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) 

 

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Side 1 

  1. Gypsy in My Soul (2)

  2. My One and Only (2)

  3. Stars Fell on Alabama (A)

  4. In A Mellow tone (2)

  5. You Stepped Out of My Dream (3)

  6. Prelude to A Kiss (2)

Side 2 

  1. Satin Doll (4)

  2. How Long Has This Been Goin’ On? (2)

  3. Conversation Piece (1)

  4. 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

 

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  -          VIJ-5070   

  -          VIJ-5071   

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  -          VIJ-5070    

RLP003

 

RLP-004

RLP-003

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RLP-004

 

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RLP-004

RLP-002

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RLP-003

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RLP-004

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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 

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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)

 

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SIDE 1

  1. Dolo (C. Coker)

  2. Home Run (D. Gordon) 

  3. Lovely Lisa (C. Coker) 

SIDE 2

  1. Jodi (D. Gordon) 

  2. Field Day (C. Coker) 

  3. 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 

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OLP-3007 (Offbeat)

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RLP-451 

 

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. 

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JET 1A-B
RIVERSIDE GIANTS OF JAZZ
(A TWO RECORD SET) 

Side 1 

  1. Del Sasser: Cannonball Adderley (RLP12-322) 

  2. Peri’s Scope: Bill Evans (RLP12-315) 

  3. Dat Dere: Jimmy Heath (RLP-333) 

  4. Manumission: Don Rendell (JLP-51) 

Side 2 

  1. In the Still of the Night: Johnny Griffin (RLP-368) 

  2. Twins: Johnny Griffin and Eddie ‘Lockjaw’ Davis (JLP-31) 

  3. Playhouse: Junior Mance (JLP-30) 

  4. Wierdo: Charlie Rouse (RJLP-19) 

Side 3 

  1. It Don’t Mean A thing: Thelonious Monk (RLP12-201) 

  2. Wade in the Water: Johnny Griffin’s Big Soul Band (RLP-331) 

  3. Mister Walker: Wes Montgomery (RLP12-320) 

  4. Pretty Memory: Nat Adderley (RLP12-318) 

  5. Ring Them Harmonics: Charlie Byrd (OLP-3007) 

Side 4 

  1. Panatela: Wopdy Herman and the Fourth (JLP-17) 

  2. Azil: Walter Benton (JLP-28) 

  3. Blue Vibes: Johnny Lyrle (JLP-22) 

  4. 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

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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