Europe Riverside
#001 (12”) (INTERDISC, FONTANA)
RLP-001
CHARLIE BYRD: GUITAR SHOWCASE
Charlie Byrd (g) Keter Betts (b, cello-1) Bertell Knox (drs-2) Buddy Deppenschmidt (drs-3) Eddie Phyfe (drs-4)
Side 1
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Gypsy in My Soul (2)
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My One and Only (2)
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Stars Fell on Alabama (A)
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In A Mellow tone (2)
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You Stepped Out of My Dream (3)
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Prelude to A Kiss (2)
Side 2
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Satin Doll (4)
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How Long Has This Been Goin’ On? (2)
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Conversation Piece (1)
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Just Squeeze Me (3)
NOTE: RLP-001 produced by Riverside Records and notes written by Allan Bates.
(A) C. Byrd (g) solo
RIVERSIDE RECORDS INC.
Made and sold by Fontana records under rights from Interdisc S.A.
RLP-002/003/004
THELONIOUS MONK IN EUROPE, VOL.1,2,3
THELONIOUS MONK QUARTET
Charlie Rouse (ts) Thelonious Monk (p) John Ore (b) Frankie Dunlop (drs)
‘live’ at Olympia, Paris; April 18, 1961
Well, You Needn’t (11:27)
Crepuscule with Nellie (2:39)
Jackie-Ing (10:08)
Body and Soul (2:47)
Off Minor (11:39)
April in Paris (1:20)
I Mean You (10:59)
Rhythm-A-Ning (10:34)
Just A Gigolo (1) (1:41)
Hackensack (9:45)
Epistrophy (6:16)
I’m Getting Sentimental over You (8:32)
Same person “Theatro Lirico”, Milan; April 21, 1961
Introduction and Jackie-Ing (4:50)
Body and Soul (1) (4:48)
Straight No Chaser (8:59)
Crepuscule with Nellie (2:49)
Bemsha Swing (6:05)
San Francisco Holiday (5:57)
Rhythm-A-Ning (5:47)
Epistrophy (4:58)
RLP(S9)-461
MLP-9124
RLP(S9)-460
MLP-9124
RLP(S9)-460
RLP(S9)-460
RLP(S9)-460
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RLP(S9)-461
RLP(S9)-461
RLP(S9) -460
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RLP(S9)-443
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RLP(S9)-491
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RLP(S9)-461
RLP(S9)-460
RLP(S9)-461
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M-47060 VIJ-5071
VIJ-5070
- VIJ-5071
- VIJ-5070
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- VIJ-5071
- VIJ-5070
- VIJ-5071
- VIJ-5070
- VIJ-5070
RLP003
RLP-004
RLP-003
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RLP-004
RLP-003
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RLP-004
RLP-002
RLP-003
RLP-004
NOTE: (1) T. Monk (p) solo
8 titles of RLP(S9)-443 also on , RLP-002, SMJ-6279, VICJ-23619CD
all titles also on VIJ-5102/23
RLP(S9)-443 “Thelonious Monk: Monk in Italy”
RLP(S9)-460/461 “Two Hours with Thelonious: European Concerts by Thelonious Monk”
RLP-002 “Thelonious Monk in Europe, Vol. 1” notes written by Alan Bates.
RLP-003 “Thelonious Monk in Europe, Vol. 2” notes written by Alan Bates.
RLP-004 “Thelonious Monk in Europe, Vol. 3” notes written by Alan Bates.
VIJ-5070/71 “Thelonious Monk: April in Paris”
Produced by Orrin Keepnews; recording Engineer: no information
RLP-443 RLP-460/461 VIJ-5102/23
RIVERSIDE RECORDS INC.
Made and sold by Fontana records under rights from Interdisc S.A.
RM-005
CLASICOS DEL JAZZ
KING OLIVER'S CREOLE JAZZ BAND
King Oliver (cnt) Louis Armstrong (cnt) Honore Dutrey (tb) Johnny Dodds (cl) Lil Hardin (p) Bill Johnson (bj,vcl,break-1) or “Bud” Scott (bj) Baby Dodds (drs)
Richmond, Indiana; April 6, 1923
11390-B Froggie Moore (3:04) Gen 5135, RLP-1029, RLP12-122, RM-8805, RLP12-113, RM-005
JELLY ROLL MORTON
Jelly Roll Morton (p) solo
Richmond, Indiana; July 18, 1923
11547? The Pearls (3:12) Gen 5323, RLP12-113, SDP-11-4, RM-8816, RM-005
RED ONION JAZZ BABIES
Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (cl) Lil Armstrong (p) Buddy Christian (bj) Clarence Todd, Alberta Hunter (duet)
NYC; December 22, 1924
9248-A Cake Walking Babies from Home (3:23) Gennett 5627, RLP12-101, RLP12-113, RM-8811, RM-005
FATS WALLER piano roll
NYC; August 1923 (date of composition)
Mama’s Got the Blues (2:50) QRS 2332, RLP-1010, RLP12-115, SDP-11-8, RM-005
DUKE ELLINGTON’S WASHINIGTONIANS
Bubber Miley (tp) Charlie Irvis (tb) Otto Hardwicke (as) Duke Ellington (p) Fred Guy (bj) Sonny Greer (drs)
NYC; November 1924
T2006 Rainy Nights (3:24) Blu-Disc 1002, RLP12-115, RLP12-129, SDP-11-8, RM-005
JOHNNY DODDS
Johnny Dodds (cl) Tiny Parham (p)
Chicago; March 1927
4332-3 Oh, Daddy (2:27) Para 12471, RLP-1015, RLP12-114(SDP-11-6), MLP-2002, RM-005
MA RAINEY AND HER GEORGIA BAND
Ma Rainey (vcl) acc by Joe Smith (cnt) Charlie Green (tb) Buster Bailey (cl) Coleman Hawkins (b-sax)
Fletcher Henderson (p) Charlie Dixon (bj) Kaiser Marshall (drs)
NYC; January 1926
2371-1 Titanic Man Blues (2:43) Para 12374 RLP12-113, SDP-11-3, RM-005
BESSIE SMITH
Bessie Smith (vcl) acc by Joe Smith (cnt) Russell Smith (tp) Charlie Green (tb) Buster Bailey (cl)
Happy Caudwell (ts) James P. Johnson (p) Charlie Dixon (bj) Harry Hull (b) Kaiser Marshall (drs)
with T. Rosamund Johnson and Hall Johnson Choir
Film Soundtrack, NYC; late July 1929
NY39 St. Louis Blues (part1) (3:38) Circle J1016, RLP-1032, RLP12-113, SDP-11, RLP12-121, RM-005
NEW ORLEANS RHYTHM KINGS
Paul Mares (tp) George Brunies (tb) Leon Rappolo (cl) Jack Pettis (sax) Elmer Schoebel (p) Lew Black (bj)
Steve Brown (b) Ben Pollack (drs)
Richmond, Indiana; August 30, 1922
11184 Livery Stable Blues (2:34) Gen (unissued), RLP12-113, SDP-11-4, RM-005
WOLVERINE ORCHESTRA
Bix Beiderbecke (cnt) Jimmy Hartwell (cl, as) George Johnson (ts) Dick Voynow (p. ldr) Bob Gillette (bj) Min Leibrook (tu) Vic Moore (drs)
Richmond, Indiana; June 20, 1924
11931-C Royal Garden Blues (2:50) Gen 20062, RLP12-115, SDP-11-7, RLP12-123, RM-005
JUNGLE KINGS
Muggsy Spanier (cnt) Frank Teschmacher (cl) Mezz Mezzrow (ts) Joe Sullivan (p) Eddie Condon (g)
Jim Lannigan (tu) George Wettling (drs) Red McKenzie (vcl)
Chicago; c. April 28, 1928
20563-2 Friars Point Shuffle (2:56) Para 12654, RLP-1004, RLP12-107, RLP12-115, RM-005
JIMMY YANCEY
Jimmy Yancey (p) solo
Chicago; 1939
R2418 The Fives (3:02) Solo Art 12008, RLP12-114, SDP-11-5, RM-005
BECHET-SPANIER BIG FOUR
Muggsy Spanier (cnt) Sidney Bechet (cl, ss) Carmen Mastren (g) Wellman Braud (b)
NYC; April 6, 1940
2802-3 That's A Plenty (4:09) HRS 2002, RLP12-138, RM-005
BUNK JOHNSON’S ORIGINAL SUPERIOR BAND
Bunk Johnson (tp) Jim Robinson (tb) George Lewis (cl) Walter Decou (p) Lawrence Marrero (bj) Austin Young (b) Ernest Rogers (drs)
New Orleans; June 11, 1942
MLB 138 Make Me A Pallet on the Floor Jazz Man 16, RM-005
KID ORY
Mutt Carey (tp) Kid Ory (tb) Darnell Howard (cl) Buster Wilson (p) Bud Scott (g) Ed Garland (b) Minor Hall (drs)
Los Angeles; November 3, 1945
CRE 1024 Weary Blues CTJ LP-2022, RM-005
EARL HINES QUINTET
Scoops Carey (cl, as) Earl Hines (p) Rene Hall (g) unknown (b) Bill Thompson (drs, vib)
New York; c. August 1947
Mandt Make Up Your Mind Vita , RM-005
NOTE: Vita label details unknown
NOTE: RM-005 impreso en Espana and cover art by Vice
Distribuido par FONOGRAM, S.A. POR CONQVANIO CON Interdisc, S.A.
RLP-006
DEXTER GORDON: PULSATION
Dexter Gordon (ts) Martin Banks (tp) Richard Boone (tb) Charles “Dolo” Coker (p) Charles Green (b) Lawrence Marable (drs)
SIDE 1
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Dolo (C. Coker)
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Home Run (D. Gordon)
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Lovely Lisa (C. Coker)
SIDE 2
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Jodi (D. Gordon)
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Field Day (C. Coker)
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Affair in Havana (C. Coker)
Between the years 1944 and 1947 Billy Eckstine led an incredible band which was far in advance of any of its contemporaries. Dizzy, Miles, Fats Navarro, Kenny Dorham, Gene Ammons, Lucky Thompson, Bird, Leo Parker, Art Blakey – and Dexter Gordon al spent varying periods with the band during its existence. In the winter of 1944 this wild young sixteen-piece band went into the recording studios in New York to make six sides for the now defunct De Luxe label. It was on this session that tour man Dexter Gordon made his first recorded appearance as a soloist – in a saxophone tandem feature (Blowin’ the blues away) with fellow tenorman, Gene Ammons.
Dexter’s eighteen-month stay with the Eckstine orchestra was not, in fact, his first big band experience. In 1940 at the tender age of seventeen he went with Lionel Hampton’s road band. Exter did not however have any big part to play with Hampton – the feature tenorman at that time being none other than Illinois Jacquet. After his three years with Hampton Dexter had yet another six months big band experience in early 1944 with Louis Armstrong’s short lived orchestra.
After Exkstine, Dexter was to work mainly with small bands both in New York and Los Angeles. Nineteen forty-five and 1946 saw Dexter playing on 52nd street in the illustrious company of such bebop luminaries as Charlie Parker, Fats Navarro, Bud Powell, Miles Davis and Max Roach. These were prolific years for Dexter in the recording studios he made many sessions (both as leader and sideman) mainly for Savoy in New York and Dial in Los Angeles.
Whereas Lester Young’s influence was certainly great on Dexter during his early days, by late 1945 the influence of Parker and the characteristics of bop were unmistakable. Two of his solos on Sir Charles Thompson’s session for Apollo in September ’45 sound like the perfect juxtaposition of the basic Lester Young and Charlie Parker styles. By the late forties Dexter’s style had moulded and personalized to the extent that he was beginning to influence certain of the next generation of saxophone players. It is, however, only comparatively recently that the full measure of Dexter’s contribution to the unfolding story of jazz has come to be fully recognized. Many musicians were touched, albeit briefly, with the influence of Dexter, but it is mainly in the work of Rollins and Coltrane that today we can see lasting evidence of Dexter’s influence.
Dexter’s famous “battles” on the Coast with the great Wardell Gray, kept him in the spotlight at the turn of the fifties. But hard times were in store. West Coast jazz was in the ascendancy and hard swingers like Wardell and Dexter suddenly went out of fashion.
Dexter’s personal problems in any case kept him off the scene for long periods of time, and in eight years he made only one brief flurry of recordings – in late 1955.
However, in 1960 Dexter emerged from the shadows. He became part of Jack Gelber’s “The Connection” – a play about narcotics addiction, in which Dexter handled a main speaking part as well as leading his quartet on stage. The experience gave Dexter the renewed confidence he needed, and the subsequent years have seen his star continually in the ascendant.
This session then was Dexter’s first for five years. The boppish Dolo based on the chords of “Got Rhythm” was written by pianist Charles Coker. Dexter fairly charges into a long, up tempo romp to which one can apply all the time worn jazz adjectives – virile forceful, rhythmic, emotional, compelling – they all fit perfectly. Humorous too, with his quoted of “Popeye” and Shine on Harvest Moon” and complete with tongue in cheek ending!
Dexter’s masculine ballad mastery is put on display in Jodi, his own composition named after his wife. Long, easy, lazy melodic phrases delivered with that big fat tone, laced with a beautiful controlled and moving coda, add up to a classic ballad performance.
After in Havana brings into the spotlight the fine writing and arranging talents of composer/ pianist, Coker. Coker’s brightly percussive piano is heard in the album several times to good effect notably here and on “Jodi.” Dexter in exploratory mood roams the entire range of the horn and trumpeter Martin Backs contributes his best solo. Dexter hits his own Home run hard and true, quickly sttling down to some good honest twelve bar blues wailing.
Lovely Lisa and Field day are further examples of the composing and arranging skills of Charles Coker. On the former, Coker’s impressive voicing produces a rich colourful ensemble sound which coupled with skillful arranging and the strength of the soloists, make one realize that this working band of Dexter’s was, indeed, a very good one. Dexter continues to move with the times, drawing from the never drying well of jazz inspiration. His awareness of the latterday contribution of Coltrane and company is reflected in his playing on this and his subsequent Blue Note albums. However, for all this, Dexter is still vey much his own man – the one and only Dexter – long may he remain so!
ALAN BATES
Cover Photo: J. Selzer
Backliner Photo: W. van Swoll
PRODUCED BY RIVERSIDE RECORDS, INC.
235 West 46th Street New York City 36, New York
Made and sold by Fontana records under rights from Interdisc S.A.
Printed in Holland
OLP-3007
THE GUITAR ARTISTRY OF CHARLIE BYRD
CHARLIE BYRD TRIO
Charlie Byrd (g) Keeter Betts (b) Buddy Deppenschmidt (drs)
Edgewood Studios,Washington D.C.; 1960
Moonlight in Vermont (2:49)
Taking A Chance on Love (1:55)
Speak Low (3:41)
Nuages (2:59)
Everything I’ve Got Belong to You (2:18)
Makin’ Woopee (2:42)
Django (1) (3:22)
Nice Work If You Can Get It (1:45)
The House of the Rising Sun (5:26)
Ring Them Harmonics (3:47)
Taboo (9:40)
To Ginny (5:25)
Offbeat OLP (S9) -3007 RL P(S9) -451
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OLP-3007
OLP-3007 (Offbeat)
NOTE: (1) C. Byrd (g) solo
OLP(S9)-3007 “Jazz at the Showboat Vol. 4; Charlie’s Choice” produced by Bill Grauer Productions.
RLP(S9)-451 “The Guitar Artistry of Charlie Byrd”
OLP-3007 “The Guitar Artistry of Charlie Byrd” produced by Riverside Records and notes written by Willis Conover.
RM-008
JOHN LEE HOOKER: BURNING HELL
John Lee Hooker (g, vcl)
Detroit or NYC; 1959-60
Burning Hell (3:11)
Graveyard Blues (3:29)
Baby Please Don’t Go (4:45)
Jackson, Tennessee (3:14)
You Live Your Life and I’ll Live Mine (3:15)
Smokestack Lightnin’(3:16)
How Can You Do It ? (2:50)
I Don’t Want No Woman If Her Hair Ain’t Longer Than Mine (3:13)
I Rolled and Turned and Cried the Whole Night Long(3:42)
Blues for My Baby (3:27)
Key to The Highway (3:05)
Natchez Fire (2:57)
RLP-008
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NOTE: all titles of RLP-008 also on OBC-555
RLP-008 “John Lee Hooker: Burning Hell” produced by Riverside Records and notes written by Alan Bates.
RIVERSIDE RECORDS, Inc.
235 West 46th Street New York City 36, New York
Made and sold by Fontana records u der rights from Interdisc S.A.
JET 1A-B
RIVERSIDE GIANTS OF JAZZ (A TWO RECORD SET)
Side 1
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Del Sasser: Cannonball Adderley (RLP12-322)
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Peri’s Scope: Bill Evans (RLP12-315)
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Dat Dere: Jimmy Heath (RLP-333)
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Manumission: Don Rendell (JLP-51)
Side 2
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In the Still of the Night: Johnny Griffin (RLP-368)
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Twins: Johnny Griffin and Eddie ‘Lockjaw’ Davis (JLP-31)
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Playhouse: Junior Mance (JLP-30)
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Wierdo: Charlie Rouse (RJLP-19)
Side 3
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It Don’t Mean A thing: Thelonious Monk (RLP12-201)
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Wade in the Water: Johnny Griffin’s Big Soul Band (RLP-331)
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Mister Walker: Wes Montgomery (RLP12-320)
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Pretty Memory: Nat Adderley (RLP12-318)
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Ring Them Harmonics: Charlie Byrd (OLP-3007)
Side 4
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Panatela: Wopdy Herman and the Fourth (JLP-17)
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Azil: Walter Benton (JLP-28)
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Blue Vibes: Johnny Lyrle (JLP-22)
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Things Are Getting Better: Cannonball Adderley and Milt Jackson (RLP12-286)
NOTE: JET-1 produced by Orrin Keepnews. Notes written by Chris Albertson and Chris Whent.
A special sampler produced by Fontana Records.
JET 1A-B
RLP12-322
RLP12-320
RLP12-315
RLP-333
OLP-3007
JLP-17
JLP-51
JLP-28
RLP-368
JLP-31
JLP-22
RLP12-286
JLP-30
JLP-19
RLP12-201
RLP-331
RIVERSIDE RECORDS are produced by BILL GRAUER PRODUCTIONS Inc.
235 West 46th Street New York 36, N.Y.
Made and Sold by FONTANA RECORDS under rights from INTERDISC S.A.
JET-2 (E) VA: ALL JAZZ, JET-3 (E) JAZZ GREATS