During 1945-49 Howard McGhee was one of the finest trumpeters in jazz, an exciting performer with a sound of his own who among the young bop players ranked at the top with Dizzy Gillespie and Fats Navarro. The "missing link" between Roy Eldridge and Fats Navarro (Navarro influenced Clifford Brown who influenced most of the post-1955 trumpeters),... [+] Read More

During 1945-49 Howard McGhee was one of the finest trumpeters in jazz, an exciting performer with a sound of his own who among the young bop players ranked at the top with Dizzy Gillespie and Fats Navarro. The "missing link" between Roy Eldridge and Fats Navarro (Navarro influenced Clifford Brown who influenced most of the post-1955 trumpeters), McGhee originally played clarinet and tenor, not taking up trumpet until he was 17. He worked in territory bands, was with Lionel Hampton in 1941 and then joined Andy Kirk (1941-42), being featured on "McGhee Special." McGhee participated in the fabled bop sessions at Minton's Playhouse and Monroe's Uptown House, modernizing his style away from Roy Eldridge and towards Dizzy Gillespie. He was with Charlie Barnet (1942-43), returned to Kirk (where he sat next to Fats Navarro in the trumpet section) and had brief stints with Georgie Auld and Count Basie before traveling to California with Coleman Hawkins in 1945; their concise recordings of swing-to-bop transitional music (including "Stuffy," "Rifftide" and "Hollywood Stampede") are classic. McGhee stayed in California into 1947, playing with Jazz at the Philharmonic, recording and gigging with Charlie Parker (including the ill-fated "Lover Man" date) and having an influence on young players out on the Coast. His Dial sessions were among the most exciting recordings of his career and back in New York he recorded for Savoy and had a historic meeting on record with Navarro (1948 on Blue Note).

However drugs began to adversely affect Howard McGhee's career. He traveled on a USO tour during the Korean War, recording in Guam. McGhee also had sessions for Bethlehem (1955-56) but was inactive during much of the 1950s. He recorded some strong dates for Felsted, Bethlehem, Contemporary and Black Lion during 1960-61 and a quartet outing for United Artists (1962) but (with the exception of a Hep big band date in 1966) was largely off records again until 1976. He had a final burst of activity during 1976-79 for Sonet, SteepleChase, Jazzcraft, Zim and Storyville but by then Howard McGhee was largely forgotten and few knew about his link to Fats Navarro and Clifford Brown. ~ Scott Yanow, All Music Guide [-] Hide

One of the giants of the jazz piano, Bud Powell changed the way that virtually all post-swing pianists play their instruments. He did away with the left hand striding that had been considered essential earlier and used his left hand to state chords on an irregular basis. His right often played speedy single-note lines, essentially transforming... [+] Read More

One of the giants of the jazz piano, Bud Powell changed the way that virtually all post-swing pianists play their instruments. He did away with the left hand striding that had been considered essential earlier and used his left hand to state chords on an irregular basis. His right often played speedy single-note lines, essentially transforming Charlie Parker's vocabulary to the piano (although he developed parallel to "Bird").

Tragically, Bud Powell was a seriously ill genius. After being encouraged and tutored to an extent by his friend Thelonious Monk at jam sessions in the early '40s, Powell was with Cootie Williams' orchestra during 1943-1945. In a racial incident, he was beaten on the head by police; Powell never fully recovered and would suffer from bad headaches and mental breakdowns throughout the remainder of his life. Despite this, he recorded some true gems during 1947-1951 for Roost, Blue Note, and Verve, composing such major works as "Dance of the Infidels," "Hallucinations" (also known as "Budo"), "Un Poco Loco," "Bouncing With Bud," and "Tempus Fugit." Even early on, his erratic behavior resulted in lost opportunities (Charlie Parker supposedly told Miles Davis that he would not hire Powell because "he's even crazier than me!"), but Powell's playing during this period was often miraculous.

A breakdown in 1951 and hospitalization that resulted in electroshock treatments weakened him, but Powell was still capable of playing at his best now and then, most notably at the 1953 Massey Hall Concert. Generally in the 1950s his Blue Notes find him in excellent form, while he is much more erratic on his Verve recordings. His warm welcome and lengthy stay in Paris (1959-1964) extended his life a bit, but even here Powell spent part of 1962-1963 in the hospital. He returned to New York in 1964, disappeared after a few concerts, and did not live through 1966.

In later years, Bud Powell's recordings and performances could be so intense as to be scary, but other times he sounded quite sad. However, his influence on jazz (particularly up until the rise of McCoy Tyner and Bill Evans in the 1960s) was very strong and he remains one of the greatest jazz pianists of all time. ~ Scott Yanow, All Music Guide [-] Hide

Co-chaired by legendary bop drummer Kenny Clarke and Belgian-born pianist/composer Francy Boland, the Clarke-Boland Big Band ranked among the top European orchestras of the '60s and early '70s. The group formed in 1960 following Clarke's relocation to Paris; originally, he and Boland -- fresh off a stint as an arranger for Kurt Edelhagen's... [+] Read More

Co-chaired by legendary bop drummer Kenny Clarke and Belgian-born pianist/composer Francy Boland, the Clarke-Boland Big Band ranked among the top European orchestras of the '60s and early '70s. The group formed in 1960 following Clarke's relocation to Paris; originally, he and Boland -- fresh off a stint as an arranger for Kurt Edelhagen's German-based orchestra -- teamed in a sextet setting, quickly followed by an octet; the roster continued to grow, however, and soon a big band comprised of other American expatriates and top European players was in place. After earning a reputation as a major live force, the Clarke-Boland Big Band finally made their recorded debut with the 1962 LP Jazz Is Universal; over a dozen more albums followed prior to the group's 1973 dissolution. ~ Jason Ankeny, All Music Guide [-] Hide

Charlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Sitt. There was almost note-for-note imitation in several early Stitt solos, and the closeness remained until Stitt began de-emphasizing the alto in favor of the tenor, on which he artfully combined the... [+] Read More

Charlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Sitt. There was almost note-for-note imitation in several early Stitt solos, and the closeness remained until Stitt began de-emphasizing the alto in favor of the tenor, on which he artfully combined the influences of Parker and Lester Young. Stitt gradually developed his own sound and style, though he was never far from Parker on any alto solo. A wonderful blues and ballad player whose approach influenced John Coltrane, Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad. He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band in 1945, playing alongside other emerging bebop stars like Gene Ammons and Dexter Gordon. Stitt later played in Dizzy Gillespie's big band and sextet. He began on tenor and baritone in 1949, and at times was in a two-tenor unit with Ammons. He recorded with Bud Powell and J.J. Johnson for Prestige in 1949, then did several albums on Prestige, Argo, and Verve in the '50s and '60s. Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s. After a brief stint with Miles Davis in 1960, he reunited with Ammons and for a while was in a three-tenor lineup with James Moody. During the '60s, Stitt also recorded for Atlantic, cutting the transcendent Stitt Plays Bird, which finally addressed the Parker question in epic fashion. He continued heading bands, though he joined the Giants of Jazz in the early '70s. This group included Gillespie, Art Blakey, Kai Winding, Thelonious Monk, and Al McKibbon. Stitt did more sessions in the '70s for Cobblestone, Muse, and others, among them another definitive date, Tune Up. He continued playing and recording in the early '80s, recording for Muse, Sonet, and Who's Who in Jazz. He suffered a heart attack and died in 1982. ~ Ron Wynn and Bob Porter, All Music Guide [-] Hide

Oscar Pettiford was (along with Charles Mingus) the top bassist of the 1945-1960 period, and the successor to the late Jimmy Blanton. In addition, he was the first major jazz soloist on the cello. A bop pioneer, it would have been very interesting to hear what Pettiford would have done during the avant-garde '60s if he had not died unexpectedly... [+] Read More

Oscar Pettiford was (along with Charles Mingus) the top bassist of the 1945-1960 period, and the successor to the late Jimmy Blanton. In addition, he was the first major jazz soloist on the cello. A bop pioneer, it would have been very interesting to hear what Pettiford would have done during the avant-garde '60s if he had not died unexpectedly in 1960. After starting on piano, Pettiford switched to bass when he was 14 and played in a family band. He played with Charlie Barnet's band in 1942 as one of two bassists (the other was Chubby Jackson) and then hit the big time in 1943, participating on Coleman Hawkins' famous "The Man I Love" session; he also recorded with Earl Hines and Ben Webster during this period. Pettiford co-led an early bop group with Dizzy Gillespie in 1944, and in 1945 went with Coleman Hawkins to the West Coast, appearing on one song in the film The Crimson Canary with Hawkins and Howard McGhee. Pettiford was part of Duke Ellington's orchestra during much of 1945-1948 (fulfilling his role as the next step beyond Jimmy Blanton), and worked with Woody Herman in 1949. Throughout the 1950s, he mostly worked as a leader (on bass and occasional cello), although he appeared on many records both as a sideman and a leader, including with Thelonious Monk in 1955-1956. After going to Europe in 1958, he settled in Copenhagen where he worked with local musicians, plus Stan Getz, Bud Powell, and Kenny Clarke. Among Pettiford's better-known compositions are "Tricotism," "Laverne Walk," "Bohemia After Dark," and "Swingin' Till the Girls Come Home." ~ Scott Yanow, All Music Guide [-] Hide

So dubbed because these three sessions -- two from early 1949, one from March 1950 -- are where the sound known as cool jazz essentially formed, The Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it... [+] Read More

So dubbed because these three sessions -- two from early 1949, one from March 1950 -- are where the sound known as cool jazz essentially formed, The Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions -- arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz, and Max Roach -- is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise (probably the result of the running time of singles, but the results are the same), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result -- the very thing that came to define West Coast or "cool" jazz -- but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to Latin jazz collections as well. Here listeners find the discographical launching pad of Afro-Cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic... [+] Read More

Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to Latin jazz collections as well. Here listeners find the discographical launching pad of Afro-Cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic congas and bongos to Gillespie's big band for the first time on record. One can feel the explosive effect of Pozo's subdivisions of the beat, rhythmic incantations, and grooves on the band's bebop charts. Though the musicians' styles aren't much affected, and Pozo does most of the adapting to bebop rather than vice versa, the foundation has clearly shifted. Alas, aside from recorded live gigs, Pozo only made eight tracks with the band -- four on December 22 and four more eight days later, just before the second Musicians Union recording ban kicked in. Yet even after Pozo's murder the following year, Gillespie continued to expand his Latin experiments, using two Latin percussionists who brought more rhythmic variety to the sound of tunes like "Guarachi Guaro" (later popularized by Cal Tjader as "Soul Sauce") and even commercial ballads like "That Old Black Magic." The reprocessing of these recordings from late in the 78 rpm era through the CEDAR process sounds a bit harsh, though less so than most of RCA's earlier desecrations of vault material using NoNOISE. Even so, this remains the best way to acquire these seminal Latin jazz tracks. ~ Richard S. Ginell, All Music Guide [-] Hide

This 1992 CD reissue from Japanese Denon is certainly filled with classic music, but this is a so-so, lightweight reissue (a reproduction of a 1950s LP but obviously in a smaller size), because there are only 13 selections (an LP's worth of material), the liner notes are dated and breezy, and the complete sessions are not included The great... [+] Read More

This 1992 CD reissue from Japanese Denon is certainly filled with classic music, but this is a so-so, lightweight reissue (a reproduction of a 1950s LP but obviously in a smaller size), because there are only 13 selections (an LP's worth of material), the liner notes are dated and breezy, and the complete sessions are not included The great trumpeter Dizzy Gillespie plays "Blue 'N' Boogie" with a sextet in 1945 including Dexter Gordon; he teams up with Charlie Parker for five early bop gems ("Groovin' High," "Dizzy Atmosphere," "All The Things You Are," "Salt Peanuts" and "Hot House"); he plays two numbers with Sonny Stitt in a combo; and he also performs five songs (including "Things to Come") with his 1946 big band. One way or another, get this important music, but only pick up this particular CD if found at a budget price. ~ Scott Yanow, All Music Guide [-] Hide

This double LP, whose contents have since been reissued as part of a Verve CD box set, contains the cream of pianist Bud Powell's Verve recordings. The innovative pianist rarely sounded more creative and exciting than on the six titles that comprise his May 1949 Verve trio session: "Tempus Fugit," "Celia," "Cherokee," "I'll Keep Loving You,"... [+] Read More

This double LP, whose contents have since been reissued as part of a Verve CD box set, contains the cream of pianist Bud Powell's Verve recordings. The innovative pianist rarely sounded more creative and exciting than on the six titles that comprise his May 1949 Verve trio session: "Tempus Fugit," "Celia," "Cherokee," "I'll Keep Loving You," "Strictly Confidential," and "All God's Chillun Got Rhythm." The February 1950 output (highlighted by a raging "Get Happy") and two numbers from July 1950 are also quite rewarding. The final date on this two-fer has eight piano solos from February 1951, and these too are at a high level -- particularly "Parisian Thoroughfare" and "Hallucinations," although one does miss the bass and drums. It is a pity that this set is out of print, for it is quite appealing, has excellent liner notes, and gives one a long look at Bud Powell at the peak of his powers. ~ Scott Yanow, All Music Guide [-] Hide