JazzWax

Peter, Joan and Stan

This week in The Wall Street Journal, I interviewed guitarist-songwriter Peter Frampton for my "House Call" column in the Mansion section (go here). Peter saw David Bowie perform in London on the steps of his school—when Bowie was 16 and Peter was 13. Bowie was in the Konrads at the time. Peter's dad was an art teacher at the school, and Bowie looked out for Peter over the years, resurrecting his career in 1987 when he invited him on his Glass Spider tour.

Here's Bowie and Peter looking for a beer in Madrid in 1987...

This song and album, Frampton Comes Alive!, was massive in 1976...

And this one...

The album was one of the best selling live albums of all time. It went to No. 1 on Billboard's album chart in April 1976 and held the top spot for 10 weeks. The album sold over 8 million copies in the U.S., roughly 11 million worldwide.

Spotted on top of a desk at the Last Vestige Music Shop in Albany, N.Y. If you don't have my book, Anatomy of a Song, you can order it for the holidays here. Bill McCann snapped the image above. My next book from Grove is coming Fall 2021. I just finished it, and I'll be providing details soon.

Barcelona meets Rio. In 2013, I was over in Barcelona for the U.S. State Department to give a series of jazz talks at the Barcelona Jazz Festival. There, I had the good fortune to meet Joan Chamorro (above), the music director of the Sant Andreu Jazz Band, trumpeter-singer Andrea Motis and other local young jazz stars. Two years later, Joan, Andrea and the rest of the band recorded Waters of March. Alba Armengou and Rita Payes were on vocals and Joel Frahm played the tenor saxophone solo. And if I'm not mistaken, the concert was held at the Palau de la Música Catalana (my WSJ essay here). [Photo above of Joan Chamorro courtesy of Joan Chamorro]

So precious, go here...

Horace Parlan. Following my post last week on pianist Horace Parlan, saxophonist Bill Kirchner sent along a link to a 2017 post on Parlan by bassist Steve Wallace. Go here.

Chuck Israels on Tommy Williams, Stan Getz. Following my post last week on Art Farmer's 1961 Perception album, bassist Chuck Israels (above) sent along the following:

Hi Marc, just a little more information about the wonderful bassist Tommy Williams. Tommy, Jimmy Raney and Al Harewood were playing with Stan Getz sometime in the early '60s at New York's Basin Street East when Tommy quit and Stan called me.

Stan was beyond difficult—impossible, in fact, for most of us. Few people remained on good enough terms with him to continue working with him for long. The other two guys got fed up with Stan’s behavior and quit at the end of that gig. Stan wasn't big on sharing what he earned with his sidemen. I was between gigs with Bill Evans (Bill was trying out Gary Peacock), and Stan wanted me to put together a band for him. I brought in Gary Burton and Joe Hunt, and that band lasted a while until I went back to work for Bill.

That gig with Stan was the last time I heard Tommy play. I’d heard Tommy a few times with various Brooklyn musicians. Ronnie Mathews always spoke highly of him, and Tommy was among the handful of my very favorites. In many fields, there are often one or two outstanding people—people of great accomplishments who, for one reason or another, are largely overlooked. Tommy was surely one of those.

As for Stan, the biggest problem was his insurmountable insecurity and paranoia. Couple that with substance abuse and unrelenting womanizing, and they all made things difficult. It’s not easy to describe Stan’s behavior without going into fairly long stories, but one characteristic was his ability to sense other people’s weaknesses and attack them after having seduced them into letting down their guard. He’d show some neediness and pretense of vulnerability, and some (me, included) would fall for it, only to be mercilessly attacked later.

He also lacked any sense of decorum. President Johnson fell asleep at a table directly in front of the bandstand at a SEATO dinner in Bangkok, Thailand, in 1965, an event where we had been invited to play. Johnson was sitting with King Bhumibol Adulyadej and Queen Sirikit. The king was a saxophone player and had requested Stan.

Stan, drunk to stave off the pressure, was offended and insulted by Johnson's nap. Stan said, “OK Mr. President, now we’ll play something you’ll understand—a hoedown.” We played Oliver Nelson’s Hoedown—a perfectly good piece, but the damage was done. If Stan thought for a moment there was possibility you might be even slightly critical of him, he’d attack you first with devastating insults.

Benny Goodman was socially uncomfortable and strange but didn’t seem to be purposefully evil. Stan was. I know some who escaped his worst behavior—Roy Haynes, for example—but none who liked him.

Dublin. Oliver in Dublin sent along a photo of the city taken yesterday by Richard Green, a friend of his. Dublin is on lockdown to cap the city's surging number of Covid-19 cases. What should have been the weekend of the Cork Jazz Festival has been cancelled, along with everything else. Our hearts go out to the beautiful city and its people. And here's the normally bustling Grafton Street moments ago...

Chet Baker. Last week, following my post on YouTubers who dig Chet Baker, I heard from Artt Frank, who played with the trumpeter:

Hello, Marc. I first met Chet in 1954, at the height of his career. I wouldn't see him again for a few years because I had my own quartet. The next time I saw him in 1966, he wasn't able to play a single note. When I asked him what had happened, he said he had suffered a brutal beating at the hands of five hoodlums and lost four upper front teeth. He also had permanent trigeminal nerve damage to both sides of cheeks and jawline. He said he was told by two doctors that in all probability he'd never play again. I want to thank you and others for honoring his memory with the different young men
and women playing his favorite tunes. God bless you.

Dave Thompson, a wonderful pianist who plays in the Bill Evans style, sent along a SoundCloud of him playing The Touch of Your Lips....

Rudy Van Gelder. Richard Capless, an author, blogger (Deep Groove Mono) and college math instructor, has unveiled RVG Legacy, a lush, informational site devoted to Rudy Van Gelder, the late jazz engineer. To explore the site, go here. [Photo above of Rudy Van Gelder by Hank O'Neal]

Summer Stock (1950) is perhaps best known for Judy Garland's finale, singing and dancing Get Happy. But a far superior scene is Gene Kelly's newspaper dance number here...

Four Tops. Early on, many of Motown's acts sang Las Vegas standards when they went on the Ed Sullivan Show. Many were dreadful while others were quite good. Here, from the latter category, are the Four Tops in 1966 singing Nice 'n' Easy...

Chad Lefkowitz-Brown. Here's Chad LB playing Mack the Knife, which will be included on his eighth album, Quartet Sessions, due from La Reserve in February...

Laurel & Hardy. Last week, director Raymond De Felitta sent along a link to a terrific, silent Laurel & Hardy short from 1929. And, of course, we went back and forth on email about various things related to the film—how it was shot, the stunts and so on. By the way, that's James Finlayson in the scene outside the record store. First, watch it here...

According to Raymond, "an article online says that three stories of scaffolding were added to the Western Costume Building (go here) for the filming." More info here.

Raymond continues: "I’m not sure these are all the answers. There was no zoom lens yet, and a very long lens would have shaken in the wind. So not sure about the beam stuff. True ingenuity nonetheless. The proof is that 90 years later, we’re still sitting here trying to figure out how they did it!"

Clifford Brown radio. WKCR-FM in New York will present its annual "Clifford Brown Birthday Broadcast" next Friday, October 30, playing his music for 24 hours on the radio. Tune in from anywhere in the world on your computer, phone or iPad by going here.

Spencer Davis died on October 19. He was 81. His mid-'60s Brit band had a string of rock-soul hits in the U.S. and was notable for two things: He looked like he could have been Paul McCartney's older brother, if Paul had an older brother. And vocals were sung by Steve Winwood. Here's Gimme Some Lovin' in Germany in 1966...

Here's Keep on Running in 1965...

Documentary: Horace Parlan

The response to my Horace Parlan post earlier this week was enormous. Parlan's body of work remains special and he should be thought of as one of the Top-10 post-war piano greats. Today, for the many newly minted Parlan fans, I thought I'd post a documentary of the pianist in Denmark during his later years. A special thanks to Ken Deifik for reminding me about the film.

Here's Don McGlynn's Horace Parlan By Horace Parlan (2002)...

JazzWax note: To buy this documentary, go here.

Billy Bauer: Having a Session

In the late 1950s, Irv Kratka began releasing albums that would change jazz. Not necessarily the music but the quality of playing by those who wanted to learn without taking lessons or just wanted to improve their chops. Known since 1950 as Music Minus One, the company founded by Kratka at first focused on classical, pop vocals and then Dixieland jazz. [Photo above of Billy Bauer]

By the late 1950s, modern jazz made it onto Music Minus One's roster. The label hired top jazz players such as George Duvivier, Elvin Jones, Stan Getz, Hal McCusick, Hank Jones and others and recorded them as backup players. The solo instrument was left out. That part was yours. The thinking was that with a club-level jazz group behind you, you'd have an easier time learning to swing and solo, and your confidence would grow. And it worked.

Music Minus One also created a revenue stream for the many jazz musicians who recorded on the albums. The paydays helped them earn a living, since jazz gigs and record dates often weren't sufficient to pay the bills. Muzak also served in this role—employing top jazz musicians to play easy-listening standards for bank lobbies, offices and supermarkets.

But before Kratka steered Music Minus One to the jazz market, guitarist Billy Bauer tried his hand at the concept. Following a career playing with Woody Herman, Lennie Tristano and Lee Konitz, Bauer played on a large number of studio dates for NBC TV and recording work behind hundreds of pop artists in the 1950s and beyond. [Photo above of Irv Kratka]

In 1953, Bauer recorded an album called Let's Have a Session. Recorded for Ad Lib, Bauer played rhythm guitar backed by Tony Aless (p) Arnold Fishkin (b) and Don Lamond (d). You were able to play along on virtually any instrument, though the album's cover urged you to "pick up your horn and blow."

Listening to the album 65 years later, the music is a nifty way to play with Bauer, Aless, Fishkin and Lamond. According to the 10-inch album's liner notes, all were television studio players at this point in time. The songs are Easy Walking Blues (in B-flat), Out of Nowhere (G), These Foolish Things (E-flat), Indiana (A-flat), Somebody Loves Me (F), September in the Rain (E-flat), Ghost of a Chance (C) and 'S Wonderful (E-flat).

But you don't have to be a fledgling musician. It's fun to hear what a top group would sound like if you were up there soloing. More important, it's weirdly fascinating to hear Bauer running chords on rhythm guitar and to listen to Aless play without the distraction of a big band. He was largely unheard on many of his jazz recordings as a studio sideman.

Billy Bauer died in 2005; Tony Aless died in 1988.

JazzWax tracks: You'll find Billy Bauer's Let's Have a Session coupled with Bauer's terrific sole leadership date, Plectrist, on Fresh Sound here.

JazzWax clips: Here's Out of Nowhere...

Out of Nowhere

And here's September in the Rain...

September in the Rain

Horace Parlan: Movin' + Groovin'

By now, it's no secret that Bill Evans is my favorite jazz pianist. In the No. 2 slot would have to be Horace Parlan. Born in Pittsburgh, Parlan at a young age contracted polio, which left his right hand partly disabled and disfigured. Two of the fingers in his right hand were out of commission. As a result, his left hand did double duty, delivering heavy harmony and bass treatment while the three operating fingers of his right hand handled melody improvisation. Parlan relocated to Denmark in 1972. [Photo above of Horace Parlan by Francis Wolff (c) Mosaic Images]

Despite the diminished use of one hand's digits, Parlan became a superb and much-in-demand hard-bop keyboard accompanist and a magnificent trio leader and solo player. For those little familiar with Parlan, the best place to start is his first leadership album—Movin' and Groovin'. Recorded in February 1960 for Blue Note, Parlan's trio consisted of Parlan on piano, bassist Sam Jones and drummer Al Harewood.

As much as I love Red Garland, I give Parlan the edge when it comes to taste and volume of superb material over the course of his career. He had a lovely sense of swing, every one of his songs expressed a joy to be able to play, and his chord voicings were sensational. All he seemed to care about was knocking out listeners. There was no idling or padding. Parlan was a sculptor who kneaded and crafted every song he played into a singular expression.

The songs on this album are C Jam Blues, On Green Dolphin Street, Up in Cynthia's Room, Lady Bird, Bags', Groove, Stella by Starlight, There Is No Greater Love and It Could Happen to You. All are sensationally executed. Even songs you may feel you've heard enough of, like C Jam Blues and Bags' Groove, are re-invented by Parlan's groovy bluesy attack. [Photo above of Al Harewood by Francis Wolff (c) Mosaic Images]

Parlan began his recording career in 1957 with Charles Mingus and then moved on to Lou Donaldson in 1959 before recording Movin' and Groovin'. I came to Parlan in college after picking up Dexter Gordon's Doin' Allright (Blue Note) and hearing Society Red.

Parlan so knocked me out on there that I began collecting. Everything I purchased by Parlan had his ambitious playing style. Best of all are his stylistic fingerprints that pop up often. These include building tension with chords in his left hand while swinging notes with his right, releasing with cascading block chords. Or his ascending scales with three-finger modal riffs and his soul-jazz chords clustered together. [Photo above of Sam Jones]

I could spend the next 30 days writing about Parlan's excellent albums as a sideman and as a leader, but I wouldn't dare. There are too many others to write about. But do yourself a favor. Explore the pianist yourself. Movin' and Groovin' is a perfect gateway. And dig Jones and Harewood here. Jones thumps it out and Harewood is all over the snare. Perfect jazz is such a splendid thing. [Photo above of Horace Parlan]

Horace Parlan died in 2017.

JazzWax tracks: You'll find Horace Parlan's Movin' and Groovin' here and here.

JazzWax clips: The following two tracks are absolute knockouts. See if you can sit still when Parlan is on a roll. I find it impossible:

Here's Lady Bird (crank this up; five minutes of a sterling trio in action)...

And here's Bags' Groove...

Art Farmer: Perception

Art Farmer had a way of playing the trumpet and flugelhorn that sounded as if he was singing while dancing. Farmer was less about blasts and taut nuance and more about a light, pretty touch. His horn had a classical elegance and a jazz tone that delighted the ear without being commercial. On ballads, you can hear the blues in almost everything he plays. On uptempo numbers, he's light and juicy, tapping along with ringing empathy, sailing the melody rather than commanding it. [Photo above of Art Farmer, courtesy of Concord Records]

A leadership album rich with Farmer's sensitivity is Perception. Recorded in October 1961 for Argo, the album featured Farmer on flugelhorn backed by Harold Mabern (p), Tommy Williams (b) and Roy McCurdy (d). The songs are Farmer's Punsu, The Day After, Lullaby of the Leaves, Farmer's Kayin', Tonk, The Blue Room, Change Partners and Nobody's Heart.

The album has two things going for it. For one, Farmer's flugelhorn is warm and relaxed throughout. For another, Mabern's piano is lush and intricate, providing Farmer's singular tone with plenty of rhythm and fascinating chords. And on songs like Change Partners, we get to hear a marvelously sensitive solo by Roy McCurdy, who would play with Gap and Chuck Mangione's Jazz Brothers in the early '60s and was the anchor in the Cannonball Adderley Quintet mid-decade.

Fledgling flugelhornists might want to put on Nobody's Heart and transcribe Farmer's solo. It's an enveloping exhibition of regal playing and gentle jazz.

Art Farmer died in 1999; Harold Mabern died in 2019.

JazzWax tracks: You'll find Art Farmer's Perception here.

JazzWax note: Special thanks to Peter Levin, who passed along a link to an article on bassist Tommy Williams (go here).

JazzWax clips: Here's Punsu...

And here's Nobody's Heart...

Bobby Jaspar: Club St. Germain

For me, the only tenor saxophonist who rivals Stan Getz in tone, improvisational skill and phrasing is Bobby Jaspar. The Belgian saxophonist and flutist had a singularly cool approach and, like Getz, loved the high register of his instrument. On December 27 and 29 in 1955, Jaspar and his All Stars were recorded by Barclay Records at Club St. Germain, a basement venue at 13 rue Saint-Benoît on Paris's Left Bank.

Jaspar, on tenor sax and flute, was backed by Rene Urtreger (p) Sacha Distel (g) Benoit Quersin (b) and Jean-Louis Viale (d). The songs were Memory of Dick (in tribute to pianist Dick Twardzik, who had died two months earlier), Milestones, Minor Drops, Bags' Groove, I'll Remember April, You Stepped Out of a Dream, I Can't Get Started and A Night in Tunisia.

These were perfect recordings in every way. Each song is stunningly beautiful and smoothly executed. Jaspar is exceptional on his instruments, but it's his taste that stands out. Like Getz, he could swing effortlessly and re-invent melodies on the fly. They shared a breezy quality that was hypnotic and sensual. It's also a joy to hear Distel on jazz guitar here. In the 1960s, he'd go on to become one of France's most famous and charming singers and TV variety-show hosts. Rene Urtreger also is terrific.

Interestingly, Jaspar and Getz never managed to record together. Bobby Jaspar died in 1963; Stan Getz died in 1991.

JazzWax tracks: You'll find Modern Jazz Au Club St. Germain: Bobby Jaspar All Stars here. 

JazzWax clips: Here's Memory of Dick...

Here's You Stepped Out of a Dream...

And here's I'll Remember April, one of the most beautiful instrumental versions of this song—and on flute...

Elizabeth, Sonny and Billy

This week in The Wall Street Journal, I interviewed actress Elizabeth Marvel for my "House Call" column in the Mansion section (go here). If the name doesn't ring a bell, her TV roles have included playing the president in Showtime's Homeland and Heather Dunbar on House of Cards. Her movies include True Grit, Lincoln and The Meyerowitz Stories. Growing up, Elizabeth was convinced she was from outer space and that if she blinked twice, she could send pictures back to aliens who sent her here. She's also a Deadhead and a self-described "happy hippie." [Photo above of Elizabeth Marvel in Homeland, courtesy of YouTube/Showtime]

Here's Elizabeth in Homeland...

Here's Elizabeth in House of Cards...

And here she is in her new series, Helstrom...

Sonny Rollins. Here's the tenor saxophonist in 1965 playing There Will Never Be Another You [Photo above of Sonny Rollins by Francis Wolff (c) Mosaic Images]...

Here's Sonny in Kongsberg, Norway, in 1974...

And here's Sonny in Umbria, Italy, in 1998...

Song roots. Curious where this song came from (the singer is pictured above)...?

The music began with Charles Dawes and another Tommy...

Color and fear. Many of us are already familiar with images and footage of workers constructing New York's Chrysler Building in 1930. As director Raymond De Felitta noted when he sent along the following YouTube clip, it's amazing how terrifying their work becomes when the original black-and-white film is in color. Note the older age of most of the workers and the "casual" construction garb. Amazing hats didn't blow away. Here's the footage...

Supersax was a group formed in the early 1970s with five reeds playing the transcribed solos of Charlie Parker. In 2015, Vincent Herring, Grant Stewart, Paquito D'Rivera, Harry Allen and Gary Smulyan were in Uruguay with a local rhythm section resurrecting Supersax on Just Friends. A special thanks to John Herr. Go here to watch the clip.

Frank Sinatra. It was 46 degrees at sunrise this morning (Saturday). What better song to usher in the brisk season in Manhattan than Frank Sinatra in 1941 singing Violets for Your Furs, arranged for Tommy Dorsey by Heinie Beau...

Here's Billy Eckstine signing I Apologize in 1951...

Here's Dinah Washington singing I Won't Cry Anymore in 1951...

And here's Frankie Laine in 1956 updating his 1946 hit That's My Desire. The updated arrangement is by Paul Weston. Dig how the reeds are arranged with strings on the opening and close, with a dash of trombones...

YouTubers Dig Chet Baker

Every so often, I come across talented kids on YouTube playing the music of favorite jazz artists on their instruments. Either they're playing transcriptions of artists' solos or they're playing along to their records. What unites them is a clear passion for the music's beauty and swing. In the past, I've featured kids playing pianist Red Garland (here) and guitarist Barry Galbraith (here). Today, young, inspired Chet Baker fans worldwide get a chance to hear how it sounded to be the cool-jazz trumpeter:

Here's Adam Warnke playing There Will Never Be Another You...

Here's Marina Glass playing Look for the Silver Lining...

Here's Marina playing I Fall in Love Too Easily...

Here's Mr. Jotape playing It's Only You...

Here's Brigitte Benson playing Autumn Leaves...

Here's Brigitte playing There Will Never Be Another You...

Here's Mk6Flute playing Chet's solo on How Deep Is the Ocean on his flute...

Here's Giancarlo Romani playing Lady Bird...

Here's María Zerpa singing But Not for Me...

Here's Patricia Navarro singing the same song...

And here's Uwade singing and playing It's Always You on her guitar...

Soho Scene '66 and '67

This just arrived from London: A smashing extension of the British jazz "Soho Scene" series from the U.K.'s R&B Records. I last posted on the series here. The new four-CD, 78-track box is entitled Soho Scene '66 and '67: Jazz Goes Mod and comes with a superb 32-page booklet and liner notes by tenor saxophonist Simon Spillett. The set is magnificent.

Two CDs are devoted to 1966, and two to 1967. On one from each year, rip-roaring British jazz; on the other two are obscure American mod jazz tracks that were recorded at the same time. This box serves as a wonderful bridge spanning the Atlantic, pulling the two jazz cultures together. Of course, surrounding the jazz recorded in both countries at the time was a youthquake and the rise of album rock. Kids will be kids. [Photo above of the Don Rendell/Ian Carr Quintet]

For jazz lovers, this set provides a Polaroid Swinger snapshot of what young-adult sophisticates were digging if they were too old to tear at their hair for pop-rockers and too hip to surrender to easy listening. This music is from the London of "Alfie," "Georgy Girl" and James Bond, the city of MGs, pipes, swing coats and Twiggy. [Movie still above of Alan Bates and Lynn Redgrave in Georgy Girl in 1966]

The Brit-jazz tracks in '66 are sensational. One after the next is rich with energy, power and guile as groups such as the Michael Garrick Sextet, the Stan Tracey Quartet, the Don Rendell/Ian Carr Quintet and Gordon Beck Trio tear neatly into originals. All have an American stylistic flavor, but their attack and proficiency are exclusively Charing Cross.

The American tracks from the same year are largely little-known jazz-funk and soul-jazz pieces. The set is smartly curated, since many of these are way off the beaten path. A good number were new to me, including the Jimmy Tillman Quartet's Vampire, Merle Saunders' Soul Roach, Hugh Masekela's Unhlanhla and the Ken Jensen Quartet's Captain Jack. All have locked-in grooves and are tasty.

The 1967 material is even stronger. In London, there's the Mike Carr Quartet's Nica's Dream, the Tubby Hayes Quartet's Finky Minky, Tony Coe's Baby Blue, the Dave Lee Quintet's Time Check and Ike Isaacs' Sad September. Carmen McRae even made the Brit list with the Beatles' Got to Get You Into My Life. The American tracks include The Lightmen's Luke, the Chico O'Farrill Orchestra's Hip Hug Her, Cash McCall's You Ain’t Too Cool, Ray Pettis's 2 Step and Soul Society's The Sidewinder, among others.

The end result is a feeling. Listening to the Brit bits, you can imagine English guys and gals in dark Burberry trenches squeezing their way into smokey basement clubs. The American tracks sound like couples of the same age strolling through Washington Square Park (above) on their way to New York jazz clubs.

And yes, every single track is outrageously excellent. There's no filler here. And the sound is very good. I'll be listening to this set several additional times between now and the end of the weekend. Once again, a superb job by R&B Records. Hats off to the set's producer/editor. Great choices all.

JazzWax tracks: You'll find Soho Scene '66 and '67: Jazz Goes Mod (R&B Records) here.

JazzWax clips: Here's the Tubby Hayes Quartet playing Change of Setting...

Change of Setting

Here's Tony Coe's Baby Blue with strings...

Baby Blue

And here's the Michael Garrick Sextet's Pig and Pepper...

Pig and Pepper

The Giants of Jazz, 1972

In July 1972, when I was 15, I boarded a commuter train at the Croton-Harmon station near my family's house and traveled an hour south to New York City and Carnegie Hall to see the Giants of Jazz. The ensemble was appearing as part of the Newport Jazz Festival. The supergroup was conceived by George Wein, the Newport Jazz Festival's founder. As George wrote in his memoir:

From the start I had envisioned a band featuring Dizzy Gillespie and Thelonious Monk. I had also hoped to include Sonny Rollins, J.J. Johnson, Ray Brown and Max Roach. But for various reasons, some financial, these artists were unavailable. So I approached Sonny Stitt, Kai Winding, Al McKibbon and Art Blakey—and a band was born.

The concert was amazing. I was hip to all of the artists, but I wouldn't fully appreciate what I had seen until I bought The Giants of Jazz, a glossy black two-LP album released on Atlantic. All of the songs I heard were on there because the live album had been recorded nearly a year earlier at London's Victoria Palace Theatre.

The high point for me at the concert and on the album was Dizzy Gillespie's Tour de Force, a mid-tempo bop tune based on the chord changes to Jeepers Creepers first recorded in 1955, with Gillespie, Roy Eldridge and Harry "Sweets" Edison in the front line.

Here are the Giants of Jazz playing Tour de Force at Copenhagen's Tivoli Gardens in 1971...

Here's the original with Dizzy, Little Jazz and Sweets...

Here's another live performance, in Rome in 1960, with Gillespie (tp), Leo Wright (as), Junior Mance (p), Art Davis (b) and Teddy Stewart (d)...