Requisites

George Otsuka gathered his Trio and went into the Columbia Records studio in Japan to lay down the tracks for his Page 1 on October 14, 1967 for the Tact Jazz Series. The session was recorded by Shuji Otsuke.

Songs: A1 Page 1 A2 Bye Bye Blackbird A3 Theme B1 Blues For Alice B2 It Might As Well Be Spring B3 Potato Chips B4 Theme Personnel: Bass – Masaoki Terakawa Drums – George Otsuka Piano – Hideo Ichikawa

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In 1961 trombonist Bennie Green along with Johnny Griffin on tenor saxophone, Junior Mance on piano, bassists Paul Chambers (tracks 2, 3, 6 & 7) and Larry Gales (tracks 1, 4 & 5) alternating duties and drummer Ben Riley went into the studio and recorded 39 minutes and 31 seconds of jazz on March 9th  and 22nd that would be released as Glidin’ Along on the Jazzland label.

The sessions were produced by Orrin Keepnews with Chambers in the mix on the 9th and Gales on 22nd. The quintet came out of the studio with seven songs composed by two members of the group, Green and Griffin

  1. African Dream – (Bennie Green)
  2. Sweet Sucker – (Johnny Griffin)
  3. Glidin’ Along – (Babs Gonzales)
  4. Green’s Scene – (Gonzales, Green)
  5. Milkshake – (Griffin)
  6. Stardust” (Hoagy Carmichael, Mitchell Parish)
  7. Expubidence (Gonzales)

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The Phantom is the twelfth album by American pianist and arranger Duke Pearson featuring performances recorded in 1968 and released on the Blue Note label.

Two separate sessions recorded the six tunes for a little over a half hour of music totalling thirty-eight minutes and thirty-six seconds, considered your average length in those days. The compositions are The Phantom, Blues for Alvina, Bunda Amerela (Little Yellow Streetcar), Los Ojos Alegres (The Happy Eyes), Say You’re Mine and The Moana Surf.

All compositions were composed by Pearson except #2 by Willie Wilson and #6 by Jerry Dodgion. Track #3 was recorded on June 24, 1968 and on September 11, 1968 they laid down the other five tunes.

Along with Pearson on the sessions were Jerry Dodgion – flute, alto flute, Bobby Hutcherson – vibes, Sam Brown and Al Gafa – guitar, Bob Cranshaw – bass, Mickey Roker – drums, Victor Pantoja – congas and Carlos ‘Patato’ Valdés – conga, güiro.

The recording session was produced by Francis Wolff at the Van Gelder Studios in Englewood Cliffs, New Jersey. Wolff is credited for the cover photography as well and the design was by Florenza Venosa Associates.

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Pianist Phineas Newborn Jr. gathered an elite group of players in 1961 to comprise two distinct trios rendering two distinct sounds for two recording sessions. Bassist Paul Chambers and drummer Philly Joe Jones came into the Contemporary studio and recorded tracks 1–4 on October 16th, while on November 21st bassist Sam Jones and drummer Louis Hayes laid down tracks 5–8.

The album, A World of Piano! was released in 1962 by Contemporary Records and had a total of eight compositions for a total playing time of 39:34. Featured on Side 1 was Cheryl, Manteca, Lush Life and Daahoud and on Side 2 – Oleo, Juicy Lucy, For Carl and Cabu.

The cover was designed by George Kershawn and Robert Guidi who utilized bold, luminously colored fonts to create a distinctive style to the jazz covers of the Los Angeles based label. What Tri-Arts succeeded in doing time and time again as to create a distinguishable yet highly complimentary design to an often lush photograph, in this case provided by the inimitable William Claxton. Below is the complete album with separate Side 1 & 2 for your listening pleasure.

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2-3-4 is an album by drummer Shelly Manne features performances that were recorded in 1962 for the Impulse! Label. The name of the album is derived from its inclusion of a duet (“2”), two trio performances (“3”), and three tunes played by a quartet (“4”). Unusually, the standards “Take the “A” Train” and “Cherokee” were played in two tempos simultaneously, with Manne playing in double time consistently throughout “Cherokee”.

Not a typical album for the drummer, then primarily associated with West Coast jazz, he flew from Los Angeles to New York City on February 5, 1962, arranged by producer Bob Thiele. He was reunited with pioneering tenor saxophonist Coleman Hawkins and pianist Hank Jones, both of whom he had recorded with at different times in the 1940s.

The recording sessions took place at the Fine Recording Ballroom Studio A recording tracks 1, 3, 5, 6 & 8 on February 5 and tracks 2, 4 & 7 on February 8, 1962. In an unusual session lasting through the wee hours of the morning, he ended by recording one tune as a duet with Hawkins, who for the first time in his career was recorded also playing the piano.

The album also includes a second recording session at the same studio a few days later. Bassist George Duvivier stayed on with Manne, and they were joined by rising star Eddie Costa for two trio tracks. “The Sicks of Us” has Costa on vibes for a largely spontaneous trio number; on “Lean on Me”, Costa switches to piano.

The tracks on the original release are: Take the “A” Train, The Sicks of Us, Slowly, Lean on Me, Cherokee, and Me and Some Drums.

A fourth tune recorded by the quartet at the first session, “Avalon“, was released at first only in the Impulse! collection The Definitive Jazz Scene, Volume 1. Some thirty years later, it was included along with an alternative version of Lean On Me on the first CD reissue of 2-3-4 as bonus tracks.

Personnel: tenor saxophonist Coleman Hawkins on tracks 1, 3, 5, 6 & 8, pianist Hank Jones on tracks 1, 3, 5 & 8, pianist and vibraphonist Eddie Costa on tracks 2, 4 & 7, bassist George Duvivier on tracks 1–5, 7 & 8 and drummer Shelly Manne.

The cover design was created by Robert Flynn and the photograph was taken by Bob Gomel.

 

 

 

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