Oliver Nelson (on tenor and alto sax) meets Eric Dolphy (alto, bass
clarinet and flute) on this frequently exciting sextet session with
trumpeter Richard Williams, pianist Richard Wyands, bassist George
Duvivier, and drummer Roy Haynes. Although Dolphy is too unique and
skilled to be overshadowed in a setting such as this, Nelson holds his
own. He contributed five of the six compositions (including "Screamin'
the Blues," "The Meetin'," and "Alto-Itis") and effectively matches wits
and creative ideas with Dolphy. Scott Yanow
Tracklist :
1 Screamin' the Blues 10:59
Oliver Nelson
2 March on, March On 4:59
Esmond Edwards
3 The Drive 5:48
Oliver Nelson
4 The Meetin' 6:43
Oliver Nelson
5 Three Seconds 6:25
Oliver Nelson
6 Alto-Itis 4:58
Oliver Nelson
Credits:
Alto Saxophone, Bass Clarinet – Eric Dolphy
Bass – George Duvivier
Drums – Roy Haynes
Piano – Richard Wyands
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone, Alto Saxophone – Oliver Nelson
Trumpet – Richard Williams
This relaxed set (originally on the Prestige subsidiary Moodsville) puts the emphasis on ballads and slower material. Nelson (switching between alto and tenor) is joined by vibraphonist Lem Winchester, pianist Richard Wyands, bassist George Duvivier and drummer Roy Haynes for four standards and three of his originals (including the swinging "Bob's Blues"). Everyone plays well but the intentional lack of mood variation keeps this release from being all that essential. Scott Yanow Tracklist & Credits : 
This intriguing session matches three powerful tenor players: Oliver Nelson, King Curtis (in a rare jazz outing), and Jimmy Forrest. With fine backup work by pianist Gene Casey, bassist George Duvivier, and drummer Roy Haynes, the tenors battle to a draw on a set of blues and basic material (including a fine version of "Perdido"). Easily recommended to fans of big-toned tenors and straight-ahead swinging. Scott Yanow Tracklist & Credits : 
Unlike most of Oliver Nelson's recordings, this one has the feel of a jam session. A Prestige set, Nelson (on tenor and alto) teams up with trumpeter Joe Newman (in exciting form), pianist Hank Jones, bassist George Duvivier, drummer Charlie Persip, and Ray Barretto on congas. There are two superior standards ("Mainstem" and "Tangerine") and four of Nelson's more basic originals. The spirited solos of Nelson and Newman are strong reasons to get this colorful session. Scott Yanow Tracklist & Credits : 
Moody and long-forgotten, like the film it was inspired by, Phaedra interchanges film-like cues with some torrid jazz content (mostly courtesy of Phil Woods). Makes an interesting case for "Greek Jazz." Douglas Payne
Tracklist & Credits : 
When the late President John F. Kennedy was assassinated on November 22, 1963, the world lost not only a prominent politician, but one who truly championed the arts and civil rights. In February of 1967, Oliver Nelson recognized Kennedy's contributions and assembled a big band to play music in his honor, with taped segments of his speeches as preludes. The result is a heartfelt yet eerie combination, perhaps a bit off-putting, but absolutely relevant decades later. The music is reflective of the changing times as identified by Nelson, ranging from commercial movie score-type music, to soulful or straight-ahead jazz, bop, and the modern big-band sound that the leader, composer, and orchestrator owned. Kennedy's most famous speech about fellow Americans, asking what they can do for their country, is folded into the last track "John Kennedy Memory Waltz" with a string quartet and the regret-tinged alto sax of Phil Woods. The 34th President's oratorios on human rights act as prelude to the soft clarion horns, 7/8 beat, flutes, and vibes, giving way to the modal and serene passages of "Let the Word Go Forth," or the cinematic, military, harpsichord-shaded, plucked-guitar-and-streaming-oboe-accented "The Rights of All," which is also reflective of the immortal spiritual song "Wade in the Water." Where "Tolerance" has a similar verbal tone, the mood is much more ethereal between the flutes, oboe, and strings, while the two-minute etude for the first lady and widow, "Jacqueline," has a loping stride. "A Genuine Peace" is an anthem for all times in a soul-jazz mode that parallels Aaron Copland's Americana moods, while "Day in Dallas" is the expectant, ominous, foreboding calm before the chaos. Nelson's straight-ahead jazz exercise is "The Artists' Rightful Place," a spoken word tonic for musical troops in a bop framework that has the horn section jumping for joy. As always, Nelson surrounds himself with the very best musicians -- Woods and Phil Bodner in the reed section, tuba player Don Butterfield, bassist George Duvivier, and pianist Hank Jones -- and all produced by Bob Thiele. Michael G. Nastos Tracklist & Credits : 
This Impulse two-fer revives a pair of LPs by arranger, composer, and saxophonist Oliver Nelson, Happenings and Soulful Brass, released in 1966 and 1968, respectively. Happenings, a date with pianist Hank Jones, is the better album, unlike Soulful Brass, which was co-led with comedian/pianist Steve Allen. Unfortunately, both pianists are featured mainly on harpsichord, which tends to dominate, and at times overwhelm, the compositions. Unless you're a die-hard collector, best to skip this two-fer and pick up the Impulse releases, The Blues & the Abstract Truth and More Blues & the Abstract Truth. Al Campbell Tracklist & Credits : 
All too often, jazz critics have promoted the myth that Lester Young's
playing went way downhill after World War II -- that the seminal tenor
man was so emotionally wounded by the racism he suffered in the military
in 1944-1945 that he could no longer play as well as he had in the '30s
and early '40s. To be sure, Young went through hell in the military,
and his painful experiences took their toll in the form of alcohol
abuse, severe depression, and various health problems. But despite
Young's mental decline, he was still a fantastic soloist. This eight-CD
set, which gathers most of the studio recordings that he made for Norman
Granz's Clef, Norgran, and Verve labels from 1946-1959, underscores the
fact that much of his postwar output was superb. At its worst, this
collection is at least decent, but the Pres truly excels on sessions
with Nat "King" Cole and Buddy Rich in 1946, Oscar Peterson and Barney
Kessel in 1952, Roy Eldridge and Teddy Wilson in 1956, and Harry
"Sweets" Edison in 1957. Disc 8 contains two recorded interviews with
the saxman -- one conducted by Chris Albertson in 1958 for WCAU radio in
Philadelphia, the other by French jazz enthusiast Francois Postif in
Paris on February 6, 1959 (only five or six weeks before Young's death
on March 15 of that year). The contrast between the fascinating
interviews is striking; in Philly, Young is polite and soft-spoken,
whereas in Paris, the effects of the alcohol are hard to miss. Sounding
intoxicated and using profanity liberally, Young candidly tells Postif
about everything from his experiences with racism to his associations
with Billie Holiday and Count Basie. But as much as the set has going
for it, The Complete Lester Young Studio Sessions on Verve isn't for
novices, casual listeners, or those who are budget-minded (Verve's
suggested retail price in the U.S. was $144). Collectors are the ones
who will find this CD to be a musical feast. Alex Henderson Tracklist & Credits :
Sy Oliver's main contributions to jazz history were his arrangements in the 1930s for Jimmie Lunceford and during the first half of the '40s for Tommy Dorsey. In 1947, he had a big band that recorded four sessions for MGM but quickly flopped, lacking its own musical personality and being born at a time when big bands were breaking up. This interesting CD is full of rare material. Oliver sings "Seventh Avenue" on a V-Disc from 1945, leads his big band on all 16 of its recordings from 1947, and heads a couple studio bands for sessions in 1949. Overall, Oliver has vocals on ten of the 23 numbers and also features singers Henry Wells, Tommy Roberts, Joe Bailey, Bobby Marshall, Charles McCormick, and the Aristokats. Although some of the sidemen are well-known swing veterans, in general they are confined to ensembles, with only a few of the tunes being worthwhile instrumentals. The music is enjoyable enough but one can easily understand why the Sy Oliver Orchestra never caught on. Scott Yanow
Tracklist + Credits :
The last vestiges of what was the amazing Bud Powell faded in the mid-'50s, and although he lived for another decade-plus, the strung-out ravages of drug abuse withered the abilities of the first genius of bop piano. Those vestiges of flawed genius are still present in these sessions, reissued from the recordings Powell did for the Debut, Roost, and Norgan labels. But you can hear the frayed edges, the diminished energy, and the overt tiredness compared to his previous years. Still a peerless player even in a moderate state, there's much Powell to enjoy here. The first six tracks are from the legendary Massey Hall concert in Toronto, May 15, 1953, with Max Roach on drums and Charles Mingus at the upright bass. Much has been written about this trio, perhaps the most talented ever assembled, which was under-recorded, and in this case under-produced. They bop fast and hard on the faded-in "Cherokee," an incomplete take where Roach is wailing on brushes; they jive on the hip "Jubilee," also known as "Hallelujah"; and they are a collective slipstream in a wind tunnel for the jam on "Lullabye of Birdland." Mingus is less audible than the others overall, and you do hear the innovation of Powell on the tango flavorings of "I've Got You Under My Skin," the near Baroque leanings during the intro of "Sure Thing," and his unique embellishments on the basic melody of "Embraceable You." The remaining 16 tracks are studio dates from the autumn of 1953 through the summer of 1954, with bassist George Duvivier and drummer Art Taylor. You hear Powell at a less than optimal level especially on the ballads, described as reluctant and insecure during "Spring Is Here"; dour, deepest blue, and near funereal during "It Never Entered My Mind"; and tentative for the shaky solo take of "My Devotion." But then even on dark days Powell was able to conjure brilliance, as on his completely original remake of "Lover Come Back to Me," retitled "Burt Covers Bud"; the brighter "A Foggy Day"; an Asian-flavored "Embraceable You"; the confident, direct, even playful "Buttercup"; and the hard-charging "Fantasy in Blue." Powell's occasional stride piano influence comes to the fore on "My Funny Valentine," his best ballad is "Time Was," and you hear the trick arpeggios that were signatures of Thelonious Monk -- or was it the other way around? Valuable for its musical instructiveness and a hard reality check of life, this recording is a reminder that even flawed genius has it moments, however fleeting, and we should all be thankful to be able to capture those precious times. Michael G. Nastos
Tracklist 
This second volume covering Billy Taylor's pre-Prestige recordings opens with four sides cut for Brunswick Records in 1950, followed by eight tracks done for Atlantic, and concluding with an early LP of Cuban-inspired jazz, all of which will be of interest to collectors. Taylor's bop-inflected piano style remains elegant throughout, always with a veneer of swinging brightness, and two of the best pieces here, the self-penned "Double Duty" and "Good Groove," show an acute awareness of both time and space, areas Taylor would go on to explore with his subsequent trios. Steve Leggett
Tracklist + Credits :
Always in sync with progressive developments in jazz music, pianist, composer, arranger, and bandleader Mary Lou Williams turns out to have made more records during the 1940s and '50s than most people ever realized. Thanks to the Classics Chronological Series, listeners are now able to follow her career session by session throughout these eventful and transitional years. The fifth installment of her complete recorded works in chronological order opens with a fascinating pair of angular studies in chamber bop. Recorded for the King label on March 18, 1949, these tracks feature the most dramatically modern-sounding band that Mary Lou Williams had ever assembled. With a front line of trumpeter Idrees Sulieman, Alan Feldman on clarinet and alto sax, and pre-Eric Dolphy bass clarinetist Martin Glaser backed by Williams, guitarist Mundell Lowe, bassist George Duvivier, and drummer Denzil de Costa Best, "Tisherome" and "Knowledge" are bracing examples of a bop logic that is strikingly adventuresome. The flip sides are topical bop scat novelties featuring vocalist Kenny "Pancho" Hagood. On January 3, 1950, the rhythm section met again to wax four more sides for King. Here the material consisted of jazz standards with Williams at times playing organ or piano or both instruments simultaneously -- during "Bye Bye Blues" she operates the organ with her left hand, piano with her right. On March 7, 1951, the Mary Lou Williams Trio cut ten sides for the Atlantic record company for release on the new LP format. This session turned out to be decidedly cool and nonchalant -- even old "Pagliacci" becomes irresistibly hip. This excellent survey of vintage early modern jazz concludes with five sides cut for the Circle label in June of 1951. The first of these, a carefully devised bop love song sung by the Dave Lambert Singers, features Elbert "Skippy" Williams on bass clarinet. The remaining tracks, recorded four days later, are delightfully cool studies for Billy Taylor's string bass, Willie "Bobo" Correa's conga drums, and the creatively inspired piano of Mary Lou Williams. arwulf arwulf
Tracklist :
1 Mary Lou Williams With Orchestra– Tisherome 2:49
2 Mary Lou Williams With Orchestra– Knowledge 2:26
3 Mary Lou Williams With Orchestra– Oo-Bla-Dee 2:44
Vocals – Kenny Hagood
4 Mary Lou Williams With Orchestra– Shorty Boo 2:53
Vocals – Kenny Hagood
5 Mary Lou Williams– Bye Bye Blues 2:48
6 Mary Lou Williams– Moonglow 2:29
7 Mary Lou Williams– Willow Weep For Me 2:56
8 Mary Lou Williams– I'm In The Mood For Love 2:33
9 Mary Lou Williams Trio– Opus Z 2:54
10 Mary Lou Williams Trio– The Surrey With The Fringe On Top 2:28
11 Mary Lou Williams Trio– My First Date With You 3:12
12 Mary Lou Williams Trio– Pagliacci 2:44
13 Mary Lou Williams Trio– 'S Wonderful 2:51
14 Mary Lou Williams Trio– From This Moment On 3:39
15 Mary Lou Williams Trio– You're The Cream In My Coffee 2:52
16 Mary Lou Williams Trio– Mary's Waltz 3:25
17 Mary Lou Williams Trio– Would I Love You 3:04
18 Mary Lou Williams Trio– In The Purple Grotto 3:04
19 Mary Lou Williams– Walking 2:37
Vocals – Dave Lambert Singers
20 Mary Lou Williams And Her Modern Music– The Sheik Of Araby 2:45
21 Mary Lou Williams– When Dreams Come True 2:51
22 Mary Lou Williams– Bobo 2:50
23 Mary Lou Williams– Kool 2:24
Credits :
Bass – Billy Taylor Sr. (tracks: 19 to 23), Carl Pruitt (tracks: 9 to 18), George Duvivier (tracks: 1 to 8)
Bass Clarinet – Elbert "Skippy" Williams (tracks: 19), Martin Glaser (tracks: 1 to 4)
Bongos – Willie "Bobo" Correa (tracks: 20 to 23)
Clarinet, Alto Saxophone – Allan Feldman (tracks: 1 to 4)
Drums – Al Walker (tracks: 19), Bill Clark (tracks: 9 to 18), Denzil Best (tracks: 1 to 8)
Guitar – Mundell Lowe (tracks: 1 to 8)
Organ – Mary Lou Williams (tracks: 5, 6)
Piano – Mary Lou Williams (tracks: 1 to 4, 7 to 23)
Trumpet – Idrees Sulieman (tracks: 1 to 4)
When the Lone Hill Jazz reissue label took on most of the many collaborative albums by alto saxophonist Johnny Hodges and organist Wild Bill Davis, the project extended over several volumes, including Mess of Blues, Blue Hodge, and Joe's Blues. Released in 2007, Con-Soul & Jazz/Wild Bill Is the Boss! is the only double-disc set in the series. This hefty helping of groove-oriented mainstream organ combo jazz combines the albums Con-Soul & Jazz, In Atlantic City, and Blue Pyramid, which date from the years 1965 and 1966. The compilation is rounded off with selections from the albums Blue Notes and Sandy's Gone, bringing the scope of the time line back to 1963. The Atlantic City recordings were made at a club called Grace's Little Belmont, and the Blue Notes album was taped about a week later in mid-August 1966. These would be the last of the Davis/Hodges collaborations, a fortuitous meeting of minds which began in August 1961 with the album Blue Hodge and ended almost exactly five years later. arwulf arwulf
Wild Bill Davis & Johnny Hodges
"Con-Soul And Sax"
1.1 On the Sunny Side of the Street 3'51
Dorothy Fields / Jimmy McHugh
1.2 On Green Dolphin Street 3'17
Washington / Kaper
1.3 Lil' Darlin' 4'13
Neal Hefti
1.4 Con Soul and Sax 4'56
Wild Bill Davis
1.5 The Jeep Is Jumpin' 2'29
Duke Ellington
1.6 I'm Beginning to See the Light 3'29
D. Ellington / Hodges / George
1.7 Sophisticated Lady 4'05
Duke Ellington / Irving Mills
1.8 Drop Me off in Harlem 4'25
Duke Ellington
1.9 No One 3'24
Mercer Ellington / Johnny Hodges
1.10 Johnny Come Lately 3'07
Billy Strayhorn
Wild Bill Davis And Johnny Hodges - In Atlantic City
1.11 Just Squeeze Me 4'46
Duke Ellington / Lee Gaines
1.12 It's Only a Paper Moon 2'59
Arlen / Harburg / Rose
1.13 Taffy 5'43
Wild Bill Davis / Johnny Hodges
1.14 Good Queen Bess 3'22
Johnny Hodges
1.15 L.B. Blues 5'40
Johnny Hodges
1.16 In a Mellow Tone 3'52
Duke Ellington
1.17 Rockville 6'36
Johnny Hodges
2.1 I'll Always Love You 3'51
Wild Bill Davis
2.2 It Don't Mean a Thing 5'43
Duke Ellington / Irving Mills
2.3 Belle of the Belmont 4'56
Mercer Ellington / Johnny Hodges
Johnny Hodges & Wild Bill Davis - Blue Pyramid
2.4 Blues for Madeleine 4'53
Johnny Hodges
2.5 When I'm Feeling Kinda Blue 2'30
Duke Ellington
2.6 Pyramid 2'21
Duke Ellington / Juan Tizol
2.7 Nonchalance 4'46
Johnny Hodges
2.8 At Dawn 3'11
Johnny Hodges / Tom Whaley
2.9 The Brown-Skin Gal in the Calico Gown 2'43
Duke Ellington / Paul Francis Webster
2.10 Stormy Weather 3'59
Harold Arlen / Ted Koehler
2.11 Rabbit out of the Hat 5'15
Mercer Ellington / Johnny Hodges
2.12 Hash Brown 4'00
Johnny Hodges
Johnny Hodges – Blue Notes
2.13 Blue Notes 2'52
Johnny Hodges
2.14 Say It Again 3'29
Johnny Hodges
2.15 I Can't Believe That You're in Love with Me 3'23
Clarence Gaskill / Jimmy McHugh
2.16 Broad Walk 3'38
Johnny Hodges
2.17 L.B. Blues 4'01
Johnny Hodges
Johnny Hodges - Sandy's Gone
2.18 Sandy's Gone 2'11
Claus Ogerman
2.19 Candy's Theme 2'10
Nelson
2.20 The Caretakers Theme 2'03
Elmer Bernstein
2.21 Again 1'52
Dorcas Cochran / Lionel Newman
All Credits :
Notas.
Tracks 1-1 to 1-10 recorded in New York on January 7, 1965, and issued as Wild Bill Davis & Johnny Hodges - Con-Soul And Sax.
Tracks 1-11 to 2-3 recorded in Atlantic City on August 10 and 11, 1966, and issued as Wild Bill Davis & Johnny Hodges - In Atlantic City.
Track 2-12 recorded on November 19, 1965, tracks 2-5, 2-6, 2-8 and 2-9 recorded on December 27, 1965, and tracks 2-4, 2-7, 2-10 and 2-11 recorded on January 17, 1966, and issued as Johnny Hodges, Wild Bill Davis - Blue Pyramid.
Tracks 2-13 and 2-14 recorded on August 15, 1966, and tracks 2-15 to 2-17 recorded on August 19, 1966, and issued as part of Johnny Hodges - Blue Notes.
Tracks 2-18 to 2-21 recorded on September 3, 1963, and issued as part of Johnny Hodges - Sandy's Gone.
"Blue Hodge"
1 And Then Some 4:06
Written-By – Johnny Hodges
2 I Wonder Why 4:30
Written-By – Mercer Ellington
3 Azure Te 2:57
Written-By – Duke Ellington, Irving Mills
4 Blue Hodge 6:19
Written-By – Gary McFarland
5 Hodge Podge 4:04
Written-By – Duke Ellington, Johnny Hodges
6 It Shouldn't Happen To A Dream 3:10
Written-By – Don George, Duke Ellington, Johnny Hodges
7 Why Are You Blue? 3:25
Written-By – Gary McFarland
8 Knuckles 5:11
Written-By – Johnny Hodges
9 Stand By Blues 4:30
Written-By – Johnny Hodges
10 There Is No Greater Love 3:27
Written-By – Isham Jones, Marty Symes
Personnel 1-10 :
Alto Saxophone – Johnny Hodges
Organ – Wild Bill Davis
Bass – Sam Jones
Drums – Louis Hayes
Guitar, Flute – Les Spann
From "Blue Rabbit"
11 Blues O'Mighty 4:57
Written-By – Johnny Hodges
12 Fiddler's Fancy 2:52
Written-By – Johnny Hodges
13 Things Ain't What They Used To Be 4:18
Written-By – Mercer Ellington, Ted Persons
14 Wisteria 3:14
Written-By – Jimmy Jones, Mercer Ellington
15 Satin Doll 2:32
Written-By – Billy Strayhorn, Duke Ellington, Johnny Mercer
16 Mud Pie 4:10
Written-By – Johnny Hodges
Personnel 11-16 :
Organ – Wild Bill Davis
Alto Saxophone – Johnny Hodges
Bass – Richard Davis
Guitar – Mundell Lowe
Drums – Osie Johnson
From "Blue Notes"
17 Rent City 3:52
Written-By – Johnny Hodges
18 Sometimes I'm Happy 2:46
Written-By – Clifford Grey, Irving Caesar, Vincent Youmans
19 The Midnight Sun Will Never Set 3:35
Written-By – Quincy Jones
20 Sneakin' Up On You 5:38
Written-By – Chip Taylor, Ted Daryll
Personnel 17-20 :
Alto Saxophone – Johnny Hodges
Arranged By, Conductor – Jimmy Jones
Baritone Saxophone, Bass Clarinet – Danny Bank
Bass – George Duvivier
Bass Trombone – Tony Studd
Drums – Grady Tate
Guitar – Eric Gale
Harmonica – Buddy Lucas
Piano – Hank Jones
Tenor Saxophone, Clarinet – Jimmy Hamilton
Tenor Saxophone, Flute – Frank Wess, Jerome Richardson
Trumpet – Ernie Royal, Snooky Young
Vibraphone – Joe Venuto
Notas.
Tracks 1 to 10 recorded in New Jersey on August 23 and 24, 1961, and issued as Blue Hodge.
Tracks 11 to 16 recorded in New York on April 28 and 30, 1964, and issued on Blue Rabbit.
Tracks 17 to 20 recorded in New York on October 24, 1966, and issued on Blue Notes.
The CD erroneously credits track 13 to "Ted Parsons" and track 20 to "Creed Taylor."
This release presents two complete albums by the unique Johnny Hodges, both appearing here on CD for the first time ever.
The first, in quintet format, marks Hodges' only recorded encounter ever with Argentinean pianist an composer Lalo Schifrin. The latter LP showsases the saxophonist soloing on standard tunes with a big band conducted & arranged by Oliver Nelson.
Previously Unreleased Recordings
1 Mama Knows 5:00
Written-By – Johnny Hodges
2 I'm In Another World 2:49
Written-By – Duke Ellington
3 Dreary Days 3:14
Written-By – Lalo Schifrin
4 I Can't Believe That You're In Love With Me 4:58
Written-By – Clarence Gaskill, Jimmy McHugh
5 B.A. Blues 4:37
Written-By – Lalo Schifrin
6 Wanderlust 7:20
Written-By – Duke Ellington
7 All Too Soon 3:23
Written-By – Carl Sigman, Duke Ellington
8 Somebody Loves Me 2:48
Written-By – Ballard MacDonald, Buddy G. De Sylva, George Gershwin
9 Away From You 3:32
Written-By – Johnny Hodges
The Eleventh Hour
10 Something To Live For 2:22
Written-By – Billy Strayhorn, Duke Ellington
11 In A Sentimental Mood 2:55
Written-By – Duke Ellington, Irving Mills, Manny Kurtz
12 I Didn't Know About You 2:36
Written-By – Bob Russell, Duke Ellington
13 Guitar Amour 3:29
Written-By – Duke Ellington
14 You Blew Out The Flame (In My Heart) 2:02
Written-By – Ervin Drake, Jimmy Shirl, Johnny Hodges
15 Theme From "The Eleventh Hour" 2:14
Written-By – Harry Sukman
16 Love Song From "Mutiny On The Bounty" 1:55
Written-By – Bronislaw Kaper
17 Solitude 2:35
Written-By – Duke Ellington, Eddie Delange, Irving Mills
18 Satin Doll 1:57
Written-By – Billy Strayhorn, Duke Ellington
19 Don't Blame Me 2:44
Written-By – Jimmy McHugh & Dorothy Fields
20 Prelude To A Kiss 2:39
Written-By – Duke Ellington, Irving Gordon, Irving Mills
21 Warm Valley 1:56
Written-By – Duke Ellington
Personnel 1-9
Alto Saxophone – Johnny Hodges
Bass – George Duvivier
Drums – Dave Bailey (pistas: 1 to 9),
Guitar – Barry Galbraith
Piano, Arranged By – Lalo Schifrin
Personnel 10-21
Piano, Organ – Bernie Leighton
Strings, Arranged By, Conductor – Oliver Nelson
Violin – Ray Nance (pistas: 13)
Drums – Osie Johnson
Notas.
Tracks 1 to 9 recorded May 26, 1963, in New York and issued as Previously Unreleased Recordings.
Tracks 10 to 21 recorded August 6 and 15, 1962, in New York and issued as The Eleventh Hour.
"This release presents two complete original albums by the unique Johnny Hodges, both appearing here on CD for the first time ever. The first, in quartet format, marks Hodges' only recorded encounter with Lalo Schifrin. The latter LP showcases the saxophonist soloing on standard tunes with a big band conducted & arranged by Oliver Nelson."
"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...
