Showing posts with label Dawn Records. Show all posts
Showing posts with label Dawn Records. Show all posts

Monday, May 6, 2013

Julius Watkins & Charlie Rouse

Julius Watkins 
Charlie Rouse
Les Jazz Modes
Arrangements by Julius Watkins


1. Dancing on the Ceiling (Hart, Rodgers) 2:26
2. Legend (Mahones) 3:17
3. Temptations (Brown, Freed) 3:57
4. Episode (Watkins) 2:05
5. Dancing in the Dark (Dietz, Schwartz) 2:05
6. Goodbye (Jenkins) 3:41
7. Town and Country (Varon) 4:16
8. When the Blues Come On (Cohn, Darwin) 4:15
9. Blue Modes (Watkins) 4:30
10. You Are Too Beautiful (Hart, Rodgers) 3:43
11. So Far (Hammerstein, Rodgers) 2:56
12. Idle Evening (Watkins) 4:16
13. Garden Delighs (Watkins) 5:28
14. Strange Tale (Watkins) 4:30
15. Two Songs (Watkins) 3:13
16. Stallion [previously unissued] (Mahones) 3:04

[# 1-8]
Julius Watkins - flgh
Charlie Rouse - ts
Gildo Mahones - p
Paul West - b
Art Taylor - dr
Recorded in New York City, February 1956
[# 7-16]
Julius Watkins - flgh
Charlie Rouse - ts
Gildo Mahones - p
Paul Chambers - b
Ron Jefferson - dr
Janet Putman - hrp
Eileen Gilbert - voc
Recorded in New York City, June 12, 1956

Tracks 1-6 originally issued on Dawn DLP 1101 (Jazzville, vol. 1). Side 1 (# 1-6)

Wednesday, May 1, 2013

Zoot Sims Goes to Jazzville

Zoot Sims
Goes to Jazzville


1 You're My Girl (Cahn, Styne) 3:18
2 The Purple (Cow Williams) 4:34
3 Ill Wind (Arlen, Koehler) 5:07
4 The Big Stampede (Lloyd) 4:36
5 Too Close for Comfort (Bock) 3:30
6 Jerry's Jaunt (Cohn) 4:07
7 How Now Blues (Sims) 6:20
8 Bye-Ya (Monk) 3:46
9 I Cover the Waterfront* (Green, Heyman) 3:10
10 Blues for the Month of May* (Lloyd) 4:15
11 I Should Care* (Cahn, Stordahl, Weston) 4:06
12 Mixed Emotions* (Louchheim) 2:30
13 How Do I Love You ?* (Williams) 4:57
14 Knotty Pine* (Lloyd) 3:47

* Bonus tracks

Zoot Sims - as [# 1, 4, 5 & 12] & ts
Jerry Lloyd - tp
John Williams - p
Bill Anthony or Knobby Totah [# 6, 7, 10, 12-14] - b
Gus Johnson - dr

Recorded in New York City, August 10 & September 4 [# 6, 7, 10, 12-14], 1956

Sunday, February 24, 2013

The Modern Art of Mat Mathews

Throughout his career, Mat Mathews fought an uphill battle to get the accordion accepted in bop-oriented jazz. He learned to play music during the Nazi occupation, and after the war ended, Mathews was inspired to play jazz when he heard a radio broadcast of Joe Mooney. He worked locally in Holland including most notably with the Millers from 1947-50. After moving to New York in 1952, he put together a quartet that for a time featured (and introduced) the young Herbie Mann on flute and tenor. Mathews' other sidemen included Art Farmer, Julius Watkins, Joe Puma, Oscar Pettiford, Percy Heath and Kenny Clarke. In addition to making records as a leader, Mathews also recorded with Carmen McRae from 1954-55. By the end of the decade he was mostly working as a studio musician, and in 1964 Mathews returned to the Netherlands. His importance to jazz greatly lessened as he has primarily worked in the studios as a player, arranger and producer, but Mathews' performances in the 1950s made a strong case for the accordion in jazz. Mathews recorded as a leader for the Dutch Van Wouw label (four titles in 1944), Brunswick (1953-54), Dawn (1956), Savoy (a 1957 date with four French horn players), Verve (live at Newport in 1957), JJM, Design and, back in the Netherlands, Ariola (1975).
Scott Yanow

Source :

Mat Mathews
The Modern Art of Jazz


1 Not So Sleepy (Mathews) 6:40
2 Now See How You Are (Harris, Pettiford) 3:11
3 The Puritan (Mathews) 3:40
4 As Time Goes By (Hupfield) 3:47
5 What a Diff'rence a Day Made (Grever, Adams) 3:17
6 Summertime (Gershwin, Heyward) 2:20
7 Knights at the Castle (Katz) 5:37
8 How Deep Is the Ocean (Berlin) 2:14
9 I Only Have Eyes for You (Warren, Dubin) 3:25
10 Later On (Mathews) 2:26
11 Humoresque (Dvorak) 2:35
12 Flamingo (Grouya, Anderson) 1:35

Mat Mathews - ac
Art Farmer - tp
Julius Watkins - flghr
Gigi Gryce - as
Herbie Mann - fl & ts
Dick Katz - p
Joe Puma - g
Oscar Pettiford - b & cel
Kenny Clarke - dr

Recorded in New York City ; July 17 & 18, 1956

(See the complete artwork, for all details)

Thursday, January 31, 2013

Jazzville, vol. 1-4

Jazzville 1-4


Cd. 1


Gene Quill and the Dick Sherman Quintet
1. Blues for the Camels (Katz) 5:34
2. Lover Man (Davis, Sherman, Ramirez) 3:52
3. Achilles Heel (Sherman) 6:07
4. Everything Happens to Me (Adair, Dennis) 3:47
5. Rubbin the Genie* (Sins) 4:57

*bonus track


Frank Rehak Sextet
6. Insomnia (Liston) 3:27
7. Very Syrian Business (Rehak) 4:20
8. Never do an Abadanian In (Rehak, Davis, Jr.) 5:10
9. Zagreb This (Liston) 4:42

Alex Smith Quintet
10. Donnybrook (Smith) 3:17
11. Limehouse Blues (Furber, Braham) 3:17
12. Darn that Dream (DeLange, VanHeusen) 5:42
13. That´s Earl Brothers (Gillespie) 4:50
14. Nothing Could be Finer than Minor (Mattson) 3:31



Cd. 2


Charlie Smith Trio
1. Have You Met Miss Jones ? (Rodgers, Hart) 3:22
2. Body And Soul (Sour, Green, Heyman) 4:35
3. Blues For Sal (Goodman, Hampton) 5:28
4. Flying Home (Goodman, Hampton) 2:35

Aaron Sachs Sextet
5. Aaron´S Blues (Sachs) 3:09
6. You´re My Thrill (Clare, Gorney) 3:04
7. Platter Pie (Sachs) 3:51
8. Why Shouldn´t I ? (Porter) 2:35
9. Ah ! The Pain (Verplanck) 3:42




Hal Serra Trio
10. Everything I´Ve Got Belongs To You (Hart, Rodgers) 3:12
11. Irma (Serra) 3:57
12. Things I Love (Barlow, Harris, Tchaikovksy) 3:43

Hal Serra Quartet
13. Why Was I Born (Kern, Hammerstein) 5:31
14. Suddenly it´s Spring (VanHeusen, Burke) 4:04
15. My Future Just Passed* (Whithing, Marion Jr.) 3:55

Hal Serra Quintet
16. Enchanted April* (Raye, DePaul) 4:33

Hal & Peggy Serra
17. Lover Come Back to Me* (Rodgers, Hart) 3:01

Peggy Serra & Oscar Pettiford

18. Ain´t Misbehavin'* (Waller, Brooks, Razaf) 6:46

*This four last tracks are not on the original LP

first issued on DLP-1125 (New Voices)

Feat. Aaron Sachs, Dick Sherman, Eddie Mattson, Dick Garcia, Frank Rehak, Melba Liston, Gene Quill, Norm Marnell, Marty Flax, Dick Katz, Walter Davis Jr., Alex Smith, Teddy Kotick, Nelson Boyd, Paul Worthington, Art Taylor, Oscar Pettiford, Charlie Persip, etc...

Recorded between 1956 & 1959

Tracks 1-6 from orignal Dawn Jazzville vol. 1
(Side 1 "1-4 : Charlie Rouse & the Julius Watkins Quintet ) are posted here

Tracks 1-4 from original Dawn Jazzville vol. 4
(Side 1 "1-6 : Paul Quinichette with the Gene Roland Sextet) are posted here

See also

Dawn Label Discography,

Friday, January 18, 2013

A Message from Richie Dick Garcia

Electric guitarist Dick Garcia taught himself the instrument at the age of nine before ever taking any lessons. He played with Tony Scott's quartet in 1950, then worked until the mid-'50s with Charlie Parker, George Shearing and Joe Roland. Garcia again played and recorded with Scott in 1955, also recording with Milt Buckner, Lenny Hambro and his own bands, while also recording with Johnny Glasel and Bobby Scott. Garcia continued into the '60s touring and recording with Shearing and Kai Winding.

Source :

Richie "Dick" Garcia
Message from Garcia


1 Have You Met Miss Jones ? (Rodgers, Hart) 2:51
2 If I'm Lucky (Darwin, Girard) 3:58
3 Kimona My House (Garcia) 3:41
4 I Don't Want to Set the World on Fire (Durbam, Sciler, Marcus, Benjamin) 3:28
5 The Deacon (Garcia) 2:47
6 Stompin' at the Savoy (Sampson, Goodman, Webb, Razaf) 2:13
7 Like Someone in Love (Burke, VanHeusen) 5:21
8 Potatoes (Garcia) 3:18
9 It Could Happen to You (Burke, VanHeusen) 5:21
10 Ev'ry Night About This Time (Koehler, Monaco) 2:51

[#1, 4 & 8]
Dick Garcia - g
Tony Scott - cl
John Drew - b
Camille Morin - dr
[#2, 5, 6 & 9]
Dick Garcia - g
Gene Quill - as
Terry Pollard - p
Bill Anthony - b
Frank Isola - dr
[#3, 7 & 10]
Dick Garcia - g
Bill Evans - p
Jerry Bruno - b
Camille Morin - dr

Recorded in New York City, 1956
Dick Garcia (1931) started playing the guitar at age 9 and by age 19 recorded with Tony Scott. Between the years 1950 and 1955 he recorded with Lenny Hambro, Joe Roland, Johnny Glasel and Milt Buckner. In 1955 he recorded his only album as leader A Message from Garcia. In 1956 Garcia made a series of sides with Joe Puma, which can be found on the ABC release, Four Most Guitars. The Garcia/Puma collaboration on I’m Old Fashioned from this record ranks with the very best of guitar duet performances. Garcia came to national prominence while playing with the George Shearing Quintet and he appeared on several Shearing recordings. Whether playing duets, leading his own small groups or playing in ensembles, Dick Garcia demonstrated enormous facility on the guitar. His work with Hambro and Glasel stood out as excellent examples of his work, from tight unison playing with Hambro to his exceptional rhythm, comping and solos.
©Copyright 2005 Classic Jazz Guitar

Source :

Wednesday, December 2, 2009

Al Cohn

Downbeat Magazine awarded Cohn on the Saxophone five stars when it appeared on the Dawn label back in 1956, when inventively-played, heart-felt music counted as much as innovation and novelty. The well-worn disc remains one of the few genuine treasures in a collection of LPs, cassettes, and CD's that has become massive if not always selective over the past 40 years. Cohn may have become more aggressive and adventurous in his later years, sporting a harder tone, but he was never more "at home" with his horn or his musical persona than on this set. From the opening bars of "We Three"--as unforced and unaffected a performance as I've heard committed to record--to the soul-satisfying closure of "When Day Is Done" he's the plain-talking raconteur, a compelling story-teller precociously wise beyond his relatively young years at the time. At one point in the fifties Cohn was practically revered as a master storyteller (listen to his climactic and definitive solo as featured instrumentalist on Manny Albam's ambitious "The Blues Is Everybody's Business"), someone who could be counted on to weigh in with only the most essential, vital musical words, no more, no less. Zoot was always the happy swinging dancer; Al the equally swinging but more coherent and purposeful narrative craftsman. I never felt that he performed "on" the saxophone or, for that matter, that he "played" saxophone. The horn was his voice: "The Saxophone IN Al Cohn" would have been my title for this session, made all the more satisfying by Al's sympathetic, genial company--Hank Jones, Milt Hinton, Osie Johnson and, on a couple of engaging up-tempo tunes, trombonist and musical soul mate, Frank Rehak. There are no big surprises, no tricks, no cutting-edge revelations destined to be dulled and blunted by later developments. This is indeed timeless and inexhaustible music. If it fits like a comfortable old shoe, it's of the highest quality leather--made to last.
Samuel Chell

Source :

Al Cohn

Cohn on the Saxophone


1 We Three (My Echo, My Shadow and Me) (Cogane, Mysels, Robertson) 3:48
2 Idaho (Stone) 3:37
3 The Things I Love (Barlow, Harris) 3:52
4 Singing The Blues (Conrad, Lewis, Robinson, Young) 5:06
5 Be Loose (Cohn) 4:18
6 When Day Is Done (DeSylva, Katscher) 3:54
7 Good Old Blues (Cohn) 4:49
8 Softly, As in a Morning Sunrise (Hammerstein, Romberg) 3:18
9 Abstract Of You (Cohn) 3:44
10 Blue Lou (Mills, Sampson) 4:09
11 Them There Eyes (Pinkard, Tauber, Tracey) 4:09

Al Cohn - ts
Frank Rehak - tb
Hank Jones - p
Osie Johnson - b
Milt Hinton - dr

Recorded in New York City, September 29, 1956

Friday, October 2, 2009

Joe Puma

Joe Puma (1927-2000) began his jazz guitar career in the 1940's the contemporary of Chuck Wayne, Jimmy Raney, and Johnny Smith. He stayed close to New York throughout his career appearing and recording with artists like Joe Roland, Herbie Mann, Artie Shaw and Don Elliott. In 1957 he won the New Star Award for Guitar from Metronome Magazine. With the exception of the recordings Joe Puma, Joe Puma Jazz, Wild Kitten and Shining Hour, most of the examples of Puma's recorded work were done as a sideman for other artists. And, although he played some amazing guitar on those recordings, it was on these four that, as he said on the back of Joe Puma Jazz, he "display(s) all his musical wares". Joe Puma and Joe Puma Jazz appeared about 25 years before Shining Hour and all three displayed the typical Joe Puma style; clean melodic lines, perfect comping behind the other players and a humorous ad lib quality that showed up as out of tempo playing or quoting other melodies. Joe Puma with Eddie Hall produced one of the most unusual jazz albums entitled Like Tweet. Hall identified and notated authentic birdcalls and then with Dick Hyman wrote them out in arrangements for jazz orchestra. Puma provides guitar and bass on this recording and produces some very interesting results. Barry Galbraith also appeared on this recording. In the 1970's Joe Puma teamed up with Chuck Wayne for some duet playing in the tradition of Barnes/Kress and Ellis/Pass. Their album Interactions is one of the best in this genre. Puma continued playing right into the 1990's. He appeared at the JVC Tributes to Tal Farlow in 1996 and Barney Kessel 1997.
©Copyright 2005 Classic Jazz Guitar
Source :

Joe Puma

Wild Kitten


1 Rose Room (Hickman, Williams) 5:48
2 Polka Dots and Moonbeams (Burke, VanHeusen) 2:41
3 Rigamarole (Mathews) 3:50
4 Sportin' with Morton (Puma) 3:21
5 Wild Kitten (Matthews) 5:51
6 Soon (Gershwin) 4:11
7 But Not for Me (Gershwin) 2:39
8 Rosalie Ann (Puma) 3:30
9 Give Me the Simple Life [#/*] (Bloom, Ruby) 3:37
10 Indian Blanket [#/*] (Puma) 3:52

#/* Bonus Tracks

Joe Puma - g
Mat Mathews - ac
Oscar Pettiford or Whitey Mitchell - b
Shadow Wilson - dr
Recorded NYC, February 25, 1957
Joe Puma - g
Tom Stewart - ss
Steve Lacy - t hrn
Whitey Mitchell - b

Herb Wasserman - dr
Recorded NYC, June 13, 1956