JULIAN CANNONBALL ADDERLEY (Leader-Alto Sax); JOHN COLTRANE (Tenor Sax);WYNTON KELLY (Piano); PAUL CHAMBERS (Bass); JIMMY COBB (Drums)

LIMEHOUSE BLUES (Furber-Braham) Harms, Inc. (ASCAP) 4:39.

STARS FELL ON ALABAMA (Prank Perkins & Mitchell Parish) Mills Music, Inc. (ASCAP) 6:15.

WABASH (Julian Adderley) Pure Music (BMI) 5:44.

GRAND CENTRAL (John Coltrane) Jowcol Music, Inc.(BMI) 4:33.

YOU’RE A WEAVER OF DREAMS (Victor Young & Jack Elliott) Kassner Music (ASCAP) 5:31.

THE SLEEPER (John Coltrane) Jowcol Music, Inc. (BMI) 7:15.

This session was cut in Chicago while all the above were sidemen working with Miles Davis’ group at the Sutherland Hotel in 1959!

This epochal jazz session was recorded in February, 1959, at universal Recording’s Studio B, Chicago, with Bernie Clapper, president of the firm, at the audio controls. In order to achieve the epitome in cohesive sound and coordination, the group was set up very tight, the way they worked in personal engagements. Microphone sets were worked out to make for the most possible directivity of sound with very little crossover, because this is fundamentally a session which featured solos by these outstanding progressive jazzmen.

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Baritone saxophonist Gil Melle was one of the most fascinating and under-appreciated figures in post-bop jazz. A prodigy as both a musician and painter, he was a pioneer of jazz/classical fusion and electronic music. Melle was born in New York City on December 31, 1931. In 1950, at nineteen, Melle became the first white musician signed to Blue Note, and also designed several album covers for records by Miles Davis, Thelonious Monk and Sonny Rollins as well as several of his own records. He also introduced Alfred Lion to his friend, recording engineer Rudy Van Gelder, whose methods became an essential element in the Blue Note sound.From the get-go Melle’s music was well advanced beyond modern jazz of the time, reflecting early developments in the classical/jazz fusion he later dubbed “Primitive Modern”.He made several 10″ (including this one) for Blue Note and Prestige in the early 50’s before recording his first lp for Blue Note “Patterns in Jazz in 1956. Patterns in Jazz was one of the label’s most modernistic releases for years to come. Later that year he signed to Prestige, for whom he recorded three albums in one year before leaving the jazz scene in favor of studio work.

In the early 1960s Melle began working as a film and television composer in Los Angeles, writing music for Rod Serling’s “Night Gallery”, “The Andromeda Strain”, and over 125 other movies and TV shows along with more standard orchestral works. Many of his scores were entirely electronic, completely innovative at the time. Melle also pioneered many developments in electronic music, including early analog synthesizers and drum machines. His band The Electronauts was the first all-electronic ensemble to perform at Monterey. Melle only recorded sporadically from the late 1960s until his death, preferring in the end to concentrate on painting and digital art.

Roy Haynes’ excellent bop session, from original Swedish Metronome recordings.

Roy Haynes was a member of Lionel Hampton’s band when the band toured Europe. At the time, Famous Swedish label Metronome recorded so many sessions by the members of Lionel Hampton band. This is one of them.

As far as I know, this LP is Roy Haynes’ first leader session through his entire career. Featured musicians include members of Lionel Hampton band and top Swedish jazz artists. The result was superb – a typical good example of bop sessions in 1954. A few years later these four tracks were reissued on Jazz Abroad coupled with some overseas Quincy Jones sessions.

Roy Haynes was born in Boston, March 13, 1926, and was keenly interested in jazz ever since he can remember. Primarily self-taught, he began to work locally in 1942 with musicians like the Charlie Christian inflected guitarist Tom Brown, bandleader Sabby Lewis, and Kansas City blues-shout alto saxophonist Pete Brown, before getting a call in the summer of 1945 to join legendary bandleader Luis Russell (responsible for much of Louis Armstrong’s musical backing from 1929 to 1933) to play for the dancers at New York’s legendary Savoy Ballroom. When not travelling with Russell, the young drummer spent much time on Manhattan’s 52nd Street and uptown in Minton’s, the legendary incubator of bebop, soaking up the scene.

Haynes was Lester Young’s drummer from 1947 to 1949, worked with Bud Powell and Miles Davis in ’49, became Charlie Parker’s drummer of choice from 1949 to 1953, toured the world with Sarah Vaughan from 1954 to 1959, did numerous extended gigs with Thelonious Monk in 1959-60, made eight recordings with Eric Dolphy in 1960-61, worked extensively with Stan Getz from 1961 to 1965, played and recorded with the John Coltrane Quartet from 1963 to 1965, has intermittently collaborated with Chick Corea since 1968, and with Pat Metheny during the ’90s. He’s been an active bandleader from the late ’50s to the present, featuring artists in performance and on recordings like Phineas Newborn, Booker Ervin, Roland Kirk, George Adams, Hannibal Marvin Peterson, Ralph Moore and Donald Harrison. A perpetual top three drummer in the Downbeat Readers Poll Awards, he won the Best Drummer honors in 1996, and in that year received the prestigious French Chevalier des l’Ordres Artes et des Lettres.

Another nice one from “If Charlie Parker were a gunslinger” ¦” 

One of the classic Miles Davis recordings on Prestige in the mid-fifties.   A beautiful set and cool cover.

Red Rodney   A nice Prestige 10″   Features Jim Ford, Phil Raphael, Phil Leshin, and Phil Brown. Tracks: The Baron, This Time the Dream’s On Me, Mark, If You Are But a Dream, Red Wig, Smoke Gets in Your Eyes, Coogan’s Bluff

Robert Chudnick (Red Rodney), trumpeter and bandleader: born Philadelphia 27 September 1927; died Boynton Beach, Florida 27 May 1994.

AS THE FIRST white Bebop trumpet player, Red Rodney had one of the most prized jobs in jazz, playing trumpet in the quintet of the altoist Charlie Parker.

In 1945, when Rodney was 17, he was befriended by another trumpeter, Dizzy Gillespie, who in turn introduced him to Charlie Parker and the black musicians of New York.

‘I heard Charlie Parker and that was it’, said Rodney, ‘That was what I wanted to do with the rest of my life.’ He became one of the first generation of Bebop trumpet players. The others were Gillespie, Miles Davis, Fats Navarro and Kenny Dorham – Rodney survived them all.

In 1950 Parker was offered a very lucrative tour of the southern states by his agent Billy Shaw.

‘You gotta get rid of that redheaded trumpet player. We can’t have a white guy in a black band down south,’ Shaw told Parker.

‘I ain’t gonna get rid of him. He’s my man. Ain’t you ever heard of an albino? Red’s an albino,’ claimed Parker.

Rodney knew nothing of this until the quintet arrived for the first job of the tour at Spiro’s Beach in Maryland, where he was surprised to find a poster reading ‘The King of Bebop, Charlie Parker and His Orchestra featuring Albino Red, Blues Singer’.

‘You gotta sing the blues, Chood baby,’ said Parker (‘Chood’ was his nickname for Rodney, derived from the trumpeter’s real name, Chudnick).

When Parker died in 1955, Rodney joined Charlie Ventura for a short time, but his life became overwhelmed by his drug addiction and he left music altogether in 1958. He drifted to Las Vegas where, as a drug addict, he became a familiar of the local vice squad. He was sentenced several times to the federal narcotics hospital at Lexington, Kentucky.

One day he saw a photograph in a newspaper of one General Arnold T. MacIntyre. ‘Hey,’ he said, ‘I look like this cat’   A scheme took shape in his mind. A friendly printer forged some credit cards for him in MacIntyre’s name and 20 cheques, each for $1,840, the average monthly salary of a major- general.     Rodney dyed his hair grey and bought a major-general’s uniform. Suitably equipped, he would walk into a bank and present himself as General MacIntyre, ask to see the manager, and flash his wad of credit cards. Using these methods he managed to live a life of luxury for a year.

He gave up drugs in 1978, his wife Helene called him ‘a born- again virgin’, and his career took off again when he formed a band with his fellow trumpeter Ira Sullivan and the pianist Gary Dial. Rodney took up the fluegelhorn to great effect. Playing better than ever before, he was in demand all over the world for clubs, concert halls and festivals and in his final years some of the best musicians of the younger generation, notably the remarkable alto player Chris Potter, queued up to join his band.