight's Jazz feature is one of Sonny's very best and it's called "Newk's Time" "Newk is one of Sonny's nicknames as he resembled the famous baseball player Don Newcomb. It was done on a day when Sonny didn't feel intimidated by the recording studio as he never liked recording in the studio. He picked some of his favourite musicians to do this informal date. They had to be the best as there were no plans and no rehearsals until the studio. Everything went down in first takes, save for some false starts. The players Sonny used were pianist Wynton Kelly, bassist Doug Watkins and drum great Philly Joe Jones.The tunes were a few lesser played standards, one by Miles Davis and one by trumpeter and pal Kenny Dorham and one great blues by Sonny called "Blues for Philly Joe". Only 34 plus minutes but one great recording finished in about 1 and 1/2 hours! Happy Birthday Mr. Rollins.

Kenny Dorham was as Art Blakey once said "the uncrowned king" of Modern Jazz trumpet. This delightful album was a pet project of Kenny's as he loved the music of Jerome Kern and decided to do an album with a hand-picked all-star band of Kern's musical masterpiece "Showboat". Dorham selected his 6 favourite songs from the musical and delivers them with his beautiful sound, individual concept and total mastery. This date was done in December of 1960 and Dorham's band included the wonderful Philadelphia tenor saxophonist Jimmy Heath. Kenny Drew, one of the finest of all Bud Powell's disciples on piano. A young pre-Coltrane Jimmy Garrison is on bass and the ubiquitous Arthur Taylor mans the drums in his usual swinging and definitive manner. This date is a wonderful re-interpretation of great music from the Great American Songbook by one of the greatest of all trumpeters....Kenny Dorham.

This was a band that recorded this wonderful album in March of 1964 and yet it was never released until 3 years after Stan Getz' death in 1994. The title track is "Nobody Else But Me", a great standard by Kern and Hammerstein. The reason why it was never issued was because Stan's popular bossa nova albums were selling like hotcakes and the powers that be didn't wish to dilute the market too much. So the session became forgotten and locked in the vaults. It was this particular band's only formal recording and it features all straight-ahead swingers and ballads and no vocals and bossa nova tunes. This same band later appeared in the Fall of 1964 at Isy's Supper Club on Georgia Street in Vancouver and it was a major musical event. The quartet included a very young Gary Burton on vibes, Gene Cherico on bass and the wonderful and unfortunately obscure drummer Joe Hunt.The repertoire is mostly standards plus a beautiful waltz by Stan's friend alto saxophonist Phil Woods and two originals by Gary Burton. A wonderful and fresh sounding band. We're happy this one came out of the vaults!

Modern Jazz pioneer Dizzy Gillespie thrived in front of a big band and he had several over his long career. This was what became known as "The State Department Band" and it was his second big band. It was called that because of two major tours sponsored by the US State Department, one to the Middle east and Greece and the other to South America. Dizzy toured the US too, playing clubs, concerts, festivals etc. This great and well recorded set was done at a large supper club in Chester, Pennsylvania called The Club Bel-Aire at the end of a week's engagement on June 14,1957. Some great soloists are heard aside from the magnificent Gillespie. Young trumpeter Lee Morgan, tenor saxophonists Benny Golson and Billy Mitchell and altoists, Ernie Henry and Jimmy Powell and trombonist Al Grey. Charlie Persip on drums does a great job and plays hand in glove with bassist Tommy Bryant and pianist Wynton Kelly. A nice variety of tunes from some great standards to originals are heard. The band was "on" this night at the Club Bel-Aire as you'll hear! Dizzy forever!

Lou Donaldson is one of the true living masters of the alto saxophone and one of the last living disciples of Charlie Parker. Lou built his unique style based on Bird's concepts. This album is untypical of Lou's output as it is essentially a jam session type blowing date and it was even unusual for Blue Note to produce these types of dates but this one is exceptional! There are only four tunes here and they all give room for everyone to "stretch out". Lou is heard of course on alto saxophone and Donald Byrd, one of the great clear toned lyric voices is heard on trumpet. Curtis Fuller is masterful on trombone here and the legendary Sonny Clark is on piano. Jamil Nasser (aka George Joyner) is a barrel of strength on bass and Arthur Taylor shows us why he was one of the most oft-recorded drummers during this period. The date was done on December 15,1957 and typifies New York Jazz at it's best. Lou Takes Off!

This is the debut album by this incredibly talented and still quite young man (he's now 51)recorded in 1988. Marcus was discovered and mentored by Wynton Marsalis and Marcus appeared on many of Wynton's best loved recordings. After his association with Wynton, Marcus went on to teaching and mentoring other musicians. He currently lives in Florida where he was born and keeps busy. The only reason that he may be a little off the radar is because he no longer lives in New York.On this recording called "The Truth is Spoken Here" we hear Marcus in a group context with players of his own choosing and on two wonderful solo piano excursions. He can play the whole history of Jazz piano and on his solo pieces he reflects his two mentors, Duke Ellington and Thelonious Monk. The group pieces are mostly Roberts' compositions and they are played by Wynton Marsalis, young tenor saxophonist Todd Williams and on three selections the great Charlie Rouse is heard on some of his final recordings (he died 5 months after these sessions). The rhythm section has Reginald Veal on bass and the incredible Elvin Jones on drums. When Roberts plays with the group his piano style reflects influences of Monk, Hancock and Powell yet he has his own identity. All in all despite the serious title of the album, it is a deep and joyous affair with great playing by all and a fine debut by pianist/composer Marcus Roberts.

This underrated master of the trombone is still with us at age 80 and for this we are grateful! This date done in 1960 was Julian Priester's first under his own name. Priester is from Chicago and like so many Chicago legends, he graduated from DuSable High School in the Jazz program conducted by Captain Walter Dyett. Julian first worked with Sun Ra then Lionel Hampton and ended up in New York at the right time. He was heard as a sideman and then offered this date for Riverside Records. Julian picked his sidemen wisely and had tenor saxophone giant Jimmy Heath on the front line. Tommy Flanagan was chosen for the piano spot. The great Sam Jones was on bass and the dynamic Elvin Jones was on drums. The tunes are a good mix of originals and quality standards and the album has a nice balance. "Keep Swingin'" is reflective of the high standards of New York Jazz in the early 60s. Julian went on to work with many people including Max Roach, Duke Ellington and Herbie Hancock but that's for another time, meanwhile we'll keep swingin'!

This is a fine straight forward set from the mid-50s that is led by one of the most original guitarists to come up in that era from the late 40s to the 50s and beyond. The set is not music that is re-inventing the wheel or pushing the envelope but it has it's own kind of basic swing, melodic invention and creativity. Guitarist Raney appears here with his musical soul-mate, valve trombonist Bob Brookmeyer and these two very talented and musical gentlemen combine forces in this wonderfully unpretentious disc recorded in New York in 1956. A wise selection of standards that are well chosen and two original compositions each by Raney and Brookmeyer make up the 8 selections. The stellar rhythm section consists of Dick Katz on piano, Teddy Kotick on bass and Osie Johnson on drums for the first 4 tunes and Katz is replaced on the final 4 by the venerable Hank Jones. Jimmy Raney and Bob Brookmeyer were great friends and they make music that reflects this fact. Enjoy!

This is one of Bill Evans' last formal recording dates and was done in 1979. Evans died in 1980. Evans recorded often with horns but either in an all-star setting or as a sideman but he rarely recorded under his own name with horns. This date was different and he chose two stellar voices to work with because of how well they played together and blended. Trumpeter Tom Harrell has in the years after this date become one of the finest and most original voices of the trumpet and soprano/tenor saxophonist Larry Schneider is more of a journeyman player but displays much substance in his playing. The rest of the members are Bill Evans' trio with bassist Mark Johnson and drum ace Joe LaBarbera. All of the tunes are Bill's and some are new plus a couple go back to his early career like "Five" and "Peri's Scope". The final tune is dedicated to Evans' recently departed brother Harry and is a piano solo called "We Will Meet Again". Enjoy this rare quintet outing by a master player and composer: Bill Evans.

This Jazz Feature stems from a series of dates in New York that marked the official inception of this magnificent trio of geniuses. They are not referred to as the Keith Jarrett Trio but referred to equally and musically as Keith Jarrett, Gary Peacock and Jack DeJohnette. They came together as a working trio after their first outing in 1977 on a Peacock recording for ECM called "Tales of Another". In 1983 it was time to make the group official and they made three recordings at this 1983 session. Two were called "Standards 1 and 2" and a third was a departure from The Great American Songbook called "Changes" and it was totally improvised. The first two movements were called "Flying Part 1 and Part 2" and the third piece was a Jarrett composition called "Prism". The album was released as "Changes" and that is tonight's Feature. Enjoy the improvised music of three men of musical genius.

This fine little band existed in from 1960 to 1963 and was an important working group of this period. It was co-led by trumpeter Art Farmer and tenor saxophonist/composer/arranger Benny Golson. They wanted a three-horn front line for more compositional flexibility and sound and chose as their first trombonist, Curtis Fuller. The pianist was Golson's choice and it was a young McCoy Tyner who makes his recording debut here. Art Farmer's twin brother Addison is on bass and a young Philadelphian chosen by Golson again was drummer Lex Humphries. They recorded a series of albums for the Chicago-based Argo label (a Jazz division of Chess Records) and this was their fine debut date recorded in February of 1960. It had 10 tunes on it all arranged by Golson and it is a fine beginning of a very good band that was very representative of the style that was prevailant in the early 60s. Meet The Jazztet!

Two great musicians here that were frequent musical partners on what was their last recorded appearance. It is also a fine way to celebrate the Birthday of pianist extraordinaire, Jaki Byard. Jaki would have been 93 today (June 15). Sadly he left us in 1999 the victim of a shooting. This great album also features the legendary Rahsaan Roland Kirk on a variety of horns, the tenor saxophone, the manzello (a straight alto saxophone), the clarinet and some small instruments. These two met when they were with Mingus in 1961 and formed a musical friendship. Two great surrealists of music. The album has Byard and Kirk backed by the great Richard Davis on bass and Alan Dawson on drums.The Jaki Byard Experience indeed! HAPPY BIRTHDAY Mr. Byard.

This is an important edition of The Jazz Show as it celebrates the 30th anniversary of The Vancouver International Jazz Festival. Gavin is here as usual but the music is programmed and narrated by John Orysik who is the Media Director for the producers of The Jazz festival, The Coastal Jazz And Blues Society. John is one of the founding fathers of the Jazz Festival and his presence on tonight's program is always a welcome event. John will present the music and all the artists will be appearing at this years Jazz Festival. Don't miss this one!

Tonight's Jazz Feature are two of Charlie Parker's last great studio recordings.They were done in 1953 when Bird's creative energy was burning. His last studio recordings from 1954 were not as good but there are many broadcast and concert recordings from Bird's last year that were much better than his studio recording of "Charlie Parker Plays Cole Porter" However these recordings from 1953 featured not only Bird at his best but with high recording quality too that captured his great sound and mastery. The first is from January 1953 with Hank Jones on piano, Teddy Kotick on bass and Max Roach on drums. The second is from July 30,1953 with Al Haig on piano, Percy Heath on bass and again Max Roach on drums. Both these sessions are superb and an excellent way of introducing anyone who has not heard Charlie Parker before to his music.The Quartets of Charlie Parker are considered by many his last great studio recordings and I would agree! This is tonight's Jazz Feature.

This was the debut of a brand new band formed by drummer/pianist/composer Jack DeJohnette and it reflected his multi-direction approach to the music. This was the first band that DeJohnette led that garnered not only recognition from the fans but by the critics as well. Many of DeJohnette's earlier attempts at bandleading seemed too scattered and had no unifying concepts. This band, although eclectic did have a sense of direction and purpose. It is multi-dimensional and reflects many concepts but is held together and cohesive. The band is called "Special Edition" and this recording is the first and perhaps the best. The two horns are tenor saxophonist/bass clarinetist, David Murray and on alto saxophone, one of the great individual voices was ("Black Arthur") Arthur Blythe. The versatile and flexible bassist is Peter Warren. DeJohnette's drums prod and shape the music and three of his unique compositions are heard. The other two tunes of the five on this disc are by John Coltrane and they are the beautiful "Central Park West" and the exotic "India". All in all, "Special Edition" was a great band and this album which was issued on ECM was one of it's most important statements.

Trumpeter Kenny Dorham had to live with the term "underrated" for most of his life but he was anything but. Now considered one of the leading lights of Modern jazz trumpet along with Miles, Dizzy, Fats and Brownie......"K.D's" place in Jazz is now assured. This date has just been discovered and it's a fine broadcast recording from the morning of January 15,1963 and it marks the first documented evidence of a great musical partnership between Dorham and the young Joe Henderson, one of the great masters of the tenor saxophone. They went on to record many great classic Blue Note dates under the leadership of one or the other. Dorham and Henderson are aided by a fine rhythm section with the reliable Ronnie Mathews on piano and Steve Davis on bass and J.C.(John Curtis)Moses on drums. The tunes are mostly standards but Dorham's great tune "Una Mas" (aka "My Injun From Brazil")is heard in an early version.The MC is Alan Grant who was a good friend of Jazz. The set has inspired playing throughout and shows all at their best. Kenny Dorham and Joe Henderson!

The music of Abdullah Ibrahim is always intriguing and impressive and this band of his called "Ekaya" (South African for "home") reflects his compositional skills over his magnificent piano playing. He takes on the role that Duke Ellington did with his band....leading and accompanying rather than featuring his piano stylings. The band consists of a whole raft of great players beginning with trombonist Dick Griffin, alto saxophonist and flutist, Carlos Ward, tenor saxophonist Ricky Ford and baritone saxophone great, Charles Davis. The rhythm is provided by bassist David Williams and drummer Ben Riley. There are 8 compositions by Ibrahim all reflecting his South African heritage and the set begins with the magnificent and majestic "Mandela". This album is perhaps the very best set that Ekaya released and it's called "Water From an Ancient Well" It's an important document that reflects just one side of the great Abdullah Ibrahim.

This fine album marked the beginning of John Coltrane's recording career as a headliner. This was his first date under his name and it was originally recorded on May 31,1957 and issued on Prestige Records and called "Coltrane!" This marked a real beginning for 30 year old Coltrane and he picked a great band to perform here with the obscure but fine trumpeter named Johnnie Splawn and the heavy baritone saxophone sound of Sahib Shihab to work hand and glove with the Coltrane tenor saxophone. Two pianists share the chores, Mal Waldron on the first three tunes and Red Garland on the latter three. Two new Coltrane compositions grace the date plus one from Philadelphian, Calvin Massey Three well chosen but more obscure standards make up the rest of the tunes in an album that is clear on its concept and well rehearsed. A fitting debut and the beginning of an outstanding recording career. "Coltrane" indeed!

Tonight's Jazz feature is a long one but worth the listening effort as it is a very rare live performance by what this author considers to be Charles Mingus' last great band. This band recorded a wonderful double album set on Atlantic records in December 1974 called "Changes 1 and Changes 2" but this is a live performance by the very same band and it truly captures the energy and power of this band. The personnel is Jack Walrath (trumpet), George Adams (tenor saxophone), Don Pullen (piano), Dannie Richmond (drums) and of course Mr. Charles Mingus on bass. It was recorded in Bremen, Germany on July 9, 1975. The tunes are long and these unedited performances capture the band at it's inspired best. Mingus at this time was enjoying a period of re-discovery and a restoration of his power and musical authority before feeling the first effects of the ALS which took hold the following year and led to his passing at age 58 on January 5,1979. Mingus forever!

Tonight's Jazz feature is a meeting of true giants. Lionel Hampton, whose Birthday it is today (April 20), Oscar Peterson on piano, Ray Brown on bass and Buddy Rich on drums.This was a very first get-together of these players and the results are classic. This was the first in a series of recordings featuring Hampton's great artistry rather than his band and showmanship. It all came together on September 2, 1953 in New York. The sparks flew on an unplanned session of mostly standards and a couple of Jazz staples. Happy Birthday Hamp! Your music is forever. This is essential listening and is the very definition of Jazz!

Tonight The Jazz Show celebrates the birthday of Theodore Charles Cohen better known as Teddy Charles. Teddy began his career as a drummer but became and accomplished pianist and writer and perfected what was to become his main instrument, the vibraphone (vibes). Teddy formed this band called simply "The Teddy Charles Tentet" in mid 1955. They triumphed at the Newport Jazz Festival in that year and Teddy was able to keep the band working with very few personnel changes. They went into Atlantic Record's studio in January of 1956 and recorded what is arguably Teddy's most important album and non-arguably a "desert Island" Jazz classic. The Tentet is made up of Art Farmer on trumpet, Gigi Gryce on alto, J.R.Monterose on tenor and George Barrow or Sol Schlinger on baritone. Don Butterfield on tuba, Jimmy Raney on guitar, Mal Waldron on piano, Teddy Kotick on bass and Joe Harris on drums and of course Mr. Teddy Charles on vibes. There are two compositions and one arrangement of a standard by Teddy and one composition each by Mal Waldron, Jimmy Giuffre, Gil Evans and George Russell. All in all one of the essential Modern Jazz recordings and a good way to say Happy Birthday to Teddy Charles!

Drummer, Arthur Taylor was a ubiquitous figure on dozens of Jazz recordings in the 50s and 60s. It seemed that Mr. Taylor was on every second recording for Prestige, Blue Note and to a lesser extent, Riverside. Ironically during this productive period he only made three albums under his own name.This date is one of them and features two of his favourite tenor saxophonists: Frank Foster and Charlie Rouse. Hence the album's title "Taylor's Tenors" On piano is one of the great Bud Powell disciples, Walter Davis Jr. His accompaniment and solos are a great asset to this album. On bass is the wonderful Sam Jones, who needs no introduction. The tunes are by Davis, Rouse, Jackie McLean and Taylor plus two of Thelonious Monk's most well known tunes..."Rhythm-A-Ning" and "Straight, No Chaser". During this time Rouse, Jones and Taylor were 3/4 of Monk's Quartet. Today is Arthur Taylor's Birthday as he was born in New York on April 6, 1929 and died on February 6, 1995 (age 65). Happy Birthday A.T.!

This superb album was recorded in Vancouver at Cory Weeds' Cellar Jazz Club on December 7 & 8, 2013. The club has now unfortumately closed it's doors as of February 28, 2014. This band was the last great New York based band to play the club and it was a tribute band led by the only surviving member,aside from pianist Barry Harris, of the two great organizations led by alto saxophone giant Julian "Cannonball" Adderley....his Quintet and his Sextet. The have been associated historically with Adderley's bands and they are are now part of that band's history. This is a tribute band but with a difference. They respect the Adderley tradition and the "feel" of the tunes and yet they extend the Adderley tradition into new territory. The people involved are of course drummer Louis Hayes, alto saxophone master Vincent Herring, trumpet heavy Jeremy Pelt, pianist Rick Germanson, who can cover all bases and young up and coming bassist Dezron Douglas plus one cameo appearance on the final (encore) tune by club owner Cory Weeds on tenor saxophone. The music here is superb and o in the words of host Cory Weeds, "one of the best bands to ever play in the 14 year history of the club". Listen and I know you'll agree with Mr. Weeds.

This is a fun jam session-type recording done in the optimum conditions of a large recording studio with an invited audience. Chairs and refreshment were set up and tenor saxophonist Johnny Griffin put together a fine band to play for the assembled hipsters. The session was the brainchild of the owner of Riverside Records, the late Orrin Keepnews.....he later did the same thing with Cannonball Adderley. Griffin, one of the leading voices of the tenor saxophone used the underrated and under-recorded Dave Burns on trumpet. A wise choice. He picked two of his Chicago "home-boys" on piano, Norman Simmons and bassist Victor Sproles and an up and coming young drummer, Ben Riley. The tunes are basically informal jams and are fun and relaxed. The wheel is not being invented here just good "meat and potatoes" Jazz. The host and MC is the redoubtable Babs Gonsales who announces the tunes and peps up the audience. A fun record by some serious "heavies". Join the party!

Today is the Birthday of Tommy Flanagan and The Jazz Show is pleased to present his first Trio recording. It was done in Sweden in August 1957 while he was on tour with trombonist J.J.Johnson. The Swedes brought Flanagan, bassist Wilbur Little and drummer Elvin Jones into the studio to record 9 tunes. 6 are by Tommy and there is one by Charlie Parker (Relaxin' At Camarillo) and one by Billy Strayhorn (Chelsea Bridge) and a great standard "Willow Weep For Me". Tommy brought the Swedish discs home and Prestige Record's honcho Bob Weinstock loved them and issued them domestically on Prestige and called it Tommy Flanagan "Overseas". These stand as some of the best Flanagan on record and this unique trio benefits fromn the exciting brushwork of Elvin Jones.Happy Birthday Tommy Flanagan! Today he would have been 85.

This unique trio was together for a few years and represents an important period in Ornette Coleman's musical life. It is pure unadulterated Ornette! He plays his alto saxophone here on a series of compositions recorded at Sweden's "Golden Circle" club. Coleman is accompanied by the virtuoso bassist David Izenzon who came to Coleman from a classical background. Drummer Charles Moffett went to high school with Ornette when they were both teens in Fort Worth,Texas. These recordings stand as some of Mr. Coleman's most accessible music but they are not "Ornette lite"...they are as always, challenging but entirely worth it! Happy 85th Birthday to Maestro Ornette Coleman!

Miles Davis needs no introduction here as his music is as varied as his personality. He reflected the changes and the growth in his life by his music. He moved with the times on his terms and wasn't a slave to fashion except his own. No one told Miles Davis how to play or what kind of music to play he just did. So this evening will be a potpourri of the music of Miles Davis. Miles was and remains even years after his death a huge influence on Jazz and music everywhere. He really did on most occasions set the musical standard of the day. Sometimes he was condemned for his musical decisions but in retrospect Mr. Davis was always at the top of his game and on his terms.

Don Thompson, one of Canada's most prominent Jazz musicians leads an all- Canadian quartet on 8 intriguing Thompson originals. The album is called "For Kenny Wheeler" (dedicated to the great trumpeter/composer who was born in Canada) Three of the participants are Members of The Order of Canada (Thompson, drummer Terry Clarke and saxophonist/pianist Phil Dwyer). Thompson is heard here mostly on piano but with 2 tunes on vibes with Dwyer switching to piano.The bassist on this date is the wonderful Jim Vivian. Thompson is a great bassist himself and it's a compliment to Mr.Vivian that he was picked for this important session. Phil Dwyer is not only heard on two tunes on piano but on tenor and soprano saxophone for the rest and he proves himself to be one of Canada's foremost players. "For Kenny Wheeler" is a great recording and a great tribute to the high musical level of Canadian Jazz musicians.

The Jazz Feature tonight is Dave Brubeck's first Columbia recording and it's called "Jazz Goes To College". It was recorded in early 1954 during a tour of Midwestern colleges and it marks an early peak for Brubeck. They had arrived! Critical and audience recognition and that same year Brubeck on the cover of Time Magazine. All of this before the advent of "Take Five" and other major hits. The Quartet with Paul Desmond on alto saxophone, Bob Bates on bass and Joe Dodge on drums and of course Brubeck on piano explore mostly standard tunes before a worshipful college audience anxious to escape the mindless pap that was pop music of the 50s and before the arrival of Elvis, Little Richard, Chuck Berry etc. Only two originals are on the set both Brubeck/Desmond collaborations......the blues "Balcony Rock" and the mid eastern flavoured "Le Souk". This stuff is superb and well recorded. No wonder it became a best seller! Brubeck and Desmond....an unbeatable combination!

Louis Smith briefly burst on the New York Jazz scene in the late 1950s. He recorded two magnificent albums for Blue Note(the second is the Jazz Feature tonight) and appeared as a sideman on several more for Blue Note and United Artists. He also was briefly a member of Horace Silver's Quintet replacing the departing Art Farmer. However for Louis and his family, security was important and the New York Jazz life was a risky business even back in the 50s. Smith, who had a university degree took a teaching post at The University of Michigan plus an extra gig teaching at high school in Ann Arbor. He didn't record again until 1978 and continued until early 2001. A stroke ended his playing career in 2006 but he still teaches and mentors young players in the Detroit area. Tonight's Jazz Feature is Smith's second date for Blue Note in March 1958. It's a solid, swinging date with a great cast with pre-Monk Charlie Rouse who is on fire here on tenor saxophone with a powerhouse rhythm section with Sonny Clark on piano, Paul Chambers on bass and Arthur Taylor on drums. Several Smith originals and heard plus a couple of standards and a Charlie Parker tune called "Au Privave". This is a solid representation of Louis Smith's great talents and Jazz music as it was in swingin' New York in the 1950s.

Sonny Stitt was in many ways a misunderstood Jazz giant and he, at least as far as his alto saxophone work is concerned, had to live with being referred to as a Bird imitator. Stitt had the same musical influences as Charlie Parker but despite some surface similarities, they were very different players. Stitt later took up the tenor saxophone and the baritone saxophone. His tenor playing was equally as distinctive as his alto work. The few recorded evidences of his baritone work were authoritative too. He gave up the big bari stating that it was a pain to lug around! Stitt made hundreds of records usually with just piano, bass and drums. Later he liked the organ, guitar drums format. Stitt wasn't a joiner and formed very few working bands when he did as in the case of our Jazz Feature, they were short lived. This album is one of Stitt's own favorites and it's called "Personal Appearance". The rhythm section had been together for several months and it shows as Stitt had worked with these men for quite a while. The pianist is a young Bobby Timmons, about a year away from joining The Jazz Messengers. Bassist Edgar Willis is pliant and strong and he would later join Ray Charles for many years. Kenny Dennis is the young drummer who went on to record with Miles Davis and others. The program is the usual Stitt fare of great standards and original compositions by Sonny bassed on the blues or I Got Rhythm changes Personal Appearance is one of Sonny's personal bests.

This is an award winning album that not only features Jimmy Heath's distinctive tenor saxophone and on one tune, his soprano saxophone but his compositions and arrangements. Heath, who is still alive and performing at age 88 was part and parcel of one of the most important era of Jazz music...the golden age of Modern Jazz or as it's more commonly known, Bebop. Seven of the eight tunes were composed by Heath and one by the man who produced and financed this record, the one and only Bill Cosby. Cosby has always been a great friend of Jazz music. Heath was able to select the cream of the crop of great players to be in this band and rehearse them so that everything was tight. Great solos abound by Heath of course and pianist Roland Hanna, guitarist Tony Purrone, trumpeters Lew Soloff, Virgil Jones, John Eckert and Claudio Roditi. "Little Man, Big Band" is a winner!

John Coltrane's "Classic Quartet" with McCoy Tyner on piano, Jimmy Garrison on bass and the incredible Elvin Jones on drums had reached a pinnacle of creativity when this concert was performed as part of an extensive European tour. Changes were afoot but during this period the band had reached a level of consistency and performance that was unequaled by any band of this instrumentation. They were captured here with good quality sound in performance before a worshipful German audience. The tunes include Coltrane's "Lonnie's Lament", "Naima", "Cousin Mary" and the fast abstract blues "Chasin' The Trane". The evening ends with the inevitable extended version of Rodgers and Hammerstein's "My Favourite Things" where Mr. Coltrane switches from tenor saxophone to soprano. This was one of Coltrane's "hits" and had to be played for every gig and concert. The piece evolved and became more interesting as time went on and this performance demonstrates the piece's evolution. Here then is the "Classic Quartet" at it's best.

This historic concert which Miles Davis and his Quintet performed at the brand new Lincoln Center on February 12,1964 (Lincoln's Birthday)was a benefit for the registration of African-American voters in Alabama and Mississippi as they were denied this even though the law said they were eligible to vote..The ticket prices were very high for the time yet the new concert hall was packed and Columbia was there to record it. Miles' Quintet consisted of George Coleman on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and 19 year old drum phenomenon, Tony Williams. Hancock, Carter and Williams gave Miles a kick and brought out a whole new aspect of his playing and it's much in evidence on this recording. Plus this contains some of the very best playing by saxophonist George Coleman.The repertoire is what Miles had been playing for years but everything sounds new and fresh with this band which was at it's peak this night. That's the Jazz Feature tonight.....Jazz History right here!

This is one of the finest bands that tenor saxophone master Stan Getz ever led and yet it has not been very well documented on reissues. It began it's genesis on the East Coast but when Getz and his family moved to Los Angeles in 1953, Mr. Getz secured a long club engagement and brought this band out to the West.Norman Granz documented the band in the studio over several sessions and there is much to preserve. That is The Jazz feature for tonight. The band consisted of Stan Getz on tenor saxophone, Bob Brookmeyer on valve trombone, Johnny Williams on piano, Teddy Kotick on bass and the tasty Frank Isola on drums.Getz was at the top of his formidable game in 1953 and this band was one of his best. We'll hear 9 selections by this ensemble tonight. Check it out!

Sun Ra is one of the most charismatic and fascinating figures in Jazz music. He is a mystic, philosopher, writer,community leader,composer,arranger,bandleader and pianist among other things. He was a Jazz pioneer who was not in the mainstream of Jazz yet he was respected by all as being a major figure. Tonight's Jazz feature is an early Sun Ra date with his "Arkestra" done for his own label, Saturn in Chicago in 1956 called "Super Sonic Jazz". A few of his core members like tenor saxophonist John Gilmore and baritone saxophonist Charles Davis were in the band. Other people were trombonist Julian Priester and the great Chicago trumpeter Art Hoyle. All twelve tunes with one exception are by Sun Ra and "Soft Talk" was written by Julian Priester. Fine solos by all abound and some great piano work on both acoustic and early electric piano by Sun Ra. A pioneering early work by someone who was very much ahead of his time....Sun Ra!

One of the most important records in Jazz History is our regular Christmas Jazz Feature and it's the Christmas Eve recording session in 1954 of The Miles Davis All-Stars. Mr. Davis is the nominal leader here with Milt Jackson on vibes, Thelonious Monk on piano, Percy Heath on bass and Kenny Clarke on drums. A beautiful incandescant spirit pervades the session and it feels Christmasy even though none of the music is intended to be in that vein. The complete session will be heard. The two takes of Milt Jackson's famous blues "Bags' Groove" were done in the afternoon session then a dinner break and a return to the studio. The Monk composition, "Bemsha Swing" was next then Miles Davis' "Swing Spring" gets a lengthy treatment. Two takes of the Gershwin's "The Man I Love" complete the date and Jazz History was made. Kenny Clarke said after the session was over "Miles played beautifully" so did everyone. Merry Christmas to all from The Jazz Show and your host Gavin Walker.

This is an incredible debut album by a great trumpeter who was very briefly on the Jazz scene in the late 1950s. He left the Jazz world to teach at the University of Michigan. Louis Smith was a major trumpet player. He performs here with Julian "Cannonball" Adderley on alto saxophone, Duke Jordan on piano for the first 3 tunes and Tommy Flanagan on the last 3. Doug Watkins is on bass and Arthur Taylor is on drums. "Here Comes Louis Smith!"....indeed!

Composer Wayne Horvitz put together this amazing band of young men and women from Seattle's junior colleges and high schools and picked the cream of the crop to perform these 13 compositions. The playing is extraordinary with many fine solos by these young unknowns. The compositions are superb and demonstrate Mr. Horvitz' influences: Basie, Ellington, Mingus, Evans but most of all the originality of Wayne Horvitz. The band has 3 trumpets, 3 trombones, a clarinet, a soprano saxophone, an alto, tenor and baritone saxophone and piano bass and drums. A basic big band but this is not an ordinary band but and extraordinary one. The album was produced by Vancouver's Tony Reif and issued on Songlines Records and is called "At The Reception". Check out some very original music right here!

This is one of the most overlooked albums in the Mingus legacy. It is from a relatively stable period musically and personally in Mingus' volatile life. The band is one of the longest he was able to keep together and lasted from 1956 through the latter part of 1958 with basically the same personnel except for the revolving door of pianists. Pianist were hard to keep in those days as they were always busy with backing singers of playing lucrative solo gigs. The personnel her is Clarence Shaw on trumpet, Shafi Hadi on alto and tenor saxophones, Jimmy Knepper on trombone and of course Dannie Richmond on drums. A last minute cancellation by Mingus' semi-regular pianist caused Mr. Mingus to call the then up and coming Bill Evans to play piano and he came in and sight-read the parts and nailed every tune. Bill is really the co-star on this date. Only one non-Mingus tune is featured and that is the beautiful Eubie Blake/Andy Razaf tune called "Memories of You" the rest of the six tunes are by Mingus. This is an album that should not be overloo0ked and is an important piece of Minugs' musical history. "East Coasting" is a wonderful musical experience.

This great band played only in the Los Angeles area yet it gained international fame because vibist/leader Terry Gibbs was astute enough to record the band's infrequent gigs and record them well with the genius engineer Wally Heider. The band consisted of the cream of the crop of Jazz playing Hollywood musicians. These were men who loved playing Jazz but also made a great living doing studio/movie/TV work. Players like alto saxophonists Joe Maini and Charlie Kennedy and tenorists Richie Kamuca and Bill Perkins. Trumpeters Al Porcino in the lead and soloists Conte Candoli and Stu Williamson. Trombone masters, Frank Rosolino and Vern Friley and the great Mel Lewis on drums to name just a few. Terry Gibbs is the perfect bandleader...outgoing and ebullient. Gibbs on vibes is the real link between Lionel Hampton and Milt Jackson and his fine solos are heard throughout the set. The band's arrangers are Shorty Rogers, Al Cohn, Manny Albam and Bill Holman. "Main Stem" is the name of the album and the band is the one and only Terry Gibbs Dream Band recorded at "The Summit" in January of 1961. Terry just celebrated his 90th birthday on October 13, 2014!

This album is one of the most iconic Blue Note releases in that it represents four young men who are advancing the Jazz Tradition by not abandoning that tradition. Most prominent is the leader, Hammond organist Larry Young who is taking the instrument beyond blues and greasy funk and into other musical realms.The two horns are representative of modern thinking and both are innovators and important stylists, trumpeter Woody Shaw and on tenor saxophone, Joe Henderson.These two blend so well and seem to breathe together. On drums is the always powerful yet tasteful Elvin Jones who works so well with Larry Young's bass lines. Three great Woody Shaw tunes are featured plus a swinging blues by Henderson and a great standard, "Softly As In A Morning Sunrise". One bonus is the duo track with Young and Jones doing Thelonious Monk's "Monk's Dream". A classic and innovative date unlike any other session that featured the Hammond organ."Unity" is an important milestone.

Richard Williams (1931-1985) was an incredible trumpeter and a powerful voice in his chosen horn. Richard recorded with John Handy, Booker Ervin, Yusef Lateef, Oliver Nelson and was a member of the hottest Jazz cauldron of the time: The Charles Mingus Jazz Workshop. He played in numerous big bands, symphony orchestras and Broadway pit bands and did studio work but he only made one album under his name and it's tonight's Jazz Feature. It was done in November of 1960 and called "New Horn In Town". It features Richard with alto saxophonist/flutist Leo Wright (who didn't record enough for me taste), pianist Richard Wyands, bassist Reginald Workman and a young drummer who had played with Wes Montgomery and his brothers named Bobby Thomas. The album is well planned and well-rehearsed and contains two fine old standards plus Benny Golson's "I Remember Clifford". Richard Wyands contributes one composition to the set and Richard Williams does three. Although this album is hardly ground breaking or revolutionary it is fine solid Modern Jazz. The album is well paced and the band is tight. "New Horn In Town" is well worth hearing so check it out!

William "Sonny" Criss had a career that seemed to go in fits and starts. Sonny emerged early on the 1940's L.A. Jazz scene with his full-bodied sound and passionate approach and played with all the important players then went on to play with Norman Granz' Jazz At The Philharmonic travelling jam session and shared the stage with Charlie Parker, Fats Navarro, Hank Jones, Shelley Manne and others. He made his first recordings under his name for Granz in 1950. His career was stifled by changing styles in L.A. and Criss was brushed aside by the West Coast Jazz cool players. Sonny was a hot, passionate player with a sweeping sound all his own. We turn to one of his 3 albums he made for the small Imperial label in 1956. The title tells it all "Sonny Criss Plays Cole Porter". Ten great Porter songs played with beauty and originality with Sonny's alto in the lead and backed by Larry Bunker on vibes, Sonny Clark on piano, Buddy Clark (no relation) on bass, and Lawrence (aka Larence) Marable on drums. Criss was born in Memphis on October 23, 1927 and died by his own hand in Los Angeles on on Nov. 19,1977 at age 50 after a diagnosis of terminal cancer of the stomach. A great voice was lost and Sonny still seems under appreciated and we hope tonight's Jazz Feature rectifies this a bit. Sonny was a great player and always delivered!

This five movement creation by composer extraordinaire George Russell is his tribute to New York City. It was written and recorded in late 1958 and 1959 and played by an all-star orchestra with many many great Jazz stars as soloists. People such as John Coltrane, Benny Golson, Bob Brookmeyer, Phil Woods, Art Farmer, Bill Evans, Max Roach are all heard extensively. Mr, Russell incorporates several "standard" tunes into his composition here and you'll hear references to "Manhattan", "Autumn In New York", "How About You" and other melodies but it's all George Russell. This historic record is a tribute to one of the greatest cities in the world. Each movement is introduced by poet/writer Jon Hendricks and provides a wonderful set-up to the music. New York, New York....a town so nice, they named it twice!

This is an historic record date with Thelonious Monk joining Art Blakey's 1957 edition of The Jazz Messengers. Monk had one important request when he agreed to do this date and that was it must include mostly Monk tunes. Monk and Blakey were best of friends and their Birthdays were one day apart Oct.10(Monk) and Oct 11(Blakey) so it was a fun date for all concerned. Blakey's Messengers included Cleveland-born trumpeter Bill Hardman and Chicago-born Johnny Griffin ("The Little Giant"), bassist James "Spanky" DeBrest and Blakey on drums and Monk on piano. All the tunes are Monk's except for the last tune which was written by Johnny Griffin and called "Purple Shades". This is an iconic and classic album which is our way of saying Happy Birthday to two men who shaped Jazz music forever.

Elvin Jones was one of the most compelling and inventive drummers in the history of Jazz. In 1965 he left the John Coltrane "Classic Quartet" and struck out on his own leading his bands that he dubbed "The Elvin Jones Jazz Machine". These were groups of various sizes that he led until his passing in May of 2004.This was one of his first records post-Coltrane and Elvin put together a fine band for this Atlantic date done in March of 1966.Elvin's older brother is here on cornet and it's the magnificent Thad Jones. Hank Mobley is on tenor saxophone and he lives up to his name as "the welterweight champion of the tenor saxophone". On piano is the South African guru of Jazz, Dollar Brand aka Abdullah Ibrahim. This is an early recording by Dollar as he had just moved to New York from Europe via South Africa. On bass is the lesser known but strong Don Moore, On one tune Elvin and Thad's cousin takes over the piano chores on electric piano and his name is Steven James. A varied program of originals by Brand, Mobley, Thad Jones and Elvin and electric pianist Steven James make up this fine and often overlooked record. Midnight Walk is a fine documentation of the beginning of Elvin Jones' career as a bandleader.

Phillip Wells Woods is still to this day one of the foremost exponents of the alto saxophone and a Jazz Master. Woods was born in Springfield Mass. on November 2,1931 and moved to New York to attend The Julliard School of Music in 1948. By 1954 he had began recording for Prestige/New Jazz under his own name and he also made sideman appearances but tonight's Jazz Feature recording made in November of 1955 put Phil Woods in the front rank of alto saxophonists. The album is a quartet date with Woods as the only horn. He is accompanied by the unsung John Williams on piano who had just left the Stan Getz group. Teddy Kotick is a tower of strength on bass and Phil's long standing running buddy Nick Stablulas on drums. The program is a mix of lesser known standards (4) and Woods' originals (2). Woods has recorded literally hundreds of dates since then as a leader and sideman but tonight's Jazz Feature is a true classic and one that Woods' is still proud of......and rightly so!

William "Red" Garland was one of the finest and most distinctive pianists of his generation. He rose to fame with Miles Davis from 1955 through 1958 with a few short layoffs. Garland through being employed by Davis got a recording contract with Prestige Records and made a whole series of good selling trio albums that established his sound away from Davis. Garland was also a frequent sideman on many dates with John Coltrane, Jackie McLean, Phil Woods and others. Red went on his own after his tenure with Davis and worked mostly trio gigs and recorded for Prestige and later Riverside records. Tonight's Jazz Feature is an album called "Red Garland At The Prelude" which was recorded at a small high-end club in Harlem where people actually listened! Garland chose two Philadelphia musicians to accompany him: fine bassist Jimmy Rowser and an unsung great on drums, Charles "Specs" Wright. The set consists of some great standards and blues performed by one of the all time great pianists, Red Garland!

Leonard Bernstein was a musician, composer, conductor and a world ambassador for quality music and understood Jazz music. He understood it's inner workings and respected Jazz players as much as his fellow classical players. In this recording that was done in 1956, Bernstein explains what Jazz is and what it isn't. He plays examples himself and uses many great players such as Duke Ellington, Louis Armstrong, Bessie Smith, Miles Davis and many many others.Bernstein explains many of the technical terms of Jazz and music in simple layman-like terms. This was his forte. Maestro Bernstein is educational and entertaining, There is too the odd unintentional humerous moment when Bernstein states something that is of the time because don't forget, this recording was done in 1956. It is of course still a very relevant document and hopefully will enlighten you to some of the mysteries of Jazz and music in general.This is Part 2 of our "back to school" series in The Jazz Show. Leonard Bernstein and "What Is Jazz".

This capsule history of Jazz with recorded examples is narrated by the erudite and lucid alto saxophone master Julian "Cannonball" Adderley. It was recorded in 1960 but is still entertaining and relevant as a historical document.It is Part 1 of our "back to school" idea that we do on The Jazz Show every September. Mr Adderley was well qualified to do a recording like this as he was not only a good speaker but was a former high school teacher before he became famous as a master saxophonist and bandleader. Sit back and enjoy this recording even if you heard it before as it is always worth revisiting. Next week will be another historic educational recording with Maestro Leonard Bernstein called "What Is Jazz".

Master tenor saxophonist Stan Getz in one of his great artistic and innovative triumphs. Seven compositions for strings were written by the great Eddie Sauter and Mr. Getz improvises over them. Seems simple doesn't it? However when you combine the genius of Getz with the fine craftsmanship of Mr.Sauter then you have an unbeatable combination. This album has entered the realm of "Jazz classics" and is an essential item in anyone's collection and a complete triumph for Getz and Sauter. It was recorded in 1961 and remains fresh to this day. Focus is a masterpiece and tonight's Jazz Feature!

This is a rather rare Prestige album recorded in January of 1966. Bobby Timmons was a very distinctive pianist who had many sides, one being that he could generate a lot of heat and exciteement with some very bluesy gospel flavoured playing but he also could be just as distinctive playing in a more straight ahead Bud Powell oriented style and yet preserving his identity. It's the latter style and mood that Bobby chooses to explore on this set. He hand-picked the band with Ron Carter on bass and Jimmy Cobb on drums and the great Wayne Shorter as the sole horn. Carter contributed three tunes to the set and Shorter wrote one...an affectionate tribute to Bobby Timmons called "Tom Thumb". Timmons wrote two originals for the date as well. This is not an innovative or revolutionary date but good solid Modern Jazz played with soul and swing....check out "The Soul Man".

This was the first album under his name of composer/arranger/tenor saxophonist Bill Holman. He first got recognition as a saxophonist and arranger/composer for Stan Kenton then went on to occasionally form his own big band for a few dates and a possible recording session. By dint of his residence in Los Angeles, Holman was able to recruit many of the finest studio/Jazz players in L.A.This he did on this his debut record. "The Fabulous Bill Holman" lives up to it's name and marks it as a classic of big-band Jazz and sets a very high standard for others to follow. The playing of all involved is superb both in ensemble work and solos. You will hear over the six selections, solos by Charlie Mariano and Herb Geller on altos,Holman and Richie Kamuca on tenors, Conte Candoli and Stu Williamson on trumpets and others plus a great rhythm section of Lou Levy on piano, Max Bennett on bass and the great Mel Lewis on drums. All in all great writing by Holman covering four of his own tunes and one by Sonny Rollins...Airegin and a great Harold Arlen, Johnny Mercer standard called Come Rain or Come Shine. It was all recorded in April of 1957 and remains one of the finest examples of big-band Jazz!

This album was the first domestically released album by Miles Davis' "Second Great Quintet" which included tenor saxophonist/composer Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams. This album indicated a new change for Miles Davis in that a lot of his old standard repertoire was being replaced by compositions by himself and the band including works by Shorter, Hancock, and Carter. This album represents that change and it was recorded over a three day period in Los Angeles in January of 1965. It is a milestone album not only because of the new repertoire but of the inspired and fresh playing of the group. Seven new compositions are featured by everyone in the band save for Williams and it represents a step forward by one of Jazz music's great innovators....Miles Dewey Davis.

This marvelous album is tonight's Jazz Feature and as it is the first night of The Jazz Show's new policy, The Jazz Feature will be heard right after our theme and initial intro....right after 9pm instead of the old time of after 11pm.The Jazz feature is Montreal based Christine Jensen and her Jazz Orchestra. This album called "Habitat" won the 2014 Juno Award for Best Large Jazz Ensemble. The band consists of the cream of the crop of Montreal based players and is a very large group of over 20 pieces. Christine's compositions reflect her studies and influences of Maria Schneider, Gil Evans and Bob Brookmeyer. The music is six compositions that can be listened to as a continuous suite or as individual moods. All in all a deep and wonderful sonic pleasure.

This album which is one of Lee Morgan's finest ironically was recorded in 1964 and never released until 1981 when the Blue Note vaults were researched.It was more than a pleasant surprise when it was finally put out. Lee Morgan had made an astonishing comeback with his recording "The Sidewinder" and had overcome his personal problems to emerge a greater more mature musician. He was still only 26 years old! He assembled a great band here with alto saxophonist Jackie McLean, trombone master Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw and as a special favour, Art Blakey on drums. Blakey had stopped doing sideman dates in 1962 but appeared here as a special favor to his favourite trumpeter...Lee Morgan. Morgan wrote four out of the five tunes and McCoy Tyner penned the ballad feature called "Twilight Mist", Morgan's compositions are among his best and they display another side to his immense talent. "Tom Cat" is the name of the album and is the appealing title track. Lee Morgan indeed!

This album is a creative step-up for pianist McCoy Tyner who had signed with Blue Note Records after his tenure with John Coltrane. McCoy chose an all-star group for this date that took place in 1968.Woody Shaw is on trumpet, Gary Bartz on alto saxophone and the great Wayne Shorter is on tenor saxophone. Ron Carter who is best known as a bassist plays his first instrument here: the cello. He is heard enhancing the ensemble. Herbie Lewis is on bass and the late Freddie Waits is on drums. Mr Tyner is on piano and the album features four of his ground breaking compositions plus his arrangement of one by the under-rated Cal Massey. This album represents an important creative step for Tyner and one that he is rightly proud of. It is a favourite and may become yours too!

Stan Kenton's Orchestra over the years covered just about every style of music imaginable. From simple dance music to the most complex semi-classical scores. This album called "Contemporary Concepts" is Kenton at his most swinging. It is serious Jazz and features a range of exciting soloists like alto saxophonists Lennie Niehaus and Charlie Mariano, to tenor saxophonist Bill Perkins, trombonists Carl Fontana and Kent Larsen to trumpeters Sam Noto and Stu Williamson and others. Stan's rhythm section couldn't help but swing hard....Ralph Blaze on guitar. Max Bennett on bass and Mel Lewis on drums plus the maestro Stan Kenton on piano. Bill Holman wrote the arrangements of six standards and turned each of them into mini symphonies. The seventh tune is the exciting Gerry Mulligan original based on "I've Got Rhythm" that he called "Limelight". This album is a favourite among Kenton fans and non-fans too. "Contemporaty Concepts" is a classic.

This date was recorded live at a small club in Watts called the Black Orchid on August 15,1961. It is a recording of a one-night stand by the great voice of the tenor saxophone: Gene Ammons..... backed by the the club's house band led by organ master Richard "Groove" Holmes with guitarist Gene Edwards and drummer Leroy Henderson. These small neighborhood clubs dotted the Afican-American inner-cities back in the day and they mostly featured Jazz music and the Hammond organ trios were predominant in these places. Gene Ammons was a favorite of most African-American Jazz fans and the crowd here eats up his every, riff and note. These audiences were favored by Jazz players from the most cerebral to the most earthy and the folks in the chairs missed nothing! "Groovin' With Jug" is a great look back when Jazz was an important part of Inner-City life. Enjoy the great sounds.

This legendary date by a legendary pianist/composer is considered by many to be his masterpiece. Elmo Hope was a friend and contemporary of Bud Powell and Thelonious Monk and grew up with them. Hope's career was spotty and his recordings few and his life was blighted by drug addiction and ill health but his musical legacy is firm. During his four years in Los Angeles from 1956 to 1959 he had a few triumphs and this Jazz Feature recording was one of them. Mr Hope is accompanied by bassist Jimmy Bond and the great Frank Butler on drums. Of the eight tunes, seven are Hope compositions and one favored standard is played...a ballad version of "Like Someone in Love". "The Elmo Hope Trio" is one of the highlights on Hope's often erratic career and enhances his deep musical legacy.

Dexter Gordon was a pioneer of Modern Jazz and influenced a whole school of saxophone players including John Coltrane and Sonny Rollins. This live set recorded in Copenhagen at that city's most famous Jazz club The Montmartre during Gordon's happy and productive European sojourn. Dexter is accompanied by the finest rhythm section in Europe with two American ex-pats: pianist Kenny Drew and drummer Albert Heath plus the young Danish genius of the bass Nils Henning Orsted-Pederson (NHOP. Dexter delivers the goods on this date done in 1967.

A most unique ensemble...a real "living room band". The Jimmy Giuffre 3. Mr Giuffre on clarinet and tenor and baritone saxophones, Bob Brookmeyer on valve trombone and Jim Hall on guitar. This unit only made one recording and this is it. Giuffre was a wonderful musician/composer/arranger who explored every type of music from straight-ahead Jazz to the outer reaches of the avant-guard and free-form music. He wrote for large and small ensembles. This band explores Giuffre's "folk/pastoral/blues" stage and the music this little group makes is complete in itself. Four Giuffre compositions are featured plus some unlikely "standards". The title track is perhaps the closest tune to a pop standard and it was written by Johnny Mercer. The other tunes are a couple of campfire tunes...."Show Me The Way to Go Home" and "California, Here I Come". This is a lovely band and the music could only be played by people deep into the Jazz language. "Trav'lin' Light with the Jimmy Giuffre 3 is a refreshing experience.

One of the finest recordings by one of the most popular and critically overlooked tenor saxophonists in Jazz: Illinois Jacquet. Often dismissed as a screamer and a showboater, Jacquet remains a misunderstood major voice of the tenor saxophone. The truth is Mr. Jacquet was an outgoing player and was always out to please his audience but was always musical and harmonically sophisticated. Possessing a huge, deep and sensuous tone, he could turn up the excitement meter but could also move you to tears with a heartfelt ballad. He had one foot in the swing era and one foot in Modern Jazz. It is this transitional concept that's evident on tonight's Jazz Feature. "Swing's The Thing!" puts Jacquet in the company of his peers including Roy Eldridge ("Little Jazz"), Herb Ellis on guitar, Jimmy Jones on piano, Ray brown on bass and Jo ("Papa Jo")Jones on drums. Six fine tunes plays with soul and taste by all and one of the finest albums by this great tenor saxophonist. "Swing's The Thing" Indeed Mr. Jacquet.

The whole show tonight is dedicated to the 2014 edition of the T.D. Vancouver International Jazz Festival. Guest host and one of the founding fathers of the Jazz Festival is John Orysik, the festival's Media Director. John will discuss the festival and pick the music to be heard while Gavin Walker will be here to interject a few words as well. The Jazz Show's annual tribute to Vancouver's most recognised and popular cultural event. Check out this show!

Andrew Hill was a unique and wonderful composer/pianist. Andrew attracted the ear of Blue Note head honcho, Alfred Lion when Hill moved to New York in 1963. Hill appeared as a sideman on Hank Mobley's classic "No Room For Squares" date and Mr. Lion immediately signed Andrew to a contract and produced Andrew's first album for Blue Note the now classic "Black Fire". Hill made many records for the label but many were not released as Lion didn't wish to flood the small market. Hill's music is sometimes difficult, quirky and not in the mainstream...in other words, an acquired taste. However when you "get" Andrew's music....one will never forget it! This date was discovered in the vaults of Blue Note and at first deemed unreleaseable but soon after a second listening, Mr. Hill okayed it's release. It became one of the most discussed albums of 2003 and praised by all quarters...fans and critics. The band consists of trumpeters Woody Shaw and Dizzy Reece. Trombonist Julian Priester and French horn virtuoso, Robert Northern plus Howard Johnson on tuba and bass clarinet.The single reed performer is the great Joe Farrell who is heard on tenor and soprano saxophone, alto flute, bass clarinet and English horn. The bassist is Ron Carter and the drummer is the young Lenny White. All the compositions are by Andrew Hill and the date was done in November 1969. Profound and moving music.

Guitarist Grant Green seemed to suddenly appear on the national Jazz scene from out of nowhere appearing on Blue Note Records as a leader and as a sideman in the early 60s. He had honed his skills in his hometown of St. Louis MO and was asked to come to New York by alto saxophone master Lou Donaldson who recommended him to Blue Note's honcho Alfred Lion. Green became a favourite and recorded frequently in the years 1961-65 and those recordings contain his most lasting work. Many of Green's sessions were never issued until after his death in 1979. This one that we're featuring tonight was one of those.It's a very high level session with Mr. Green in the company of two members of John Coltrane's "classic quartet" in the persons of pianist McCoy Tyner and drummer Elvin Jones. The bassist is the ubiquitous Bob Cranshaw. With this powerful rhythm section Green is at his best. Two Green originals (including the title track) are heard plus a delightful version of "My Favourite Things" with the Coltrane arrangement. Pianist Duke Pearson's exotic original called "Bedouin" is heard. Completing the set is the Bacharach/David tune called "Wives and Lovers" done in "sprung waltz" style. Mr. Green was one of the giants of the guitar and this date proves it!

Miles Davis and his band which he called "Directions" was at this time playing music alongside some of the great rock stars of the day. Davis' music had changed and he was using electric instruments and some rock elements as well and had dropped the standards and tunes like "Walkin'" and "So What" from his repertoire. The music here is an extension of the concepts found on "Bitches Brew" (his best selling album). The band includes Mr. Davis on trumpet(open and unenhanced by electronics), Steve Grossman on soprano and tenor saxophone, Keith Jarrett on electric organ, Chick Corea on electic piano,Dave Holland on electric bass, Jack DeJohnette on drums and Airto Moreira on percussion, flute and voice. The music is intense and powerful and although this music has been issued before this new reissue removes the edits and we get the full evening's performance. Hence the full evening of music as performed at Fillmore East in New York on June 19,1970. A powerhouse band!

Bob Belden wrote this music for a 69 piece orchestra to portray the life of Elizabeth Short aka "The Black Dahlia". Her full story is on the web but the music can stand on it's own. Moody, introspective and sometimes dream, exotic and exciting. This huge project features work by trumpeters Tim Hagans and Lew Soloff, saxophonists Lawrence Feldman, Mike Migliore, Joe Lovano and Bob Belden and trombonist Conrad Herwig and contributions by several pianists, Kevin Hays, Marc Copeland and many more. A great piece of orchestral mood music at it's best tracing this story. A masterpiece of orchestration and writing. Kudos to Bob Belden!

This album recorded in August of 1957 is an important milestone in the recorded legacy of John Coltrane. By the time of this recording he had broken his drug habit and kept a heavy practice schedule plus he had joined one of the most important and ground breaking bands in Jazz music....the Thelonious Monk Quartet.With this date even the critics who had been very harsh to Coltrane (with the exception of Ira Gitler) were coming around to recognise Mr. Coltrane as one of the important new voices on the tenor saxophone. Coltrane is heard here with The Red Garland Trio, a band that he made many of his Prestige recordings with. Garland is a wonderful lyrical contrast to Coltrane's intensity. Paul Chambers is the anchor and drive and Arthur Taylor's drums kick butt in the best possible way. Two great blues are featured, the title track (Tranein' In) and Bass Blues and a mood piece written by Alonzo Levister called "Slow Dance" and the beautiful standard "You Leave Me Breathless" and the barn burning up tempo version of Irving Berlin's "Soft Lights and Sweet Music". This album was a giant step by a Jazz giant.

Today (April 21) is the 82nd Birthday of one of the world's great Jazz trombonists and an incredible composer/arranger Lockesly Wellington Hampton....better known as "Slide". He became a competent trombonist when he was young and soon graduated to playing with known bands led by Lionel Hampton (no relation) and Maynard Ferguson. He also wrote arrangements and compositions for those bands and others and developed that skill until it was as important as his playing. He formed The Slide Hampton Octet in 1960 and began touring both the USA and Europe with that band as well as recording for several major labels. The Slide Hampton Octet was sometimes increased to a tentet or 11 pieces. Tonights' Jazz Feature is the Octet with 9 pieces! Alumnus, Freddie Hubbard (trumpet)is back on this date and guests,Yusef Lateef on tenor saxophone and flute is a worthy addition but the star is the guest appearance of Max Roach. Roach's drums light a fire under the band and made this recording a very special one. Regulars George Coleman on tenor saxophone and Richard Williams on trumpet are heard plus some solos by Slide himself and Tommy Flanagan on piano. The tunes are a mix of Hampton originals and Hampton re-interpretation of some good standards. The centerpiece is really dedicated to Mr. Roach and is called "Drum Suite". Happy Birthday Slide Hampton! The album "Drum Suite" is a classic!

This Jazz Feature is a short concert performed in Sweden at the Ahus Jazz Festival in July of 1973 with the great tenor saxophonist playing with pick-up rhythm section of US ex-pats.The people involved with Mr. Ammons are Horace Parlan on piano, Red Mitchell on bass and a fairly unknown drummer named Ed Jones. They provide Gene Ammons with the right backing and although he had about a year to live (he died at age 49 of bone cancer)one would never suspect he was gravely ill. The tunes are all familiar to the band and there was obviously no rehearsal but it wouldn't matter with musicians of this calibre. This is a rare recording and gives one to hear one of the all-time greats on the tenor saxophone....Happy Birthday Gene "Jug" Ammons. Ammons was born in Chicago on April 14, 1925.Dig Jug!

The recordings are considered some of the finest of Billie Holiday's long career. They are three recording dates done for a small independent label called Commodore Records run by a musically sensitive producer named Milton Gabler. Gabler loved and respected Miss Holiday and wished to present her with HER choice of material in the best possible setting. These recordings were done firstly in April of 1939 and then a bit later in April of 1944 for two sessions.Many people consider these recordings to be Billie's finest. The 16 tracks made up of mostly standards plus a couple of originals by Miss Holiday make up the bulk of the set and these are the master takes chosen by Mr. Gabler and Miss Holiday. We hope you agree with assessment that these tracks a re perhaps the finest of her long career. Sit back and enjoy a lady who was called without reservation "the voice of Jazz". Happy 99th Birthday to Billie Holiday aka Lady Day.

This wonderful recording that seems to be overlooked was Monk's penultimate recording for Columbia Records and the final official documentation of his Quartet with the great tenor saxophonist Charlie Rouse. They do three new Monk compositions on this disc. The rest were performed at a later date with Rouse absent due to a death in his family so it is Monk with his regular accompanists, Larry Gales on bass and Ben Riley on drums. The bonus is a tune (a Monk classic: "In Walked Bud")with a vocal by Jon Hendricks, who was visiting the session. This was only the third time Monk had ever recorded with a vocalist. This album won a Grammy for it's unique cover but although it's near the end of Monk's career the music is superb. The title "Underground" refers more to the album's cover rather than to Monk himself who by this time was recognized as one of the most important figures in Jazz music both as a composer and pianist. Check Monk out always!

This rather informal jam-type date was done just before Miles Davis formed his "first great quintet" and it features a newly healthy and strong Miles Davis just at the beginning of rise to Jazz stardom. It's an ad-hoc date with vibist Milt Jackson as the co-star. Miles had recorded with Milt on the legendary "Bags' Groove" date on Christmas Eve in 1954 and wanted to do more with Milt. Jackie McLean on alto was a Miles Davis protege and Miles opted to record two of McLean's compositions as well as present him on the front line. The second two pieces are without McLean who left the studio. The others involved along with Davis, Jackson and McLean are pianist Ray Bryant (a newcomer to New York at that time), bassist Percy Heath (a Davis favou rite) and drummer Arthur Taylor. The date for all it's informalness is a perfect date with no gratuitous or uninspired playing and is a tribute to Miles, Milt, Jackie, Ray, Percy and Art.

There are really few words to describe the musical genius of Phineas Newborn Jr. He was born in Memphis on December 14, 1931 and died at age 57 in 1989. He could play a variety of instruments besides the piano....bass, drums, trumpet, tenor saxophone but it is genius at the piano that will give Mr. Newborn his place in Jazz History. Newborn had it all, touch, he made the piano ring with beauty, he used space and yet could make blindingly fast double octave runs and had a knack for re-harminizing tunes instantly like Art Tatum. Newborn's idols were, Tatum, Peterson and Bud Powell but he forged his own way and his own distinctive style. Intermittent mental illness forced him many times during his career to enter hospitals to recover so he was off and on the scene. This was a detriment to his fame, career and recognition and ultimately his early demise. Newborn deserves a place of honour like his idols because he was on their level. Tonight's Feature is a productive recording session from 1961 with top-grade Newborn and a deluxe rhythm section with Sam Jones on bass and Louis Hayes on drums. 6 Jazz standards are explored plus 2 Newborn originals.This will give anyone an idea of the scope and majesty of his playing. Long live Phineas ("Finus") Newborn!

"Screamin' The Blues" is really a classic album that doesn't enjoy the same fame as Mr. Nelson's "The Blues And The Abstract Truth". It was recorded by similiar personnel but for a smaller label (Prestige/New Jazz) and about 8 months before the "Abstract Truth" date. Make no mistake the level of music is just as high as it the creativity. The people involved on this session are Richard "Notes" Williams on powerhouse trumpet and the wonderful Eric Dolphy on alto saxophone and bass clarinet.Mr. Nelson plays both alto and tenor saxophones. Pianist Richard Wyands is tasteful and swinging, the great George Duvivier is on bass and Mr."Snap Crackle" aka Roy Haynes is on drums. Well thought out and organized as most Nelson recordings are...this sounds like a working band and it's close because everyone's head is in the same place. It's a great listen!

The great producer Norman Granz was responsible for bringing the jam session which he felt was the core of Jazz music, to the stage. He also recorded many studio produced jams with some of the greatest musicians in the world. Charlie Parker, Oscar Peterson, Illinois Jacquet, Count Basie, Buddy Rich and literally hundreds of others. Many of these recordings are now considered classic and essential in anyone's record collection. We will play a variety of them tonight on our special Fun Drive Show.

The great producer Norman Granz was responsible for bringing the jam session which he felt was the core of Jazz music, to the stage. He also recorded many studio produced jams with some of the greatest musicians in the world. Charlie Parker, Oscar Peterson, Illinois Jacquet, Count Basie, Buddy Rich and literally hundreds of others. Many of these recordings are now considered classic and essential in anyone's record collection. We will play a variety of them tonight on our special Fun Drive Show.

The great producer Norman Granz was responsible for bringing the jam session which he felt was the core of Jazz music, to the stage. He also recorded many studio produced jams with some of the greatest musicians in the world. Charlie Parker, Oscar Peterson, Illinois Jacquet, Count Basie, Buddy Rich and literally hundreds of others. Many of these recordings are now considered classic and essential in anyone's record collection. We will play a variety of them tonight on our special Fun Drive Show.

This feature has a large orchestra playing music composed and arranged by Oliver Nelson who not only conducts the orchestra but is heard with others on alto and tenor saxophones. The 7 part suite is a depiction of the history of African/American people from their origin in Africa to their arrival in the USA as slaves, their emancipation and all the triumphs and tribulations ending in the optimistic part 7 called "Freedom Dance". Nelson put together the cream of the crop of New York Jazz players for this project in September and November 1961.It is a credit to producer Esmond Edwards and Prestige Records that this huge project was realised. The music tells a great story but is also great Jazz and it is a tribute to Oliver Nelson who was able to tell this musical story. Afro/American Sketches is a quite masterpiece.

This album was Herbie Hancock's last for Blue Note Records. He was a rising star as he had been part of Miles Davis' ground breaking "second great quintet" for 7 years and had just formed his own sextet. He had just signed a very lucrative contract with Warner Bros.Records but owed Blue Note one more and Blue Note went out of their way to provide Herbie with everything he needed. His new sextet consisted of Johnny Coles on trumpet and flugelhorn, Garnett Brown on trombone, Joe Henderson on tenor saxophone, Buster Williams on bass and Albert "Tootie" Heath on drums. The band was augmented by three more horns for a larger ensemble sound....bass trombone, bass clarinet and flute and alto flute....Tony Studd, Jerome Richardson and Hubert Laws were the extras. All of the compositions were in honour of the African-American people and the civil rights movement but the music is not overtly militant. It was recorded in 1969 during a turbulent time in US History. Four of the five pieces are by Hancock and one by bassist Williams. "The Prisoner" stands on it's own and has never been revisited by Herbie Hancock yet it is one of his finest and most eloquent musical statements. You are in for a treat!

This album is not as overt a protest or as political as last week's Jazz feature by Max Roach but has political overtones, a reflection the time it was recorded in 1961. This was the time of The Freedom Riders, young people both black and caucasian from the North who headed down to the militant Southern States to fight the segregation laws that were illegal but still practised. The members of this important edition of Art Blakey's Jazz Messengers were all African- Americans who were politically aware. The music reflects this awareness as to the civil rights movement that was taking place in the USA. The title track is a drum solo by Art Blakey dedicated to the young Freedom Riders and called "The Freedom Rider". The rest of the tunes by this great Messenger edition which consisted of Wayne Shorter on tenor saxophone who was also musical director of the band. Lee Morgan on trumpet, Bobby Timmons on piano, Jymie Merritt on bass and Blakey. The compositions are two by Shorter and four by Morgan showing how creative this band was. The music is intense and swinging and the chemistry of this band is something to behold. Check out "The Freedom Rider"!

By 1960 drummer Max Roach had been for years a keen student of politics and civil rights and as a black American he realized that his mission was to combine politics and his music. He would do this without compromising the quality of his music in any way. Roach was one of the music's greatest drummers and a pioneer of Modern Jazz.The Freedom Now Suite was his first fully political statement and it features his ensemble and his vocalist Abbey Lincoln. Roach wrote the music and Oscar Brown Jr. wrote the words. The band includes Mr.Roach on drums with Booker Little on trumpet, Julian Priester on trombone, Walter Benton on tenor saxophone and James Schenck on bass.The first three compositions deal with the USA and opens with "Driva' Man" and the guest soloist on this track is the great Coleman Hawkins. "Freedom Day" is by the band. Track three is Mr. Roach and Miss Lincoln only in a three part suite. Part 2 moves to Africa and Michael Olatunji is added on drums and vocal plus two other percussionists in "All Africa" and the final selection is in memory of the notorious Shapeville Massacre and called "Tears For Johannesburg". All of this was recorded in August and Seoptember 1960. It remains a pivotal recording in the long career of Mr. Max Roach and to this day is a powerful statement.

Lee Konitz is one of the foremost voices of the alto saxophone. He was one of the first to emerge in the late 1940s and NOT play like Charlie Parker. He hooked up with pianist/teacher/guru Lennie Tristano and became one of his leading disciples. Konitz went on to play with Miles Davis and tour with Stan Kenton and then formed his own ensembles. Konitz has never been an "in your face" kind of player but always exhibited a warm woody sound coupled with a melodic concept that never relied on cliches and "hot licks". Konitz was an influence on Paul Desmond and Art Pepper. Lee is also Anthony Braxton's favourite saxophonist! This album called "Motion" was recorded in one day and night on August 29,1961 and puts Lee with just bass and drums. The great and unheralded Sonny Dallas is on bass and the amazing Elvin Jones is on drums. Jones was with John Coltrane at the time and retains his identity but plays very differently with Konitz. These three men had never played together before and Lee just picked a group of great standard tunes to improvise on with rather amazing results. The very self-critical Mr. Konitz actually liked this record! I'm certain you will too. Konitz is still alive and well at age 86 and this album is a Konitz landmark.

Bob Florence was born and raised in Los Angeles on May 20 1932 and passed away on May 15,2008 at age 75. He began his career as a concert pianist but was converted to Jazz at the Los Angeles City College. He began playing every variety of gig on piano, movie soundtracks, TV shows,backing singers of every variety but continued to compose and arrange. He wrote for Kenton, Basie, Ellington, Herman,Buddy Rich and also at times led his own bands which he called "The Limited Edition". He was able to pick the virtual cream of the crop of L.A. based players who were able to reach his very high demands. His writing always emphasised the soloist and he never over-wrote. His music preserved the freedom and swing of small group Jazz. This album called "Serendipity 18" is one of Florence's masterpieces. 18 great musicians playing his arrangements and his compositions. Viva Bob Florence!

Billed at "The Last Concert" and performed by the longest permanent group in Jazz music the Modern Jazz Quartet was going to disband. John Lewis, piano and musical director, vibist Milt Jackson, the group's major solo voice, bassist Percy Heath and drummer Connie Kay were going to go their separate ways. This great "last concert" took place at Avery Fisher Hall in New York on November 25,1974 and even the MJQ did some very special things with their music that night.It was recorded and occupies a special place in the MJQ's vast legacy of recordings. There is a special feel to this concert as on can imagine. As a postscript the MJQ reformed in 1981 and they continued to record and play engagements until the death in 1999 of vibist Milt Jackson. Jackson could never be replaced and that was the true end of the Quartet. Listen to these recordings to hear the MJQ at their best.

"Mingus Dynasty" was bassist/composer Charles Mingus' second album for Columbia Records. His first "Mingus Ah Um" was his best selling album and it elevated Mingus out of the Jazz underground. Mingus was on his way. This second album was even more varied and much better programmed. It featured Mingus' working group with John Handy (alto), Booker Ervin (tenor) Jimmy Knepper (trombone) and Dannie Richmond(drums) as hold overs from the first album. The newcomers were Richard Williams (trumpet) and Roland Hanna (piano). That was the working group and on this date Mingus added some non-soloing horns to the mix on several tunes expanding the sound. The compositions are a mix of moods from loose jams to formal compositions and the moods vary from gentle and reflective to boiling and angry and everything in between. One of Mingus' finest recordings! Mingus Dynasty indeed!

This is an often overlooked album recorded over two days on Nov.24 and Dec. 2,1959. It was done after his milestone recording "Giant Steps" and his great classic "My Favourite Things". It is a relaxed date with Mr. Coltrane and his partners from Miles Davis' band. In fact they were all in the employ of Davis at this time. We hear Coltrane with Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. The tunes are a mix....three underplayed standards and five originals by Mr. Coltrane. All the tunes are short and concise and reflect Mr. Coltrane in a lyrical and happy mood throughout. We also hear the first documented version of his classic composition for his first wife..."Naima". "Coltrane Jazz" is just that.....fine music in the great tradition by the formost voice of the tenor saxophone. We all wish everyone out there a very HAPPY NEW YEAR from myself, Gavin Walker and The Jazz Show.

This famous (sometimes infamous) recording date that took place on Christmas Eve of 1954 has gone down in Jazz History as a milestone session which influenced generations of Jazz players.This date is a tradition on The Jazz Show and we hear it every year on the last show before Christmas. Somehow, although there is nothing obvious about Christmas in this music, nevertheless there IS a definite Christmas feeling about this music. It is by the Miles Davis All-Stars and features Mr. Davis with vibraphone master Milt Jackson, piano genius Thelonious Monk, bassist Percy Heath and drummer Kenny Clarke. Four tunes were done and two alternate takes for a total of six selections on the afternoon and evening of Dec. 24,1954.The tunes were issued on a couple of LPs...one called "Bags' Groove" and the other called "Miles Davis and The Modern Jazz Giants" and later on a variety of CDs. Tonight we wish you all a very Merry Christmas.

This was Mal Waldron's second trio date for Prestige/New Jazz Records. it was done in March of 1959 after a tour of Europe with Billie Holiday. Mal was Billie's arranger and pianist from 1957 to 1959. He was also in the 50's, house pianist/arranger/composer for Prestige Records and recorded with John Coltrane, Gene Ammons, Jackie McLean and many others. Mal had gained a great experience working with Charles Mingus and others as well. His piano style combines his major influences, Ellington, Monk and Powell all rolled into Mal Waldron. This album is a fine portrait of Mal as a composer and an interpreter of great standards. He's accompanied by Addison Farmer on bass and a young Albert "Tootie" Heath on drums.The first track is inspired by Mal's first trip to Europe with Miss Holiday and it's the 20 minute "Overseas Suite". Three standards follow and a final Waldron opus dedicated to his family called "All Of Us". This is a wonderfully refreshing date despite being done in 1959. "Impressions" will impress!

Gerry Mulligan was one of the most distinctive of all the exponents of the modern baritone saxophone but that wasn't all there was to Mulligan. He was an ace arranger, composer, band leader and a more than competent pianist. Among his many bands it's his pianoless quartet that stands out in people's minds. The first one was put together in Los Angeles with trumpeter Chet Baker and was in many ways the most magical. The second was a while later with valve trombone master Bob Brookmeyer and the third is the subject of tonight's Jazz Feature and it has Mulligan with trumpet giant Art Farmer, bassist Bill Crow and drummer Dave Bailey. This definitive album was made for Columbia Records in late 1958 and early 1959. It's called "What Is There To Say?" after on of the songs. Two other standards are heard as well as several Mulligan compositions. It captures the best of this group and makes this version of The Mulligan Quartet arguably his finest Quartet. I leave it to you, the listener to decide.

Roland Kirk was a musical phenomena and someone that we may never see the like of again. Mr. Kirk who later adopted the name "Rahsaan" Roland Kirk discovered his talents in his dreams. He lost his sight at a very early age but fell in love with the sound of music. He taught himself to play three horns at once making him a one-man band and later added the clarinet, flute, and trumpet plus other sound producing devices to his arsenal. He was a bizarre sight and initially to fans and especially to critics who thought he was merely an eccentric gimmick but Mr. Kirk proved them wrong. His music has depth, soul, swing and passion and tonight's Jazz Feature was the first recording to give him international prominence. It was issued and widely distributed on Mercury Records and signaled to the world that Kirk had arrived. The album is called "We Free Kings" and features Kirk on all his horns in the company of two stellar rhythm sections. He delivers some standards that are not overdone and mostly his own compositions. His accompanists are Richard Wyands and Hank Jones on piano, Wendell Marshall and Art Davis on bass and Charlie Persip on drums with both rhythm sections."We Free Kings" is one of Roland Kirk's early masterpieces...check it out right here.

Wynton Kelly was one of the finest piano players on the planet during his short life (he died at age 39). His highest prominence was when he was a member of Miles Davis' Quintet from 1959 to 1963. This fine album was recorded in 1960 when he was a member of the Davis band with Kelly's hand picked trio with Paul Chambers on bass and the always dynamic Philly Joe Jones on drums.Kelly was taken for granted in his lifetime because he was not a Jazz revolutionary and because he was so consistent. He never made a performance that was less than excellent.This album entitled "Kelly At Midnight" preserves the essence of his playing. There are two Kelly originals and two by his friend Rudy Stevenson and the ballad feature called Weird Lullaby by Jazz character/singer Babs Gonsales. Kelly At Midnight preserves the legacy of all that is great about Wynton Kelly.

Recorded at the end of 1976 at New York's Village Vanguard. Dexter Gordon, who had been absent for many years from the American Jazz scene returns at the height of his powers and teams up with the great young trumpeter Woody Shaw and his band. The band aside from Shaw and Gordon has Ronnie Matthews on piano, Stafford James on bass and Louis Hayes on drums,.Gordon who had been in Europe for many years is welcomed back by packed houses, honours and praise. The elder statesman returns and makes music with the youngsters,as it were. The performances are all full length and unedited and were issued by Columbia on a double disc set called "Homecoming". The music is energetic and creative and swings like mad! Long Tall Dexter at his best!

This date which took place in New York in September of 1953 was really a Jazz summit meeting. The quartet had never played together before and these four great musicians just came together like fish to water. Nominally led by the pioneer of the vibes, the great Lionel Hampton at his musical best, devoid of all his usual showbiz trappings and just displaying his musical genius. Hampton is joined by Oscar Peterson on piano and both these virtuosos challenge and spar and parry with one another with incredible musicality. Ray Brown on bass provided the underpinning with his great sound and swing. Buddy Rich, who plays only brushes throughout provides the pulse and fire underneath the to main soloists. It is a true meeting of musical giants and the repertoire was simply chosen as they went along. Standards and a few Jazz favourites are there and all the tunes are familiar. What is done to these tunes is what makes the date so exceptional. Hamp, Oscar, Ray and Buddy at their inspired best!

Grachan Moncur 111 is one of the lesser known but important figures on the New York Jazz scene in the mid-60's when new ideas and concepts were emerging and musicians were finding new ways to create and improvise. Moncur was an educated young man and experienced playing for four years with Ray Charles and a year with The Jazztet led by Art Farmer and Benny Golson and touring also with Sonny Rollins. Moncur's skills as a trombonist with his own concept emerged on this recording and he definitely was NOT a J.J.Johnson clone. His writing skills are evident on the four selections that make up this date. The personnel here include four people who recorded and worked gigs together under the leadership of alto saxophone master Jackie McLean. Along with McLean and Moncur are two emerging stars in the persons of vibist Bobby Hutcherson and drum genius Tony Williams who was 18 years old at the time. Bob Cranshaw is on bass and he is great in any context.However the real star here is trumpeter Lee Morgan who is not ever thought of in a context such as this but proves himself to be open-minded and totally responsive to the music and shows his great range of expression. The four compositions heard here are all Moncur's and they reflect different moods and show his range of expression. Everybody here is on top of things and inspired by Moncur's music and exhibiting fresh musical ideas. "Evolution" was Moncur's recording debut and it was issued on Blue Note and is a modern classic in every sense of the word.

Tonight we celebrate what would have been the 96th Birthday of one of the great innovators of 20th Century music....John Birks "Dizzy" Gillespie. This recording is one of Dizzy's finest and it features an all-star band. Gillespie is the catalyst here and he even pushes his own limitless boundries in an incredibly inspired performance. Sonny Stitt is heard on alto saxophone only and like Gillespie is in intense and inspired form. John Lewis like Stitt had worked with Gillespie in their formative years in the 1940's and Lewis' playing is more outgoing than his performances with his Modern Jazz Quartet. The underrated Clifton "Skeeter" Best is on guitar in a tasteful role with a few fine solos and mostly rhythm playing. Percy Heath is a tower of strength on bass and like Lewis was a member of The Modern Jazz Quartet. Charlie Persip was Dizzy's favourite drummer at this time (1956). He drives the band with intelligence and taste. Only five tunes make up this date including a ballad medley that features Stitt, Dizzy and Lewis. 42' and 48" of classic Jazz played by six giants and innovators. The Modern Jazz Sextet lives up to it's name in every way. Happy Birthday Mr. Gillespie!

Organ master James Oscar Smith must be considered one of the pioneers of Jazz music as he almost single-handedly brought the Hammond organ into Jazz music. Jimmy Smith wasn't the first one to ever use the instrument in Jazz but he developed a concept on the organ that was copied by just about every practitioner who followed. Smith, after a period of learning the instrument, emerged and began to work around his hometown of Philadelphia. He was heard by Blue Note Record's Alfred Lion and signed to the label. He became Blue Note's biggest seller. This session features the Smith working trio with Quentin Warren on guitar and Donald Bailey on drums plus three magnificent horns in the person of tenor saxophonist Ike Quebec, alto saxophone master Jackie McLean and trumpeter Blue Mitchell. Each gets a ballad feature but the bulk of the other selections are great informal jams on various blues in major and minor keys. It's an inspired date and allows us to hear all these great players at their unfettered best. The album is called "Open House" and it has just that feeling of a group of friends gathering for some stimulating conversation and you the listener is invited.

Even though he had been first and foremost as one of the world's finest Jazz drummers since 1934, Jo Jones didn't make his first recording under his own name until this date in August 1955. Tonight The Jazz Show celebrates what would have been Jo's 102nd Birthday. Jo or as he was known later in life as "Papa Jo" died at age 73 on September 3,1985. He was really the forerunner of Modern Jazz drumming.He did away with the "four on the floor" reliance on the bass drum and used the hi-hat cymbal (operated with the foot) to keep time and also the large "ride" cymbal and it gave the rhythm section room to breathe and be dynamic rather than just pound out a beat. This is a fine date with all of Jo's favorites including the great Lucky Thompson on tenor saxophone, trombonist Bennie Green...both modernists rooted in deep swing. Underrated trumpeter Emmett Berry is on board. The rhythm section is unbeatable...Freddie Green on guitar, Walter Page on bass, Nat Pierce on piano and of course Jo Jones on drums. Count Basie replaces Nat Pierce on the two wonderful takes of the old standard "Shoe Shine Boy". The Jo Jones Special Septet garnered some of the highest ratings when it was released in 1955 and it is still a classic today. Happy 102nd Birthday Papa Jo!

We go from one of the most famous saxophonists featured last week....John Coltrane to one of the least known greats....his name Rudolph Johnson. Little is known about Mr. Johnson except that he is from Columbus, Ohio and first was heard touring with organist Jimmy McGriff. He headed west and was based in Los Angeles and spent a lot of time in San Francisco as well. A serious musician and a non-drinker and smoker he spent his time practising (8 hours a day!) and meditating. Johnson toured with Ray Charles for a few years as well He made two great recordings for the small Black Jazz label in the early 70's and tonight's Feature is his first. Done in 1971, it's called "Spring Rain". Rudolph shows his range on the horn with seven of his compositions. All different moods. His accompanists are John Barnes on piano, and Reggie Johnson(no relation) on bass and a wonderful drummer named Ray Pounds. Mr. Johnson passed away in 2002 with virtually no notice by the Jazz press and to this day few people have heard this great musician. Tonight and on The Jazz Show you will!

This feature is to honour the 87th Birthday of one of the most exciting, creative and influential musicians of the 20th Century namely John William Coltrane. Coltrane was under an exclusive recording contract with Prestige Records from 1957 to the end of 1958 however he was allowed to record this one date for Blue Note Records and the label's owner Alfred Lion made the most out of it by giving Coltrane a chance to not only record his own composition but write them for a three horn front line and of course pick the men to do this. Lion also paid for two days of rehearsal to get the music together. This was unheard of at the other label.The date was one of Coltrane's personal favourites and is considered a classic. The people involved are Coltrane on tenor saxophone, Curtis Fuller on trombone, the teenage trumpet sensation, Lee Morgan, Kenny Drew on piano, Paul Chambers on bass and Philly Joe Jones on drums. The tunes are all by Coltrane (Blue Train, Moment's Notice, Locomotion, Lazy Bird) and the ballad of the set written by Kern and Mercer: "I'm Old Fashioned". Blue Train stands out in the history of Coltrane's legacy and is clearly his best from his early period. Happy Birthday Mr. Coltrane.

The great maestro Leonard Bernstein narrates with many musical examples played by greats like Duke Ellington, Bessie Smith,Louis Armstrong, Buster Bailey, Buck Clayton, Phil Woods, Coleman Hawkins, Miles Davis, John Coltrane etc.what Jazz music is and what it isn't. This is a fun and educational look at what makes this form of music unique and valid as an art form. This disc is part of a The Jazz Show tradition in that we feature this album every year as our "back to school" project along with last week's Cannonball Adderley disc. This is less a Jazz history document but rather a demonstration of how this music is put together. Bernstein loved Jazz and it's obvious from this disc that he feels it's just as important as Bach, Brahms, Beethoven etc. Bernstein's lucidity and clear voice makes many of the so-called complexities of music very clear and simple. Even though this was recorded in the mid-50's it is still a valid and educational document. Leonard Bernstein adds his voice to What Is Jazz.

The title says it all Mr. Adderley is the lucid narrator and with a series of recorded examples he takes you from the very beginnings of this great American art form up until he made this recording in 1960. This is The Jazz Show's annual "back to school" educational show. I hope that you find this entertaining and enlightening. Thank you Cannonball!

Tonight marks the 86th Birthday of one of the great movers and shakers of post-war Jazz, pianist/composer Horace Silver. Silver was brought to the national scene early in the 50's by none other than Stan Getz, who hired Silver's trio to back him in clubs and record dates.Silver became a charter member of Art Blakey's Jazz Messengers when it was a co-operative band.After Blakey, Silver formed his own quintet in the summer of 1956 and began his career as a bandleader.He recorded for Blue Note Records from 1956 to 1980 and left a legacy of recordings and compositions that changed the face of Jazz music. His piano styling pares down the essence of Bud Powell to it's essentials and Silver's piano stylings have influenced several generations of players. It is simple, bluesy and deeply swinging. Tonight's Feature is his first album with his own band . The band includes three former Jazz Messengers, Donald Byrd on trumpet, Hank Mobley on tenor saxophone and Doug Watkins on bass and of course, Mr Silver on piano. The drummer is a discovery of Horace's....18 year old Louis Hayes! The album is called "6 Pieces of Silver" and actually has 7 tunes as one standard is played called "For Heaven's Sake". The album also contained one of Silver's first big hits and that's "Senor Blues". Happy Birthday to Horace Silver 86 years young today.

These are some previously unreleased performances by the great Art Pepper on his last tour of Japan in November 1981 about 6 months before his death in June of 1982. Art was aware of his somewhat fragile health and at this time was literally playing for his life. This tour was with his favourite quartet which included pianist George Cables, bassist David Williams and drummer Carl Burnett. Four great performances are featured here the first being the long and intense "Make A List, Make A Wish" a Pepper opus. Next is his favourite balled "Everything Happens To Me" followed by the up tempo "Allen's Alley" (aka "Wee") written by Allen Eager. The final piece is a blues created by Art appropriately called "Arthur's Blues". All of these performances were recorded in various locations in Japan between November 13 and 24, 1981. Intense and beautiful...the one and only Art Pepper.

A series of great unreleased recordings from Pepper's final tour of Japan in November 1981 with Pepper on alto saxophone,George Cables on piano, David Williams on bass and Carl Burnett on drums.Art Pepper's favourite quartet. THIS IS THE FULL SHOW! THE PREVIOUS ONE WAS CUT SHORT AT 3 HOURS.

This was Lee Morgan's final recording date under his name and it was done in September of 1971. Lee was shot and killed by his estranged wife at age 33 on February 19, 1972. Morgan was identified by his relationship with hard bop but when this recording was done Morgan was looking at some new horizons. His working band consisting of tenor saxophonist/composer Billy Harper, pianist Harold Mabern, electric bassist Jymie Merritt and drummer Freddie Waits was augmented here by flutist Bobbi Humphrey,trombonist Grachan Moncur 111 and an addition acoustic bassist in the person of Reginald Workman, Of the four tunes presented here, two are by Harper..."Capra Black" and "Croquet Ballet" and one tune by bassist Jymie Merritt called "Angela" for Angela Davis and a fine tune by pianist Harold Mabern called "In What Direction Are You Headed?". New music and a new sound from a great Jazz Master....Lee Morgan left us at 33 but his music lives forever!

Yusef Lateef had been around the Jazz scene for quite a while playing and recording under his own name since 1957. He moved to New York with his family in 1960 and worked with Charles Mingus among others but it wasn't until the end of 1961 when he joined the group led by alto saxophonist Julian "Cannonball" Adderley and made it a sextet that Lateef was really put on the Jazz map.He remained with the Adderley organization until 1964 when he formed this quintet heard tonight. It's a live recording from a Philadelphia Jazz club called "Pep's Musical Bar". Lateef is featured on tenor saxophone, flute and oboe and a variety of exotic instruments like the bamboo flute, the shenai, and the argol. His cohorts are Richard Williams on trumpet, a young up and coming Mike Nock on piano, Ernie Farrow on bass and the legendary James Black on drums. A whole variety of tunes showing the range of this band are heard before an appreciative audience on the evening of June 29, 1964. Yusef Lateef is still going strong at 92, performing and lecturing throughout the world.Live at Pep's cooks!

This is a recording which combines the incredible talents of J.J.Johnson, trombone master and his composing and arranging abilities. Mr. Johnson said at the time of this recording done in 1964 that it was his best and everything he wanted to do up to that time. He is in magnificent form on his trombone and he was able to assemble two orchestras for these dates. The first is a 17 piece band which performs three pieces and the rest is an 11 piece band doing the rest of the titles. Mr Johnson composed only one piece here called "El Camino Real" but he arranged 6 great Jazz standards. He generously gave Gary McFarland two compositions and arrangements. Johnson arranged Oliver Nelson's "Stolen Moments" and Tom McIntosh arranged and composed two selections. The orchestras contain the cream of the crop of New York based Jazz/studio players....names like Clark Terry and Thad Jones, Oliver Nelson and Jerry Dodgion and a great rhythm section with Hank Jones on piano, Bob Cranshaw on bass and Grady Tate on drums is hard to beat. J.J.! is a fine complete portrait of one of the premier Jazz musicians of the last century. J.J.....indeed!

Booker Telleferro Ervin was one of the most distinctive and easily identifiable voices of the tenor saxophone to emerge in the 1960's. After years of study (mostly self-study)and dues on the road with a variety of Jazz and R&B bands, Booker arrived in New York at the end of 1958. He was heard and immediately hired by Charles Mingus. He became Mingus' favourite tenor player and Mingus also relied on Ervin's photographic memory for explaining various ensemble roles to different players in Mingus' Jazz Workshop. Booker remained with Mingus from 1958 to 1963. He also worked with pianist Randy Weston and recorded on his own as a sideman and as a leader. He signed with Prestige Records in 1963 and began a whole series of albums for which he is best known...The Book series..."The Freedom Book", "The Blues Book" etc. This fine recording is his second to last and his second for Blue Note records. Ervin died of kidney failure in July of 1970 at age 39. After this date there was only one more recorded appearance and that was with alto saxophonist Eric Kloss on Prestige called "In The Land Of The Giants". This date is important as it is so strong and the band sounds like a working band. Booker is heard with Woody Shaw on trumpet, Kenny Barron on piano, Jan Arnet (from the Czech Republic) on bass and the great Billy Higgins on drums. Barron and Shaw contribute a tune each and Ervin wrote the rest. There are five tunes in all. This is a fine date that should be better known in the small legacy that was left by Booker Ervin. Tex Book Tenor cooks!

The Jazz Feature tonight is by a unique individual. A very accomplished human being by the name of Dr. Denny Zeitlin. Zeitlin is a practicing psychiatrist/author and teacher AND one of the most individual and accomplished pianists on the planet. He was able to pursue both careers with equal dedication. The Jazz Feature is by his working band that he put together when he moved from the east to the Bay Area. He had begun practicing and teaching in his field of psychiatry and working in festivals, clubs etc. with this working trio. The great Charlie Haden is here on bass and the innovative drummer, Jerry Granelli work hand in glove with Denny to provide a very different piano trio sound. The album consists of good quality standards interpreted with the Zeitlin style, and several wonderful original compositions created by Zeitlin. The album was issued in 1965 on Columbia Records and was the first documentation of the Denny Zeitlin Trio. The album was called "Carnival" and is a gem. Dr. Zeitlin is alive and well and living in the Bay Area and continues to pursue both of his professions. Long live Dr. Denny!

Tonight(July 15, 2013)would have been the 90th birthday of one of the greatest drummers in Modern Jazz. Joseph Rudolph Jones aka "Philly Joe" Jones, who earned his place in Jazz history from his time with Miles Davis from 1952 to 1958. He appeared on albums led by himself and is a sideman on some of the most influential recordings in this music. Philly Joe's long and varied career in Jazz took him all over the world and he is to this day one of the most influential drummers in Jazz. He died fairly young from cancer on August 30,1985 at age 62. Tonight's Jazz Feature is one of his finest albums under his name called "Philly Joe's Beat" It is by his working band that he put together in 1960. It includes one of the few recordings by a great trumpeter named Michael Downs. On tenor saxophone is fellow Philadelphian Bill Barron. Walter Davis Jr. is on piano and the great Paul Chambers is on bass and of course Philly Joe on drums. The band is tight and well rehearsed and the tunes include 3 that Philly Joe played when he was with Miles Davis (Salt Peanuts, Dear Old Stockholm and Two Bass Hit) plus one by trumpeter John Hines called "Muse Rapture" and an original by bassist Jimmy Garrison called "Lori", one by Philly Joe called "Got To Take Another Chance" and finally a tune from early Modern Jazz by Dizzy Gillespie called "That's Earl Brother". this operation.Happy Birthday Mr. Jones...your beat goes on!

Lou Donaldson is a Jazz Master of the first order and is still touring and playing at age 86. During the late 60's and early 70's he did a whole series of albums for Blue Note that were really a great combination of funk, Jazz and R&B. Lou had established his credentials with Clifford Brown, Elmo Hope, Art Blakey as well a great straight-ahead dates under his own name so there was no argument as to his abilities. His R&B flavoured albums were treated harshly by the critics but they sold well and preserved the essence of Jazz. Jazz and R&B have always had a healthy relationship and this date proves it. Donaldson has trumpet on the front line with guitar, Hammond organ, the occasional electric bass and drums. The music here covers all the bases and can be listened to and danced to. There is something for everyone here....a couple of good funky tunes, a beautiful ballad (Over The Rainbow), a calypso flavoured tune and straight-ahead swinger. Lou Donaldson hits all the bases and as he states in the album's title "Everything I Play is Funky". Long live Papa Lou!

This is a classic album make no mistake about that fact. It was given a lukewarm treatment by the Jazz critics at the time because it was such a casual and easy-going affair. It was Coltrane's first appearance on his new label, Atlantic Records. He had been with Prestige for over two years and moved to the more upscale Atlantic. It was done in January of 1959. The great producer Nesuhi Ertegun suggested that Coltrane record with one of Atlantic's big stars,the vibe master, Milt "Bags" Jackson. Jackson and Coltrane knew each other and had played together before and were friends so the idea was readily accepted. Jackson and Coltrane put their heads together and chose the rhythm section Jackson chose pianist hank Jones and drummer Connie kay and Coltrane picked bassist Paul Chambers. Several good standards were chosen and one early modern Jazz classic...."Bebop" (by Dizzy Gillespie. Three blues tunes by Jackson are heard and they are all good as Coltrane and Jackson are magnificent blues players. Coltrane moves a little closer to Jackson's concept on this date but this is because he is such a master musician who can adapt to any context. Bags and Trane is a real classic so sit back and enjoy the work of five Jazz masters!

Eli "Lucky" Thompson had a long career in Jazz music but not all of it was lucky. He was very respected in the community for his great talent on the tenor(and later the soprano) saxophone. He was a proud and determined man who rankled at some of the unjust treatment of Jazz artists.The Jazz Feature is from one of the peaks in Lucky's career. He had returned from a long period in Europe and recorded a few very fine albums for Prestige and then began his own record label....it was short-lived but our Feature comes from this period. We hear Lucky on tenor and soprano saxophones with the great Tommy Flanagan on piano, Willie Ruff on bass and Walter Perkins on drums. He plays some of his intriguing originals and some very well chosen standards. The music is on a very high level and makes us wonder why Mr. Thompson chose to sell his horns and give up music entirely ten years after these recordings were done in 1965. Thompson died poor and ill in Seattle in 2005 but at least in his last years he was in a care home. Lucky was one of the true Jazz Masters and proof is here on this date originally called "Lucky Is Back And So Is Love".

The late Sonny Clark left us too soon at age 31 on January 13,1963 from an overdose of heroin. Sonny was not an originator or a Jazz pioneer but a wonderful stylist who reflected the history of Modern Jazz piano. His touch and flow of ideas were the center points of his style and his ability to accompany horns made him a favourite among all the major horn players such as Jackie McLean, John Coltrane, Donald Byrd, Art Farmer, Curtis Fuller and the list goes on. Sonny was a wonderful composer as well and tonight's Jazz Feature has six of his works. Sonny's angel was Blue Note Record's Alfred Lion who loved Sonny's playing and his serious dedication to his art despite his drug problem. Lion recorded Sonny a lot as a sideman and as a leader. Trios, quartets and quintets. This session ended Sonny's first tenure with Blue Note and was done in March of 1959. It was never issued until the early 80's. It is a gem and has Donald Byrd on trumpet, Hank Mobley on tenor saxophone, Paul Chambers on bass and the great Art Blakey on drums and of course Mr. Clark on piano. They tackle six of Sonny's tunes and smoke on all of them. "My Conception" is one of his finest outings and is a minor classic. Long live Sonny Clark and his music!

Tonight's show is a special treat as it is the annual Jazz festival edition. The Vancouver International Jazz Festival 2013 is in the spotlight with a three hour plus edition focusing on many of the artists appearing this year. I turn the selection of the music over to my good friend John Orysik, who is not only one of the founding fathers of the Jazz festival but is it's Media Director. That's the basis of tonight's show which like the up and coming Jazz festival will be rich and varied. John Orysik and host Gavin Walker.

This is quintessential Tal Farlow one of the masters of Jazz guitar with his trio including the fabulous Eddie Costa at the piano and Vinnie Burke on bass. The repertoire is mostly standards but done in the unique and wonderfully refreshing manner by one of the great masters of Jazz guitar Tal Farlow! This album was recorded in May of 1956 after Tal did his apprenticeship with Red Norvo and Artie Shaw and others. This band became the house band at The Composer, an upscale Jazz venue in New York until it's closing in 1958. Enjoy a guitarist who was not only swinging but creative and distinctive and whose technical facility was the envy of every other guitarist. Tal Farlow Jazz giant!

Tonight's music is swinging, lyrical and elegant and played by a group of Jazz masters under the leadership of one of the pioneers of Modern Jazz, vibraphonist Milt Jackson. After Lionel Hampton and to a lesser extent, Red Norvo, it was Milt Jackson who brought the vibes into Modern Jazz. He predominated on that instrument throughout his lifetime. As the primary member of The Modern Jazz Quartet he was able to branch out into his own career in person and on records and this date is one of his finest.Done in January of 1956 it pairs Milt Jackson with one of the most authoritative voices of the tenor saxophone and sadly one of the most overlooked...Eli "Lucky" Thompson. His sound and concept is one of the most original. These two gentlemen are accompanied by an ideal rhythm section of Hank Jones, one of the piano masters, Wendell Marshall on bass and Kenny Clarke on drums. Standards and blues abound and played with the touch of five Jazz Masters.

Pianist/composer Freddie Redd occupies a small but important place in Modern Jazz. A self-taught and resourceful musician, Freddie Redd worked hard throughout the 1950's to establish himself on the New York Jazz scene. His breakthrough came when he signed with Blue Note Records and recorded his "Music For The Connection" with his quartet. The Connection was an off-Broadway play put on by The Living Theatre that was about drug addicts and featured Freddie's band in playing and speaking roles. It had a long run. The recording was highly praised and sold very well. This record is for this writer Freddie Redd's masterpiece and was his second Blue Note date. It features his quintet playing all Freddie's great compositions. The playing is superb and the band is tight. All of Freddie's tunes have substance and it's a shame that Blue Note didn't promote this recording very well as it soon became a collector's item. The people involved are Jackie McLean on alto saxophone, Tina Brooks on tenor saxophone, Paul Chambers on bass, Louis Hayes on drums and of course Freddie Redd on piano. Mr. Redd told this writer that this was his favourite recording of his own wok and was very proud of this date. Check out "Shades of Redd".....it reall is a masterpiece!

A "desert island" disc. This was a short-lived band that performed a few gigs in the New York area then for two afternoons in May of 1962 went into the studio to record this date. The leader was the redoubtable Roy Haynes with Henry Grimes on bass and Tommy Flanagan on piano. They are at their very best but what makes this date unique and special is the front man...Rahsaan Roland Kirk on tenor saxophone, manzello (a soprano saxophone), the stritch (an elongated alto saxophone) and his distinctive flute and other paraphernalia. The well chosen repertoire includes three Haynes originals and four standards that have never been overplayed. When you hear this date you will understand why it is on many people's "desert island" records.

This intimate get together between two musically related people became an instant classic. It was a true meeting of minds by two of the most prominent Jazz players. Pianist Bill Evans and guitarist Jim Hall are not only known for their individuality but their musicality. They are both virtuosi who don't need to show off their chops on every tune. They are humble to the MUSIC, first and foremost. They met in 1959 at the Lenox School of Music where they were teaching and established a mutual admiration society. This came to fruition on this duet recording done in April and May of 1962 for United Artists Records called "Undercurrent" The two men explore a variety of great standard and non-standard tunes plus an original by Jim Hall and one by John Lewis. The result is one of the essential Jazz recordings. Undercurrent is an album of great creativity, intense introspection and wonderful lyricism by Evans and Hall.

To celebrate the 114th Anniversary of Duke Ellington's birth, The Jazz Show presents one of his true musical masterpieces....The Far East Suite. The music was written by Ellington and his alter-ego Billy Strayhorn after two tours. The first was a tour of the Middle East (Lebanon, Syria, Jordan etc,) and India and Sri Lanka. There followed a second tour to the Far East: (Japan, South Korea, Hong Kong etc. Duke and Strayhorn wrote all the music after these tours and it culminated into a 9 part suite. It was recorded over a period 3 days in December,1966 and became one of Ellington's great recordings. The band was at it's peak and all of the great soloists and players were healthy and playing their best. Paul Gonsalves, Johnny Hodges, Jimmy Hamilton (on clarinet), Harry Carney, Lawrence Brown, Cootie Williams, Cat Anderson and all of the others. The new bassist was the young virtuoso, John Lamb and making his recording debut on this date was the incredible drummer Rufus "Speedy" Jones. There is some magnificent Ellington piano as a bonus as well. Happy Birthday Edward Kennedy Ellington, your music will live forever!

Tonight The Jazz Show honours and celebrates the 91st Birthday of one of American's most individual and iconic geniuses of this music referred to as Jazz....the one and only Charles Mingus. Mingus was a wonderful pianist and a virtuoso bassist but one of this music's greatest composers. He ranks with Ellington and Monk at creating a huge body of work. Today Mingus' compositions are played by the Mingus Big Band and his legacy is in the hands of his widow, Susan Mingus. This album was recorded in early 1963 with an 11 piece orchestra that had played two long engagements at Bird and The Village Vanguard in New York. The music was the first album in Mingus' new contract with Impulse Records and the label spared no expense catering to Mingus' wishes in the production and most importantly in the post-production. Mingus had full control as to his musical vision and this album was one, at the time that Mingus felt was his best to date. It is a suite of 3 movements with the long 4th being an amalgam of the first three. It's called "The Black Saint and The Sinner Lady" and has some outstanding solos by Jerome richardson on soprano and baritone saxophone, Mingus on bass and piano, Jaki Byard on piano but most importantly Charlie Mariano on alto saxophone. Mariano tears and cries out with unbridled passion with some of his best playing ever. This is a challenging and dense work worthy of listening to and re-listening.Happy Birthday Charles Mingus!

This well organized session featured two great Chicago-born musicians who went to the famous DuSable High School and learned the nuts and bolts of music from the redoubtable Captain Walter Dyett. Green went onto play with the great Earl Hines' band in 1943 and Ammons became a star in the famous Billy Eckstine band in 1944-45. Ammons' birthday was April 14 (1925-1974) and Green's was April 16 (1923-1977. Tonight's program broadcast on April 15 honours their birthdays. Along with trombonist Green and tenor saxophonist Ammons....two of the most recognizable voices on their horns...are cornettist Nat Adderley and the "two Franks" from the Basie band Frank Foster and Frank Wess. Both are great tenor saxophonists and Wess is also heard on flute. The rhythm section is fine with Tommy Flanagan on piano, Eddie Jones (also from the Basie band) on bass and the youngest member of the musical Heath Family, drummer Albert "Tootie" Heath. Green penned two tunes and Ammons did one and Foster contributed the opener ("Juggin' Around") and Wess contributed one plus there is a delightful version of Cannonball Adderley's tune called "Sermonette". Foster and Wess helped arrange some of the tunes . This is a well run date that doesn't sprawl and is cohesive but leaves plenty of blowing room for everyone. So HAPPY BIRTHDAY Bennie Green and Gene Ammons. This date wasn't called "The Swingin'est" for nuthin'!

This great band was based in San Francisco and was the brain child of tenor and soprano saxophonist Mel Martin who organized this band in the early 1980's. Mel is a well known teacher,lecturer,and a player who among others has worked with Dizzy Gillespie, Freddie Hubbard, Benny Carter and so many others plus pop groups like Azteca, Tower of power and Cold Blood. Mel picked some of the very best players in the Bay Area like the great John Handy on alto saxophone. John had worked with Charles Mingus and Randy Weston and led his own groups and was an icon in San Francisco by the time this record was made in February 1984. Warren Gale is on trumpet and Gale should be more widely recognized as he is a great player with a healthy brassy sound. George Cables is on piano and there isn't much more to say about a guy who is one of the world's greatest piano players. Frank Tusa from the east coast had played with Dave Liebman's Lookout Farm and the late Eddie Marshall on drums had worked with just about everyone in the Bay Area. Two of the tunes are by Mel Martin (the opener and the closer) one is a wonderful arrangement of Tadd Dameron's "On a Misty Night". Frank Tusa wrote one. Eddie Marshall also wrote one and Mel Martin arranged two great tunes by Thelonious Monk called "Evidence" and "Monk's Mood". Bebop and Beyond is a great band and deserves to be heard so here it is!

A startling debut recording by a musician whose short life was musically very well documented. Born in Los Angeles but upon moving to New York in mid-1959 and leaving his employer, drummer Chico Hamilton, Eric joined Charles Mingus' bubbling cauldron of musical creativity, The Jazz Workshop. Through his membership in the Mingus organization, Eric was signed by Prestige (New Jazz) Records and made his debut record on April 1, 1960. To celebrate it's 53 anniversary, we hear it tonight. Eric is heard on alto saxophone, bass clarinet and flute and composed 4 of the 7 tunes on the set. His cohorts are the up and coming young trumpet player and Eric's roommate Freddie Hubbard. Boston's Jaki Byard is on piano and George Tucker (who studied with Mingus) on bass and the redoubtable Roy Haynes ("Mr. Snap-Crackle) on drums. Eric's debut is a fine document and signaled the beginning of a great career. Dolphy only lived until age 36, he died of undetected diabetes in Berlin on June 29, 1964."Outward Bound" was his real beginning.

This oft recorded band was one of the best in Modern Jazz history. Led by the great alto saxophonist Julian "Cannonball" Adderley, it featured his brother Nat on cornet plus the wonderfully versatile Yusef Lateef on tenor saxophone, flute and oboe on the front line plus the stellar rhythm section of Joe Zawinul on piano, Sam Jones on bass and Louis Hayes on drums. This band, even on an "off" night could sound so good that no one would ever know it but when inspiration struck this band was "out of sight"!. This set was recorded before a huge audience of 35 to 40 thousand people and the band was on fire! I think you'll agree when you hear this set recorded at The International Jazz Festival at Comblain-La-Tour , Belgium on August 5, 1962. A set to remember!

Composer,theorist, pianist, arranger George Russell occupies an important place in Jazz history. He wrote the influential theory book called "The Lydian Concept of Tonal Organization" and many influential musicians studied the ideas in that book. George Russell had a working band from the years 1960-64 and all of the players that passed through his band learned his theories. This rare date was only issued on LP and had no domestic issue on CD (it was issued in Europe). It's called "The George Russell Sextet in Kansas City" which is a bit of a misnomer as it was actually recorded in New York on February 23,1961 after a two week gig in Kansas City. There are no Russell compositions on this date but his sound is all over this set. The personnel is George Russell on piano, Don Ellis on trumpet, Dave Young on tenor saxophone, Dave Baker on trombone, Chuck Israels on bass, and Joe Hunt on drums. Baker has one tune and a young Carla Bley has two (she was a student of Russell's), Clifford Brown's blues called "Sandu" is here as is Eddie "Cleanhead" Vinson's "Tune Up" and finally a collective improvisation called "Theme" leads to a fade out ending. The band sounds as modern as tomorrow and reflects the concepts of the one and only George Russell. I'm sure Kansas City was never the same after Russell's visit!

In 1962 Lee Morgan was sick, drug addicted and destitute and without a trumpet yet at the beginning of the year he made this extraordinary recording by picking a great band, borrowing a horn and contributing 4 of the 6 tunes heard here. Morgan's story is well known and can be found in his harrowing, and candid biography called "Delightfulee" published by The University of Michigan Press. Despite his chaotic life Lee Morgan never lost his talent nor his playing ability. This album was his only recording in 1962 and it has been critically acclaimed. Morgan picked tenor saxophonist Clifford Jordan on the front line plus the great Barry Harris on piano and firebrand Louis Hayes on drums. Four of the six tunes are by Morgan and one by Jordan and one by the legendary pianist/composer Elmo Hope complete the date. The playing is inspired all around and don't forget that Morgan was all of 23!! 1963 proved a better year for Morgan as he met a lady who helped him rebuild his life and career and he recorded "The Sidewinder" for Blue Note...the rest is history until his untimely and tragic death by a shooting in February of 1972. He was only 33 but he had earned his place in Jazz History. Tonight's Feature is an important milestone in Lee's history. "Take Twelve" is a super recording!

Tonight is a special Jazz Show as CITR is in the middle of it's annual Fun Drive to raise money for new equipment and keep the station happening. The Jazz Feature tonight is selections from pianist/composer Horace Silver and his Quintet. The personnel of this band (with the exception of the drum chair) was stable from 1959 through 1964.Richard "Blue" Mitchell was on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass,first drummer was Louis Hayes who was replaced by Roy Brooks and one fine album had John Harris Jr. replacing Brooks.We will be featuring one or two selections from a variety of recordings that Silver and Co. did for Blue Note Records. Some selections were done in the studio and others done live. Sit back and enjoy one of the finest bands in Jazz history.

This album is one of alto saxophonist Jackie McLean's masterpieces. It is his first full-blown venture into some unknown territory. When McLean signed with Blue Note in 1959, he was basically a "straight-ahead" bebopper of the 2nd generation but the winds of change in Jazz were blowing in the early 60's with the arrival of Ornette Coleman, Cecil Taylor, Eric Dolphy et al. Mclean was hearing this and his playing began to open up and move away from the strict rigors of bop. This album called "Let Freedom Ring!" was the real beginning of that search. The ideal and open rhythm section consisted of the wonderful Walter Davis jr. at the piano who anchors McLean with his beautiful chording and sensitivity. Bassist Herbie Lewis and drummer Billy Higgins were both from Los Angeles and were boyhood friends. Higgins had just left Ornette Coleman's band and was the perfect drummer of this set. Jackie McLean with his distinctive sound ("no sugar added") and his hard driving approach and his "take no prisoners" attitude makes the four pieces really happen. Three of McLean's tunes are dedicated to members of his family. This first is the Mingus-like "Melody For Melonae" for his then young daughter. The second is called "Rene" for his son. The third and most interesting is the modal "Omega" for his mother. The ballad of the set is by one of McLean's mentors, pianist Bud Powell and it's called "I'll Keep Loving You". This classic album captures everyone in full flight and was the first of many groundbreaking dates from Mclean and company. "Let Freedom Ring!"

This was the third recording of this famous suite called "Black,Brown and Beige" which had it's genesis at Carnegie Hall in 1943. Ellington wrote this as a "tone parallel to the history of the American Negro"(sic).Ellington pared the suite down from it's original hour form to this 35 minute version by focusing on two main themes that recur throughout the suite. The marvel of this version is the appearance of the foremost Gospel singer of any era....Ms. Mahalia Jackson. The surprise is that she agreed to sing with Ellington as she had always refused for religious reasons to sing with a Jazz orchestra but she was so moved by the music and it's intention that she agreed. Her voice is heard on the beautiful "Come Sunday" and the 23rd Psalm that ends the suite.So here then is the Ellington masterpiece full of fine solos by members of his stellar organization plus ms. Jackson. "Black,Brown and Beige!"

This album was recorded in October of 1962 at the legendary Jazz Workshop in San Francisco as part of a two week engagement. Mr. Roach usually traveled with his girlfriend (who became his wife), singer Abby Lincoln but not this time. This writer was there for two nights but not on the evening of the recording. The same two pieces were played every night, among many others. By this time Max Roach was playing music that had sociological and political overtones in keeping with his African-American heritage and the turbulent times in the USA. The title piece is called "Speak brother Speak" and it instrumentally depicts people standing on a soapbox in any ghetto in the USA and speaking their piece. It is in a series of movements that feature everyone in the band. The second long piece is Max Roach's arrangement of a Heitor Villa-Lobos theme called "Prelude" that displays the talents and soloing of all four band members. The tenor saxophone is played by the great Clifford Jordan and his high keening sound and melodic concept displays his deep emotional commitment to the music. On piano is Mal Waldron who reflects the influence of Bud Powell and Monk but with his penchant for hypnotic repetition. The strong bass of the lesser known Eddie Kahn is a great asset to this band as well as his soloing ability and Mr.Roach is a picture of intense fire and creativity. This recording captures one of the great moments in Jazz and furthers our tribute to Black History Month.

This album was recorded during a very turbulent time in American History.....assassinations, the Viet Nam War, youthful rebellion all rolled into one. For black Americans the assassinations of Malcolm X (1965) and Martin Luther King (1968) were uppermost in people's minds. Herbie Hancock was no different and for his final album for Blue Note records, Mr. Hancock had to make a sociological and political statement. The album was the first by his own group that he formed after leaving Miles Davis' band and it featured his Sextet with a few extra horns to expand the ensembles. The compositions are complicated, difficult to play and yet very lyrical and listenable. It is not "protest music" that is loud and strident. The people involved are Johnny Coles on flugelhorn, Garnett Brown on trombone,Joe Henderson on tenor saxophone, Buster Williams on bass and Albert "Tootie" heath on drums and Mr. Hancock on piano. There are five compositions, four by Hancock and one by Buster Williams all arranged by Hancock. There are some extra horns to enrich the ensembles as well...a bass trombone, flute and alto flute and bass clarinet.This is a unique album in Hancock's long history and this music has never been revisited since it was recorded in April 1969. It remains one of Mr. Hancock's masterpieces and is our first Black History Month tribute feature. The Prisoner stands alone in Hancock's recorded legacy.

On May 1,1962, Duke Ellington had booked his Orchestra into A&R Recording Studio in New York but had no idea what to record. He had written no new music for the date and was at a loss until his tenor saxophonist, Paul Gonsalves walked in, the first to arrive, looking fresh, energetic and happy. Gonsalves so many times was tardy and hung over but not today. This gave Duke his bright idea. He would do a bunch of tunes that the band knew but feature Gonsalves on every song. It was an overdue tribute to Paul, one of the great underrated tenor saxophonists of his time. Every major saxophonist from Rollins, Getz, Stitt, Coltrane, Griffin et al respected Gonsalves for his creativity and his range of emotions on the horn. Nothing stumps Mr. Gonsalves in this feature date for him. There is a great variety of moods and feels and he nails them all. You, the listener can't go wrong with the Ellington Orchestra and Paul Gonsalves! Enjoy!

Boniface Ferdinand Leonard "Buddy" DeFranco was the man who brought the clarinet into the Modern jazz era. DeFranco began and can be heard on very early recordings in the mid-forties sounding like a combination of Benny Goodman and Artie Shaw but he soon was absorbing the musical language of Charlie Parker and his disciples and "modernized" his style and became the leading voice of the clarinet in the 40's.50's,60's and beyond. There were a few others who played modern clarinet but none could match Mr. DeFranco. This album isn't called "Mr.Clarinet!" for nothing! It features Buddy DeFranco's working band with Kenny Drew on piano, Milt Hinton on bass and the dynamic Art Blakey on drums. The repertoire is a well chosen mix of standards plus originals by DeFranco and Drew. This is Jazz at it's best!

This great album and concept comes from the ever changing musical mind of Miles Davis, a man who not only was one of the most individual stylists of the trumpet but a man who constantly altered his music to make it fresh and new not only for him but his followers. Sometimes he lost his followers as they could not adapt to his changes but he always gained new ones. This album is from his early 70's period and he was using electric instruments like electric piano and electric guitar and also utilizing some of the concepts of funk and rock. He was playing his trumpet acoustically on this date and was in good form and healthy. The people involved in this tribute are Davis on trumpet, Steve Grossman and soprano saxophone,Herbie Hancock on keyboards, John McLaughlin on guitar, Michael Henderson on electric bass, Billy Cobham on drums.Two lengthy compositions are heard and all of this music was heard on the documentary film on the life of one of Miles Davis' heros, the first African-American Heavyweight Champion of the World,Jack Johnson. The music was conceived and recorded in 1970 and as Davis stated, the music should have gotten more acclaim than it did at the time. Tonight we relive that musical experience.

There is really no need to describe this classic date. I consider this date an essential listening experience. This date defines Modern Jazz in a way that no other does. It is also a tradition on The Jazz Show as this is the last show of 2012 and the show closest to Christmas. This date was recorded on Christmas Eve 1954 and although it's not stated in the music the SPIRIT of Christmas is here. The players are the nominal leader, trumpeter and Jazz icon Miles Davis. In 1954 he was emerging from a dark period in his life and beginning to really assert his importance as a major Jazz figure. Milt Jackson is so consistent in his solos on vibes and the spice of the session is the piano of Thelonious Monk. Monk was not Davis' choice but the choice of the record label owner Bob Weinstock......and it was a great move as it's Monk's solos that put the edge on the music. Percy Heath on bass and Kenny Clarke were the rhythm section for the Modern Jazz Quartet and Miles Davis' first choice. This date is Jazz history and will be heard as long as Jazz is alive in this world. Some of the book on jazz was written here. Merry Christmas and Happy New Year and I look forward to presenting music for you in 2013.

This famous recording put alto saxophonist/composer John Handy back on the Jazz map.After a great beginning in New York as part of The Charles Mingus Jazz Workshop and pianist Randy Weston's band and his own group, John moved back to the Bay Area to complete his music degree at San Francisco State. His career was a bit in limbo after leaving New York but this Quintet came together with the addition of two great musicians from Vancouver B.C. They were bassist Don Thompson and drummer Terry Clarke. Handy's unique instrumentation on the front line was himself on alto saxophone and Michael White on violin and Jerry Hahn on guitar. Handy built the band in Vancouver and further developed it at a famous club in San Francisco called "The Both/And". They became THE leading group in San Francisco and were invited to play at the Monterey Jazz Festival in 1965. They played only two long Handy compositions but stole the show and were the talk of the festival. The set was recorded on Columbia Records and became a best-seller.We feature it tonight.....a classic!

This obscure artist who rarely if ever played his music in public (he made his living playing in Dixieland and show bands) was able through the graces of Blue Note Records' Alfred Lion to record a series of dates with hand-picked sidemen playing his own compositions. Lion released Herbies first two albums on two 10" LPs called "The Prophetic Herbie Nichols" Volumes 1 & 2. Tonight we hear his first 12 pieces that made up these records. Nichols is on piano with Al McKibbon on bass and Art Blakey on drums. The dates were done in May of 1955 and presents the evocative compositions of Mr. Nichols with his marvelous piano playing. The prophetic Herbie Nichols indeed!

This great edition of the Kenton band performs one of composer/arranger Johnny Richards' masterpieces. It's a seven part suite called "Cuban Fire". Richards was born in Mexico of Spanish and Mexican parentage and this suite reflects not only his influences from the great modern classical composers like, Bartok, Stravinsky, Hindemith etc but also his Latino background. This edition of the Kenton band was fill of great soloists and they add to the expansive drama of this suite. Players like saxophonists, Lucky Thompson, Bill Perkins and Lennie Niehaus all solo here as do trombonists Carl Fontana, Bob Fitzpatrick and Kent Larsen. Trumpeters, Vinnie Tano and Sam Noto are heard as well . The Kenton band is driven by guitarist Ralph Blaze, bassist Curtis Counce and drum great Mel Lewis and is also driven by a Latin percussion ensemble and two tympani players. "Cuban Fire" is one of Kenton's best recordings and a favorite of people who don't really like the Kenton band! "Fuego Cubano!" on tap tonight!

One of the most unique and interesting musicians to ever visit our humble planet.Kirk began perfecting his mastery over three saxophones played at once, a concept that came to him in a dream. Kirk was sightless from a very young age so he lived in a world of sound.He played the tenor saxophone (his main horn) and the manzello (a soprano saxophone) and the stritch (an elongated alto saxophone) plus the flute and other instruments attached to his upper body. He was amazing sight to watch. At first he was dismissed as a gimmick but fans and critics soon found out that he was a major player.After moving to New York he was immediately signed to Mercury Records and recorded prolifically.He finished his career for Atlantic Records. He died at 42 of a stroke in 1977. Of all the albums that he made, this one called "Rip,Rig and Panic" stands as his masterpiece and we present it tonight as the Jazz Feature.Kirk performs with an all-star band that included the great Elvin Jones on drums, the wonderful Jaki Byard on piano and virtuoso Richard Davis on bass. Five originals by Kirk plus a great old standard called "Once In A While" and an original by Montreal pianist Milton Sealy called "Black Diamond" Kirk said this album is his concept of "expressing freedom" and it does.

This is an unusual recording by these two major Jazz voices. Their association went back to the days when they were both in Miles Davis' sextet. By the time of this recording they were both leaders and poll winners. This date done in early 1961 brings out different characteristics of both musician. Adderley is more lyrical and gentle than his usually hard-driving self. Contrast this with the usually muted and introspective Mr. Evans who here plays with more abandon and is more outgoing than usual. The rhythm section is bassist Percy Heath and drummer Connie Kay and of course they while having all the swing and drive necessary also understand understatement and subtlety. The tunes chosen are also quite unusual as well and not your run-of-the mill standards. This album is unique in both the careers of Cannonball Adderley and Bill Evans....."Know What I Mean?"

Today would have been the 87th Birthday of John Haley Sims better known as "Zoot", a nickname that he acquired when he was a teenager and he kept for the rest of his life. Zoot Sims was one of the finest exponents of the tenor saxophone. he played and recorded on the alto and soprano horns but it's his tenor that stands out. He was one of the original "four brothers" in Woody Herman's legendary Second Herd and after that,Zoot struck out on his own. He usually worked with a quartet or in tandem with his other "brother", Al Cohn. Tonight's feature is one of Zoot's finest albums recorded in 1960 and called "Down Home". As this album has no ballads I'll include a couple from a session recorded around the same time with the same instrumentation. Zoot appears here with the great Dave McKenna on piano, George Tucker on bass and Dannie Richmond on drums. The rhythm section on the ballads is Henri Renaud on piano, Bob Whitlock on bass and Jean-Louis Viale on drums.There is nothing quite like the warmth and swing of Zoot's tenor. Happy Birthday Mr. Sims.

Two of the finest and most innovative trumpeters in Jazz are on tap here. Roy "Little Jazz" Eldridge and John Birks "Dizzy" Gillespie. Roy was the elder of the two and came up in the 30's during the "swing era". It had been said and it is a generalization with some merit that Roy is the link between Louis Armstrong and Dizzy Gillespie. Dizzy Gillespie needs no introduction as he is one of the pioneers of Modern Jazz and one of the most brilliant and innovative trumpeters of any era. These two Jazz Masters are accompanied with skill and inspiration by Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass and Louis Bellson on drums so it doesn't get much better than that! The date was simply called "Roy and Diz" and was done in Los Angeles on October 29, 1954 and supervised and produced by the great Norman Granz. Blues, good standards and a great ballad make up the tunes you'll hear. Trumpets all out!!!!

Tonight's Feature is a true Jazz summit meeting. It took place in a New York studio for United Artists Records on September 17,1962. The people involved are Duke Ellington on piano, Charles Mingus on bass and Max Roach on drums. All the compositions are by Duke Ellington and they are all newly created for this date with two exceptions: Juan Tizol's and Ellington's "Caravan" and Ellington's and Eddie DeLange's "Solitude". This amazing meeting is now considered a truly classic encounter and I think you, the listener will agree!

Today, October 8 is the birthday of one of the great masters of the big baritone saxophone, Park Frederick Adams 111 better known as Pepper. He was born in Highland Park, Michigan (near Detroit) and began playing in Detroit. He emigrated to New York in the mid-50's along with many players from Detroit. This Feature is about a very short-lived band co-led by Adams and trombonist Jimmy Knepper. It's their only recording done in March of 1958 but it is of very high quality. Backing Pepper and Knepper is pianist Wynton Kelly, and two colleagues from Detroit, bassist Doug Watkins and soon to be great, drummer Elvin Jones. Two Ellington tunes are played and two by Knepper, one by album producer and critic Leonard Feather, one by vocalist Jon Hendricks and one by Pepper Adams. This was a fine little band and this one album should have kept it going but this is all we have so enjoy it. It's worth it! Pepper Adams was taken from us in 1986, a victim of lung cancer but we have his many albums to appreciate his major talent.

This was the first recording by the newly expanded band led by the great alto saxophonist, Julian "Cannonball" Adderley. The core band included Julian's brother, Nat on cornet, Joe Zawinul on piano and the stellar rhythm section of bassist Sam Jones and drummer Louis Hayes. It was the addition of multi-instrumentalist, Yusef Lateef that gave the band it's new sound and distinction. It was now the Cannonball Adderley Sextet. Lateef not only was one of the most identifiable voices on the tenor saxophone but also was one of the finest flutists in Jazz but also played oboe! This album was their first as a sextet and their first live recording done in their home base of New York......hence the title. Previous live recordings by the Adderley band had been done in San Francisco and Los Angeles. This album maked a new sound and a new era for one of the best Modern Jazz groups ever. Sit back, relax and enjoy the set recorded at the Village Vanguard in January of 1962.

This is a wonderful relaxed recording between two great tenor saxophonists who displayed widely different styles. John Coltrane is here on this date done in May 1957 in his first full maturity and he displays a concept and confidence that caused musicians and critics to declare him to be the newest important voice on the tenor saxophone. Paul Quinichette was ten years older than Coltrane and was the most direct descendant of the saxophone style of Lester Young. Quinichette was called the "Vice-Pres" for a very good reason. Coltrane and Quinichette were good buddies and Mr. Coltrane learned many a trick from Paul. Quinichette was equally at home in a Basie setting and in more modern contexts. Coltrane and Quinichette exchange ideas and trade phrases over five good selections including 3 original compositions written specifically for this date by pianist Mal Waldron who appears here. Bassist Julian Euell and drummer Ed Thigpen complete the rhythm section.The real charm of this session is hearing two very individual and distinctive voices on the tenor saxophone. Individuality today is sadly lacking in today's younger players although their overall musicianship may be better than ever....the essence of Jazz is still to develop one's own voice. There was no mistaking the voices of John Coltrane and Paul Quinichette. Check out Cattin'!

St. Elmo Sylvester Hope Jr.was born on this day (June 27), the only child of hard working West Indian immigrants, in New York in 1923. Elmo was one of the unsung greats in Jazz music and he died on May 19, 1967 at age 43 of heart failure and pneumonia. Mr. Hope grew up with his two closest friends, Thelonious Monk and Bud Powell. Powell and Monk, despite the extreme difficulties in their lives achieved Jazz immortality and fame but Elmo Hope did not. He is deserving of the same kind of respect as Bud and Monk as he is not only an original pianist but a fine composer as well. His piano style suggests Bud and Monk, of course but it is all Elmo Hope. T This Feature album is called "Homecoming!" and marked his return to New York after four rather unhappy years in Los Angeles. It's divided into two sections. Three tunes are brand new and features a sextet with tenor saxophonists Fran Foster and Jimmy Heath and trumpeter Blue Mitchell plus Percy Heath on bass and Philly Joe Jones on drums. The rest of the album is made up of Mr. Hope on piano in a trio setting with Heath and Jones. Four tunes make up this segment and have three Hope composition and one lovely standard named "Imagination". This is the Jazz Show's tribute and Birthday greeting to one of the unsung giants of Jazz.....Mr. Elmo Hope.

The album "Out To Lunch!" was recorded on February 25,1964 and was Eric Dolphy's final statement recorded domestically. It was his musical vision with the people he wanted to work with. Eric died at 34 just a few months after this date in Berlin on June 29, 1964 as a result of diabetes. His collegues here are Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass and a young genius on the drums, Anthony (Tony) Williams. All of the compositions are Dolphy's and he is presented on all of his main instruments, the alto saxophone, the bass clarinet and the flute. This now classic recording is a challanging listen but worth the effort. It sadly marked the beginning of a new creative cycle for Eric Allen Dolphy so in a way it is a beginning and and end to this amazing musician. Today would have been his 83rd birthday as he was born in Los Angeles on June 20, 1928, the only child of hard-working West Indian immigrant parents. Enjoy "Out To Lunch!"

Tonight is a special program in that your host Gavin Walker takes a back seat and turns the show over to The Manager of Artistic Programming for the Coastal Jazz and Blues Society, Rainbow Robert. Ms. Robert has picked all of the music for the show and talks about the artists and where they will be appearing at this year's Vancouver International Jazz Festival. This is a very special Jazz Festival preview and as usual the Jazz Festival has an amazing array of great artists and is the most popular of all the summer festivals in Vancouver. Welcome Rainbow Robert to The Jazz Show.

Guitar master Grant Green emerged on the Jazz scene in the early 60's and along with Wes Montgomery were two of the most prominent exponents of that instrument. Grant Green, in the mid-60's made a conversion to a more funky organ based sound for his working group. He dropped the Gershwin and Porter standards for more contemporary material from black urban and crossover music. While still retaining his blues based sound on the guitar, Grant explored this groove and also played funky danceable original compositions as he found steady work in small clubs around the nation that existed in the African-American districts in cities throughout the USA. This group recorded at the "Club Mozambique" in Detroit in January 1971 and features Mr. Green on guitar with regulars, Clarence Thomas on soprano and tenor saxophone and organist Ronnie Foster and guests for this engagement, tenor saxophone master Houston Person and drummer Idris Muhammad. Together they hit the right groove and play for listening and dancing. Get down and get funky!

Tonight The Jazz Show celebrates what would be the 102nd birthday of one of the icons of 20th Century music. The King of Swing: Benny Goodman. I'll be presenting as the Jazz Feature broadcast recordings from various locations where the tri, quartet and band played in the peak years of Goodman's popularity in 1937/38. The trio with Goodman on clarinet, Teddy Wilson on piano, and Gene Krupa on drums was augmented to the Quartet with the dynamo of the vibes, Lionel Hampton. The big band with Goodman, Krupa, trumpet aces Harry James and Ziggy Elman and tenor saxophone star Vido Musso was no less dynamic playing great Fletcher Henderson and Jimmy Munday arrangements. Happy Birthday Mr. Goodman...your music is forever.

The conclusion of The Jazz Show of May 23 and the Feature: The Final Recordings of Artie Shaw.

Tonight The Jazz Show is celebrating what would be Artie Shaw's 101st birthday. Arthur Jacob Arshawsky was born on May 23, 1910 and died at the ripe old age of 94 on December 30, 2004. Tonight on the Jazz Feature, I'll be playing a selection of his final recordings as a musician and one of the finest clarinettists in the world. These are small group recordings that show that Mr. Shaw was not resting on his past laurels and was keeping up with the times. With Artie on clarinet are Hank Jones on piano, Tal Farlow on guitar, Joe Roland on vibes, Tommy Potter on bass and Irv Kluger on drums. They were done in New York and Los Angeles in February, March and June 1954 and consituted his final recordings....he never touched the clarinet after this. The selections are all arranged tighly and neatly by Mr. Shaw and show his sence of perfection. The tunes are standards and a few Shaw originals and demonstrate his virtuosity on the clarinet. Someone once asked Shaw who he felt was the best clarinettist......himself or Benny Goodman.....Shaw raised his eyebrows and said "Benny plays the clarinet, I play music'. Indeed Mr Shaw.....Happy Birthday!

Tonight we send birthday wishes to Woodrow Charles Herrman who became better known as Woody Herman, one of the all-time greatest band leaders and one whose place in Jazz history is secure. Woody was born May 16, 1913 in Milwaukee, Wisconsin and passed away at age 74 on October 29, 1987. Woody led so many great editions of his bands that he called "Herds" that this one is no exception. Recorded over a period of three nights at Basin Street West in Hollywood in May of 1963, this edition contained a great rhythm section of Nat Pierce on piano (who was also the band's chief arranger), Chuck Andrus on bass and the amazing Jake Hanna on drums. Some of the stars in this band were Bill Chase and Billy Hunt on trumpets, Phil Wilson and Harry Southall on trombones and as always a superb saxophone section with Bobby Jones and Bill Perkins on tenors, Frank Hittner on baritone and the stupendous Sal Nistico on tenor who at the time was the band's most exciting soloist and who's work on the up-tempo tunes left the other players with open mouths!.Then there is "The Old Man"...the glue that held the band together with his warm work on alto saxophone and clarinet and his occasional vocals. Happy Birthday Woody.....Jazz music was changed for the better by your person and your encouragement of young talent. Woody Herman forever!!!

Booker Ervin was one of the most identifiable voices of the tenor saxophone. He possessed a high, hard, keening sound and a rich blues based concept. He was also Charles Mingus' favourite saxophonist and worked with Mingus and recorded with Mr. Mingus on some of his most important albums such as "Mingus Ah Um", "Blues and Roots", etc. Ervin was born in Denison,Texas on Oct 31,1930 and died of kidney failure at 39 in July of 1970. He recorded a number of fine albums under his own name, especially for Prestige Records. Tonight's Feature was his first done in April of 1960. Booker picked the men and did so wisely. On second tenor saxophone was the great Zoot Sims and Booker and Zoot make an interesting contrast. On trumpet was the older Turrentine brother, Tommy, in fine form. The "poet of the piano" is in fine fettle on this date and will surprise you with his funky, bluesy playing on many of the tunes. George Tucker, a great bassist who studied with Mingus plays exceedingly well with one of Mingus' main men, drummer Dannie Richmond. 5 of the six tunes are by Booker Ervin and they naturally reflect a Mingus attitude. The final tune is a lovely old standard called "Poor Butterfly". This was Booker Ervin's debut recording under his name and it's a good one, worth searching for. However you needn't go too far because you can hear it right here!

Richard Arnold "Groove" Holmes was born on this day, May 2, 1931 in Camden New Jersey and was one of the great masters of the mighty Hammond B3 organ. Holmes, unlike most of the great B3 artists did NOT start on the piano and then switch but began on the Hammond. He developed his own sound that separated him from the other greats on that instrument. His strong point was his magnificent bass lines. Holmes for many years had a very successful career in Los Angeles and he made his first recorded appearance on the west coast Pacific Jazz label. The album is a goody and features a great cast. The official title is "Les McCann Presents The Dynamic Jazz Organ of Richard "Groove" Holmes". Pianist McCann was a best seller for Pacific Jazz records and he turned owner, Richard Bock onto Holmes talent. Holmes put together a fine recording band with McCann on unobtrusive piano, two great horn players in the persons of Lawrence "Tricky" Lofton on trombone and the great Ben Webster on tenor saxophone along with George Freeman on guitar and the tasty Ron Jefferson on drums. It' a fine debut with lots of neat arragements by Mr. Holmes and great playing by all. Holmes died in 1991 at age 60 from prostate cancer and he's missed as he was among the illustious pantheon of great Hammond organists. Happy Birthday Groove!!!!

Ella Fitzgerald wasn't called "The First Lady of Song" for nothing. Her clear diction and faultless intonation and her rich mezzo-soprano voice to this day is unequaled. Also she should be called "The First Lady of Scat" because evn though she didn't invent the art of scat singing, she perfected it and to this day no singer can match her abilities in this direction. To celebrate Ella's 94th Birthday (she was born April 25, 1917)) we are presenting one of her finest performances called "Ella in Berlin". It was recorded before a rapt audience of 12,000 people in what was then West Berlin in February of 1960 with Miss Fitzgerald and her working band including her musical director, Paul Smith on piano, Jim Hall on guitar, Wilfred Middlebrooks on bass and Gus Johnson on drums. Ella sings a wide variety of great standard tunes and concludes the concert with a wild and wonderful scat version of the bop classic "How High The Moon". As a famous classical music critic said "Ella does everything and the only thing she doesn't do is anything wrong". Happy Birthday Lady Ella....you music is forever.

Pianist/composer Cecil Taylor is today recognized as one of the world foremost artists and has received many accolades and honours for his work. His music has always been on the cutting edge and sometimes a great challenge for the casual Jazz listener. Taylor, like that other Jazz iconoclast, Thelonious Monk suffered at the hands of the so-called "Jazz police". He was fired from gigs and booted off more than a few bandstands until he found a group of sympathetic players to work with. This early recording gives the average Jazz listener a clearer picture of Cecil Taylor's musical aims as he was still using the bass (Buell Neidlinger) and the drums (Dennis Charles) in a traditional manner and using 4/4 swing as the basis for his improvisations. He later abandoned that concept and played one on one rhythms and his music became more dense and challenging to the listener. This recording called "Looking Ahead" features Mr. Taylor with his two regular rhythm players plus the only appearance in record by the obscure vibist, Earl Griffith. Their interplay is unique and wonderful but sadly Griffith died not long after this session was completed in June of 1958. Five of the compositions are Taylor's and the ballad is Earl Griffith's composition called "African Violets". Among Taylor's tunes, a mention should go to the title of the last opus called "Excursion On A Wobbly Rail". If you've never heard Cecil Taylor's music before or shied away from it, this is a good place to start. Looking Ahead indeed!

This amazing music was recorded in performance at New York's "Fillmore East", which was at the time primarily a rock venue. Miles Davis had entered his post "Bitches Brew" stage and was entering his new phase and a very new context for his creativity. Miles always moved forward, according to his artistic muse and gone were the standards, and tunes like "Milestones", "So What", "All Blues" etc. His new music featured more electric instruments and was governed more rhythmically by rock and funk. His trumpet work was brilliant in this new context but that very context alienated a lot of his audience but gained many new listeners.This set was recorded in June of 1970 and presents very well edited performances that were pared down to the essence by Miles and his producer, Teo Macero. They captured the best moments from two sets that actually lasted over one hour and they were cut to fit the LP format at 22 to 25 minutes. The people in Miles' band included Mr. Davis and Steve Grossman on tenor and mostly soprano saxophone, Keith Jarrett on organ and keyboards and Chick Corea on Rhodes electric piano and keyboards, Dave Holland on electric and acoustic bass, Jack DeJohnette on drums and Airto Moriera on percussion. There are many melodies segued in these two sets and the music is intense and "balls to the wall". Miles and company are smokin'!!!!

This album is on so many people's "desert island discs". This classic was recorded over two dates in May of 1962. The band worked a few engagements around the New York area then went into the studio. Roy Haynes, who is now 86 years old is one of the wonders of the world as he is still playing as well, if not better than he was when he was much younger. He is amazing, as usual on this recording. Mr. Haynes for most part as a bandleader has always led groups with this simple instrumentation: saxophone, piano, bass and drums. This group was exceptional in that the saxophonist is Roland Kirk, who later became known as Rahsaan Roland Kirk. Kirk, who is blind lived in a world of sound. He plays three saxophones at once and has other instruments strung around his neck and also plays flute and clarinet. We hear some of his work on this record. He plays, flute, manzello (a type of soprano saxophone in Bb) and the stritch (a straight alto saxophone in Eb) plus his tenor saxophone. He are happy that Mr. Kirk visited this planet because there has been none other like him. On piano is "the poet of the piano", the late Tommy Flanagan. His sparkling lines highlight this session. Henry Grimes is on bass and at age 26 had already played with Charles Mingus, when Mingus preferred to play piano, also Sonny Rollins, Thelonious Monk and singer, Anita O'Day. This special band led by the redoubtable Mr. Haynes delivers on all 7 tunes. Four are standards that have not been overplayed and the remaining three are compositions (rare) by Roy Haynes. All in all a classic by a once in a lifetime group. Mr."Snap Crackle" lives!!!

Thad Jones was better known as a bandleader/composer arranger but he was also a magnificent trumpeter. Thad was from the famous Detroit Jones family that produced older brother Hank, the great pianist and the youngest brother, Elvin, one of the most innovative of Jazz drummers. Thad, born in Pontiac, Michigan on March 28, 1923 was the "middle brother". Thad was 63 when he passed away in his adopted city of Copenhagen on August 21, 1986 at age 63. This album celebrates his birthday and is his first in a series he did for the Blue Note label. It's called "Detroit-New York Junction" and it features Thad with fellow Detroiters, Billy Mitchell (tenor saxophone), Kenny Burrell (guitar), Tommy Flanagan (piano) with New Yorkers, Oscar Pettiford on bass and the great unsung drummer Rossiere "Shadow" Wilson. The 5 tunes include two standards and 3 Jones' originals. The album gives us generous portions of Thad's original and unique trumpet playing. Charles Mingus called Thad "Bartok with valves". Happy Birthday Mr. Jones....I'm sure you are now enjoying the company of your brothers in Jazz Heaven.

Rusty Bryant was an authoritative voice of the tenor and alto saxophones. Because of his love for Columbus, Ohio he never ventured very far from that city, where he was a local musical hero. He usually went to New York or L.A. only to record. He had some recorded successes in the mid-50's where he displayed a smooth style and a light Getz-like tone but stayed around Columbus and was rediscovered by Prestige Records and offered a contract. By this time he had changed his style to a more bluesy full-bodied sound and concept and worked in a more funky context usually with a Hammond organ. In his series of discs for Prestige we present his best and his best-selling album called "Soul Liberation" Rusty surrounds himself with some great players like Virgil Jones on trumpet, Melvin Sparks on guitar, Charles (The Mighty Burner) Earland on organ and the great Idris Muhammad on drums. Rusty sticks to the tenor on 4 of the 5 tunes one of which is written by Eddie Harris called "Cold Duck Time" two tunes by organist Earland and one straight blues by Rusty and finally Rusty's tribute, played on the alto saxophone to a cousin who was killed in Viet Nam called "The Ballad of Oren Bliss". "Soul Liberation" is earthy, funky and great for listening and if the spirit moves you....dancing.

Quincy Delightt Jones needs no introduction to anyone even remotely interested in music. Whether you taste is Jazz,pop, or whatever...Quincy Jones has influenced to way we listen to music. Quincy Jones in the mid-50's had established himself in New York as an instrumentalist, arranger, contractor, composer and a musical influence all before his 25th birthday! Today he is 78 as he was born in Chicago on March 14, 1933. Tonight's Jazz feature is called simply "This Is How I Feel About Jazz" and it is a big band album with members assembled from the Jazz elite. Art Farmer, Zoot Sims, Hank Jones, Milt Jackson, Herbie Mann, Charles Mingus are just a few of the names that perform on this album. It was the first full scale recording under Quincy's name and it is a classic. Happy Birthday Mr. Jones...live long!

The name Grachan Moncur might not immediately register with Jazz fans but he was one of the movers and shakers of Modern Jazz in the mid-60's and he was one of the young musicians who pushed the boundries of the music at that time. His trombone work owes little or nothing to J.J. Johnson and co. and he developed an individual concept on that difficult horn. It was his compositions that were unique and very fresh. Moncur did two albums for Blue Note and this is his second called "Some Other Stuff". His previous recordings were mostly with a loose knit band that Moncur had with altoist Jackie McLean but this date was with a hand-picked group by Mr. Moncur. His trombone is blended with Wayne Shorter's tenor saxophone for a perfect tonal match. Herbie Hancock has the chops and adventuresome spirit to compliment the compositions and virtuoso bassist Cecil McBee enhances the tunes as well. Providing some very creative drumming is 19 year old Tony (Anthony) Williams who is perfect for this ensemble. There are only four compositions on this date and the tunes are long enough for the players to stretch out on. Moncur later went into teaching and mentoring but this Blue Note recording is one of his masterpieces and it it what he'll be remembered for. Some Other Stuff indeed!!!!

This album recorded in August of 1959 marked a turning point in the recording career of one of the greatest Modern Jazz tenor saxophonists: Johnny Griffin. Up to this time Griffin's recordings had been casual quartet or "blowing dates" with loosely put together arrangements. This date is different and was also greeted warmly by the critics. What makes this date special is the arrangements and the three compositions by Norman Simmons, a Chicago homeboy of Griffin's. The three horn front line works wonderfully with Blue Mitchell on trumpet, Julian Priester on trombone (another one of Griffin's homeboys) and a strong rhythm section comprising Wynton Kelly on piano, Sam Jones on bass and Albert "Tootie" Heath on drums. Griffin is at his fiery best on this date and plays fewer notes than usual and all his solos "tell a story", as Lester Young would say. The Little Giant is an excellent date and was a real step-up for one of the major voices of the tenor saxophone....Johnny Griffin!

One of Jazz music's greatest drummers was Joseph Rudolph Jones who was better known as "Philly Joe" Jones to distinguish him from the older drummer who was associated with Count Basie: Jo (Jonathan) Jones. One of Philly Joe's last major projects was organizing a 10 piece band to play and revive the music of one of the most important composers in Jazz: Tadd Dameron. The band was called "Dameronia" and recorded two fine albums for the independent Uptown label. One has just been re-issued on CD and has won many accolades this year as "Re-issue of The Year". It was recorded in 1983 and features along with Philly Joe, who was one of Dameron's closest friends, many people who had worked with Tadd. Tenor saxophonist Johnny Griffin is one of the prominent soloists but others are heard to good advantage like pianist Walter Davis Jr.,baritone saxophonist Cecil Payne, alto saxophonist Frank Wess, trombonist Benny Powell and others. The original Dameron arrangements were collated by trumpeter Don Sickler who was a great help to Philly Joe in putting this project together. This is a great tribute to Tadd Dameron, who not only was one of pioneers of Modern Jazz but one of it's greatest composers who should be mentioned along with Monk, Mingus and Ellington. Enjoy Dameronia!

Trumpeter Joe Gordon was a great player who like many others didn't get the recognition that he deserved. His recorded documentation is short with a number of important sideman performances with Dizzy Gillespie, Wes Montgomery, Thelonious Monk, Charlie Parker et al. He only made two albums under his name: one in 1954 and tonight's Feature in 1961. This album is special as it was to be the last under his name as Joe died in November 1963 in a house fire. Gordon was born in Boston and played there with everyone of note then he moved to New York and in 1958 moved west to Los Angeles where he became a first-call Jazz player. This album features eight unique compositions by Joe Gordon and a hand-picked band of relative unknowns from the LA area. Most prominent is alto saxophonist Jimmy Woods, who makes his recording debut here. A fiery and original player. Dick Whittington on piano, Jimmy Bond on bass and Milton Turner on drums complete the band. This document of Gordon's magnificent playing and his fine compositions is a treasure and a great legacy of this underrated player. The album was released on Contemporary Records and is called "Lookin' Good!"

Guitar master Grant Green and Wes Montgomery were two of the most influential voices of their instrument in the 1960's. They seemed to come out of nowhere to Jazz fame and in a way they did. Both honed their skills in their respective home towns...Montgomery in Indianapolis and Green in St. Louis. Cannonball Adderley discovered Wes and brought him to the attention of Riverside Records honcho Orrin Keepnews and Green was discovered by Lou Donaldson who brought him to the attention of Alfred Lion of Blue Note Records. Green's albums for Blue Note from the early 60's are many and all are worth hearing. Tonight's Feature is a most relaxed date where Green and company perform just four standards that have not been played to death. "Street of Dreams" by Victor Young is the title track, Charles Trenet's "I Wish You Love" is heard along with "Lazy Afternoon" and the old theme from the famous TV series "Naked City" called "Somewhere in the Night". The players all sound like a working band even though they were assembled just for this record date......they were all on the same page stylistically. Along with Grant Green, we have a then new star on the scene, Bobby Hutcherson on vibes, Larry Young on organd and Elvin Jones on drums. The album is relaxed and quite mellow but is so creative and interesting that you'll be surprised as to how quickly it's over. That's a sign of a good record! Enjoy Mr. Green and company. The fire burns low but with an intensity and swing that is captivating.

This is arguably Charles Mingus' last great recording. It was done at two separate sessions. One composition was done in 1976 with his working band of the time with Jack Walrath (trumpet), George Adams (tenor saxophone), Danny Mixon (piano) and of course Dannie Richmond on drums and Mingus on bass. The band was augmented by some fine Italian musicans as well. The piece was to be used in a film called "Todo Modo" but alas for a variety of complex reasons it wasn't used in the film but we have the music. That is the first selection. The second called "Cumbia and Jazz Fusion" was recorded the following year (1977) and the first indications of ALS (undiagnosed) was happening to Mingus. Regardless, the composition showed Mingus' appreciation for what we now call "world music". It features his last regular band with Walrath, Richmond and Ricky Ford (tenor saxophone), Bob Neloms (piano) augmented by a few others like Jimmy Knepper on trombone etc. It's a fascinating musical excursion into the mind of Mingus and the music ranges from exotic to straight swing with some satire, politics and ribald humor and anger all rolled into one piece. Mingus' music continues to be some of the most compelling in American Jazz and this is one of his last great statements. Mingus died on January 5, 1979.

January 24 is the birthday of one of the great unsung drummers....his name....Leonard Louis McBrowne. He was born in New York on Jan. 24,1933 and passed away after a short illness in San Francisco in the mid-90's. Lenny had played with many people of note: Billie Holiday, Sonny Rollins, Randy Weston, Thelonious Monk,Paul Bley, just to name a few. Lenny studied with Max Roach and reflected Roach's teaching by playing in a swinging and very melodic manner, something few drummers accomplish. McBrowne loved the West Coast and spent much time there playing in the two major Jazz centers, L.A. and San Francisco. He formed his own band in 1959 and called it Lenny McBrowne and The Four Souls. They only recorded two albums, the first for Pacific Jazz was fine but tonight's Feature was much better. It was produced by Julian "Cannonball" Adderley for Riverside Records and called "Eastern Lights". It has never been reissued on CD. McBrowne wanted to take the band to New York and show the easterners that West Coast guys could play with fire and soul but alas, the trip east never happened and eventually the group disbanded and McBrowne began a freelance career. This recording is a fine document and features the incisive trumpet work of San Diegan, Don Sleet and the great tenor saxophone work of fellow San Diegan, Daniel Jackson. Mr. Jackson was the defacto musical director of this band and did seven of the eight tunes and arranged them all. He is still alive and well and was recently honored in his home town of San Diego with "Daniel Jackson Day"! Pianist Terry Trotter displays a fine touch and technique. Terry became very sought after and went on to a long career in the Hollywood film studios. Bassist Jimmy Bond is solid as a rock. The leader, Lenny McBrowne demonstrates why he became one of the finest drummers on the planet. It's a bit sad that his life ended in relative obscurity. "Eastern Lights" deserves a place among those albums that we call "minor classics".

A significant recording in the long distinguished history of Modern Jazz pioneer, drummer extraordinaire Max Roach. Today, January 10 is Mr. Roach's Birthday and The Jazz Show celebrates this event by presenting the album "Max Roach Plus Four" recorded in September 1956.. This was Max's fist recording after the tragic end to the Clifford Brown-Max Roach Quintet. Brown and the band's pianist, Richard Powell, were killed in a car accident in June 26, 1956. After a period of recovery from this trauma which also affected the whole Jazz community, Mr. Roach reformed the band under his name and kept tenor saxophonist Sonny Rollins and bassist George Morrow. Rollins was finally being acknowledged as the leading new voice of the tenor saxophone and Morrow was one of the strongest bassists in Jazz and one who could keep up with Mr. Roach and the furious tempos that he loved. Trumpeter Kenny Dorham was the very worthy replacement for Clifford Brown and he shines on this album. Ray Bryant, from Philadelphia was a great replacement for Powell and was the first of many fine pianists in this band until Mr. Roach stopped using piano players in the late 50's. The album is inspired and energetic and is a great milestone in the recorded legacy of Mr. Max Roach. Happy Birthday Max!

Alto saxophonist John Jenkins was a rather shadowy figure on the Jazz scene in New York in the 50's. John was born on Jan. 3,1931 in Chicago and today would be his 80th birthday...he died in 1993. Jenkins worked with Mingus for a very short time after arriving in New York in March 1957 then he freelanced. He recorded a number of dates in 1957 as a sideman and a couple as a leader...that's basically it. He dropped out of active playing to go into business and raise his family. The Feature tonight is a tribute to Jenkins' great talent. It's his only album under his name for Blue Note Records and was done in August 1957. John is partnered on the front line by guitarist Kenny Burrell. The rhythm section is a stellar one with the legendary Sonny Clark on piano, Paul Chambers on bass and John's friend from his time with Mingus, drummer Dannie Richmond. This rare item has some good standards like Cole Porter's "From This Moment On" and the ballad feature made famous by Billy Eckstine, "Everything I Have Is Yours". The rest is made up of 3 Jenkins originals and one by Kenny Burrell. All in all a worthy tribute to a fine and almost forgotten talent...Mr.John Jenkins a strong voice of the alto saxophone.

This classic session had always been a Jazz Show tradition and once again this year, 2010, we present it. Little need be said about this date which took place on Christmas Eve in 1954 with Miles Davis in top form as the nominal leader. Milt Jackson is on vibes, Thelonious Monk in trenchant form on piano, Percy Heath on bass and Kenny Clarke on drums. The session is known as the "Bags' Groove Session" as two incredible takes of Milt Jackson's simple blues line is delivered by the band. The other tunes are a Miles Davis/Bud Powell opus called "Swing Spring" plus a Monk/Denzil Best composition called "Bemsha Swing" and finally the Gershwin opus,"The Man I Love". The Jazz Show and your host Gavin Walker wish everyone out there a very Merry Christmas and a Happy New Year and we'll see you in 2011.

This album was recorded by the great tenor saxophonist/arranger/composer Teddy Edwards (April 26,1924-April 23,2003) who was asked to put together a band of relative unknowns for a session for Lester Koenig's Contemporary Records. Koenig paid for the rehearsals and the band recorded over three dates in December of 1960 in L.A. Upon listening to the finished product, Edwards and Koenig shelved to date as the solos were good but the ensembles playing Teddy's charts sounded a bit ragged. It wasn't until 1995 that the tape box was heard again by Teddy and a new producer at Contemporary and they reevaluated the session and decided to put it out. We should be glad they did as Teddy is at his early peak and the band is fine and energetic albeit a bit rough but ready! Edwards chose some good players from the L.A. underground like Nathaniel Meeks on trumpet, the fiery Jimmy Woods on alto saxophone, Modesto Brisenio on baritone sax, Lester Robertson on trombone and Danny Horton on piano, Richard Alderson on bass and the great Larance Marable on drums. A worthy discovery called "Back To Avalon". The band plays some Edwards' originals and also his arrangements of some solid standards. An excellent session all round...enjoy the music of Teddy Edwards.

The album called "Jazz At Oberlin" was a turning point for Dave Brubeck who today (Dec. 6,2010) celebrates his 90th Birthday! When this record was issued by the small west coast independent,Fantasy and even Brubeck's most vituperative critics had to acknowledge the album's worth. It is just five tunes (all standards) from a concert that took place at the midwestern Oberlin College in Ohio on March 2,1953. Brubeck was just beginning to tour colleges with his Quartet and he succeeded in opening up a whole new market for Jazz. The concert at Oberlin was attended by mostly music students who had very little experience listening to Jazz. Brubeck changed all of that and you'll hear the audience reaction to the solos and various passages. The quartet is in blazing form with everyone at their best. Brubeck and alto saxophonist Paul Desmond excel and the rhythm section comprising two San Franciscans, bassist Ron Crotty and drummer Lloyd Davis. The playing on these five tunes surpasses any recorded performances by the Quartet up to this point. Brubeck was on his way and the following year (1954)Dave signed a lucrative contract with Columbia Records and the rest is history. Brubeck by this time became the most popular musician in Jazz and all of this happened before "Time Out" and "Take Five"!!!!! Happy Birthday Mr. Brubeck!

Baritone saxophone master Leo Parker has been unfairly treated in the history books and left out as one of the pioneers of Modern Jazz and the first major baritone saxophonist of the modern era. Parker's life, like many musicians of his era was short and blighted by drug use and he experienced long periods of incarceration because of that. Tonight's Feature was to be his second album marking a "comeback" in 1961. The first was issued on Blue Note and was musically fine and a positive step in bringing Parker's name back to the forefront of Jazz. Parker, who was no relation to Charlie Parker was born in Washington D.C. on April 18, 1925 and died at age 36 in New York on February 11, 1962, dead of a heart attack brought on by a drug overdose. This fine album was never issued until the Blue Note vaults were opened in the 80's. It's a good example of accessible and swinging Jazz with Leo's well organized band of lesser known but excellent players. Lots of blues and jump tunes and Leo's huge toned and distinctive baritone saxophone make "Rollin' With Leo" an enjoyable musical trip. Leo Parker deserves a much more prominent place in the pantheon of baritone saxophonists. The greats as we know are Harry Carney then the modern players like Gerry Mulligan, Serge Chaloff, Cecil Payne, Pepper Adams, Bob Gordon and LEO PARKER!

Jimmy Knepper was born today in Los Angeles on Nov. 22,1927 and passed away in 2003. Knepper was one of the foremost Jazz trombonists and had an unmistakable style. He wrote and arranged as well and tonight's Feature has all of Jimmy's unique tunes. His most famous association was with Charles Mingus from 1957 to 1962 and he appeared on some of Mingus' most famous classic recordings. Their association ended abruptly in 1962 after a fight but resumed in 1975 when Mingus said that he felt Jimmy was the very best Modern Jazz trombonist. Knepper recorded little under his own name but tonight's Feature is one of Jimmy's definitive recordings. Jimmy hand picked the band and some of his favorite players are here including two from his Mingus days in the persons of "Sir Elf" Roland Hanna on piano and the great Dannie Richmond on drums plus George Mraz on bass and Al Cohn (in magnificent form) on tenor saxophone. All of the compositions are Jimmy's and they are all interesting in that some of them reflect a Mingus influence. The album is called "Cunningbird" and this is the only tune that Jimmy recorded before, all the rest were written for the date which was done in NYC in Nov. 1976. Happy Birthday Mr. Knepper....your music will be with us for a long time.

Legendary pianist Sonny Clark was a known entity on the Jazz scene for about 9 years. His life was snuffed out by drug addiction and he died in January 1963 at age 31. Originally from a small town near Pittsburg, Clark moved to Los Angeles for a few years and began recording in early 1953. In L.A. he joined clarinetist Buddy DeFranco and toured the US and Europe and became better known. Returning to his base in LA, Clark began to get restless and wanted to return to New York where the action was happening. He took a gig with singer Dinah Washington and got back to The Big Apple. He left Dinah and immediately began working with Sonny Rollins and also signed with Blue Note records. Despite his drug problems, Alfred Lion, the head of Blue note, loved Sonny Clark and gave him many opportunities to record as a sideman and leader. The Feature album is one of Sonny's classics in that it has such a stellar cast: John Coltrane on tenor saxophone, Curtis Fuller on trombone, Donald Byrd on trumpet, Paul Chambers on bass and Arthur Taylor on drums. This recording was done a few weeks after Coltrane's famous "Blue Train" date and three of the participants are here with Clark. Three great standards, arranged by Clark are presented and two distinctive Clark originals. I think you'll agree that "Sonny's Crib" is a classic and typifies the best of New York Jazz from the mid-50's.

If there were two North American musicians who instinctively understood the subtle and lyrical rhythms of the Bossa Nova it was tenor saxophonist Stan Getz and arranger/composer Gary McFarland. The Bossa Nova (loosely translated "new beat") originated in Brazil and came to America through people like Dizzy Gillespie and guitarist Charlie Byrd who visited Brazil and brought back the concept of the Bossa Nova. Tenor saxophonist Stan Getz and Byrd had already recorded the famous "Jazz Samba" album which reached hit status and this is one of the follow ups and is our Feature album called "Big Band Bossa Nova". The title is pretty self explanatory and the chief soloist is Stan Getz. There are also short solos by guitarist Jim Hall and pianist Hank Jones, valve trombonist Bob Brookmeyer and one has to mention the wonderful drumming of Johnny Rae. McFarland's writing and arranging and his compositions are a perfect match for Jazz master Getz. Big Band Bossa Nova will take you to a nice warm place this cold November night....enjoy the ride!

Lou Donaldson on this day,November 1, 2010 is 84 years old and is one of the living masters of the alto saxophone and someone who has stylistic ties with Charlie Parker. Lou burst on to the New York scene in 1952 after a stint in the US Navy and was soon recording and working with Thelonious Monk, Milt Jackson, Art Blakey, Clifford Brown and others. From 1955 onward, he has led his own bands and enjoyed a long career. He recorded as a sideman with the great master of the Hammond organ, Jimmy Smith in 1957/58 and liked the instrument and since then has used the organ in his working bands. Tonight's Feature is a Donaldson classic recorded in 1967 with New Orleans cornettist, Melvin Lastie Sr., a young George Benson on guitar, (Dr.)Lonnie Smith on organ and Leo Morris (aka Idris Muhammad) on drums. The album is called "Alligator Bogaloo" and was a good seller when it was issued on Blue Note in 1967 but it's an even better seller today as many djs, hip-hop and rap artists have sampled this album. It's funky, fun and entertaining and has a high level of artistry much like Lou's performances today. Donaldson at 84 is still touring, recording and playing. We should all be grateful he is still with us! Happy Birthday Poppa Lou Donaldson!

Today (October 25,2010), tenor saxophonist/composer/arranger turns 84. Tonight's Feature is an award winning album that has Jimmy playing his tenor saxophone and having his compositions played by a big band. "Little Man, Big Band" is the title and it's a great tribute to this living link to one of the most important periods in Jazz History. Jimmy Heath is the middle brother of the famous Philadelphia Heaths. His older brother was the late great bassist Percy and his younger brother is the fabulous drummer, Albert (Tootie) Heath. Jimmy is one of the major voices of the tenor saxophone. He also plays flute and soprano saxophone. He is equally famous for his many compositions like "For Minors Only", "Gingerbread Boy", "CTA", "Picture of Heath" etc. that have become Jazz standards. His writing and arranging for big bands is also part of his immense talent. We'll hear all of this on tonight's Feature with this specially assembled big band led by Jimmy. Happy 84th Mr. Heath....your music is forever!

Tonight is the birthday of one of the finest Jazz singers the world has ever seen except she doesn't get often mentioned when many people discuss Jazz singers. The names Ella, Billie, Sarah and sometimes Carmen are often mentioned but it seems that Anita O'Day is often omitted. Anita IS one of the greats and through her tempestuous life she managed to have many musical successes and was able through her great talent, to reinvent herself many times. One of her classic and finest recordings is tonight's Feature. It combines Anita with the orchestra under the direction of the talented and sadly departed Gary McFarland. McFarland assembled an all-star orchestra and wrote all of the arrangements to feature Miss O'Day. She sings some old tunes done up in very new clothes and some brand new (for the time) material. The album entitled "All The Sad Young Men" was completed in 1961. The centerpiece and title track was the immoral tune by Thomas Wolf and Frances Landesman called "The Ballad of the Sad Young Men", a composition depicting young men going off to war. The theme is universal. Happy Birthday Miss O'Day (born in Chicago on Oct. 18,1919).Your music will live forever and this album represents you at your very best!

An historic record date done for Atlantic Records on May 14 & 15, 1957 with the l957 edition of Art Blakey's Jazz Messengers with Bill Hardman on trumpet, Johnny Griffin on tenor saxophone, James "Spanky" DeBrest on bass and Blakey on drums plus Thelonious Monk on piano. Blakey and Monk were good friends and frequent musical collaborators and Monk agreed to do the date on two conditions, one: that they bring in his favorite bassist, Wilbur Ware to the date and two: that the date be mostly Monk's tunes. Everybody arrived on time save for Ware who showed up too drunk and stoned to play. The date looked like a disaster but Blakey called his regular bassist, Spanky DeBrest to come in and lucky for everyone, Monk liked the young bassist. The date then proceeded but with difficulty as the horn players, as good and talented as they were having difficulty playing Monk's music. Monk was most critical of Bill Hardman but Griffin at least had worked with Monk a few years earlier so had a handle on some tunes. They recorded half the album all night and into the morning of the 15th.....took a break for breakfast then completed three tunes to finish the date. We'll hear some never before released out-takes by the band then the "after breakfast" takes that were released on the original recording and they are Monk's "In Walked Bud" and "Rhythm-a-ning" and Griffin's "Purple Shades". The date is now a classic....enjoy!

Pianist Walter Bishop Jr. was born in New York of West Indian parentage like many Jazz players (Sonny Rollins, Randy Weston,Arthur Taylor etc.) in 1927 and died in 1998. Bishop was the most swinging and hardest driving of the piano players who came out of the Bud Powell school of playing and there were many. Powell was to the piano what Charlie Parker was to the alto saxophone. Bishop was on the major league Jazz scene in New York from 1947 and played with Art Blakey, Miles Davis and was Charlie Parker's pianist from 1951 to Parker's death in 1955. Ironically Bishop never recorded an album under his own name until this one in 1961. It came out on a small independent label called Jazztime and was called "Speak Low". Walter Bishop displays his wares in fine fashion here with solid backing by Jimmy Garrison on bass and Granville (G.T.) Hogan on drums. The great Canadian Jazz icon Don Thompson told me back in 1961 to buy this album as he said "this is what a piano trio should sound like!" I agree and I think you will too!

The great trumpeter Freddie Hubbard died at age 70 in 2008 and he is sorely missed to this day. He is a musician who always gave his all every time he picked up his horn. Freddie could play with musicians who were stretching the Jazz language like Ornette Coleman, Eric Dolphy, John Coltrane, Andrew Hill and contribute to their concept and then turn around and play with Art Blakey, Cannonball Adderley and Bill Evans and contribute to their concept. Freddie could play anything and always seemed to play his best in whatever context. Blue Note's owner, Alfred Lion heard Freddie in 1960 at a Monday night jam at Birdland in New York and signed 22 year old Hubbard to a contract which lead us to tonight's Feature. This is Freddie's sophomore album and it's called "Goin' Up". Freddie surrounded himself with seasoned veterans with the exception of a young pianist named McCoy Tyner, who was on Freddie's first Blue Note date, like Hank Mobley on tenor saxophone. Hank also contributed two tunes to the date. On bass and drums were Paul Chambers and Philly Joe Jones....there are none better for the type of music Freddie wanted to present. Trumpet giant Kenny Dorham was also asked by Freddie to contribute two tunes to the date and they are the most exciting tracks of the set. A ballad and a minor key blues by Freddie complete the set. "Goin' Up" is a lesser known classic but one of Hubbard's early best dates.

As part of The Jazz Show's tribute to Fall and the "back to work/school/grind" syndrome we present Part 2 of our educational and I hope, entertaining Jazz Feature explaining this unique American art form known as Jazz. Maestro Bernstein tells you with musical demonstrations by himself at the piano and guest artists like Duke Ellington, Coleman Hawkins, Buster Bailey, Louis Armstrong etc. what is and what isn't Jazz. The second part is an an analysis of a "standard" tune (Sweet Sue) and the way different artists interpret and improvise on it with people like Phil Woods, Teo Macero and Miles Davis and John Coltrane. Leonard Bernstein is his usual eloquent and lucid self making the learning process fun and educational and will give one a basic idea of what Jazz is all about. Viva Leonard Bernstein!

This is from a recording done in 1960 for Riverside Records and it is a capsule history of Jazz with recorded examples and snippets of recordings available to Riverside at the time. The narrator is one of the masters of the alto saxophone and great bandleader Julian "Cannnonball" Adderley. It is an enjoyable short history of this great American art form and is Part 1 of a two part Jazz Feature to signal the beginning of a new school year. It is still a very useful disc despite it's date (1960)....it's too bad that Adderley was not called into the studio every five years or so to update this recording but this is all we have. Educational and entertaining.

Very little need be said about tonight's Jazz Feature except to say that is our way of celebrating Sonny Rollins 80th birthday. He was born in New York on September 7,1930 and is healthy and hale and still performing, recording and touring and of course, documenting his history in interviews and on the web. Mr. Rollins is a living history of Modern Jazz. Tonight's Feature was recorded and issued on Blue Note Records and documents an afternoon and mostly an evening performance at New York's fabled Village Vanguard on November 3, 1957.By this time Rollins was the talk of the Jazz world and emerged as it's most prominent exponent of the tenor saxophone. John Coltrane was at this time still an emerging talent. From the early summer of 1957, Rollins had struck out on his own, first leading a quintet, then a quartet and finally a trio with just bass and drums. This format became his preferred working band until his famous sabbatical in 1959. The afternoon piece featured an obscure bassist named Donald Bailey (not to be confused with the drummer of the same name) and a young New York drummer named Pete LaRoca (Peter Sims)....they play one selection: Dizzy Gillespie's classic; "A Night in Tunisia" then we go to the evening and Sonny is joined by the great self-taught bassist Wilbur Ware and the fiery Elvin Jones on drums. This rhythm section kicks Mr. Rollins into high gear and the rest is Jazz history. This is Sonny at his early peak. A great evening! Happy 80th Mr. Rollins!

The name Johnny Lytle may not be a household word but he was a very well respected player of the vibraphone. Like one of his mentors, Lionel Hampton, Lytle began his career as a drummer then switched to vibes. His two greatest influences were Lionel Hampton and Milt Jackson. Hampton called Johnny Lytle "the best vibist in the world today" and Milt Jackson said that Johnny had "the fastest hands in the business". Lytle spurned offers from major labels as he did not wish to be dictated to musically and stuck with the independents. He recorded for Jazzland and Riverside, Solid State and Muse. He also preferred to work in small clubs in ghetto neighborhoods. He was born in Springfield, Ohio on October 13, 1932 and died there in on December 15, 1995. He was so well respected and loved in his hometown that there is a street named for him "Johnny Lytle Avenue". Tonight's Feature is a rare recording for the Jazzland label called "Nice and Easy-The Soulful Vibes of Johnny Lytle" He appears here with an all-star group with "The Little Giant", tenor saxophonist Johnny Griffin on all but one of the seven tunes, a mix of standards and original compositions by the members of the group. The rhythm section is stellar with Bobby Timmons on piano, Sam Jones on bass and Louis Hayes on drums. Those of you who are familiar with Cannonball Adderley's great band will remember this rhythm section. All in all this is one of Johnny Lytle's finest recorded moments so sit back, relax and enjoy "Nice and Easy".

Tonight's Feature is very special as it is one of the few recordings that arranger/composer Gil Evans did under his own name. We all know that he became famous for his four recordings with Miles Davis: "Miles Ahead","Porgy and Bess","Sketches of Spain" and finally "Quiet Nights" but him recordings under his own name were few although he made that up during his later years. This was done in 1964 in several sessions with a hand-picked band and featured some great solo performances by tenor saxophonist Wayne Shorter.alto saxophonist Phil Woods, guitar master Kenny Burrell, trumpeters Thad Jones and Johnny Coles and drummer Elvin Jones, Gil Evans weaves his magic with his orchestrations and piano playing and proves himself to be a musical alchemist of the highest order. "The Individualism of Gil Evans" is an apt title for this masterpiece.

This band of musicians are the cream of the crop of New York City's "straight-ahead" players. I hate to use that cliche phrase but to expand that a bit I would like to say that the musicians in this band reflect the deep and rich traditions of Jazz music while still remaining modern and relevant. The people involved in this great band called "One For All" have been playing together as a group for over 20 years and when you hear their music you'll understand that fact as the ensembles are tight and beautifully orchestrated to make the three horn front line sound much bigger than it is. There is a huge difference between a one time get-together of great musicians and a band and this is a BAND! The people involved are Jim Rotondi on trumpet and flugelhorn, Eric Alexander on tenor saxophone, Steve Davis on trombone, David Hazeltine on piano, John Webber on bass and the dynamic Joe Farnsworth on drums. When you read these names you will recognize them all as they are some of the most significant voices on their instruments in Modern Jazz. Sit back and enjoy the sounds of "One For All" and their latest offering: "Incorrigible".

Tonight's feature is special in a way that any Miles Davis recording is special but it's special also because I was there in the audience as a young man on April 21, 1961 at The Blackhawk in San Francisco. Columbia recorded both Friday and Saturday nights (April 21 and 22) and did an exceptional job capturing the sound of this edition of Miles' quintet. Miles on trumpet and the great and usually (until now) underrated Hank Mobley on tenor saxophone, the magical Wynton Kelly on piano, Paul Chambers on bass and the surviving member of this band, the magnificent Jimmy Cobb on drums. We will hear the entire second (and longest) set of Friday evening and experience the way Miles Davis would pace a set. The tunes are: Cole Porter's "All of You", Davis' "Neo" aka "Teo", "I Thought About you", "Bye Bye Blackbird" and "Walkin'". It was a thrill to be there in the audience and everytime I hear these tracks it takes me back to San Francisco and The Blackhawk. Enjoy the set!

This major Jazz orchestra was the brainchild of one of the leading arrangers and trumpeters in Jazz music: Thad Jones and one of the finest big band drummers: Mel Lewis. It began as a rehearsal band but soon through the efforts of Thad and Mel scored a regular Monday might gig at New York's leading Jazz club, The Village Vanguard. The band soon became an institution and began a series of recordings of which this is it's first live recording. It has become a classic. It was recorded on April 28, 1967. You'll hear stars like Eddie Daniels, Pepper Adams, Bob Brookmeyer, Roland Hanna, Richard Davis, Snooky Young and many more delivering spirited solos and basking in the glory of playing in one of the finest concert Jazz bands in history. After Thad's departure in 1978, Mel Lewis took over exclusive leadership until his passing and to this day it continues every Monday as The Vanguard Jazz Orchestra. Tonight's Feature is it's incredible beginning and what a beginning it is!

This wonderful recording is led by one of the most distinctive tenor saxophonists in Jazz, Clifford Jordan. Here he leads two quartets each playing original material composed by Jordan himself and the individual band members.The people involved in Quartet #1 are Jordan on tenor saxophone, Stanley Cowell on piano, Bill Lee (Spike Lee's dad) on bass and the great Billy Higgins on drums. One composition by Jordan, two by Cowell and two by Lee are represented. The music is pure, lyrical and organic. Quartet #2 has Jordan and Higgins with Cedar Walton replacing Cowell and Sam Jones replacing Lee. Jordan is represented compositionally by the album's title track (Glass Bead Games) and Walton penned two and a Sam Jones blues (One For Amos) closes the set. Again the music is passionate, organic and unified. It just flows and has a quality that is missing from most Jazz recordings, a great feeling of a band! This music came out on a musician-run label called "Strata-East" and it is now hard to find. It was recorded in New York on October 29,1973 and in those days it was like a breath of fresh air. It is just that today....timeless music and the best of Jazz.

This is an important document in Jackie McLean's recorded legacy for Blue Note Records, a label he recorded for from 1959 to 1968. McLean, who was a member of the second generation Modern Jazz players who came after Charlie Parker/Dizzy Gillespie/Bud Powell etc., was rooted in the language of what was called "Bebop". McLean in the 60's was open to new influences and of course was listening to Coltrane, Ornette Coleman, Eric Dolphy et al. He absorbed these influences into his own playing and retained his strong identity. His concept and his unique sound broadened and the albums that he recorded during this productive Blue Note period are treasured. Tonight's Feature is called "It's Time" and has McLean and a young trumpeter from Florida named Charles Tolliver who makes his recording debut here. Tolliver composed three compelling tunes for the album as well. McLean composed the remaining three. The energetic rhythm section makes this album really happen and you really can't go wrong with the incredible Herbie Hancock on piano, who at the time of this date (1964) was with Miles Davis. Cecil McBee always seems to get left out when someone mentions great bassists and of course, what can be said about drummer Roy Haynes that hasn't been said before. Haynes is now 84 and still playing with the same energy and creativity as he does on this record. "It's Time" is representative of the best of Jackie Mclean and company, so sit back and enjoy what these master musicians have to offer.

Pianist/composer Bobby Timmons was responsible for a number of Jazz "hits" like "Moanin', "This Here" aka "Dish Hea", "Dat Dere" and of course he was a master of gospel/blues style piano. The other side of Timmons was his single note style which came from Bud Powell. Both these styles were woven into Timmons' concept. This album despite it's title: "The Soul Man" is more reflective of Timmons' Powell-like approach although his playing is still full of soul and feeling. Timmons is featured with a great band that has Wayne Shorter on tenor saxophone as the sole horn. Wayne was with Miles Davis at the time of this date in January 1966 as was bassist Ron Carter. The redoubtable Jimmy Cobb is on drums. Timmons penned two tunes for the date: The 5/4 opus called "Cut Me Loose Charlie" and "Damned If I Know". Shorter contributed "Tom Thumb": his affectionate name for Timmons. Carter wrote three tunes: "Ein Bahn Strasse" and two that were recorded by Miles Davis: "Tenaj" and "Little Waltz". This is a fine document by a very underrated piano stylist who, although he was recognized when he was with Blakey and Adderley seemed to fade from view and died in relative obscurity in 1974 at age 38. Bobby Timmons: The Soul Man!

Richard "Blue" Mitchell was one of the most distinctive voices on the trumpet. He came through various r & b bands and paid long dues on the road but in 1958 he joined pianist Horace Silver's great band and never looked back. He began recording under his own name as a leader and sideman and made a wonderful series of recordings for Riverside and Jazzland Records. After playing an important sideman role for the Blue Note label, Blue was signed up by head honcho Alfred Lion. The Jazz Feature tonight is Mitchell's first recording under his name for Blue Note and it's a fine one. The only irony is that for some reason it was never released although given a photo and a catalogue number. Other Mitchell recordings were issued but not this one. It was finally issued in the early 80's after Mitchell's untimely death from cancer in 1979. It's an excellent session with Mitchell in inspired form but the co-star is a young Joe Henderson who not only plays tenor saxophone but contributes two compositions (Step Lightly and Mamacita) and arranged the rest. On alto saxophone is the very unique sound of Leo Wright, Leo embarked for Europe soon after this session and Jazz fans forgot about him. On piano is a young and energetic Herbie Hancock. Gene Taylor on bass and Roy Brooks on drums are Mitchell's buddies from Horace Silver's band. The group is tight, fresh and inspired. "Step Lightly" is a worthy addition to Blue Mitchell's recorded legacy.

Tonight's Jazz feature is a wonderful recording that was meant for private use. It was recorded by Dave Quarin, a great Vancouver saxophonist who also ran one of Vancouver's finest Jazz clubs: The Cellar. The original Cellar was in existence from 1955 to 1963 and run as a co-operative venture by musicians and artists. The staff was volunteer and only the musicians were paid. Local players were featured and at times the club brought in name players. Such was the case with our Jazz Feature. The great tenor saxophonist, Harold Land took over a wonderful band that had just backed up Sonny Rollins for two weeks in San Francisco and brought them to Vancouver in November 1958. The music was some of the best Jazz that I ever heard as I was there in Nov. 1958....I had just moved to Vancouver and was still in High School but I witnessed the music for three of the four nights they were here. The music was a powerful and distant memory until the tapes of several tunes made the rounds of musicians and eventually ended up at Lonehill Records where all the tunes were collated on a single 80 minute CD with some of the profits of the sales going to the Harold Land Estate. The music is powerful and strong and all of these men are at their creative peak: Harold Land, the leader on tenor saxophone, the legendary Elmo Hope on piano, Scott LaFaro on bass, who eventually made history with Bill Evans and the fine dynamic drumming of Lennie McBrowne complete this incredible quartet. Only two long tunes will make up a complete set: the standard, 'Just Friends' and the Charlie Parker blues called 'Big Foot' plus a short version of the band's theme, Dameron's 'The Scene is Clean'. Powerful music from a legendary band at a now legendary club.

The music of pianist/composer Armando Anthony "Chick" Corea needs no introduction to most of you. He is a musician extraordinaire who has covered every musical base possible. From "free" avant-guarde Jazz to classical music, it's all the same to Corea. Tonight's Feature is called "Trio Music" and it is mostly that. This is a re-union of three musicians with special chemistry and they are: bassist Miroslav Vitous and drummer Roy Haynes. The selections were recorded during a European tour in September 1984. The set opens with a Corea composition called "The Loop" then we move to two standards woven together: "Summer Night" by Dubin and Warren segueing to Cole Porter's "Night and Day". Solo piano follows this and it's Mr Corea playing Alexander Scriabin's "Prelude #2" and segueing to a Corea creation called "Mock Up". Finally back to the trio with Vitous' composition "Mirovisions". All in all totally inspiring music by three masters. Corea, Vitous and Haynes. Enjoy!

Tonight's show is always a special one and it is The Jazz Show's tribute to the city of Vancouver's most famous and best attended cultural event: The 2010 Vancouver International Jazz Festival. As is tradition Gavin Walker's guest host and musical selector will be John Orysik, the Media Director for The Coastal Jazz and Blues Society, the organization that brings you The Jazz Festival. All the artists on tonight's show are appearing at this year's Jazz Festival which is marking it's 25th year. Congratulations all around!

Harold Floyd Brooks, better known as "Tina" (a nickname that he was given because of his small size is a corruption of "Teeny" or "Tiny") was one of the sadder stories in Jazz music. This well respected musician broke into the big time Jazz scene in 1958, after years in anonymous r&b and Latin bands, on a famous recording date with organist Jimmy Smith called "The Sermon". Brooks distinctive sound and blues inflected approach was like no other and Blue Note head honcho Alfred Lion took to Brooks and recorded 4 great sessions with Tina. The only problem was that Lion only released one. The others were never issued until long after Brooks' death in 1974. Brooks only recorded for Blue Note (with one exception) as a sideman and leader from 1958 to 1961. After 1961 he never recorded again. Because of an addiction to hard drugs and general physical dissipation, he stopped playing by the late 60's and died in ill health and abject poverty in 1974. Tonight in celebration of what would have been Brooks' 78th birthday, The Jazz Show is presenting one of his classic recordings. This album was advertised, sequenced, mastered and given a number but never issued. "Back To The Tracks" is a beautiful representation of New York Jazz in the early 1960's before the changes wrought by Cecil Taylor, Ornette Coleman and John Coltrane and others moved the music in a new and different direction. Brooks' strong, lyrical and intense horn is heard at it's best and the band is a stellar all-star group. Along with Brooks on tenor saxophone, there is Blue Mitchell on trumpet, Kenny Drew on piano, Paul Chambers on bass and Arthur Taylor on drums plus on one long track, a cameo appearance by alto saxophone master Jackie Mclean. Happy Birthday to Tina Brooks, who finally got some of the recognition he warranted when he was still alive.Tina brooks was born on June 7,1932 in Fayetteville, North Carolina and died on August 13,1974 in New York.

This hard driving blues based modern Jazz session was co-led by two great products of a Chicago high school named DuSable which had a great music program headed by the legendary "Captain" Walter Dyett. One of the co-leaders is Bennie Green who was one of the early modern trombone masters. Although he isn't treated with the same reverence as J.J.Johnson, Bennie should be recognized as one of the pioneers of Modern Jazz. Gene Ammons is the other co-leader and he is now considered to be one of the major voices of the tenor saxophone. Gene had a huge sound and a way of playing and phrasing that has influenced scores of players. Sadly Bennie died in obscurity in 1977 and Gene passed away in 1974, finally recognized and given stature after being slagged for many years by snobby Jazz critics. Green and Ammons put together a great band for this November 1958 session. The "two Franks" from the Basie band were added in the persons of tenor saxophonist/arranger Frank Foster and tenor saxophonist/flutist Frank Wess. A great added plus was the bright, salty cornet of Nat Adderley. Tommy Flanagan is on piano, Eddie Jones on bass also from the Basie band and Albert "Tootie" Heath is on drums. The tunes are mostly blues based and easy to take but the solos are inspired and the session is coherent and has direction. A good date and a fine showcase for all the talents involved and fun to listen to!

This album was the first domestic release of the music of Charles Mingus in the 70's. Mingus was inactive during the latter half of the 60's. Health and financial problems plus a lack of interest in continuing leading bands and creating music and a general sense of discouragement plagued Mingus during this time. He began playing toward the end of the decade and went on a tour of Europe with a great group and did some fine recordings over there. On his return he was contacted by the great producer Teo Macero to record of Columbia. Macero and Mingus went back a long time as Macero played tenor saxophone with Mingus in the mid-50's. Columbia's budget was big enough for Mingus to put together a dream band (he always wanted to tour and perform with a large orchestra) and play his great compositions and arrangements. The band is huge with too many players to mention here but the chief soloists are Charles McPherson on alto saxophone, Bobby Jones on tenor saxophone, Lonnie Hillyer on trumpet and on one piece called "Hobo Ho", James Moody is featured on tenor saxophone. Mingus is heard on bass and piano. Sy Johnson and Teo Macero conduct the orchestra. Mingus was actively involved in the post-production of this complex and fascinating recording. Just before his death from ALS on January 5,1979, Mingus was asked what was his favourite album of his own works. He unhesitatingly replied "Let My Children Hear Music". You will hear this monumental opus tonight. Mingus forever!

This album aptly titled by Blue Note Records' owner Alfred Lion was called "Swing, Swang, Swingin'". "That's what the guys did and this was one of the most relaxed sessions I ever supervised". This was alto saxophone master Jackie Mclean's first quartet date for Blue Note, a label that he signed with in 1959 after several unhappy years with Prestige. Jackie was with BLue Note from 1959 to 1968 in a very good relationship with a label that saw him go through many alterations and advances of his style which was in early years heavily influenced by Charlie Parker (what alto saxophonist wasn't?). This date shows Jackie at his first level of maturity with added depth to his unique sound and a smoothing out of his ideas which flow much more easily. Most of all he sounds like no one else.....Jackie McLean had arrived. He picked his sidemen well in two old friends that he grew up with in the Sugar Hill area of Harlem in the persons of drummer Arthur Taylor and pianist Walter Bishop Jr. New to New York but with experience playing with Bill Evans, Tony Scott and Lennie Tristano was bassist Jimmy Garrison. Garrison went onto fame as the bassist with Coltrane's "classic quartet". The set consists of 5 standards all fairly common except Irving Berlin's "Let's Face The Music and Dance". Benny Golson's Jazz classic "Stablemates" gets a good reading and the set winds up with a good blues by Jackie called "116th and Lenox", depicting an important intersection in Harlem. As Mr Lion said they came and they did swing and swang and were swingin'! Happy Birthday this May 17th to Jackie Mclean....he would have been 79. Mr. Mclean passed away on March 31,2006.

Tomasz Stanko is not a household word among North American Jazz fans but I'm sure he'll become better known through his various concert appearances at this summer's Jazz festival season with his new band. Stanko is Poland's best known Jazz musician and he has played every kind of Jazz imaginable. He was born in Rzeszow Poland on July 11,1942 into a musical family playing piano and violin but began trumpet studies in 1959 after being inspired by Miles Davis. Stanko has carved a place for himself in Jazz history and now resides in New York. I'm sure he will become more well known to North American audiences. The album that is tonight's Jazz feature is his latest for the ECM label and is called "Dark Eyes". It presents Stanko's new band made up of himself on trumpet, Alexi Tuomarila on piano, Jakob Bro on guitar, Anders Christensen on bass and Olavi Louhivuori on drums. Of the ten compositions, eight are by Tomasz and two are by his former mentor Krzysztof Komeda. The compositions range from introspective and dark to hypnotic and declarative. The music is fascinating and very riveting and grabs one's attention. Tomasz Stanko is a true original and "Dark Eyes" is worthy of your attention.

Pianist Jaki (John) Byard was a genius who played every instrument in the band more than well but we'll always remember him as a great piano player whose style covered the history of Jazz from stride and ragtime to the avant-guard and all the stops in between. Jaki was born in Worcester, MA on June 15,1922 and died in New York on February 11,1999. He was murdered and the case is still one of the NYPD's unsolved mysteries. Jaki recorded prolifically under his own name and as a sideman but he made some of his most significant statements as part of the volatile Charles Mingus Jazz Workshop. Byard composed and arranged as well and Mingus valued his association with Jaki. The Feature tonight was recorded about a year after a fabled tour of Europe with Mingus and he was about to return to the Workshop but he assembled this quartet for some engagements and they were recorded at a little club in West Peabody MA called "Lennie's on the Turnpike" The band was hot that night in April and with the great bassist George Tucker, drum master Alan Dawson and tenor and soprano saxophonist and flutist Joe Farrell, Jaki couldn't go wrong. Byard leads from the piano with cues and shouts to the guys and the music is loose, swinging and inspired and reaches some of the same creative intensity as a Mingus set. Jaki Byard "LIVE!" is an exciting experience....have a good time with this music.

Gil Evans place in Jazz history was essentially made alongside Miles Davis. Beginning with the famous Miles Davis nonet that recorded for Capital Records in 1949-50 as "The Birth Of The Cool" and then later in the 50's and 60's with a trio of albums recorded by Miles Davis with the Gil Evans Orchestra: "Miles Ahead", "Porgy and Bess" and "Sketches of Spain" and to a lesser extent "Quiet Nights". These collaborations brought fame to Gil Evans and in 1960 he decided to form his own band where he conducted and played piano and through a 6 week engagement at a New York club called The Jazz Gallery in Greenwich Village, he took the band into the studio to record for a new label called "Impulse Records" run at the time by producer extraordinaire, Creed Taylor. They produced this classic statement called "Out Of The Cool". Gil's hand picked band featured some great soloists like trumpeter Johnny Coles ('Little Johnny C'),bass trombonist Tony Studd and trombone great Jimmy Knepper, tenor saxophonist Budd Johnson, underrated guitarist Ray Crawford, powerhouse drummer Elvin Jones and Mr. Evans himself conducting and playing piano. Intricate ensemble passages abound with the use of bassoons, flutes, piccolos etc. Ron Carter is on bass and Charli Persip adds some effective percussion sounds. The tunes are by different composers but all have the Gil Evans touch as he arranged everything here. He wrote two tunes ("La Nevada" and "Sunken Treasure"), there is one by Weill and Brecht ("Bilbao Song"), two by Jazzers Horace Silver and George Russell ("Sister Sadie" and "Stratusphunk") and a beautiful obscure ballad called "Where Flamingos Fly" featuring Jimmy Knepper. All of this adds up to a truly classic album and one of the finest statements by the legendary Gil Evans. Incidentally, Mr Evans was born in Toronto, Canada on May 13,1912 and died in Cuernavaca, Mexico on March 13, 1988 at age 76.

This album is one of Herbie Hancock's masterpieces and we are featuring this stunning recording to honour one of the most significant musicians of our time: Herbert Jeffery Hancock who was born 70 years ago on this day (April 12) 1940 in Chicago. A child prodigy, Hancock was destined for musical fame from a very early age when he played with the Chicago Symphony orchestra. He was 11 years old!! Hancock was brought to New York by trumpeter Donald Byrd in 1960 and it wasn't long before he signed with Blue Note Records and began a whole series of significant recordings all of which are essential in any Jazz collection. Hancock, in 1963, began a five year stint with Miles Davis which further enhanced his name and influence. "Maiden Voyage" was recorded in March of 1965. The band wasn't a working band but Hancock's mates all were thinking on the same high plain. Trumpeter Freddie Hubbard is stunning here and blends so well with tenor saxophonist George Coleman that they think as one. Ron Carter is on bass and the young Tony Williams, still called 'Anthony' in those days are an incredible rhythm section, swinging and laying a great pulse for the music. Hancock wrote all of the tunes and two have become classics: the title track, "Maiden Voyage" and "Dolphin Dance" are Jazz standards that have been played and recorded by dozens of musicians. This album is the centerpiece of Herbie Hancock's output for Blue Note Records. Hancock is a vital and productive musician today, still creating and performing at a very high level. Today he is a healthy 70 with many more high energy years left. Happy Birthday Mr. Hancock!!!

A double Feature tonight. We are celebrating what would be tenor saxophonist Stanley Turrentine's 76th birthday, He died in September of 2000 of a stroke. He was born in Pittsburg on April 5,1934. The first part of the Feature will be the title selection from Max Roach's album done in Paris in 1960 called "Parisian Sketches". It was in Roach's band that Stanley and his older brother Tommy, a fine trumpet player, were introduced to the Jazz world so it's fitting that we play this piece. Stanley and Tommy along with Roach, trombonist Julian Priester and bassist Bobby Boswell are the band. We follow with what was Stanley's debut album under his own name done in January of 1960 for the small independent label, Time Records. Max Roach set this date up for Stanley and he, of course plays drums on this along with the great bassist George Duvivier and two wonderful pianists; Tommy Flanagan on four tunes and the legendary Sonny Clark on three. Stanley displays his big sound and unique phrasing here. One can hear the great history of the tenor saxophone in his playing but it is decidedly modern. Stanley uses blues inflections in everything he plays which adds to his appeal. This is his debut album and right from the start you know that he was going to have a great career in Jazz and he did! Seven tunes are heard here and five are by Stanley. The ballad is the beautiful Cahn/Styne tune "Time After Time" and one appealing tune by 'Wild Bill' Strethan Davis called "Stolen Sweets". Enjoy Stanley's first and auspicious debut.

This recording done by Miles Davis and his "Second Great Quintet" was the first recorded evidence that a musical change was in the air. The quintet, of course, consisted of Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and the amazing Tony Williams on drums. There are only four long tracks on this recording and we'll hear them in chronological order as they were done at different recording sessions for Columbia Records in 1968. The first tune on the set is Wayne Shorter's "Paraphernalia". This is a spacey type tune that also has George Benson added on guitar. Benson is very effective here, The next two compositions are an indication of where the band is going. The second tune is by Tony Williams and is called "Black Comedy". The third composition is a Davis creation that has no theme but has three distinct movements. It is an intense musical experience and it's called "Country Son".The final tune is really indicative of the change in Miles' ideas and points to his direction that he will take on future recordings. A rock beat defines "Stuff" and Carter switches to electric bass and Hancock works in the Fender Rhodes electric piano. This is an indication of Davis' musical future and this recording was the turning point that led to "Filles De Kilimanjaro", "In A Silent Way" and to "Bitches Brew" and on into the 70's. Davis was always in control of his musical odyssey and this recording is a major step.

George Benson is known today as one of music's superstars. A great instrumentalist/singer/entertainer who began his career as a pure Jazz player but successfully, after adding vocals to his repertoire, crossed over into funk and pop music. He had many major hits and won Grammy Awards and achieved not only fame but fortune. For all that let it be said that when motivated and under the right circumstances Benson, as a guitarist is still one of the very best in the world. He took his fair share of knocks for entering into more lucrative and commercial fields but when the chips are down Benson can PLAY! George is a natural talent born with a great ear. He never learned to read music but can "hear" a tune once and play it and improvise on it. Today (March 22) is his 67th Birthday. He was born in Pittsburg, Pennsylvania. the same city that gave birth to two other great "natural" talents, drummer Art Blakey and pianist Erroll Garner. Benson had begun his career in earnest with organist Jack McDuff and when he left McDuff in 1966, Benson formed his own band made up of himself on guitar, baritone saxophonist Ronnie Cuber, organist Lonnie Smith (now Dr. Lonnie Smith) and various drummers like Jimmy Lovelace, Marion Booker and Billy Kaye. He did two fine albums with this band for Columbia Records and tonight we feature his second called "The George Benson Cookbook". As an added bonus, two tracks on this album have the great trombonist Bennie Green as guest artist. It's a fun and entertaining Jazz record and shows that even in 1966 George Benson was #1. Happy Birthday Mr. Benson......Boss Guitarist.

This recording was the second album recorded in 1966 for Blue Note by the iconoclastic pianist/composer Cecil Taylor. Taylor's music has always posed a challenge to the listener as his music is dense and often seems arrhythmic. His ensembles or bands that he calls "Units" pose even more of a challenge. Not only does the listener have to hear Taylor's always busy playing but one has to hear the bassists and drummers as well as the horns that weave in and out and solo at length. This recording features members of his working unit. The wonderful alto saxophonist Jimmy Lyons is heard to good advantage here. Lyons was to Taylor what Charlie Rouse was to Thelonious Monk. Trumpeter Bill Dixon, who along with Taylor was one of the movers and shakers of so-called avant-guard Jazz was not a regular Unit member but he fit so well with Lyons in the ensemble passages and solos very effectively. Two bassists work hand in glove with Alan Silva playing mostly arco (bowed) and Henry Grimes plucking the bottom lines. Drummer Andrew Cyrille understands Taylor's unique rhythmic sence. Taylor many years before this recording had abandoned 4/4 time and other Jazz signatures and yet his music pulses with rhythms. "Conquistador" IS a challenge but if you listen to Taylor's music with the same intensity that he delivers it you will be amply rewarded. There is lyricism and beauty in this recording and all it need is your ears. Taylor was 81 on March 15,2010 and he is still creating and performing....Happy Birthday Cecil!

This Feature is a tribute to National Woman's Day and this Orchestra led by Maria Schneider is one of the leading Jazz organizations of today. Maria's music reflects her creativity and her influences which include the great master Gil Evans. Her orchestra is full of all-star players like trumpeter Ingrid Jenson,Steve Wilson on alto and soprano saxophones, tenor saxophonist Rich Perry, guitarist Ben Monder, Frank Kimbrough, piano, Clarence Penn on drums and so many others. Her music is evocative, moody and always full of wonderful colours and textures and this award winning album called "Sky Blue" is her best at this point. We'll hear four compositions as our Feature.....the music of The Maria Schneider Orchestra.....The Jazz Show's tribute to International Woman's Day.

This short-lived quintet led by tenor saxophone master Hank Mobley and pianist Cedar Walton constituted one of Mr. Mobley's final documentation on record. It was done in New York on February 22,1972. Hank was one of the most prolifically consistent musicians of the 50's and 60's and recorded dozens of fine albums mostly for Blue Note Records and also for Prestige and Savoy. Hank was a charter member of The Jazz Messengers, and worked with Max Roach a few times but was most prominent when he worked with Miles Davis from 1960 to 1962. His recorded output is tremendously consistent and his compositions fill most of these albums...the finest being on Blue Note. Hank made his last album for that label in 1970. After that, illness, affecting his lungs and deterioration from drugs and alcohol ruined his health. The Feature album, with this group marked his penultimate appearance on records. This fine band made up of Hank and Cedar included the unique voice of the baritone and soprano saxophones, Charles Davis, plus the fiery rhythm section of bassist Sam Jones and drummer Billy Higgins. All of the players have their feature moments on this album. Davis on baritone is featured on "Sabia" by A.C. Jobim, Walton gets a trio track and plays Henry Mancini's "Theme From Love Story". Hank Mobley's feature is his take on the Gershwin's "Summertime". Two great Mobley compositions are included here also: the opening title track is a burner and "Early Morning Stroll" cooks at a slightly lower flame. There are many wonderful moments throughout this record and we'll hear them all. The final track on the Hank Mobley Feature is his final recorded appearance. He guested on one tune on a date with Catalonian pianist Tete Montoliu with bassist George Mraz and drummer Al Foster....Hank plays "Autumn Leaves". This was recorded in 1980. Hank Mobley died on May 30,1986 of ill health and in poverty, he was only 56. After his passing, whole generations of young musicians recognized Mr. Mobley as one of the musical giants of the last century and not only as a saxophonist who can sit alongside Coltrane and Rollins but a fine composer as well.

This Feature is a large orchestral piece written by Boris (Lalo) Schifrin that features Dizzy Gillespie as chief soloist. It was Lalo's last contribution to Dizzy's music after spending two years with Mr. Gillespie as his pianist and arranger. Lalo, of course had written the more famous "Gillespiana Suite" for Dizzy but this six movement piece is much more of an orchestral excursion and is much more about Lalo than Dizzy. It features the Gillespie quintet of the time (Dizzy, James Moody, Chris White on bass and Rudy Collins on drums) with a large orchestra filled with Jazz playing studio players like Al Porcino and Conte Candoli, Phil Woods, Bill Perkins, Frank Rosolino, Mel Lewis and so many more. In all a 27 piece orchestra. The eminent Benny Carter conducts the band and the date was produced in Hollywood by Quincy Jones and the suite was introduced at the 1962 Monterey Jazz Festival. It was issued on Limelight Records (a subsidiary of Mercury records) and remains unissued on CD. The composition is a tribute to Gillespie in that it musically acknowledges Dizzy's contribution to Jazz, other than being a ground breaking trumpeter, as a person who was able to introduce other musics into the mainstream of Jazz. Dizzy was the first to bring Afro-Cuban concepts into Jazz in the 1940's. He brought Middle Eastern concepts and ideas into Jazz and was the first to bring the Brazilian form, the Bossa Nova into Jazz music's mainstream. This is what "The New Continent" is about. Aside from Gillespie, we hear solos by Larry Bunker on vibes, Al Henrickson on guitar, Frank Rosolino on trombone and from Schifrin himself on piano. The real star is the orchestra which navigates of the changing moods with ease. If you use your imagination you can create your own movie from the various themes, moods and tempos of this amazing piece. This album was the last collaboration between Lalo Schifrin and Dizzy Gillespie and it's a fitting farewell.

This album which was recorded for a small independent label on October 21,1955 was alto saxophonist Jackie McLean's first under his own name. The label was "Ad-Lib Records" and it was the only album ever issued on that label. A pristine copy of the original LP commands several thousands of dollars on the collector's market. It was re-issued several times on LP on Jubilee, Roulette, Josie and Trip and can be found on CD on the Spanish "Fresh Sounds" label. Jackie McLean was in 1955 one of the first post-Parker alto saxophonists to establish his own voice. He took the raw blues tinged side of Parker and turned it into his own distinctive style. Mclean's sound was all his from the beginning and his angular phrasing. violent blue notes distinguished him from others. As he grew his reliance on Parker-based phrases grew less apparent. He described his sound as having "no artificial sweetening".His intonation and his frequently violent note emphasis raised some hackles with the critics but Jackie chased his own musical vision. It's evident from the mature statement on this recording that McLean was ready for the big leagues. McLean picked his sidemen well for this date: trumpeter Donald Byrd, fresh from Detroit was long an associate of Mclean's on record dates and gigs and pianist Mal Waldron was at this time Jackie's favorite pianist. Waldron was a New Yorker like Jackie and they had played together for a long time and it was Mal that talked Charles Mingus into letting Jackie join the Mingus Jazz Workshop in late 1955. Doug Watkins on bass was a recent arrival in New York via Detroit and he was playing with the Jazz Messengers at the time. Ronald Tucker was one of the many fine drummers around new York at the time and this happens to be his only recorded appearance. He acquits himself very well and swings hard and has good taste. Two good standards feature the group sounding very cohesive. One ballad, featuring Mr. McLean is "Lover Man"....a tip of the hat to Billie Holiday and Charlie Parker, who both made the definitive versions of that tune. A slow blues called "Blue Doll" much like the mood of "Parker's Mood". McLean's first recording of his composition dedicated to his newborn daughter called "Little Melonae" and a lyrical original by pianist Mal Waldron called "Mood Malody". A fine debut by one of the most original voices of the alto saxophone....Mr. John Lenwood (Jackie) McLean (1931-2006).

Charles Mingus' "Tijuana Moods" is one of his acknowledged classics. It was recorded in July and August 1957 by one of his best "Jazz Workshops". Mingus called all of his bands "The Jazz Workshop". Strangely it was not released until 1962 on RCA Victor and Mingus called it "the best record I ever made". The original LP was full of rather ham-fisted edits but the music was so strong that we lived with them and simply ignored them. When the digital revolution happened and a creative producer named Ed Michael went into the RCA archives and discovered that Tijuana Moods had many alternate and almost complete takes. Michael put together an "alternate" version of the five tunes that made up the original album basically maintaining the structure and syntax of the tunes. This happened in 1985, six years after Mingus' death. Mingus, I think would have been pleased with the alternate results and the edits are seamless due to the digital process. The music represents a trip that Mingus and drummer Dannie Richmond took to that border town after Mingus' wife told Charles she wanted a divorce. The band is one of Mingus' finest editions of The Jazz Workshop and the people involved are Clarence "Gene" Shaw on trumpet, Shafi Hadi (aka Curtis Porter) alto (mostly) and tenor saxophone, Jimmy Knepper on trombone, Bill Triglia on piano, Dannie Richmond on drums and of course Mingus on bass. Some effects are provided by Ysabel Morel on wordless vocal and Frankie Dunlop on castanets. There are five tunes, the first four are by Mingus and the album ends quietly with a beautiful rendition of the old standard "Flamingo", featuring Shaw's trumpet. All in all this album ranks with Mingus' best and thanks to the good work of Ed Michael, we can hear "The Alternate Tijuana Moods".

The Jazz Show's tribute to Black History Month is the famous Max Roach recording called "The Freedom Now Suite". This was one of the first politically charged albums that reflect the leader's growing awareness of the civil rights movement that was erupting in the U.S. in the late 1950's. Mr. Roach's basic ensemble includes trumpeter, Booker Little, tenor saxophonist Walter Benton, trombonist Julian Priester and bassist James Schenk. Abbey Lincoln is extraordinary on her vocals and Coleman Hawkins, the "father of the tenor saxophone" makes a cameo appearance on "Driva' Man", the opening tune. The final two pieces are by the full ensemble augmented by two percussionists and the great Micheal Olatunji on vocal and African drums. The centerpiece of the album if a duet in three parts called "Prayer, Protest and Peace" with Miss Lincoln and Max Roach. The album was recorded in 1960 and to this day stands as a monument to the creativity and political stance of one of the greatest drummers in Jazz, the late Max Roach. I should add that the lyrics of this were written by Oscar Brown Jr. and all the music was written by Mr. Roach. "We Insist! Freedom Now Suite".

The late Wynton Kelly was one of the best loved pianists in Jazz. His chief era of fame was when he replaced Bill Evans in Miles Davis' ground breaking quintet. Kelly joined in 1959 and played through to 1962. He then toured with bassist Paul Chambers and drummer Jimmy Cobb after they both left the Davis fold. Kelly had a beautiful touch on the piano and there was an innate joy and lyricism in his playing plus a great blues feel. Kelly knew how to accompany singers, he worked a long time with the great Dinah Washington.Horn players loved him and he was a sideman on many important record dates. His output under his own name was rather sparse but he did put out great trio recordings. This date is a bit different as it features two then young horn players. Trumpeter Lee Morgan was only 21 when he did this session in August of 1959 but he was already a veteran having played with Dizzy Gillespie's big band and was member of Art Blakey's Jazz Messengers. Tenor saxophonist Wayne Shorter shows a very adventurous side to his playing on this, his first time in the recording studio. He soon became a member of the Messengers not long after this session. Bassist Paul Chambers and the great Philly Joe Jones on drums were Kelly's favourites and they add to the energy of this session. Kelly, as always, is elegant and superb and that's why the ablum is called "Kelly Great!". Five tunes make up the date; two by Shorter (his first recorded compositions), one by Kelly (a blues) and one by Morgan plus an obscure standard called "June Night" that has a great bounce feel. One fine date in the life of Wynton Kelly and the Feature tonight. Wynton Kelly died quite young of a heart attack brought on by an epileptic fit....he was only 39 on April 12,1971 and was mourned throughout the Jazz world.

This is considered to be Clifford Jordan's debut album. His earlier appearance on the Blue Note label was a co-led two tenor saxophone session with John Gilmore. This rare recording has never had a domestic re-release but was first issued as Blue Note 1565 and called "Cliff Jordan". It features the very distinctive sound of Jordan's tenor saxophone with the young teen-aged trumpet sensation Lee Morgan on three tracks. Curtis Fuller on trombone and Jordan's high school classmate, the legendary alto saxophonist John Jenkins. Ray Bryant is on piano, Paul Chambers on bass and Arthur Taylor on drums. The first two tunes are without Morgan and then tune #3 is a composition by Lee and was his first recorded tune called "Ju-Ba". The full band is featured on the final two tunes, Jenkins reworking of Miles Davis' "Milestones" (the early version) and an up=tempo interpretation of one of the day's pop tunes called "Beyond The Blue Horizon". Clifford Jordan spread the chores out wisely and came up with a very representative album of New York Jazz from the mid 1950's. This fine recording deserves a domestic re-issue in stereo. It's a fine tribute to the artistry of the late Clifford Jordan, who passed away in 1993.

Bassist/composer Charles Mingus was one of Jazz music's icons and an amazing larger than life musician and character. His working bands were called "The Charles Mingus Jazz Workshop" and the personnel changed sometimes very quickly. The term "Jazz Workshop" gave Mingus carte blanche to experiment on the bandstand sometimes stopping in mid tune to berate a soloist or change a part. If a member of the audience complained Mingus would say, "read the sign outside man.......it says Jazz Workshop....dig it?" Mingus had some great bands and some that approached greatness and the band on tonight's Feature was the core of one of his greatest bands. This was part of a concert from January 1959 recorded at New York's Nonagon Art Gallery and featured the recording debuts of two newcomers to the New York scene. Alto saxophonist John Handy from the Bay Area and tenor saxophonist Booker Ervin, who was working as a dishwasher at the Automat and sitting-in around town. Handy and Ervin (both born in Texas) blended together so well and although Mingus' regular pianist was called away the day before the gig for a family emergency, San Franciscan, Richard Wyands, on the recommendation of Handy substituted very well. Dannie Richmond on drums and Mingus on bass think as one and swing and drive the piano and the horns. 45 minutes of this concert have been preserved for us to enjoy. This was the first milestone and the core band that brought Mingus out of the Jazz underground and into the forefront of recognition and acceptance as one of the most formidable musical forces in Jazz and creative music.

Tonight's Feature is by clarinettist/tenor saxophonist Jimmy Giuffre. Giuffre was a musician who had a very wide range and was not restricted to any one style, yet everything he did was marked by a strong individual identity. This recording, done at the legendary New York club, The Five Spot, marked another change for Giuffre. Gone was the quiet, blues and folk based trio. This is a blowing date and Giuffre makes the most of it with this hand picked group of players. Jimmy's clarinet is featured on three tunes and even there the difference is apparent as Jimmy explores the instrument's full range rather than just the low register as he had done in the past. His tenor work is hard driving and intense and he obviously was listening to Rollins and Stitt. Jimmy is no slouch on tenor and he blows up a storm on three pieces. Jim Hall on guitar had just moved to New York and his fine work here foreshadows his work with Sonny Rollins the following year. Buell Neidlinger is strong on bass and shows that he can work in a "straight-ahead" context. Buell had been working with Cecil Taylor when this date was done. Billy Osborne was just one of the many fine and lesser known drummers around New York at the time. Billy played with everybody but never got on very many record dates. The same fate befell guys like Sir John Godfrey and Clarence "Scoby" Stroman and others. Billy also suffered a discographical error as he was listed as "Billy Higgins" in most books. Discographer Tom Lord corrected this .The tunes are two standards played on clarinet plus a Giuffre original called "The Quiet Time". The tenor tunes are Monk's "Wee See", Giuffre's "Two For Timbuktoo" and "The Crab". This rare date originally came out on Verve and was called "In Person". Enjoy another side of Jimmy Giuffre tonight.

This truly classic date was recorded on Christmas Eve 1954 and somehow, although not intended has a distinctive "Christmasy" feel to it. The date was really put together by the owner of Prestige Records, Robert (Bob) Weinstock. He had two best sellers under contract, Miles Davis and The Modern Jazz Quartet. He approached Miles Davis about the date and Miles was excited and pleased and expected to record with Milt Jackson, Percy Heath and Kenny Clarke and perhaps his close friend, John Lewis on piano, all members of the MJQ. If not Lewis, perhaps Horace Silver, another favorite of Miles. Weinstock threw a curve at Miles and said, Jackson, Heath and Clarke are on but the pianist will be Thelonious Monk. Weinstock asserted that he needed Monk to perform and record with some of the "best sellers". Miles was not pleased but Weinstock said either Monk or no date. After a long uncomfortable silence between Weinstock and Davis....Miles agreed to the date, He needed the money and liked all the other players. He liked and respected Monk as well but didn't enjoy playing with him but figured he could get around this in a musical way. The date came off beautifully despite the tension between the two men and Monk compromised by not accompanying Davis during his solos except for one tune which was Monk's. The tunes are "Bags' Groove", a blues by Jackson, "Bemsha Swing" by Monk,"Swing Spring" by Davis and the Gershwin's "The Man I Love". plus two alternates of Bags' Groove and The Man I Love. This session was how these gentlemen felt at the time and they had no idea that this date would become one of the bellwethers of Modern Jazz but it has and will remain a classic forever.

Jack DeJohnette is one of the most extraordinary musicians to come along in the last 45 or so years. Jack was born in Chicago and came to New York in 1964 as an accomplished drummer and pianist. He was discovered by the great alto saxophone master Jackie Mclean and then went on to work with Charles Lloyd, Miles Davis, Stan Getz, Bill Evans, Freddie Hubbard and countless others. Jack and pianist Keith Jarrett worked with Charles Lloyd and their musical bond has remained to this day as the formidable trio of Jarrett, bassist Gary Peacock and DeJohnette is one of today's premier groups. DeJohnette first began recording under his own name in 1968 and his output has reflected a very eclectic taste. DeJohnette's recordings have explored anything musical but this band called "Special Edition" is amazing. This is their first recording and it is indeed a classic in the best sense of the word. The Special Edition band continued throughout the 80's and 90's with changing personnel but this first recording done in March of 1979 was one of their best. David Murray is heard on tenor saxophone and bass clarinet, Arthur Blythe on alto saxophone and Peter Warren on bass make up the band. DeJohnette is heard mostly on drums, of course, but we also hear him on piano and melodica. Three of the compositions are Jack's and two are Coltrane classics, "Central Park West" and "India". "Special Edition" was indeed very special.

"Mulligan Meets Monk" is tonight's Feature. It's premise is simple, a meeting of two great original minds. Monk, of course and Mulligan, one of the most identifiable voices of the baritone saxophone. In 1957 they were neighbors and friends and spent time at each others homes. Gerry, who was no slouch at the piano would play duets with Monk for their own enjoyment. Savvy producer Orrin Keepnews knew of their relationship and since he couldn't record the existing Monk quartet with John Coltrane as Coltrane was under exclusive contract with another label, Keepnews opted to ask Monk if he would like to do an album with Gerry Mulligan. Monk said "sure,man"....and the album was born. Monk's rhythm section with Wilbur Ware on bass and the great "Shadow" Wilson on drums was used and they as well as Monk prodded Gerry into some wonderful playing. The date went down smoothly in two afternoon sessions. Four Monk tunes were used including, at Gerry's request, "Round Midnight". One Mulligan original and one standard that Monk liked completed the date. The recording was released in late 1957 and reviewed favorably in Down Beat Magazine with 4 and a half stars out of five. While some critics and musicians cried "mismatch" and "failure",the record stands the test of time and is a warm swinging, conversational date that was, as Gerry put it, "fun to play and I hope, fun to listen to". I think you'll agree.

Trombonist/composer Grachan Moncur 111 was born in New York on June 3,1937 and raised in Newark. He is still alive, playing,writing and teaching. Grachan played in Nat Phipps' band when he turned pro then played with Ray Charles' fine little band for 2 and a half years where he really developed his skills as a player. He then joined the Jazztet, a fine band led by Art Farmer and Benny Golson and was the last trombonist in that group before it's final breakup in 1962. After a brief return to the Charles' band, Grachan joined the ranks of New York's progressive scene in the mid-60's. Grachan, alto saxophonist Jackie McLean and young vibist Bobby Hutcherson formed a band with different people in the rhythm section and gigged around New York. Grachan wrote most of the band's material and they recorded McLean's famous album, "One Step Beyond". Alfred Lion of Blue Note Records was impressed with Grachan's writing and playing and gave him a two record contract. Grachan's first album was this one called "Evolution" and he, of course, used Mclean and Hutcherson along with bassist Bob Cranshaw and the teenaged drum sensation Anthony (Tony) Williams. The most surprising addition was trumpeter Lee Morgan, who almost steals the show on this album. Morgan had verbally criticized some of the new sounds emerging in the 1960's and yet was very open to the music of this album and Moncur's compositions. There are only four tunes here but they are all strong statements expressing all different moods and evoke different feelings from the players and will do the same to you, the listener. "Evolution" was a very impressive recording debut for Grachan Moncur 111 and stands today as a classic in creative musical thinking.

Keith Jarrett is one of the most extraordinary musicians of our time and can rightly be called a genius. Born on May 8,1945, he was a child prodigy, playing professionally when he was a child of 8 years. He has worked with Art Blakey, Charles Lloyd and Miles Davis and with his own bands. His trio with bassist Gary Peacock and drummer Jack DeJohnette is one of the premier trios in the history of this music. Jarrett has performed solo concerts since 1973. At first they were non-stop improvisations and some were classics and best sellers like the famous "Koln Concert". His approach to solo playing has changed as he now plays moods that are divided up. They are all totally improvised. Jarrett clears his head of extraneous thoughts and begins to play. The mood can be rhythmic and roiling or pastoral and romantic or lyrical or introspective and sad. Everything is open to Mr. Jarrett and that's what you will hear tonight......"Testament" recorded in late November and early December 2008 in Paris and London on a 3 CD set from ECM Records.

One of the most startling debuts in Jazz history was this album by Jeremy Steig. Steig, who is the son of the great cartoonist William Steig plays flute. He doesn't double on any other instrument and developed his own sound and concept on the flute. Jeremy didn't consider the flute a delicate instrument but one that could hold it's own with the saxophone or trumpet. Steig, who was born in New York on September 23,1942 is still alive and well and playing, entered the Jazz world with this album called "Flute Fever". It was produced by John Hammond and mysteriously has never been issued on CD. Steig was subject to a lot of criticism for his maverick approach to the instrument but he had many supporters including the great pianist, Bill Evans, who was a fine flute player himself. Marking his debut was Jeremy's pianist, Denny Zeitlin who did score a Columbia Records contract after his performance here. Denny is still alive and well and performs around the San Francisco Bay Area with his trio. Steig and Zeitlin are ably supported by two pros, bassist Ben Tucker and drummer Ben Riley. I'm sure you will be moved and occasionally startled by the outgoing playing of Steig and the ceativity of Denny Zeitlin on this great 1963 recording of "Flute Fever".

Prince Lasha (William Lawsha) is the leader on this date and it features his close associate, alto saxophonist Sonny Simmons, one of the most distinctive voices on that horn. This album, done for the Contemporary label in November of 1962 and was their recording debut.It was called "The Cry!". Lasha (pronounced Lashay) and Simmons had struggled to get into Jazz clubs and perform their music and as it was a departure from the mainstream of the time it wasn't accepted with open ears. Lasha, from Fort Worth, grew up and went to school with Ornette Coleman and the music here reflects some of Coleman's influence. The compositions are all collaborations by Lasha and Simmons. Like Coleman's early recordings, no piano is used and the rhythm section here for most part is provided by two bassists and drums. Gary Peacock is one of the bassists and is very well known and the other is Mark Proctor. The creative drumming is by the unknown Gene Stone. Lasha, who plays flute throughout the session died last summer. He also played alto and baritone saxophones and a variety of clarinets, including the rare alto clarinet. Simmons is still with us and travels the world playing anywhere he can with a variety of players and is still a mighty voice on the alto saxophone. After this recording took place, Lasha and Simmons headed for New York and were embraced by John Coltrane and sat in with his band a lot. They recorded with Eric Dolphy and Herbie Hancock and did a great album with Coltrane's rhythm section of McCoy Tyner, Jimmy Garrison and Elvin Jones called "Illumination" on Impulse. They also embarked on separate careers but re-united off and on into the 1980's. "The Cry! was the debut for Prince Lasha and Sonny Simmons and it's a minor classic and very accessible and creative.

The great alto saxophonist Phil Woods left North America with his family in 1968, bitter and discouraged by the developments in the USA. When he landed in France for a playing engagement he formed this band that he called The European Rhythm Machine. It marked a creative re-birth for Woods. The Rhythm Machine heard tonight delivered this incredible performance at the Frankfurt Jazz Festival in March of 1970. There had been only one change in personal. The original pianist, George Gruntz was replaced by a Britisher, Gordon Beck, who was adept on both acoustic and electric piano. The bassist was a French virtuoso named Henri Texier and the drummer was the Swiss master Daniel Humair. The energy that this band puts out is powerful and exciting and left the German audience exhausted. This is truly one of the most original and powerful bands in Jazz history. Phil Woods is at his creative peak playing everything under the sun and the chemistry of this band is unbelievable. Mr. Woods celebrated his 78th birthday on the day of this broadcast (November 2,2009) so this Feature is really a Happy Birthday salute to one of the living Jazz masters.

Virtuoso bassist Richard Davis leads an adventurous band recorded at the short lived New York club called "Jazz City" on September 7,1972 on but two long tunes. The record's title explains what the tunes are. Davis, who had a long career in Jazz and classical music, he was only the second African-American to be employed in a symphony orchestra in the mid 1960's. He played in the New York Philharmonic under Leonard Bernstein and was singled out for praise by none other than Igor Stravinsky. Davis, who recorded very little under his own name leads an all-star band here with the great tenor saxophonist, Clifford Jordan playing some of his most adventurous work. Marvin "Hannibal" Peterson is on trumpet, a strong declarative player who could shout and whisper on the horn. He wasn't nicknamed "Hannibal" for nothing. Joe Bonner on piano plays everything from Powell through to Cecil Taylor and Freddie Waites on drums can be abstract and swinging at the same time. Freddie also plays some percussion and wind instruments like the wooden flute and other devices. The two tunes are given very very broad interpretations far beyond what their composers imagined. Monk's "Epistrophy" is given a very abstract interpretation and Charlie Parker's "Now's The Time" is a bit more grounded as it's the blues. Richard Davis said this about the music: "the idea here was to just play sounds and music"........that's exactly what they did to a full and enthusiastic house that night.

This rare item is untypical of the type of session that Prestige Records put out in the 50's. The head honcho of Prestige was Robert Weinstock and he preferred the "one take" jam session approach as he felt that too many "takes" would spoil the feel. Vibist/composer/bandleader Teddy Charles produced a number of Prestige recordings in the 50's and his sessions were much more organized and rehearsed yet still sounded spontaneous. Perhaps Teddy encouraged his musicians to rehearse or perhaps he paid them to do this but it worked and a Charles produced session was always well organized and he always contributed some of his own compositions to the date. This one features, as the title suggests four alto saxophonists. All of these men were in one way or another influenced by Charlie Parker but they had their own identities and sounds. Phil Woods is still with us and is the most identifiable voice and is arguably the most developed stylist. The wonderful and passionate Gene Quill plays with great swing. Sahib Shihab is on tap and although he reflects Parker, his sound is influenced by some earlier players like Tab Smith. Hal Stein, who worked with Teddy Charles and Charles Mingus is a thoughtful and cliche-free player. These four men blend into a great sound and are backed by Mal Waldron on piano who also contributes two compositions to the date. Tommy Potter is solid on bass and a very young, 19 year old Louis Hayes mans the drums.Teddy Charles contributes two tunes and arranges Hal Stein's "Kinda Kanonic" and the ballad of the date Jimmy McHugh's "Don't Blame Me". Waldron arranges his own two tunes. All in all a fun and well organized date that swings and and is interesting at the same time. "Four Altos" indeed!

This fine recording was made just a few days before multi-instrumentalist Yusef Lateef joined the renowned Cannonball Adderley group expanding it's size to a sextet. "Into Something" done for Prestige/New Jazz was a straight forward date with none of the exotic effects and instruments that Lateef used on previous outings. The first three tunes feature the huge toned Lateef tenor saxophone with just bass (Herman Wright) and drums(Elvin Jones) ala Sonny Rollins. Next up, piano great Barry Harris joins the trio making it a foursome and Lateef switches to flute for a fine interpretation of "I'll Remember April" then to oboe for a slow blues dedicated to his young son Rasheed. He returns to the tenor for the final two tunes, the beautiful ballad made famous by Billie Holiday, "You've Changed" and a final Lateef original called "P Bouk". You will find many profound moments in this rather unpretentious session because each of these gentlemen are Jazz masters.

Larry Young was one of the most individual voices of the Hammond organ. Larry was born in Newark, New Jersey on Oct. 7,1940 and sadly died at age 37 in March of 1978 of untreated pneumonia. Young was only 20 when he signed with Prestige Records. He made a series of albums in the style of his idols, Jimmy Smith, Jack McDuff and John Patton but when he signed with Blue Note Records in 1964, he left that blues drenched style for something much more modern, although he still addressed the blues. His sound, technique and footwork on the Hammond is masterful. This is his first album for Blue Note and Young chose his sidemen well. Grant Green is on guitar playing in a more modern style than we're used to hearing him. The great Elvin Jones works hand in glove with Young and the edgy tenor saxophone is played by the individual and creative Sam Rivers. Into Somethin' indeed!

"Jazz Guitar" is a minor classic as it was Jim Hall's first recording under his own name. Hall chose to be accompanied by just piano and bass making this a "living room" trio. He chose well. The pianist is the legendary Carl Perkins who although he couldn't read music and was self taught was a very sophisticated and technically fluent pianist. He could hear a piece just once and have it down pat! He sadly died in April 1958 of a drug overdose. The bassist is the great Keith "Red" Mitchell. Mitchell was one of the few bassists that Charles Mingus loved and respected. In other words a "perfect" Jazz trio. Hall's sound is so earthy and distinct and his phrasing, swinging and sure. This was Hall's real first step to greatness....."Jazz Guitar".

This is Part 2 of The Jazz Show's "back to school" mode. Maestro Leonard Bernstein is arguably one of the most important musical icons of the 20th century and being American born, he heard Jazz music from the time he was very young. Bernstein loved Jazz and it's players and most importantly, respected those players as artists. Bernstein recorded this album in 1957 but it's message is universal and timeless. There are a few quaint references, of course that are dated but they don't affect this disc's message. It's basically in two parts. In Part 1, Bernstein tells us what is and what isn't Jazz and what gives Jazz music it's distinctive sound.In Part 2 Bernstein takes apart an old standard tune called "Sweet Sue, Just You" and we hear how musicians of different eras interpret and alter this melody. Bernstein is entertaining, funny and educational at the same time. His great communicative skills are evident throughout this recording. Sit back and enjoy "What is Jazz".

Julian "Cannonball" Adderley was, of course, one of the premier alto saxophonists in Jazz. He was a great bandleader and communicator who knew how to draw his audience into the complexities of Jazz without sounding academic or stuffy. Many people don't know that Adderley had graduated from college at 19 and was teaching high school in Florida. When he arrived in New York in 1955 with his saxophone, he turned the Jazz community upside down. The rest is history. As this is Part 1 of a two part series in a "back to school" mode. We present Mr. Adderley narrating a history of Jazz. The only limitation of this recording is that it was done in 1960 and Adderley was only able to use recorded examples that were owned by Riverside Records. However this is still a valuable document in that it is educational and entertaining. Adderley should have done one of these every year. We are lucky to have this however. Enjoy.

As a tribute to the 79th birthday of "the titan of the tenor saxophone" Sonny Rollins, we are presenting one of his "classic" recordings called "Way Out West". This was a first in a few ways. It was Sonny's first trio recording with just bass and drums, a format that he fell in love with and it was a first time meeting with two of the most authoritative players of their respective instruments. Bassist Ray Brown and drummer Shelly Manne provide the backdrop and stimulus for Sonny to explore the tunes of his choosing. The tunes are typical of Rollins in that he chose some tunes not often played by Jazzers. Mercer's "I'm An Ol' Cowhand" and "Wagon Wheels" are given a definitive treatment. Two standards and a jam over some familiar changes are displayed and one original by Sonny celebrating his first recording outside of New York called "Way Out West". A meeting of three giants of Jazz in "Way Out West".

As it was Charlie Parker's birthday, he would have been 89 on August 29 the special extended Feature beginning a bit after 10pm (The Jazz Show begins at 9pm PDT) will cover several live and studio sessions by Parker. We will dwell on some lesser known gems that I hope you will enjoy and if they are new to you, all the better. Parker was born in Kansas City on August 29,1920 and his biography and life is very well known. He died at age 34 in New York on March 12,1955. Like a comet that streaked across the sky, Parker left a musical legacy in his short chaotic life that lasts to this day. One of the few musicians who can be called a genius, in the true sense of the word. Tonight Bird Lives!

This is one of the great trombonist's most personal recordings. J.J. Johnson is one of the true pioneers of Modern Jazz as his concept on the trombone was the standard that all modern trombonists are measured. He is to the trombone what Dizzy Gillespie, Bud Powell, Charlie Parker are to their instruments. Johnson was an important composer and arranger as well and a very consistent player. He had made quartet recordings in the 50's with himself as the sole horn but this date, done in 1964 with his working group is deeper and more fully developed. Johnson's band consists of Harold Mabern on piano, Arthur Harper on bass and a fine sensitive drummer from Detroit named Frank Gant. Johnson mixes things up with standards and some Jazz specialties like Miles Davis' "Neo". Max Roach's composition "Blues Waltz" (some say it was written by Ray Charles) is given a definitive treatment and Johnson's own "Minor Blues" is a powerful statement. This is a recording that I would introduce anyone to the magnificent style of the modern master of the trombone........J.J. Johnson.

This album was aptly titled as 1965 was a year of transition for Mr. Coltrane. His musical vision was expanding and changing and even though some of the changes alienated his audience, they had to be made and Coltrane was compelled to follow his musical vision. Freer rhythmic feels and a more open tonality and an ever expanding range of ideas on his horn were very evident. The great milestone recording "A Love Supreme" was behind him and thoughts of expanding the instrumentation of the quartet were taking place. This recording finds him still with the 'classic" quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones but new ideas are prevailing. The set opens with the lyrical and spiritual "Dear Lord" with Roy Haynes replacing Jones on this track. Next is a five-part Suite with Jones back on drums that reflects change. The crux of this set is the title track "Transition" which is one of the most intense pieces that this band ever played in the studio. With the playing of Transition we are aware that a change is about to come as this mighty piece seems to break through barriers and into a whole new musical realm. Transition is indeed an important milestone even though is was issued after Coltrane's passing in July 1967.

This album was a "concept" record put together by Mr. Ellington over a period of time from February 1959 to December 1959 over several sessions. The basic idea was the blues form, fast, slow, major and minor keys. The sessions were done late at night and through the early morning hours after gigs and concerts. The band was warmed up and ready. Ellington used only one trumpet,Ray Nance and two trombones, Mitchell "Booty" Wood and Matthew Gee and the full saxophone section and full rhythm. We hear the two trombonists Wood on plunger and Gee, open. Nance is in fine form on trumpet and has one violin solo on "C Jam Blues". Johnny Hodges is heard on alto and Paul Gonsalves on tenor and Hamilton on clarinet but Hamilton is also heard on a couple of robust solos on tenor saxophone. The tunes are all quite short and varied and although the album is a loved and respected item in Ellington's catalogue, it was dismissed when it was released as a minor effort. Certainly it cannot compare with "Black, Brown and Beige" or "The Far East Suite" but it is superb Duke. There are mostly tunes by Ellington, who plays piano throughout and a couple by Billy Strayhorn and one by Hamilton and one by Gee. "Blues in Orbit" stands as a fine outing for one of the greatest orchestras of the 20th century......long live The Duke!

Trumpeter/composer Kenny Dorham (McKinley Howard Dorham) had a most frustrating career as he always seemed overshadowed by others. He was born in 1924 in Fairfield, Texas and died quite young of kidney failure in 1972 in New York at age 48. He was an accomplished, arranger/composer/pianist and singer but left his mark as one of the most distinctive voices of the trumpet. He emerged as a soloist in the 40's but was overlooked by the critics in favor of Dizzy, Fats and Miles. In the 50's the same happened to Kenny as the world was watching and listening to Chet and Clifford. The 60's were no better for Kenny as the Jazz folks were checking out Lee, Freddie, Woody and others. Kenny was an also-ran. Sad to say, now that he is gone, he has the respect and recognition that he deserved in his lifetime. Dorham is considered to be one of the major voices and is studied by all the young players today. This album is one of two recordings by Kenny's working group of the late 50's,early 60's. Kenny and the wonderful baritone saxophonist, Charles Davis are on the front line. A young Steve Kuhn is on piano. The bass chores are split between Jimmy Garrison and Edward "Butch" Warren and the solid drumming is by Arnold "Buddy" Enlow. The tunes are all Dorham arrangements and three compositions are his and the others three are by Monk, Brubeck and Frank Sinatra. "Jazz Contemporary" is a fine recording and should stand with many of Kenny Dorham's better known albums. It's a gem!

Tonight The Jazz Show presents some early Brubeck Quartet recordings that are not as common as many others. These recordings are derived from broadcasts done from New York's Basin Street nightclub in February 1956. The Quartet by this time had reached enormous popularity from their recordings and college tours. Their repertoire was still mostly standards from the great American Songbook. Brubeck is especially creative here and many many piano players checked him out and copied his original ideas but sadly never acknowledged Brubeck in print, something that still rankles the 89 year old today. Heard with Dave is alto saxophonist Paul Desmond who is always superb and consistent with his melodic, lyrical style. Charlie Parker listed Desmond as his favourite of all the young altoists because of his originality. Dave's rhythm section at that time was Norman Bates on bass who had taken over from his brother Bob and the unheralded Joe Dodge on drums. Dodge was always tasteful and never got in the way and kept great time with both sticks and brushes. Here is some excellent and rare Brubeck from his classic period....enjoy!

This recording was drummer/composer Max Roach's second album for the Impulse label and was one of his most innovative. It is unique in that it combined Mr. Roach's working band with a 16 voice choir. The themes, all composed and arranged by Roach reflected his ever growing involvement in America's civil rights struggle. The themes are defiant, militant and intense. Max's band included Clifford Jordan on tenor saxophone, Richard Williams on trumpet, Julian Priester on trombone,Mal Waldron on piano, Art Davis on bass plus a choir under the direction of Coleridge Perkinson. Roach's wife of the time, the wonderful singer, Abbey Lincoln appears on one tune. It's hard to believe that soon after this recording was made, Max Roach was boycotted from recording because of his political attitudes and commitment to racial equality. This recording was done in February of 1962 and Roach did not make any domestic recording until 1965, when he was signed to Atlantic Records. "It's Time!" is a rewarding and moving experience.

The titan of the tenor saxophone performs on this rare disc with one of his favourite combinations, saxophone, bass and drums. Rollins, in the latter part of 1965 was on tour as a soloist in Europe playing engagements and picking up rhythm sections on the way. This concert, which took place in Paris, Sonny used Gilbert "Bibi" Rovere, one of the better French bassists. Happily Sonny was reunited with his Harlem homeboy, drummer Arthur Taylor, who had been an ex-pat for about three years. Both Rovere and Taylor had to watch and anticipate Rollins' every move as Sonny at this time was into total "stream of conscious" performances with no breaks in between tunes. We'll hear Sonny backed by the rhythm section and playing acapella quoting a whole variety of tunes both familiar and obscure.....they go by fast and require careful listening to catch them all. This is a fun and intense forty plus minutes by one of the all time greatest musicians to grace the planet.....Sonny Rollins!

This wonderful short-lived band only made one domestically produced record.A few bootlegs exist and one rare recording made in Japan,featuring tunes from "West Side Story" are the only documentation of this group. At the time the late alto saxophone master, Charlie Mariano (1923-2009) was married to Toshiko Akiyoshi and they formed this creative quartet with the late Gene Cherico on bass and a young Eddie Marshall on drums. The album was issued on the very short-lived Candid label and was done on December 5,1960. Two Charlie Mariano compositions are featured and two by Ms. Akiyoshi-Mariano and one arrangement of an old spiritual (Deep River) by Mr. Mariano. The recording is a beautiful and passionate statement by this great little band. The only small drawback is the tinny piano that Toshiko has to work with but as usual she makes the most of it.

Your host takes a secondary position on tonight's show as the Media Director of the Coastal Jazz and Blues Society, Mr. John Orysik takes over the full three hours by picking the music and talking with Gavin about the 2009 Vancouver International Jazz Festival. The Feature tonight IS The Jazz Festival!

This date done for Blue Note in April 1957 shows us a Sonny Rollins playing with confidence and authority. Rollins, who had been a member of Max Roach's quintet was about to leave and temporarily join Miles Davis' revamped quintet then strike out on his own. This all-star date puts Sonny in illustrious company with the great J.J. Johnson on trombone. J.J. gave Sonny some of his first recording opportunities back in 1949 and this was Sonny's way of repaying J.J. Art Blakey is on drums and he propelled Sonny on his first recording under his own name in 1951. Blakey loved Sonny and pushed him to new heights here. Horace Silver worked with Sonny on some very important Miles Davis dates in 1954 and Paul Chambers was everyone's favourite bassist.Thelonious Monk was one of Sonny's closest friends and in many ways, his teacher. They had recorded together many times and Monk was a welcome guest on this session and he added spice to the proceedings. Monk is featured on his ballad, "Reflections" with just Sonny as the sole horn. The other track is a classic as it features both Monk and Horace Silver at the piano bench playing Monk's blues based on major sixth intervals called, "Misterioso". So ends this powerful record date. Twelve takes, mostly false starts were required to complete the 6 tunes so that meant that basically everything was 'off the top'.....the true Jazz tradition. One of Mr. Rollins' great recordings and one that is frequently overlooked is tonight's Feature......"Sonny Rollins Volume 2".

Denny Zeitlin is one of the great individual stylists of the piano. He was born in Chicago on April 10,1938 and studied with the great theorist/innovator, George Russell. Denny lists his influences as Russell, Billy Taylor and Bill Evans but you'll find that Zeitlin has absorbed these influences so well that what comes out is pure Zeitlin. This was his first recording under his own name and it was done in 1964 for Columbia and re-issued on this fine Mosaic set from www.mosaicrecords.com Denny picked two fine sidemen in the persons of virtuoso bassist, Cecil McBee and the late drummer,Freddie Waites. Both these gentlemen were from Detroit and worked together in many different bands and were the perfect sidemen. This album, called "Cathexis" was the first in a series of innovative trio recordings. Denny moved to the Bay area soon after this recording to play and also to begin his other career as a psychiatrist. He has continued in both professions and is still practicing and playing at age 71. This album was an auspicious beginning.

Guitarist Grant Green, along with Wes Montgomery set the standards for that instrument in the 1960's. They both seemed to come out of nowhere and leaped to international fame. Montgomery was a more stable individual than Green and even though he died quite young at age 43 in 1968, he achieved legendary status. Green was not as fortunate in his lifetime but now, after his passing in 1979, he too, has reached iconic status. This album was one of the many Green sessions for Blue Note that were never released during Green's lifetime. This great session came out on vinyl in the early 80's on the Blue Note 'white cover' series and was later issued on Blue Note's Connoisseur Series on CD in 1995. It features Green on guitar with two major saxophonists in the persons of James Spaulding on alto and Joe Henderson on tenor plus the powerhouse rhythm section of McCoy Tyner on piano, Bob Cranshaw on bass and the dynamic drumming of Elvin Jones. The session was done in 1964 and opens with a Duke Pearson original called "Minor League", one original by Green called "Grant's Tune" and a great rendition of Sonny Rollins' blues called "Solid". the title track. Joe Henderson's "The Kicker" is a highlight as well as a version of Bacharach's "Wives And Lovers" without the saxophones but the best cut is the band's version of George Russell's "Ezz-thetic"(named for the great prizefighter Ezzard Charles). This is another feather in the formidable cap of guitar great Grant Green.

This lesser known recording was the last documentation of one of the great editions of Art Blakey's Jazz Messengers. Drummer/leader, Blakey led many editions of this band over the years some of lesser importance than others. This band was one of his greatest and it was together from the Fall of 1961 until the Spring of 1964. This recording was done for Riverside Records towards the end of that label's life and it kind of got lost in the shuffle. The band is inspired and everyone is playing at their peak. Freddie Hubbard is on trumpet, Wayne Shorter is on tenor saxophone and is also musical director, Curtis Fuller on trombone, Cedar Walton on piano, Reginald (Reggie) Workman is on bass and Blakey. The five tunes are interesting, one by Fuller and the title track by Hubbard and Shorter's arrangement of Sadao Watanabe's tune called "Nihon Bash" and a moody ballad by Comden and Green arranged by Fuller called "Never Never Land" balances the set. One last tune is a rarity, a vocal by Art Blakey's cousin, Wellington Blakey, called "Wellington's Blues" nicely wraps up this fine record.

From the early 60's on drummer/composer/Jazz pioneer, Max Roach made a vow to never play or record anything that did not have some form of political significance. Usually music and politics are a bad mix with music often taking a back seat but with Mr. Roach this was not the case. Max became a champion of civil rights and although others made strong statements about the plight of African-Americans, Max's voice was among the most articulate and musical. Roach was blacklisted from recording for many years in the 60's for his political stance. This album is a follow-up to his famous "Freedom Now Suite" and his first of two for the forward thinking Impulse label.His band includes the late trumpeter Booker Little, who was only two months away from his death at 23 from uremia. Julian Priester is on trombone, Clifford Jordan on tenor saxophone, and Eric Dolphy is heard on alto saxophone,flute and bass clarinet. Mal Waldron is on piano and Art Davis is on bass and on several tunes two percussionists are added in the persons of Carlos "Patato" Valdes on congas and Carlos "Totico" Eugenio on timbales and assorted percussion. Two vocals are by Abbey Lincoln. All the compositions and arrangements are by Max Roach and the recording was done over several days in August of 1961. This album is both a strong political and musical statement by one of the true giants of Jazz and creative music, Max Roach.

Jackie McLean's quartet dates are rather rare as he usually recorded with other horns on his own dates. McLean is in fine creative form here on this rare session, done in April of 1966 for Blue Note. It was supposed to be issued and called "High Frequency" but remained in the can until the late 70's when it was issued as a vinyl 'twofer' by Blue Note. It's only other issue was on a box set by Mosaic Records called "The Complete Blue Note Recordings of Jackie McLean 1964-66"...that set is out of print and commands a huge price on eBay. McLean points to the future in his performance here but doesn't let you forget where he came from stylistically as he performs two of his own tunes plus two by pianist Larry Willis and one by bassist Don Moore. The drummer on this date is a McLean discovery who is now one of the greatest drummers in Jazz history, Jack DeJohnette.As Jackie describes his sound...."no artificial sweetener'.... he is in compelling form here delivering his message with grace, swing and authority. McLean passed away on March 31,2006 has music and sound will be missed.

Drummer/bandleader Roy Haynes, with few exceptions has always preferred to lead a quartet with a good horn (either an alto or tenor saxophone) out front and piano, bass and himself on drums. This album, done in April of 1963, is no exception. The featured voice out front is one of the most distinctive tenor saxophonists, the Texas born, Booker Ervin. His high, hard sound and his intensity is unmatched. He was Charles Mingus' favourite saxophonist and one can understand why. His rhythmic and emotional approach grabs one by the throat and doesn't let go until Mr. Ervin has his say. Ervin was a treasure and it's sad that ill health robbed us of his music when he died of kidney failure in 1970 at age 39. Pianist Ronnie Mathews was just beginning to make his mark on the New York scene and quickly became one of the most sought after players. Sadly, Ronnie passed away last year. Bassist Larry Ridley was soon to became one of the leading bassists in New York and is happily still alive, playing and teaching. What can be said about Roy Haynes! At 83, he sounds even better than he does here and he's amazing on this date. Roy guides and shapes the music like the master he is. Mr. Snap Crackle is "Cracklin'" A fine date from beginning to end.

This is the first recording by bassist/composer/ Charles Mingus with his newly formed band "The Charles Mingus Jazz Workshop". Mingus' recordings before this date, done in January of 1956, were issued on small, hard to find labels that were poorly distributed, with the exception of his own label, Debut Records. This date was done for a major label, Atlantic Records and when it was issued it really marked the arrival of Mingus as an authoritative figure on the Jazz scene. It was a milestone in the career of this volatile, puzzling and amazingly creative musician. The Jazz Workshop consisted of a young up and coming alto saxophonist named Jackie McLean. J.R. (Frank Anthony) Monterose was on tenor saxophone and the great Mal Waldron on piano and the unheralded Willie Jones on drums. All the musicians except McLean had worked with Mingus off and on for about two years. This was the only recording by this group as they soon left Mingus and he continued his musical quest with another group of players. The album was named after the title track: "Pithecanthropus Erectus". One standard tune tranformed by Mingus was the Gershwin's "A Foggy Day". The beautiful bittersweet ballad was called by Mingus, "Portrait of Jackie" (a feminine 'Jackie' not McLean) and finally "Love Chant", a composition that introduced modality to Mingus' music long before Miles Davis discovered it for "Kind of Blue". One of Mingus' early triumphs.

Tonight we are celebrating the birthday of one of the great pioneers of Jazz: Lionel Hampton. Lionel wasn't the first to play the vibraphone nor was Louis Armstrong the first to play the trumpet, nor Coleman Hawkins the first to play the tenor saxophone but each of these pioneers developed a concept on their chosen instrument that generations of players followed. Hampton lived to the ripe old age of 94 and achieved much in has long career. Tonight's Feature is the beginning of his association with the great impresario, Norman Granz. Granz was not interested in Hampton's band but his artistry on the vibraphone. Hampton began a series of recordings where he was evenly matched with three music masters: pianist Oscar Peterson, bassist Ray Brown and drummer Buddy Rich. Tonight's Feature is their first meeting and it's some of the best music Hampton has ever played. Standards, blues and ballads are all given royal treatment by four masters.Almost all of the tunes were first "takes".

This album was a real milestone in the career of Thelonious Monk as it was his first recording for Columbia Records, a major label. He was signed in 1962 and, this, his first recording was a much anticipated event. Thelonious had, at this point, become something of a household word in Jazz as he had emerged from the underground of the 1950's into a vital force in the music. He had never compromised his musical vision but by this time had formed a stable group with the gritty-toned tenor saxophonist Charlie Rouse, who had been with Monk since the end of 1958. Bassist John Ore, a steady and reliable timekeeper had been with Mr. Monk for a couple of years and the last piece of the puzzle was the dancing, booting drumming of Frankie Dunlop, who after Art Blakey and Shadow Wilson was one of the finest percussionists to work with Monk. On this record, the long bass and drum solos were eliminated as they were more effective during live and concert performances and the tunes were shortened into concise form. Columbia, who had Miles Davis, Charles Mingus, Dave Brubeck and others on their roster gave this album a big publicity boost and it became the best selling of all Monk's recordings. It was greeted with raves from fans and critics alike.....Monk had arrived! Tonight's Feature "Monk's Dream". Two solo piano performances and six quartet tunes make up this date done on Halloween and November 1 & 2, 1962......Monk at his finest.

Pianist/composer Randy Weston celebrates his 83rd birthday tonight (April 6) and to honour this 6' 7" musical giant, The Jazz Show presents Randy with one of his finest ensembles. Originally released in 1965 on his own label, Weston sold the rights to Atlantic Records some years later and it was issued as "African Cookbook", after the great title track. Weston combines the concepts of Duke Ellington (the pianist) and Thelonious Monk into his own unique style. Randy's compositions have endured in Jazz for many years as he is responsible for "Little Niles", "Hi-Fly", "Pam's Waltz", "Babe's Blues" and so many others that have become Jazz standards. Weston's band here includes the great authoritative voice of tenor saxophonist Booker Ervin, who to this day remains sadly overlooked. On trumpet and flugelhorn is the late Ray Copeland, who was one of Monk's favourite players. Bill "Vishnu" Wood is solid on bass and works well with drummer Lenny McBrowne. Three tunes are done by this ensemble then percussionist, Big Black (aka Larry Roy) is added on congas as well as Sir Harold Murray on special percussion. One tune, "Blues For Five Reasons" is played by Weston plus bass and drums. All the compositions, with one exception are by Randy and they are all very distinctive. This is one special album and is our birthday tribute to a living Jazz master.

Pianist/composer Andrew Hill was Alfred Lion's last great discovery. Lion,of course was Blue Note's head man and a lover of original pianist/composers. Lion was the first to record Thelonious Monk as a leader and the first to record Horace Silver and was responsible for the many recordings as a sideman and leader of the ill-fated Sonny Clark who died as a result of a drug overdose on January 13,1963 at age 32. Lion heard Andrew Hill on a Joe Henderson session and a Hank Mobley session in late 1963 and was impressed with the young pianist's originality. Hill had played with many people before coming into the Blue Note fold; people like Rahsaan Roland Kirk, Dinah Washington and many others so he was very well-rounded. Lion began to record Hill playing his own unique and sometimes difficult compositions and his first effort for the label was the astounding "Black Fire" with Joe Henderson. His second was a quartet effort with two bassists and the third was this classic called "Judgement!" Hill used the young, Bobby Hutcherson on vibes and his favourite bassist, Richard Davis and the great and dynamic Elvin Jones on drums in six Hill compositions. This album stands with "Black Fire" and "Point of Departure" as one of Hill's finest and is the Feature for tonight.

This album was pianist/composer Horace Silver's third recording for Blue Note with his working band. The band, with this personal was captured at it's peak before some of the men left to persue other opportunities. Art Farmer on trumpet provided cliche-free, thoughtful solos in contrast to the outgoing Rollins influenced tenor saxophone work of Chicago born Clifford Jordan, Teddy Kotick, who was Charlie Parker's favourite bassist is strong and vibrant here. The drumming of Louis Hayes adds to the mix. Horace Silver's spare, swinging playing is so distinctive and his compositions reflect Silver's creative processes. Soon after, Horace had to rebuild his quintet as Farmer left to join Gerry Mulligan and Jordan left to play with J.J. Johnson and Kotick left to freelance and work with Bill Evans. The band was tight and together for this album appropriately called "Further Explorations".

J.R. Monterose (Frank Anthony Monterose Jr.) was a very individual stylist who was very much in evidence on the New York Jazz scene in the mid-50's. J.R. worked with vibist Teddy Charles and bassist Charles Mingus but came to the attention of Blue Note's owner, Alfred Lion because of his work with trumpeter Kenny Dorham's short-lived band "The Jazz Prophets". Lion gave Monterose his chance and J.R. became the first Caucasian musician to have his own 12' LP. It's a good one and a minor classic. Hard driving and swinging...Monterose brings his slashing, stacatto tenor to the fore with his front line partner, the versatile Ira Sullivan who can play anything with valves or keys but restricts himself to some stunning trumpet work here. The great rhythm section is in tune with Monterose's ideas and backs both horns with a drive and swing that's unequalled. Horace Silver on piano, the wonderful Chicago born, Wilbur Ware on bass and Philly Joe Jones on drums build fires under the horns. This formally rare recording is now available on Blue Note's RVG Series and it's good to have it back in circulation again. The album represents some of the best Jazz of the 50's by two musicians who were part of the real Jazz core. J.R. Monterose stands as one of the great individualists of the tenor saxophone and Ira Sullivan, who is still alive is not far behind. There are three Monterose compositions on the set and one by trumpeter Donald Byrd, one by bassist Paul Chambers and one by drummer Philly Joe Jones.