JazzProfiles: the intimate ella

Steven A. Cerra - Special Citations - February 19, 2025

Our nomination process is focused on the current efforts of individual authors/journalists. In 2024, however, projects collecting historic and more recent writings by a variety of authors made important contributions to the jazz library, and were found to be worthy of special acknowledgement. STEVEN A. CERRA: For years, Cerra has focused on historic articles and interviews on his JazzProfiles blog. Beginning last year, he added self-published paperback and e-book compendiums of historic writings, including individual volumes on Dave Brubeck, Bill Evans, Stan Kenton and Gerry Mulligan, Shelly Manne, three volumes on West Coast Jazz, two volumes on Jazz Drumming, three volumes on Jazz Saxophone and the first volume on Jazz Piano. Each is an invaluable research tool, providing a sense of how important artists and trends were viewed at the time by the music’s leading commentators.

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A Preface, an Introduction, 50 chapters and 373 pages of articles, interviews and commentaries by a variety of Jazz authors and critics highlighting the careers of significant Jazz pianists including Dave Brubeck, Horace Silver, Barry Harris, Tommy Flanagan, Roland Hanna, Red Garland, Eddie Costa, Sonny Clark, Hal Galper, Ramsey Lewis, Lou Levy, Pete Jolly, Russ Freeman, Junior Mance, Lennie Tristano, Jimmy Rowles, Ellis Larkin, Ahmad Jamal, Hod O’Brien, Walter Norris, André Previn, Victor Feldman, Hampton Hawes, Bill Evans, Dorothy Donegan, Herbie Hancock, Keith Jarrett and Chick Corea.

Preview of a Coming Attraction: A dedication to Miles Davis' 100th birthday on May 26.

100 Miles-Liner Notes I remember sitting in the legendary New York City club The Bottom Line in 1974, watching what would become one of Miles Davis’s last performances before his self-imposed seven-year retirement. A few years earlier, while I was in college, I bought Bitches Brew. After hearing it, I knew music was my destiny—and my dream was to someday work with Miles. Now I was sitting two rows from the stage, Miles standing right in front of me. I turned to my girlfriend and said, “I’m so close... but I may never get any closer.” It felt impossible that our paths would ever truly cross. Years later, after fully dedicating myself to music and diving deep into the emerging world of synthesizers, I found myself working steadily with bass player extraordinaire—and then up-and-coming producer— Marcus Miller. Together we were creating a unique musical vibe. I’ll never forget a Friday night in late January 1986 when Marcus called me. He had just heard from legendary producer Tommy LiPuma, who told him he had signed Miles to Warner Brothers after years at Columbia. They were looking for direction and songs for Miles’s new album. Marcus asked what I was doing the next day and if I could come make some demos. Absolutely! The next day at Marcus’s Tribeca loft we made three demos. One of them was Tutu. Marcus got the gig, and suddenly I was in the studio with Marcus and Tommy. At Clinton Studios, Miles sat on a stool in the live room, warming up on trumpet. Marcus told me I should introduce myself—because I might be there for five weeks or five minutes. Nervous doesn’t begin to describe it. I walked in and said, “Hi Miles, I’m Jason Miles. The keyboards and racks in the studio are mine. I work with Marcus and do the synthesizer programming.” He looked at me and said, “I like your name.” I spent the next five weeks helping create what became a game-changing record: Tutu. An electronic jazz album built on synthesizers, sampling, and drum machines—something that hadn’t been done before. It took about a week, but Miles warmed up to me. I showed respect without fawning. The work was intense, but once again Miles was changing the direction of jazz. I was part of it. At the release party he came over, hugged me, and thanked me. He knew what we had created—Marcus’s songs, my futuristic programming. Miles was back. After that, he began calling me to come over, hang out, help him build a small demo studio, and make music. I introduced him to my wife Kathy —he really liked her—and for the next five and a half years Miles was an important part of our lives. I made three albums with him, Marcus, and Tommy. There were countless stories, hangs, visits to our home in Chester, New York, time at his place in Malibu, and birthday parties. On September 28, 1991, it all ended when Miles passed away from a stroke. A devastating day for so many of us. In 2001, I was working on a groove when Michael Brecker called. I played it for him over the phone and he loved it. He put a melody on it and sent it back. We both felt it sounded like something Miles might be doing. Michael suggested I make an album of new music inspired by Miles and his influence on me.That became Miles to Miles – In the Spirit of Miles Davis, released in 2005, featuring some of the most cutting-edge musicians of the time. The response was incredible. Over the years I continued to explore Miles’s influence with albums like Kind of New (2015) and Black Magic (2020). Now it’s 2026. I’m living in Lisbon, Portugal, and I haven’t made an album of new original music in six years. But May 26 marks the 100th birthday of Miles Davis, and I felt a clear purpose—to revisit that vibe and create new music to honor him. 100 Miles tells musical stories of his influence on me and the moments we shared. Each track channels a memory and turns it into sound. Icalled on some great musical friends, and what emerged is a contemporary album blending jazz, funk, Brazilian, and electronic elements—always looking forward, never backward. Just like Miles. Below are short notes on each song and the stories behind them. The message is simple: I still hear his voice, and I still feel those moments. I hope you can hear some of that in this music. Happy 100, Miles. This is for you. Peace,Jason Miles

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TABLE OF CONTENTS PREFACE, pp. 8-9 INTRODUCTION: Pianists of the 1940s and 1950s by Dick Katz, pp. 10-19 Chapter 1. Bud Powell's Reconfiguration of the Jazz Piano Vocabulary by Ted Gioia, pp. 20-24 Chapter 2. Nat "King" Cole - The Gene Lees Essay - Part 1, pp. 25-35 Chapter 3. Nat "King" Cole - The Gene Lees Essay - Part 2, pp. 36-49 Chapter 4. Nat "King" Cole - The Gene Lees Essay - Part 3, pp. 50-60 Chapter 5. Al Haig: [1924-1982] - A Review of the Jazz Literature, Steven A. Cerra, Editor, pp. 61-68 Chapter 6. The Mysterious Michael Marmarosa - [aka] Dodo Marmarosa - by Robert Sunenblick, MD, pp. 69-78 Chapter 7. "Joe Albany: Portrait of a Legend" by Ira Gitler, pp. 79-83 Chapter 8. Joe Albany: Profiles - Lee Jeske, pp. 84-88 Chapter 9. George Wallington - A Brief Visit by Barry Kernfield, Ira Gitler and Bill Coss, pp. 89-96 Chapter 10. John Lewis: A Jazz Artist of “Restraint, of Control, and of Economy,” pp. 97-104 Chapter 11. John Lewis and The Modern Jazz Quartet by Ralph J. Gleason, pp. 105-111 Chapter 12. John Lewis - The Len Lyons Interview, pp. 112-117 Chapter 13. Art Hodes - "Hodes Blues" by Whitney Balliett, pp. 118-123 Chapter 14. Part 1 -Erroll Garner - The Natural - by Timme Rosenkrantz, pp. 124-126 Chapter 15. Part 2 - Erroll Garner - "The Natural: A Conversation with Erroll Garner" by Harvey Siders, pp. 127-134 Chapter 16. My Travels With Erroll Garner by Steven A. Cerra and George Avakian, pp. 135-137 Chapter 17. "The Rhythm, Romance, and Joy" of Erroll Garner by John Edward Hasse, 138-141 Chapter 18. Dudley Moore on Why Erroll Garner Is "Easy to Love." pp. 142-145 Chapter 19. Lennie Tristano: Some Reflections by Eunmi Shim, Larry Kart and Barry Ulanov, pp. 146 -153 Chapter 20. Lennie Tristano On Multi-Taping, Competition, Recording Echo, Rhythm Sections and Playing Together - Nat Hentoff, pp. 154-159 Chapter 21. Jazz Visions: Lennie Tristano and His Legacy by Peter Ind, pp. 160-163 Chapter 22. Lennie Tristano - His Life and Music by Eunmi Shim, 164-174 Chapter 23. George Shearing and Leonard Feather, pp. 175-180 Chapter 24. George Shearing: An Essay by Dick Katz, pp. 181-185 Chapter 25. In Appreciation Of George Shearing by Simon Pilbrow, pp. 186-188 Chapter 26. Balliett on Shearing, pp. 189-194 Chapter 27. “Lullaby of Birdland" - George Shearing, pp. 195-198 Chapter 28. Duke Jordan: Flight to Europe - Alun Morgan, Mark Gardner and Leonard Feather, pp. 199-209 Chapter 29. Billy Taylor - The Len Lyons Interview, pp. 210-217 Chapter 30. "The Teacher - Billy Taylor" by Gene Lees, pp. 218-228 Chapter 31. Oscar - Leonard Feather, pp. 229-234 Chapter 32. Oscar Peterson by Richard Palmer, pp. 235-241 Chapter 33. Oscar Peterson - Bursting Out with Len Lyons, pp. 242-252 Chapter 34. Oscar Peterson at the London House, Summer of 1961 - Michael Ullman, pp. 253-259 Chapter 35. Oscar Peterson - The Canadiana Suite - Gene Lees, pp. 260-263 Chapter 36. Oscar Peterson - In The Black Forest - Gene Lees, pp. 264-272 Chapter 37. Opposite Oscar Peterson - A Lesson Learned by Eddie Higgins, pp. 273-275 Chapter 38. Dave McKenna [1930-2008] - The Ted Panken Interview, pp. 276-283 Chapter 39. "Super Chops - Dave McKenna" - Whitney Balliett, pp. 284-290 Chapter 40. Richard Twardzik - The Jack Chambers Biography, pp. 291-304 Chapter 41. The Forgotten Ones - Dick Twardzik - by Gordon Jack, pp. 305-308 Chapter 42. Phineas Newborn, Jr - “Fine As Can Be” - Steven A. Cerra, Ed., pp. 309-316 Chapter 43. Phineas Newborn, Jr. - The Once and Future Piano Wizard - Robert Palmer, pp. 317-319 Chapter 44. Phineas Newborn Jr.: A Jazz Self-Portrait by Len Lyons, pp. 320-322 Chapter 45. A Carroll [aka Barbara Carroll] by Don Gold, pp. 323-328 Chapter 46. Ronnell Bright - The Complete Accompanist - Leonard Feather, pp. 329-334 Chapter 47. The Impeccable Hank Jones - Arnold Jay Smith, pp. 335-339 Chapter 48. Hank Jones - Indefatigable Elegance - Andrew Sussman, pp. 340-343 Chapter 49. Autumn in New York: Hank Jones's Late-Flowering Mastery - Gary Giddins, pp. 344-346 Chapter 50. "Hank Jones - One of the Jones Boys" by Gene Lees, pp. 347-361

Coming in 2026 [Click on image for preorder info.]

From its modest beginning in the back of a drum shop, Pacific Jazz became one of the most respected and successful independent jazz record labels in America, starting with a single 78 rpm release in the fall of 1952 introducing the Gerry Mulligan Quartet. Its exponential growth during the 1950s launched the jazz careers of Gerry Mulligan, Chet Baker, Chico Hamilton, and Bud Shank. The label’s expansion in the mid ’50s included a name change to World Pacific, which broadened the catalogue to include folk, comedy, pop, vocal, Latin, and world music genres featuring artists such as Kimio Eto and Ravi Shankar. Jazz releases continued to introduce major artists in the 1960s including the Jazz Crusaders, Les McCann, Curtis Amy, Paul Bryant, Clare Fischer, Joe Pass, Gerald Wilson, and Carmell Jones. Dick Bock sold Pacific Jazz to Liberty Records in the spring of 1965 ending its 13-year run as an independent jazz label. This history covers in-depth all 13 years of the transformative record label’s independence.

Now available as a paperback and an eBook exclusively on Amazon.

TABLE OF CONTENTS Preface, p. 8 Introduction: The Evolution of the Jazz Piano by Gene Lees, pp. 9-22 Chapter 1. Len Lyons - The Great Jazz Pianists - A Review, pp, 23-25 Chapter 2. HARLEM PIANO - Luckey Roberts and Willie "The Lion" Smith by Nat Hentoff, pp, 26-31 Chapter 3. Fats Waller And James P. Johnson by Richard Hadlock, pp. 32-38 Chapter 4. Conversations with James P. Johnson by Tom Davin, pp. 49-59 Chapter 5. Jelly Roll Morton: "Plotting His Way Into Jazz" - John Edward Hasse with Orrin Keepnews and Lawrence Gushee, pp. 60-67 Chapter 6. Jelly Roll Blues: Censored Songs and Hidden Histories By Elijah Wald, pp. 68-71 Chapter 7. Earl Hines by John S. Wilson, pp. 72-79 Chapter 8. Earl Hines by Richard Hadlock, pp. 80-95 Chapter 9. "Sunshine Always Opens Out - Earl Hines" by Whitney Balliett, pp. 96-109 Chapter 10. How Art Tatum Got His Style - Philip Clark, pp. 110-111 Chapter 11. Art Tatum - "Too Marvelous for Words" - James Lester, pp. 112-119 Chapter 12. Art Tatum - Genius in Prospect and Retrospect - Rex Stewart, pp. 120-127 Chapter 13. Art Tatum - The Orrin Keepnews Essay, 128-135 Chapter 14. "Why Duke Ellington Avoided Music Schools" (1945) - Mark Tucker, Ed., pp. 136-140 Chapter 15. Duke Ellington at the Piano - Mathew Cooper and Mark Tucker, pp. 141-144 Chapter 16. "Theodore "Teddy" Wilson November 24, 1912 - July 31, 1986" by Len Lyons, pp. 145-151 Chapter 17. The Impeccable Teddy Wilson by Tom Scanlan, pp, 152-159 Chapter 18. Mary Lou Williams - Out Here Again - Whitney Balliett, pp. 160-167 Chapter 19. Mary Lou Williams [May 10, 1910 - May 28, 1981] by Len Lyons, pp. 168-174 Chapter 20. Marian McPartland: “The Key of D is Daffodil Yellow” by Whitney Balliett, pp. 175-186 Chapter 21. Marian McPartland - The Len Lyons Interview, pp. 187-193 Chapter 22. Jess Stacey - Back from Valhalla - Whitney Balliett, pp. 194-201 Chapter 23. Joe Sullivan by Norman P. Gentieu, pp. 202-204 Chapter 24. Joe Bushkin - “Demi-Centenial" by Whitney Balliett, pp. 205-212 Chapter 25. Claude Hopkins - Pianist, Bandleader and Arranger by Stanley Dance, pp. 213-224 Chapter 26: Albert Ammons and Meade Lux Lewis - The First Day by Dan Morgenstern, pp. 225-228 Chapter 27. Johnny Guarnieri: Master Stride Pianist - Steven A. Cerra and Leonard Feather, pp. 229-237 Chapter 28. The Worlds of Mel Powell by Gene Lees, pp. 238-261 Chapter 29. Obituary: Art Hodes by Steve Voce, pp. 262-264 Chapter 30. Thelonious Monk: The George Washington of Bebop (September 1947 - August 1948) by Robin D.G. Kelly - Part 1, pp. 265-275 Chapter 31. Thelonious Monk: George Washington of Bebop (September 1947-August 1948) - by Robin D.G. Kelley - Part 2, pp. 276-286 Chapter 32. Three Separated Views of Thelonious Monk by Orrin Keepnews, pp.287-299 Chapter 33. Thelonious Monk (Rhythm-a-ning) by Gary Giddins, pp. 300-307 Chapter 34. Round About Monk by Valerie Wilmer, pp. 308-313 Chapter 35. A Portrait of Bud Powell in the Jazz Literature, Steven A. Cerra, Ed., pp. 314-362 Chapter 36. Bud Powell - Strictly Confidential by Gary Giddins, pp. 363-368

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TABLE OF CONTENTS Introduction, pp. 10-19 Chapter 1. Julian "Cannonball" Adderley - The Barbara Gardner Interview, pp. 2-26 Chapter 2. Portrait of Cannonball - Julian Adderley Quintet - by Orrin Keepnews, pp. 27-29 Chapter 3. The Cannonball Adderley Sextet in New York by Orrin Keepnews, pp. 30-33 Chapter 4. Cannonball Adderley - "The View From Within" by Orrin Keepnews, pp. 34-39 Chapter 5. "Take Five: The Public and Private Lives of Paul Desmond" by Doug Ramsey, pp. 40-53 Chapter 6. Paul Desmond: Another Perspective by Gene Lees, pp.54-67 Chapter 7. PAUL DESMOND - by Joe Goldberg, pp. 68-74 Chapter 8. Lee Konitz - "Food For Thought" - with Wayne Enstice and Paul Rubin, pp. 75-77 Chapter 9. Lee Konitz - "Excerpts from Conversations on the Improvisor's Art" by Andy Hamilton, pp. 78-81 Chapter 10. Lee Konitz - MOTION! - Steven A. Cerra, Lee Konitz and Kevin Whitehead, pp. 82-90 Chapter 11. Lee Konitz on John Coltrane with Andy Hamilton, pp. 91-93 Chapter 12. Dave Schildkraut by Gordon Jack, pp. 94-97 Chapter 13. The Complete Phil Woods Smithsonian Interview with Marty Nau and Kim Kimery, pp. 98-137 Chapter 14. Phil and Quill - Ira Gitler, pp. 138-141 Chapter 15. Gene Quill Remembered - Gordon Jack, pp. 142-145 Chapter 16. THE FORGOTTEN ONES - GIGI GRYCE by Gordon Jack, pp. 146-150 Chapter 17. Jazz Lab- Donald Byrd and Gigi Gryce "In The Laboratory" by Noal Cohen and Michael Fitzgerald, pp. 151-155 Chapter 18. Charlie Mariano - A Remembrance by Steven A. Cerra and Richard Vacca, pp. 156-161 Chapter 19. Leo Wright: Alto Sax and Flute with Verve and Vigor by Steven A. Cerra, pp. 162-167 Chapter 20. Art Pepper - "The Whiteness of the Wail" by Gary Giddins, pp. 168-171 Chapter 21. Sonny Criss: An Overlooked Giant by Bob Porter, pp. 172-176 Chapter 22. Jackie McLean and "The Connection" at The Crossroads by Ira Gitler and Derek Ansell, pp. 177-183 Chapter 23. The Advent of Jackie McLean: The Blue Note Years by Richard Cook, pp. 184-187 Chapter 24. "JACKIE McLEAN: Sugar Free Saxophone" by Mike Zwerin, pp. 188-190 Chapter 25. Frank Morgan - "The Wizard of Bop" - Gary Giddins, pp. 191-195 Chapter 26. John Coltrane: The Prestige Recordings, pp. 196-204 Chapter 27. John Coltrane - The Jazz Musician Essay with Interviews by Pete Watrous, pp. 205-215 Chapter 28. Miles Davis Quintet Featuring John Coltrane - "All of You: The Last Tour 1960" by Simon Spillett, pp. 216-231 Chapter 29. How John Coltrane Got His Sound - Lewis Porter, pp. 232-234 Chapter 30. Gentleness at the Heart of Hardness: John Coltrane - Man, Musician and Myth by Simon Spillett, pp. 235-252 Chapter 31. "Coltrane - Man And Music" by Gene Lees, pp. 253-256 Chapter 32. Hank Mobley - So Talented, So Often Overlooked - Steven A. Cerra, Ed., pp. 257-260 Chapter 33. "Hank Mobley: The Integrity of the Artist - The Soul of the Man" - The John Litweiler Interview, pp. 261-268 Chapter 34. Hank Mobley - Michael James in Jazz Monthly, 1961, pp. 269-278 Chapter 35. Hank Mobley - Michael James in Jazz Monthly, 1962, pp. 279-282 Chapter 36. "Looking East: Hank Mobley in Europe, 1968 - 1970" by Simon Spillett Bud Shank - Doug Ramsey, pp. 283-291 Chapter 37. "Hank Mobley - A Posthumous Appreciation" by Larry Kart, pp. 292-294 Chapter 38. The Little Giant: The Story of Johnny Griffin by Mike Hennessey, pp. 295-302 Chapter 39. Johnny Griffin - "Some of My Best Friends" by Orrin Keepnews, pp. 303-306 Chapter 40. Yusef Lateef in the Jazz Literature - Bob Blumenthal, Richard Cook, Michael Cuscuna and Veryl Oakland, pp. 307-313 Chapter 41. Bright Moments - The Life and Legacy of Rahsaan Roland Kirk - 2nd Ed. by John Kruth, pp. 314-318 Chapter 42. Rahsaan: The Complete Mercury Recordings of Roland Kirk - Dan Morgenstern, pp. 319-323 Chapter 43. Ronnie Cuber - The Early Years - Ira Gitler, pp. 324-327 Chapter 44. Ronnie Cuber An Essay and An Obituary by Gordon Jack, pp. 328-334 Chapter 45. Some Thoughts On Simon Spillett's Biography of Tubby Hayes by Steven A. Cerra, 335-342 Chapter 46. Tubby Hayes: The Complete Fontana Albums 1961-69 Sleeve Notes by Simon Spillett, pp. 343-385 Chapter 47. Phil Woods and The European Rhythm Machine, Steven A. Cerra, Editor, pp. 386-398

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TABLE OF CONTENTS - Preface p. 7 Introduction by Don Heckman, pp. 8-17 Chapter 1. Bird Feathers - Four Views on Charlie Parker - Crouch, Haddix, Priestley and Reisner [Not a Law Firm], pp. 18-44 Chapter 2. Bud Freeman - Unheralded and Too Often Overlooked by Martin Williams, pp. 45-51 Chapter 3. Serge Chaloff [1923-1957] by Gordon Jack, pp. 52-56 Chapter 4. Serge Chaloff - Power Serge by Simon Spillett, pp. 57-60 Chapter 5. Flip Philips by Ronald Atkins and Dan Morgensten, pp. 61-67 Chapter 6. Remembering Wardell Gray [1921-1955] - The Alun Morgan Essay, pp. 68-72 Chapter 7. Illinois Jacquet - An NPR Overview of His Career, pp. 73-77 Chapter 8. The New Illinois Jacquet by Burt Korall, pp. 78-82 Chapter 9. Charlie Ventura Remembered by Gordon Jack, pp. 83-87 Chapter 10. Al Cohn in the Jazz Literature by Steven A. Cerra, pp. 88-91 Chapter 11. Phil Woods on Al Cohn - An Interview with Dr. Larry Fisher, pp. 92-94 Chapter 12. Al Cohn Arranges to Make Longevity Count by Larry Birnbaum, pp. 95-98 Chapter 13. Brothers And Other Mothers by Mark Gardner, pp. 99-107 Chapter 14. Allen Eager with Gordon Jack, pp. 108-111 Chapter 15. Charlie Barnet -Big Band Fun - a Review of the Jazz Literature by Steven A. Cerra, pp. 112-119 Chapter 16. Brew Moore - More Brew With Gordon Jack and Steven A. Cerra, pp. 120-125 Chapter 17. Louis Jordan Let the Good Times Roll - Leonard Feather, pp. 126-131 Chapter 18. Gene Ammons by Dan Morgenstern, pp. 132-136 Chapter 19. The Rebirth of Gene Ammons by Leonard Feather, pp. 137-143 Chapter 20. Boots Mussulli, The Diminutive Giant by Gordon Jack, pp. 144-148 Chapter 21. Buddy Tate by Stanley Dance, pp. 149-161 Chapter 22. Eddie “Lockjaw” Davis - A Musician Who Matters - John Shaw, pp. 162-165 Chapter 23. Eddie “Lockjaw” Davis by Stanley Dance, pp. 166-173 Chapter 24. Leo Parker - The Forgotten Ones by Gordon Jack, pp. 174-177 Chapter 25. Les Brown and His Band of Renown by Gene Lees - Part 1, pp. 178-191 Chapter 26. Les Brown and His Band of Renown by Gene Lees - Part 2, pp. 192-205 Chapter 27. Dexter Gordon: The Chuck Berg Interview, pp. 206-218 Chapter 28. Eli “Lucky” Thompson [1924-2005] - A Remembrance by Steven. A Cerra, pp. 219-223 Chapter 29. Lucky Thompson: Complete Parisian Small Group Sessions, 1956 - 1959 - Featuring Martial Solal by Jordi Pujol, 224-231 Chapter 30. Ike Quebec at Blue Note by Steven A. Cerra, pp. 232-233 Chapter 31. Ike Quebec by Gordon Jack, pp. 234-237 Chapter 32. Willis and John Haley - Bill Holman Talks About Zoot Sims, pp. 238-250 Chapter 33. Zoot Sims - A Compilation from the Jazz Literature by Steven A. Cerra, pp. 251-276 Chapter 34. Zoot Sims at Ronnie Scott's - by Simon Spillett, pp. 277-285 Chapter 35. Sonny Stitt and Gene Ammons: Cutting Sessions and Chases by Peter Mathieson, pp. 286-289 Chapter 36. SONNY STITT - The Early Years, 1941-1952 by Gordon Jack, pp. 290-293 Chapter 37. Introduction to THE COMPLETE ROOST SONNY STITT STUDIO SESSIONS - Mosaic MD 208 - by Zan Stewart, pp.294-302 Chapter 38. Arnett Cobb - Soul-Wrenching Sax - Larry Birnbaum, pp. 303-318 Chapter 39. Budd Johnson - Saxophones, Clarinet and Arranger by Stanley Dance, pp. 319-325 Chapter 40. Sonny Rollins – The Prestige Years - Bob Blumenthal, pp. 326-334 Chapter 41. Part 1 - Sonny Rollins: The Cross and The Rose by Chip Stern, pp. 335-341 Chapter 42. Part 2 - Sonny Rollins: The Cross and The Rose by Chip Stern, pp. 342-350 Chapter 43. A Sonny Rollins Quartet - Giant Walk The Earth - by Gary Giddins, pp. 351-360 Chapter 44. A Focus on Stan Getz and "Focus" Six Decades Later by David Gelly and Dom Cerulli, pp. 361-371 Chapter 45. Jazz Samba/Stan Getz/Charlie Byrd - Some Perspectives by Dom Cerulli, John Litweiler and Richard Palmer, pp. 372-380 Chapter 46. "Stan Getz - Presenting the Stanley Steamer of the 80's" by Richard Williams, pp. 381-386

Jazz Saxophone a Reader Volume 1 Now Available As A Paperback Exclusively Through Amazon

TABLE OF CONTENTS - pp. 5-6 PREFACE to Jazz Saxophone A Reader Volume I by Steven A. Cerra, p. 7 INTRODUCTION - “The Saxophone in Jazz” by Don Heckman, pp. 8-17 Chapter 1. Sidney Bechet - Bouquet to Bechet by George Hoefer, pp. 18-25 Chapter 2. Sidney Bechet - First and Last by Martin Williams, pp. 26-29 Chapter 3. Sidney Bechet - Le Grande Bechet by Whitney Balliet, pp. 30-35 Chapter 4. Coleman Hawkins by Dan Morgenstern, pp. 36-41 Chapter 5. Coleman Hawkins and The Jazz Tradition by Martin Willams, pp. 42-46 Chapter 6. Balliett on Bean, pp. 47-49 Chapter 7. Coleman Hawkins - by Leonard Feather, pp. 50-56 Chapter 8. Frank Trumbauer: The Divided Self by Richard Sudhalter, pp. 57-74 Chapter 9. Bud Freeman - "The Diamond-Studded Saxophone” by John Bainbridge, pp. 75-82 Chapter 10. The Enduring Benny Carter by Leonard Feather, pp. 83-86 Chapter 11. Benny Carter by Stanley Dance, pp. 87-90 Chapter 12. Weekend at Dante Park: Benny Carter by Gene Lees, pp. 91-98 Chapter 13. RABBIT"S BLUES: The Life and Music of Johnny Hodges by Con Chapman: A Review by Steven A Cerra, pp. 99-104 Chapter 14. Impressions of Johnny Hodges (1936) by Helen Oakley (Dance), pp. 105-107 Chapter 15. The Rabbit Returns by Whitney Balliett, pp. 108-111 Chapter 16. “Double Play: Carney to Hodges to Ellington,” Don DeMicheal, pp. 112-116 Chapter 17. "Harry Carney: Forty-One Years at Home" - Martin Williams, pp. 117-121 Chapter 18. An Evening with Harry Carney by Bill Coss, pp. 122-125 Chapter 19. Willie Smith by Stanley Dance, pp. 126-135 Chapter 20. Adrian Rollini and the California Ramblers by Richard Sudhalter, pp. 136-153 Chapter 21. Otto “Toby” Hardwick - Duke Ellington and Stanley Dance, pp. 154-160 Chapter 22. Doc Ryder - “Goldkette’s Doc” by Jerry Kline, pp. 161-169 Chapter 23. Chu Berry - by Milt Hinton, pp. 170-175 Chapter 24. Chu Berry - by Loren Schoenberg and Otis Ferguson, pp. 176-180 Chapter 25. Eddie Miller by John Chilton, pp. 181-190 Chapter 26. Ben Webster and Stan Tracey - Soho Nights Vol 2 (ReSteamed) sleevenotes by Simon Spillett, pp. 191-195 Chapter 27. An Afternoon with Benjamin Francis Webster by Steven A. Cerra and Stanley Dance, pp. 196-202 Chapter 28. Ben Webster in Downbeat in the 1950s by Jack Tracy and Dom Cerulli, pp. 203-207 Chapter 29. Jimmy Dorsey in the Jazz Literature by Steven A. Cerra, pp. 208-213 Chapter 30. Don Byas [1913-1972] - Some Perspectives by Art Taylor, Richard Cook and Mike Hennessey, pp. 214-220 Chapter 31. Don Byas [1913-1972] - Some Perspectives by Loren Schoenberg, Con Chapman and Daniel Allen, pp. 221-227 Chapter 32. Russell Procope - "A Conscientious, All-Around Musician, One to Be Depended On" - Stanley Dance, pp. 228-236 Chapter 33. Pres: The Story of Lester Young by Luc Delannoy, pp.237-241 Chapter 34. “How Lester Young Altered the Course of Music” by John Edward Hasse, pp. 242-244 Chapter 35. Pres and Hawk - Saxophone Fountainheads by Don Heckman, pp. 245-251 Chapter 36. Count Basie and Lester Young: Style Before Swing by Martin Williams, pp. 252-258 Chapter 37. Lester Young by Nat Hentoff, pp. 259-278 Chapter 38. Lester Young: "The House in the Heart" by Bobby Scott, pp. 279-293 Chapter 39. Gary Giddins: Celebrating Bird:The Triumph of Charlie Parker - A Review by Steven A. Cerra, pp. 294-298 Chapter 40. Charlie Parker - The 1949 Downbeat Interview with Michael Levin and John S. Wilson, pp. 299-306 Chapter 41. Charlie Parker: A Biography In Interviews by Robert Reisner and Felix Manskleid, pp. 307-314 Chapter 42."Birdland" - From Ross Russell BIRD LIVES! -The High Life and Hard Times of Charlie 'Yardbird' Parker, pp. 315-321 Chapter 43. "Bird" by Miles Davis, pp. 322-325 Chapter 44. Charlie Parker by Orrin Keepnews, pp. 326-336 Chapter 45. Charlie Parker by Michael James, pp. 337-345 Chapter 46. Bird in Flight - Parker the Improviser by Don Heckman, pp. 346-352

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TABLE OF CONTENTS INTRODUCTION - “Jazz Drumming by Burt Korall,” pp. 7-19 Chapter 1. Mel Lewis - The Big Band Man by Dan Morgenstern, pp. 20-27 Chapter 2. Mel Lewis - A "Signature Drummer"by Loren Schoenberg, pp. 28-32 Chapter 3. Mel Lewis - "Silver Minus One" - Francis Davis, pp. 33-36 Chapter 4. Alan Dawson - The Poll Winner as Teacher by Dan Morgenstern, pp.37-40 Chapter 5. Alan Dawson - The 1977 Modern Drummer Interview by Peter Danckert, pp. 41-47 Chapter 6. Frankie Dunlop - Monk's Drummer by Ira Gitler, pp. 48-51 CChapter 7. Frankie Dunlop - Monk's Drummer by Steven H. Siegel, pp. 52-61 Chapter 8. Frank Isola - "Le Scrupuleux": The Gordon Jack Essay, pp. -62-68 Chapter 9. Osie Johnson: An Undistinguished Distinctive Drummer by Steven A. Cerra and Nat Hentoff, pp. 69-72 Chapter 10. Big Sid [Catlett] by George Hoefer, pp. 73-79 Chapter 11. Triple Play - A Metronome Interview with Buddy Rich by Bill Coss and David Solomon, pp. 80-83 Chapter 12. Connie Kay - One Drummer Who Doesn't Care to Solo by John S. Wilson, pp. 84-87 Chapter 13. Philly Joe Jones - The Return of Dracula by Dom Cerulli, pp. 88-92 Chapter 14. Sam Woodyard: A Real Swinger, Steven A. Cerra and Stanley Dance, pp. 93-98 Chapter 15. Jake Hanna - The Timeliest, Swinging Drummer by Marian McPartland, pp. 99-103 Chapter 16. Ed Thigpen – The Drummer as Colorist and Percussionist by Steven A. Cerra, pp. 104-106 Chapter 17. Ed Thigpen - "Boy with Drum" by Gene Lees, pp. 107-118 Chapter 18. Joe Dodge - The Gordon Jack Interview, pp. 119-124 Chapter 19. Jimmy Cobb: Seasoned Sideman by Rick Mattingly, pp. 125-131 Chapter 20. Steve Gadd - The Ben Sidran Interview, pp.132-142 Chapter 21. Ed Shaughnessy and The Joys of Jazz Drumming by Burt Korall, pp. 143-146 Chapter 22. Billy Cobham: The Atlantic Years, pp. 147-152 Chapter 23. Billy Cobham by Cheech Iero, pp. 153-160 Chapter 24. Paul Motian - "Poetry in Motion" by Howard Mandel with an Introduction by Steven A. Cerra, pp. 161-168 Chapter 25. Allan Ganley - "THE OLD CHING-CHING-CHING " by Simon Spillett, pp. 169-178 Chapter 26. Allan Ganley - The Complete Quartet and Jazzmakers Recordings by Simon Spillett, pp. 179-194 Chapter 27. Sonny Payne - Count Basie's Swinger by John Tynan, pp. 195-197 Chapter 28. Sonny Payne - "You've Got To Study All Forms of Music" - Sonny Payne Advises Drummers - Crescendo International, July 1971, pp. 198-200 Chapter 29. Dave Bailey with Gordon Jack, pp. 201-206 Chapter 30. Johnnie Rae - “Total Musicality” - MD March 1985 Charles Bernstein, pp. 207-218 Chapter 31. Billy Higgins - A Lesson in Lovemaking - Valerie Wilmer, pp. 219-224 Chapter 32. Louis Hayes Visits With Les Jeske, pp. 225-232 Chapter 33. Panama Francis - “The One Thing He Wanted for Christmas was a Drum” by Stanley Dance, pp. 233-239 Chapter 34. Bill Stewart: The Tie That Binds - Nate Chinen, pp. 240-245 Chapter 35. Wilbur Campbell - Hot House Drummer by Larry Birnbaum, pp. 246-250 Chapter 36. Gus Johnson, Jr. by Stanley Dance, pp. 251-261 Chapter 37. Chico Hamilton - The Jazz Spoken Here Interview - Wayne Enstice and Paul Rubin, pp. 262-268 Chapter 38. Barry Altschul - Traps in the South Bronx by Peter Keepnews, pp. 269-274 Chapter 39. Adam Nussbaum: The Josef Woodward Interview, pp. 275-289 Chapter 40. Jeff Hamilton — No Compromises - by Robyn Flans, pp. 290-300 Chapter 41. Kenny Washington by Paul Welles, pp. 301-307 Chapter 42. Kenny Washington on Melodic Drumming by Jon McCaslin, pp. 308-316 Chapter 43. Peter Erskine - Steppin’ Out by Bill Beuttler, pp. 317-321 Chapter 44. Peter Erskine - Playing with Intent by Rick Mattingly, pp. 322-329 Chapter 45. Saying "Goodbye" to Dick Berk: 1939-2014, pp. 330-332 Chapter 46. The Melodic Joe La Barbera by Katherine Alleyne and Judith Sullivan McIntosh, pp. 333-343 Chapter 47. Jack DeJohnette - Naturally Multi-Directional by Les Jeske, pp. 344-348 Chapter 48. Jack DeJohnette - Drummer Drummer by Howard Mandel, pp. 349-354 Chapter 49. Colin Bailey: The Epitome of a Jazz Drummer by Steven A. Cerra, pp. 355-363 Chapter 50. Eric Ineke - The Ultimate Sideman by Steven A. Cerra, pp. 364-369

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Table of Contents: Introduction, pp. 6-7 Chapter 1. Phil Woods and His European Rhythm Machine, Steven A. Cerra, Editor, pp. 8-21 Chapter 2. Lester Young: "The House in the Heart" by Bobby Scott, pp. 22-36 Chapter 3. Toshiko Akiyoshi: Traditionalist and Innovator by Steven Cerra, pp. 37-43 Chapter 4. Dexter Gordon - The Blue Note Years - Parts 1-10 Complete, Steven A. Cerra, Editor, pp. 44-99 Chapter 5. Dave Pike: A Superior Self-Taught Vibist by Steven A. Cerra, pp. 100-116 Chapter 6. Gillespiana: Grand, Glorious and Glistening by Steven A. Cerra, Editor, pp. 117-127 Chapter 7. Victor Feldman: A Career Overview by Steven A. Cerra, pp. 128-195 Chapter 8. Carmen McRae – A Grande Dame of Jazz, Steven A. Cerra and Art Taylor, pp. 196-208 Chapter 9. A Portrait of Bud Powell in the Jazz Literature, pp. 209-257 Chapter 10. Remembering Eddie Costa [1930-1962] by Steven A. Cerra, Editor, pp. 258-268 Chapter 11. Tal Farlow: Jazz Guitar and Bebop, Steven A. Cerra, Editor, pp. 269-316 Chapter 12. The Evolution of the Don Ellis Orchestra In 8 Parts, Steven A. Cerra, Editor, 317-396.

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Table of Contents, pp.5-6 INTRODUCTION, pp. 7-11 Chapter 1. Baby Dodds - George Wettling, pp. 12-14 Chapter 2. Zutty Singleton - "Zutty Singleton: The Pioneer That Jazz Forgot" by Martin Williams, pp. 15-21 Chapter 3. Sonny Greer by Whitney Balliett, pp. 22-24 Chapter 4. Sonny Greer - The Roots of the Duchy by Burt Korall, pp. 25-30 Chapter 5. New York Drummers [Tommy Benford, Freddie Moore, Sonny Greer] by Whitney Balliett, pp. 26-43 Chapter 6. Gene Krupa: 1909-1973 - A Tribute with Testimonials, Steven A. Cerra, Editor, pp. 44-50 Chapter 7. Gene Krupa 1909-1973 by Karen Larcombe, pp. 51-57 Chapter 8. Gene Krupa: The World Is Not Enough by Bobby Scott, pp. 58-71 Chapter 9. My Man George, Wettling ... that is: A Tribute - Steven A. Cerra, pp. 72-77 Chapter 10. Davy Tough: 1908-1948, Understated Elegance Mixed With Brio by Whitney Balliett, pp. 78-87 Chapter 11. Chick Webb - Spinnin’ the Web - Loren Schoenberg, pp. 88-92 Chapter 12. Rifftide: The Life and Opinion of Papa Jo Jones As Told To Albert Murray - The JazzProfiles Review - Steven A. Cerra, pp. 93-97 Chapter 13. Papa Jo Jones, “The Man Who Played Like the Wind,” Steven A. Cerra, Editor, pp. 98-108 Chapter 14. Gene Krupa and Buddy Rich - The Willis Conover Interview, pp. 109-118 Chapter 15. "Walpurgis Night" - Whitney Balliett on Buddy Rich, pp. 119-122 Chapter 16. Buddy Rich - The 1977 Modern Drummer Interview by Jim Warchol, pp. 123-129 Chapter 17. The State Of The Art — Buddy Rich by Rick Mattingly, pp. 130-136 Chapter 18. Buddy Rich - Traps the Drum Wonder by Whitney Balliet, pp. 137-139 Chapter 19. Ray McKinley - 1910-1995 - "Jazz Drumming As A Rhythmic Presence," by Burt Korall, pp. 140-147 Chapter 20. Jimmy Crawford - the Engine Room for the Jimmie Lunceford Harlem Express, Eddy Determeyerpp. 148-158 Chapter 21. My Man, Big Sid by Rex Stewart, pp. 159-164 Chapter 22. Big Sid by Whitney Balliett, pp. 165-171 Chapter 23. Kenny Clarke - No Flash, Man by Steven A. Cerra, pp. 172-177 Chapter 24. Kenny Clarke - Jazz Pioneer by Ed Thigpen, pp. 178-189 Chapter 25. Klook-Mop: A Rhythmic Signature of Bebop By Brian Carmody, pp. 190-196 Chapter 26. Max Roach - Masterful, Magisterial and Momentous - Burt Korall and Kenny Mathieson, pp. 197-201 Chapter 27. "Max Roach From Hip Hop to Bebop" - Mike Zwerin, pp. 202-205 Chapter 28. Max Roach and Art Blakey: The Role of the Drummer Leader by Raymond Horricks, pp. 206-213 Chapter 29. Art Blakey and Muscle Jazz, Steven A. Cerra, Editor, pp. 214-225 Chapter 30. Apple Pie (Art Blakey) by Francis Davis, pp. 226-229 Chapter 31. Roach, Blakey & P.J. Jones, Inc. by Whitney Balliett, pp. 231-233 Chapter 32. Tiny Kahn: Over 300 But Less Than 30 by Burt Korall, pp. 234-240 Chapter 33. Stan Levey: From Left to Right - The JazzProfiles Interview by Steven A. Cerra, pp. 241-249 Chapter 34. Stan Levey - The Alun Morgan Interview, pp. 250-254 Chapter 35. Roy Haynes, Cross-Section, March 5, 1959 Downbeat, 255-257 Chapter 36. The Varied Peripteries of Drummer Roy Haynes or They Call Him Snap Crackle by Dom DeMicheal, pp. 258-262 Chapter 37. Roy Haynes: No Beats to Waste - Mike Zwerin, pp. 263-265 Chapter 38. The Wonder of Philly Joe Jones, Steven A. Cerra, Editor, pp. 266-278 Chapter 39. The Forming of Philly Joe Jones by Ralph J. Gleason, pp. 279-284 Chapter 40. Philly Joe Jones (1980) by Larry Kart, pp. 285-287 Chapter 41. Philly Joe Jones - A Vignette from Benny Golson, pp. 288-291 Chapter 42. Elvin Jones and Philly Joe Jones by Bobby Jaspar, pp. 292-296 Chapter 43. The Emancipation of Elvin Jones by Mike Hennessey, pp. 297-302 Chapter 44. Playing the Truth: Elvin Jones by Ira Gitler, pp. 303-308 Chapter 45. Tony Williams - The Tony Scherman Interview, pp. 309-315 Chapter 46. Tony Williams: Two Decades of Drum Inspiration - by Paul deBarros, pp. 316-321 Chapter 47. Louie Bellson and Tony Williams - Mutual Admiration - Veryl Oakland, pp. 322-323 Chapter 48. Back to Ellington: Drummer Louie Bellson tells about his return to the Ducal fold in this interview with Leonard Feather, pp. 324-329 Chapter 49. LOUIE BELLSON KEY (KI)-ed into The ARTS OF PERCUSSIVE TAPDANCE by Patricia Willard, pp. -330-337 Chapter 50. The Perpetual Motion Of Louie Belson by Larry Birnbaum, pp. 338-343 Chapter 51. State Of The Art — Louie Bellson by Robyn Flans, pp. 344-351 Chapter 52. Joe Morello - The Early Years by Jack Tracy, pp. 352-354 Chapter 53. The Fabulous Joe Morello by Marian McPartland, pp. 355-363 Chapter 54. Joe Morello: With a Light Touch by Marian McPartland, pp. 364-370 Chapter 55. Joe Morello - An Interview with Les Tomkins, pp. 371-375 Chapter 56. Joe Morello - The Modern Drummer Interview with Rick Mattingly, pp. 376-389

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Table of Contents CHAPTERS Introduction, pp. 7-13 Prologue: Shelly Manne by Burt Korall, pp. 14-31 Chapter 1. New York City - “The Beginning Days,” pp. 32-37 Chapter 2. Shelly Manne on 52nd Street - Part 1, pp. 38-45 Chapter 3. Shelly Manne on 52nd Street - Part 2, pp. 46-54 Chapter 4. Shelly Manne - The Kenton Years - Part 1, pp. 55-61 Chapter 5. Shelly Manne - The Kenton Years - Part 2, pp. 62-65 Chapter 6. Shelly Manne - The Kenton Years - Part 3, pp. 66-70 Chapter 7. Shelly Manne - The Kenton Years - Part 4, pp. 71-77 Chapter 8. Shelly Manne - The Kenton Years - Part 5, pp. 78-82 Chapter 9. Shelly Manne - The Kenton Years - Part 6, pp. 83-88 Chapter 10. Shelly Manne - The Lighthouse and Shorty Rogers and His Giants Years, pp. 89-103 Chapter 11. The Formation of Shelly Manne and His Men - Part 1, pp. 104-114 Chapter 12. The Formation of Shelly Manne and His Men - Part 2, pp. 115-123 Chapter 13. The Manne Hole - Part 1, pp. 123-133 Chapter 14. The Manne Hole - Part 2, pp. 134-141 Chapter 15. The Manne Hole - Part 3, pp. 142-146 Chapter 16. The Manne Hole - Part 4, pp. 147-153 Chapter 17. The L.A. Four and The Studios, pp. 154-165 Chapter 18. Shelly Manne - The Final Years - Part 1, pp. 166-177 Chapter 19. Shelly Manne - The Final Years - Part 2, pp. 178-190 Epilogue: “Shelly Manne – The Last Interview by Charles M. Bernstein” [Modern Drummer August 10, 2018], pp. 191-214 APPENDICES Appendix A: Shelly Manne Offers His Concept of Jazz Drums - 12.14.1955 Downbeat, pp. 215-217 Appendix B: Manne! (Shelly, That Is) -Dom Cerulli, 7.25.1956 Downbeat, pp. 218-220 Appendix C: Cross Section - Shelly Manne - Don Gold 10.17.1957 Downbeat, pp. 221-223 Appendix D: Shelly Manne and His Men at The Blackhawk: A Review of the Jazz Literature by Steven A. Cerra, pp. 224-239 Appendix E. Imaginative Broadway Show Albums - Shelly Manne, Andre Previn, Red Mitchell and Leroy Vinnegar - Steven A. Cerra, Editor, pp. 240-249 Appendix F. Shelly Manne and His Men Play Peter Gunn by Lester Koenig, pp. 250-252 Appendix G. Leonard Feather - “Shelly Manne and His Men ‘Live’ at The Manne Hole” 1 & 2, pp. 253-257 Appendix H. Shelly Manne - Portrait of a Jazz Success by John Tynan 7.5.1962 Downbeat, pp. 258-265 Appendix I. Shelly Manne -Blindfold Test with Leonard Feather 7.27.1967 Downbeat, pp. 266-268 Appendix J. “Shelly: The Whole Manne,” Leonard Feather 12.10.1970 Downbeat, pp. 269-273 Appendix K. Frank King “The Manne of Today” and Les Tomkins, “Shelly Manne In Depth,” Excerpts from Crescendo International, August and September 1970, pp. 274-276 Appendix L. Shelly Manne -Blindfold Test with Leonard Feather 3.10.1977 Downbeat, pp. 277-280 Appendix M. “The LA Four - Journeymen United” - Len Lyons 9.8.1977 Downbeat, pp. 281-285 Appendix N. "The Shelly Manne Story as Told to Sanford Traill," Jazz Journal International, xxxii/8, 1979, pp. 286-291 Appendix O. David Levine - Shelly Manne Modern Drummer Interview October 1981, pp. 292-303 Appendix P. Shelly Manne, Honoring a True Elite, Veryl Oakland, Jazz in Available Light, pp. 304-307 Appendix Q. Testimonials by Joe LaBarbera, Peter Erskine and Jim Keltner in Jazz from the Pacific Northwest Shelly Manne and His Men, pp. 308-314 Appendix R. Shelly Manne and His Men: Vol. 1, The West Coast Sound, Contemporary C3507, Notes by Nesuhi Ertegun, pp. 315-318 Appendix S. Shelly Manne and His Men: Vol. 2, Contemporary 10”, C2511; 12” C3507, by Marty Paich, Shorty Rogers, Jimmy Giuffre, Bob Cooper, Bill Holman and Jack Monrose, pp. 319-321 Appendix T. Shelly Manne’s “The Three” and “The Two,” Contemporary C3584, Notes by Lester Koenig, pp. 322-325 Appendix U. Shelly Manne and His Men: Vol. 4, Swinging Sounds, Contemporary 3515, Notes by André Previn, pp. 326-328 Appendix V. Shelly Manne and His Men: Vol. 5, More Swinging Sounds, Contemporary S7515, Notes by G.V. Kennard, S.J., pp. 329-332 Appendix W. Shelly Manne and His Men Vol. 6: Concerto For Clarinet & Combo, Contemporary C3536, Notes by Nat Hentoff, pp. 333-337 Appendix X. Shelly Manne and His Men: Vol. 7. The Gambit,” Contemporary S7557, Notes by Nat Hentoff, pp. 338-341 Appendix Y. L.A. Studio Drummers Roundtable, Part 1 - Jim Keltner, Hal Blaine, Shelly Manne, Craig Krampf, Vinnie Colaiuta - Robyn Flans, January 1984 Modern Drummer, pp. 342-348 Appendix Z. “Drum Shticks” with Donald Bailey, Louie Bellson, Willie Bobo, Larry Bunker and Shelly Manne by Harvey Siders, 3.15.1973 Downbeat, pp. 349-357

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© Copyright ® Steven Cerra, copyright protected; all rights reserved. Now available as a paperback and eBook exclusively on Amazon.com. I've priced these very reasonably at $24.99 and $9.99, respectively and I'm sharing 50% of my royalties with the local school and community college districts to help purchase musical instruments for students. Volume 3 focuses on the transition of Jazz on the West Coast from the 1950s to the mid-1960s. I am especially grateful to the many musician friends who helped make this series a reality. I literally couldn't have done it without your help. To give you some idea of the breadth and depth of the writings on offer in the anthology, some of which are extremely rare, I am posting the book’s Table of Contents for you to look over. Table of Contents. pp 5-6 Introduction. pp. 7-17 Prologue. Gerald Wilson - Then [and Now]- Steve Iosardi and Steven A. Cerra, pp. 18-30 Chapter 1. The Los Angeles Jazz Scene of the 1950s by Robert Gordon, pp. 31-42 Chapter 2. Chapter 2. The Complete Nocturne Recordings Jazz in Hollywood Series by Steven A. Cerra and Jordi Pujol, pp. 43-48 Chapter 3. Lester Koenig, Good Time Jazz and Contemporary Records Ralph Kaffel, Floyd Levin and John Koenig, pp. 49-55 Chapter 4. Richard Bock, Pacific Jazz and Pacific Jazz Samplers by Steven A. Cerra, and William Claxton, pp. 56-65 Chapter 5 - Meet The A & R Man - Richard Bock by John Tynan, pp. 66-69 Chapter 6. The Mastersounds on Fresh Sound and The Mastersounds with Wes Montgomery - Steven A. Cerra, Ed., pp. 70-80 Chapter 7. Russ Freeman in Two Parts - A Review of the Jazz Literature by Steven A. Cerra, pp. 81-89 Chapter 8. Hampton Hawes - All Night Session! By Arnold Shaw, pp. 90-96 Chapter 9. Gary Giddins Introduction to Hampton Hawes' RAISE UP OFF ME: A Portrait of Hampton Hawes, pp. 97-101 Chapter 10. Imaginative Broadway Show Albums - Shelly Manne, Andre Previn, Red Mitchell and Leroy Vinnegar - Steven A. Cerra, Ed., pp. 102-110 Chapter 11. Leroy Vinnegar - The Walking Bass in Jazz by Nat Hentoff and Leonard Feather, pp. 111-114 Chapter 12. [My Vince Guaraldi] "Lighthouse Memories" by Steven A. Cerra, pp. 115-121 Chapter 13. Joe Maini by Gordon Jack, pp. 122-125 Chapter 14. West Coast Classics - Cy Touff, His Octet & Quintet - Arranged by Johnny Mandel by Michael Cuscuna, pp. 126-129 Chapter 15. Art Pepper on The Los Angeles Jazz Scene of the 1950’s by Robert Gordon, pp. 130-143 Chapter 16. Charlie Mariano - A Remembrance by Steven A. Cerra and Richard Vacca, pp. 144-149 Chapter 17. Sonny Criss: An Overlooked Giant by Bob Porter, pp. 150-154 Chapter 18. Curtis Amy - Testifyin’ Texas Tenor - Steven A. Cerra, Ed., pp. 155-161 Chapter 19. Bobby Troup – Theme Magazine Interview with Bobby Troup, Bobby and Julie London, and Bobby as Host of the Stars of Jazz, Steven A. Cerra Ed., pp. 162-174 Chapter 20. Hoagy Sings Carmichael With Johnny Mandel and The Pacific Jazzmen by Richard Sudhalter, pp. 175-180 Chapter 21. Hoagy Carmichael, Pacific Jazz and Jazz Poetry by Richard Sudhalter and Lawrence Lipton, pp. 181-185 Chapter 22. Earle Spencer and His New Band Sensation of the Year 1946 by Steven A. Cerra and Jordi Pujol, pp. 186-192 Chapter 23. Dan Terry - The Swinginest Dance Band by Steven A. Cerra and Jordi Pujol, pp. 193-206 Chapter 24. Name Band 1959 - Bob Florence and His Orchestra by Steven A. Cerra and Jordi Pujol, pp. 207-212 Chapter 25. Bob Florence - Here and Now/ Bold, Swinging Big Band Ideas, Steven A. Cerra, Ingrid Jensen and Anthony Corbett, pp. 213-217 Chapter 26. Bob Florence Limited Edition by Gordon Jack, pp. 218-221 Chapter 27. Eric Dolphy, Ornette Coleman and The Los Angeles Underground by Robert Gordon, pp. 222-233 Chapter 28. Shelly Manne by Burt Korall, pp. 234-251 Chapter 29. Into the Sixties by Robert Gordon, pp. 252-264 Chapter 30. The Manne Hole -Part 1 - Steven A. Cerra, pp. 265-274 Chapter 31. The Manne Hole -Part 2 - Steven A. Cerra, pp. 275-282 Chapter 32. The Manne Hole -Part 3 - Steven A. Cerra, pp. 283-287 Chapter 33. The Manne Hole -Part 4 - Steven A. Cerra, pp. 288-294 Chapter 34. The West Coast Jazz Scene -“SF is swinging; LA is dying.” - Downbeat Special Report, pp. 295-302 Chapter 35. Carl Fontana by Peter Watrous and Campbell Burnapp, pp. 303-308 Chapter 36. Dual Brass: The Formation of the Lou Blackburn-Freddy Hill Quintet by John Tynan and Michael Cuscuna, pp. 309-315 Chapter 37. Joe Pass: “Passalaqua - The Poet of the Guitar” by Steven A. Cerra and John Tynan, pp. 316-322 Chapter 38. Clare Fischer - “Star on the Rise” by John Tynan, pp. 323-325 Chapter 39. “Barney Kessel - Why He Went Back on the Road” by Gene Lees, pp. 326-332 Chapter 40. Paul Horn: a 1961 Interview With John Tynan and a 2014 Remembrance by Steven A. Cerra, pp. 333-340 Chapter 41. "The Far-Out World of Jack Sheldon " by John Tynan, pp. 341-344 Chapter 42. Herb Geller’s European Rebirth, Jack Lind, pp. 345-347 Chapter 43. Jimmy Woods - Fire in the West, John Tynan, pp. 348-351 Chapter 44. Frank Rosolino Blindfold Test, Leonard Feather, pp. 352-354 Chapter 45. The Resurgence of Stan Getz, Leonard Feather, pp. 355-359 Chapter 46. Meet the Jazz Crusaders by John Tynan, pp. 360-363 Epilogue. Gerald Wilson - [Then and] Now - by Doug Ramsey and Steven A. Cerra, pp. 364-375

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Table of Contents Introduction pp. 6-10 Prologue - Seeds in the Swing Era from Modern Jazz by Alun Morgan and Raymond Horricks pp. 11-20 Chapter 1. The Miles Davis 1948/1949 Group from Modern Jazz by Alun Morgan and Raymond Horricks, pp. 21-29 Chapter 2. The Los Angeles Jazz Scene of the 1950’s The Gerry Mulligan Quartet by Robert Gordon, pp. 30-38 Chapter 3. The West Coast Sound by Robert Gordon, pp. 39-48 Chapter 4. Two Tenor Conversation with Bill Perkins and Richie Kamuca by John Tynan, pp. 49-53 Chapter 5. Bill Perkins - The Gordon Jack Interview, pp. 54-58 Chapter 6. Richie Kamuca - The Gordon Jack Interview, pp. 59-62 Chapter 7. Bob Cooper - Quietly, Always There by Steven A. Cerra, pp. 63-68 Chapter 8. William “Buddy” Collette, 1921-2010 by Peter Jacobson and the Central Avenue Sounds Editorial Committee, pp. 69-73 Chapter 9. The Forgotten Ones - Buddy Collette - by Gordon Jack, pp. 74-77 Chapter 10. Harold Land [1928-2001]: The Hard Bop Legacy - Steven A. Cerra and John Tynan, pp. 78-82 Chapter 11. Jack Montrose by Gordon Jack, pp. 83-89 Chapter 12. Chet Baker - “The Jazz Musician Interview” by Jerome Reece, pp. 90-99 Chapter 13. Remembering Wardell Gray [1921-1955] - Part 1 - The Ira Gitler Notes, pp. 100-104 Chapter 14. Remembering Wardell Gray [1921-1955] - Part 2 - The Michael James Essay, pp. 105-111 Chapter 15. Remembering Wardell Gray [1921-1955] - Part 3 - The Herbie Butterfield Essay, pp. 112-117 Chapter 16, Remembering Wardell Gray [1921-1955] - Part 4 - The Alun Morgan Essay, pp. 118-122 Chapter 17. Funny Frank [Rosolino] by John Tynan, pp. 123-125 Chapter 18. Lou Levy - John Tynan, pp. 126-129 Chapter 19. Lou Levy - An Interview with Steve Voce, pp. 130-137 Chapter 20. Jimmy Rowles: Sprinkling Jazz by Steven A. Cerra, pp. 138-144 Chapter 21. Jimmy Rowles: The Len Lyons Interview, pp. 145-150 Chapter 22. Pete Jolly - Some Variations by Steven A. Cerra, pp. 151-163 Chapter 23. Willis and John Haley - Bill Holman Talks About Zoot Sims, pp. 164-176 Chapter 24. Bill Holman: Recollections of Fellow Musicians from The Early Years with Bill Dobbins, pp. 177-187 Chapter 25. Bob Gordon -Baritone Blues by Gordon Jack, pp. 188-193 Chapter 26. The Great Herb Geller by Gene Lees, pp. 194-203 Chapter 27. Herb Geller and Interview with Gordon Jack, pp. 204-212 Chapter28. Teddy Edwards: A Tenor Saxophonist of Importance by Steven A. Cerra, pp. 213-215 Chapter 29. The Advent of Victor Feldman by Steven A. Cerra, pp. 216-226 Chapter 30. Victor Feldman and Frank Rosolino: The “Lost Recordings” by Steven A. Cerra, pp. 227-231 Chapter 31. Nascent Lennie Niehaus by Max Harrison, pp. 232-239 Chapter 32, Bud Shank - Burning Brighter by Fran Kelley, pp. 240-242 Chapter 33. Bud Shank Parts 1 and 2 by Doug Ramsey and Gordon Jack, pp. 243-261 Chapter 34. Milt Bernhart by Gordon Jack, pp. 262-265 Chapter 35. Bob Brookmeyer: An Interview with Bill Coss, pp. 266-270 Chapter 36. Extracts From An Interview with Bob Brookmeyer by Wayne Enstice and Paul Rubin, pp. 271-278 Chapter 37. Bob Enevoldsen with Gordon Jack, pp. 279-283 Chapter 38. Marty Paich and A Band Within A Band” by Steven A. Cerra, pp. 284-293 Chapter 39. Cal Tjader - The 1957 Downbeat Interview by John Tynan, pp. 294-297 Chapter 40. Cal Tjader, Paul Horn and the 1958 Monterey Jazz Festival, pp. 298-302 Chapter 41. Cal Tjader: “A Certain, Smooth Elegance” [La Onda Va Bien] by Steven. A Cerra, pp. 303-309 Chapter 42. “The Latinization of Cal Tjader - Or … what’s a nice Swedish boy like you doing in a bag like this?” by Harvey Siders, pp. 310-316 Chapter 43. College Goes to Jazz - John Graas and the Westlake College Quintet, pp. 317-321 Chapter 44. “Don Fagerquist - The Forgotten Ones” Series by Gordon Jack, pp. 322-325 Chapter 45. Bass Players: Scott LaFaro and Gary Peacock by Martin Williams, pp. 326-333 Chapter 46. California Hard 1 - Clifford Brown, Herb Geller, Hampton Hawes and Dexter Gordon by Robert Gordon, pp. 334-343 Chapter 47. California Hard II - The Curtis Counce Group, Chet Baker Quintet, Pepper Adams - Mel Lewis Quintet and Others by Robert Gordon, pp. 344-354

Now available as a paperback and eBook through Amazon.com

Table of Contents Introduction: The Jazz West Coast Style of Music by Steven A. Cerra, pp. 6-9 Prologue - West Coast Sounds by John Dutton, pp. 10-16 Chapter 1. Central Avenue Sounds by Bob Gordon, 17-32 Chapter 2. Shorty Rogers and His Giants - by Bob Gordon, 33-44 Chapter 3. Shorty Rogers and the Development of the West Coast Style of Jazz by John Graas, pp. 45-48 Chapter 4. Shorty Rogers - The Gentle Giant by Howard Lucraft, pp. 49-53 Chapter 5. Shorty Rogers The Steve Voce Interview, pp. 54-58 Chapter 6. Shelly Manne - The Lighthouse and Shorty Rogers - Steven A. Cerra, pp. 59-73 Chapter 7. The Lighthouse Café as an Incubator for West Coast Jazz by Steven A. Cerra, pp. 74-77 Chapter 8. Jim Giuffre Musician by Nat Hentoff - Jim Giuffre Composer As Told to Downbeat [John Tynan], pp. 78-81 Chapter 9. The Passionate Conviction: An Interview with Jimmy Giuffre by Lorin Stephens, pp. 82-90. Chapter 10. Jimmy Giuffre in the Jazz Literature : Jordi Pujol, Will McFarland and Francis Davis, pp. 91-101 Chapter 11. Jimmy Giuffre - The Pastoral Man by Ed Michel, pp. 102-112 Chapter 12. Peter Welding - Booklet Notes to The Complete Pacific Jazz and Capitol Recordings of the Gerry Mulligan Quartet and Tentette with Chet Baker [Mosaic MR 5-102], pp. 113-118 Chapter 13. Gerry Mulligan: The Gordon Jack Interview, pp. 119-125 Chapter 14. The West Coast School Of White Musicians And Its Soloists - from "Modern Jazz" by Morgan and Horricks, pp. 126-134 Chapter 15. The Composers of the West Coast School - from "Modern Jazz" by Morgan and Horricks, pp. 135-142 Chapter 16. Shelly Redux – More Thoughts From and About The Manne by Steven A. Cerra, pp. 143-153 Chapter 17. Shelly Manne & His Men at The Blackhawk: A Review of the Jazz Literature by Steven A. Cerra, pp. 154-169 Chapter 18. Shelly Manne and His Men Play Peter Gunn by Lester Koenig, pp. 170-172 Chapter 19. Hank Mancini - Jazz Musician by Steven A. Cerra, pp. 173-175 Chapter 20. Stan Getz - East of the Sun: The West Coast Sessions - The Ted Gioia Notes, pp. 176-181 Chapter 21. STAN AND GERRY - Occasional Collaborators" by Gordon Jack, pp. 182-185 Chapter 22. Shelly Manne: “Portrait of a Jazz Success” by John Tynan, pp.186-193 Chapter 23. Art Pepper - "The Whiteness of the Wail" by Gary Giddins, pp. 194-197 Chapter 24. Art Pepper-Marty Paich Inc. by Alun Morgan, pp. 198-203 Chapter 25. Art Pepper Plus Eleven by Marty Paich, pp. 204-207 Chapter 26. "Straight Life - The Story of Art Pepper" by Gary Giddins, pp. 208-212 Chapter 27. Art Pepper by Larry Kart, pp. 213-217 Chapter 28. Stan Levey - The Alun Morgan Interview, pp.218-222 Chapter 29. Stan Levey: From Left to Right - The JazzProfiles Interview by Steven A. Cerra, pp. 223-231 Chapter 30. Stan Levey - The Gordon Jack Interview, pp. 232-236 Chapter 31. Mel Lewis in the Jazz Literature - Steven A. Cerra, Ed.. pp. 237-247 Chapter 32. Mel Lewis – Life in Los Angeles - Chris Smith, pp. 248-253 Chapter 33. Mel Lewis, Terry Gibbs and The Dream Band by Terry Gibbs and Chris Smith, pp. 254-258 Chapter 34. Larry Bunker - Portrait of a Jazz Drummer and Studio Musician - The Gordon Jack Interview, pp. 259-263 Chapter 35. Larry Bunker - Modern Drummer Interview with David Levine and the Steve Voce Obituary for the Independent, pp. 264-269 Chapter 36. Whatever Happened to Larry Bunker? by Mal Sands, pp. 270-277 Chapter 37. JazzLife - Hollywood and Los Angeles by William Claxton, pp. 278-284 Chapter 38. Dave Pell by Gordon Jack, pp. 285-288 Chapter 39. Dave Pell - The Complete Trend and Kapp Recordings 1953-1956 by Steven A. Cerra and Jordi Pujol, pp. 289-296 Chapter 40. The Case for Dave Pell - The Octets and Beyond by Steven A. Cerra, pp. 297-302 Chapter 41. Chico Hamilton Quintet - The Robert Gordon/Mosaic Records Notes, pp. 303-307 Chapter 42. The Chico Hamilton Quintet by Gordon Jack, pp. 308-312 Chapter 43. Terry Gibbs' Big Band - "Vamp 'Till Ready" by John Tynan, pp. 313-318 Chapter 44. Part 1 - The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 319-326 Chapter 45. Part 2 -The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 327-334 Chapter 46. Part 3 -The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 335-344 Epilogue: Jazz on the West Coast - “Preface” by Robert Gordon, pp. 345-347

This is now available as both an eBook and paperback exclusively through Amazon.com.

Should you like to purchase a copy, here’s the Table of Contents for - A Dave Brubeck Reader, Volume 1 - 1948 to 1972 which is now available as a paperback and an eBook exclusively on Amazon.com. Once the cost of publication has been met, I am donating half of my royalties to the local school district for use toward the purchase of musical instruments for individual students. Introduction, pp. 7-9 Prologue - Dave Brubeck: A Life in American Music by Doug Ramsey, pp. 10-35 Chapter 1 - “Time to Begin” by Fred M. Hall, pp. 36-43 Chapter 2. The Dave Brubeck Octet by Dave Brubeck and Dr. Frank Tirro, pp. 44-51 Chapter 3. The Dave Brubeck Octet: A Formula and A Dilemma by Raymond Horricks, pp. 52-57 Chapter 4. The Dave Brubeck Octet by Philip Clark, pp. 58-70 Chapter 5. Cal Tjader and The Dave Brubeck Octet and Trio by S. Duncan Reid, pp. 71-78 Chapter 6. The Complete Storyville Broadcasts - Jason Yale, pp. 79-83 Chapter 7. The Formative Years of the Dave Brubeck Quartet by Philip Elwood, pp. 84-94 Chapter 8. Brubeck at Oberlin, A Review of the Jazz Literature by Steven A. Cerra, pp. 95-104. Chapter 9. 1954 Jazz at College of the Pacific and Jazz Goes to College - Wayne Morrill, Katie Neubauer and George Avakian, pp. 105-114 Chapter 10. The Early Years at Columbia Records and Brubeck Time by Stephen Crist, pp. 115-120 Chapter 11. Dave Brubeck Answers His Critics - Don Freeman DB 8.10.1955, pp. 121-123 Chapter 12. Ralph J. Gleason - “Dave Brubeck: What Makes Him Tick,” DB 7.25.1957, pp. 124-130 Chapter 13. Ralph J. Gleason - Dave Brubeck: 'They Said I Was Too Far Out' DB 8. 8. 1957, pp. 131-137 Chapter 14. Ralph J. Gleason - Dave Brubeck: First Things First, DB 9.5.1957, pp. 138-145 Chapter 15. The Quartet from These Jazzmen of Our Times by Raymond Horricks, pp. 146-152 Chapter 16. Jazz Impressions of the U.S.A. and Dave Digs Disney by Philip Clark, pp. 153-159 Chapter 17. Jazz Impressions of Dave Brubeck by Steven A. Cerra and Howard Mandel, 160-166 Chapter 18. Digging Dave Brubeck and Time Out - Alan Goldscher, pp. 167-182 Chapter 19. Metrical Experimentation from "Dave Brubeck's Time Out" by Stephen Crist, pp. 183-189 Chapter 20. Dave Brubeck’s Time Out: Why It’s So Great - Kile Smith, pp. 190-192 Chapter 21. Dave Brubeck - Beyond Take Five - John Edward Hasse, pp. 193-196 Chapter 22. Dave Brubeck and Stan Kenton: Alike and Unalike by Harry Frost, pp. 197-200 Chapter 23. Pops - Dave and Iola Brubeck - The Real Ambassadors by Steven A. Cerra and Ricky Riccardi, pp. 201-210 Chapter 24. The Real Ambassadors by Penny M. von Eschen, pp. 211-218 Chapter 25. The Real Ambassadors by Keith Hatschek, pp. 219-225 Chapter 26. Mr. Armstrong and Mr. Glasser - Gary Giddins, pp. 226-228 Chapter 27. Beyond Time Out - The Undiscovered Dave Brubeck by Steven A. Cerra, 229-237 Chapter 28. Dave Brubeck, Composer, by Leonard Feather, pp. 238-244 Chapter 29. A Quartet of Five (Dave Brubeck) by Gary Giddins, pp. 245-249 Chapter 30. Dave Brubeck: The Man on the Buffalo Nickel - Gene Lees, pp. 250-268 Chapter 31. Compadres with Brubeck and Mulligan - Jerome Klinkowitz, pp. 269-278 Chapter 32. “A Quarter Century Young: The Dave Brubeck Quartet,” Arnold J. Smith, DB March 25,1976, pp. 279-288 Epilogue - Dave Brubeck: The Smithsonian Oral History Program NEA Jazz Masters Interviews, pp. 289-352 Bibliography, pp. 353-360 Discography, pp. 361-364

Our Thanks to Alan Parr for this review on Amazon.UK.

The very title makes it clear that this is not a biography in the conventional sense. However, in many ways it works better than a normal biography. The author has identified six phases of Gerry Mulligan's career and illustrated each with several suitable pieces of writing - not his own, but drawn from a vast array of sources - including both contemporary and retrospective pieces such as comprehensive sleeve notes, magazine articles, and interviews. I realised that there are considerable advantages to this approach. A conventional biographer will form a picture of his subject and this view will tend to shape everything he writes. The use of pieces from several dozen writers helps us get a much more rounded picture of the subject - and it is clear that Gerry Mulligan did indeed have several sides to his personality. True there are a number of episodes and anecdotes which get repeated several times but I did not find this obtrusive; rather, seeing the same story from different sources helped me form a more balanced picture. Biography or not Steve Cerra has arranged the materials to enlighten us about each stage of Gerry's career. It all works beautifully, with important recordings illustrated with the original sleeve notes and contemporary reviews, and for each self-contained section it is natural to return to listen once more to the recordings themselves. This isn't one of those books where you say 'I couldn't put it down' and I suspect the author would be rather disappointed if anyone did. I'm pleased to say it took me six weeks to read. I've enjoyed Mulligan's music for more than sixty years - we called our first cat Mulligan - but I learned a great deal. It's not just the book list that is extensive; the author's knowledge of Mulligan's music and across the jazz scene as a whole is encyclopedic. I enjoyed the book immensely and was happy to take my time to enjoy each section and its associated music. I unreservedly recommend A Gerry Mulligan Reader.

Many thanks to Jeffrey Sultanof for these reviews.

“I salute Steven Cerra, drummer and writer, who has self-published two extraordinary volumes on Gerry Mulligan and Bill Evans. Cerra, who continues publishing a blog called Jazz Profiles, also writes a column right here for Substack. His Substack column reprints articles that in many cases are hard to find. That’s what he has done with his readers. He has gathered liner notes and often hard-to-find articles and interviews of said artists. Reading them for the first time or re-reading them after many years is fun and enlightening, and puts them into active circulation. Previously, you would have to go to specialist libraries or private collections to find them. Having them easily accessible is a boon to historians like myself for obvious reasons - the information is at my fingertips (literally) and it is easier to find sources of quotes for accurate footnoting. These are also the sorts of books that you can’t put down once you start reading. I urge you to check them out. [They are available exclusively on Amazon both as paperbacks and eBooks. Just type in Steven A. Cerra in the Books section on Amazon’s site to search for them.] Kindle prices are $9.99 each - a bargain!!!”

Ricardo Pinheiro's Latest - TONE STORIES - Coming from Fresh Sound on April 19th

Ricardo Pinheiro completed a Degree in Music at Berklee College of Music, Boston; Degree in Psychology Sciences at the Universidade de Lisboa; and a PhD in Musicology (Ethnomusicology) at the Universidade Nova de Lisboa. He studied with Mick Goodrick, George Garzone, Ed Tomassi, Ken Pullig, Wayne Krantz, Ken Cervenka, Chris Washburne and Salwa Castelo-Branco. He played/recorded with Peter Erskine, David Liebman, Chris Cheek, Mário Laginha, Eric Ineke, Perico Sambeat, Stephan Astbury, João Paulo Esteves da Silva, Remix Ensemble, Matt Renzi, Jon Irabagon, John Gunther, Mike Del Ferro, André Charlier, Benoît Sourisse, among many others. He teaches at the Escola Superior de Música de Lisboa, and is the Director of its Masters in Music Program. He played and participated in conferences and meetings in Austria, Greece, Spain, France, The Netherlands, Germany, U.S.A., Denmark, Italy, South Africa, among other countries, and published articles in journals such as Acta Musicologica of the International Musicological Society, the Jazz Research Journal, or the International Review for The Aesthetics and Sociology of Music. https://www.ricardopinheiro.com/bio

My thanks to Dr. James Williams for this 5 Star Amazon Review

A Gerry Mulligan Reader - Our Thanks to Kevin Goss

When I heard that Steven was writing this book, I couldn't wait to receive it because I have enjoyed his jazz writing for some time, and I have been a Mulligan disciple for over 40 years. The first surprise when it arrived is the size of this book. I was expecting it to be the standard paperback size, but this book is large. Given that the print size is standard, that was when I realized how comprehensive the book was going to be. Cerra covers Mulligan's music from his beginnings as a teenager to his final output while also paying attention to the legacy Jeru left behind. Using a combination of full articles, excerpts, and personal observations it's clear that this is a labour of love. I highly recommend this book for any fan of Gerry Mulligan, but also for any fan of jazz. Mulligan is in the pantheon of great jazz innovators and his legacy is given the justice it deserve's in Cerra's tome. Read this book and buy Gerry's music. You'll regret neither.

Our thanks to Jim Harrod at Jazz Research

At last, a resource of critical writings gathered in one place covering the career of one of the most influential jazz artists of the 20th century. The large format, 8.5 x 11 inches, enables a decent font size to read this collection that includes liner notes from many Mulligan CD releases where the text was often so small that a magnifying glass was needed. Cerra’s choice includes many hard-to-find items like a chapter from the now out-of-print and pricey Ruddick biography of Chet Baker discussing the formation of the Gerry Mulligan quartet.

Many thanks to Bill Crow for the following -

Steven Cerra sent me a copy of his new book, “Gerry Mulligan, Writings on a Jazz Original,” a fine collection of writings about Gerry, including some of mine, plus some interviews. Steven writes: “The purpose of this book is to provide the reader with a sequential and thematic account of the life and music of Gerry Mulligan (April 5, 1927-January 20,1996.) I’ve been enjoying reading it. Steven Included an anecdote from one of my books: …Gerry continued to work with his quartet: Brookmeyer, Mel Lewis and me. We appeared on Mike Wallace’s television show during the time that Wallace was in the process of building a reputation as an investigative reporter. Wallace’s TV interviews were popular partly because of his prosecutorial style. At the rehearsal, Wallace was courteous and low-key. He asked questions that had been prepared by his staff, and Gerry answered frankly about his career, his experiences with drugs and the law, and other aspects of his life. On the air, Wallace’s tone became more contentious, and instead of asking the questions he had asked at rehearsal, he said accusingly, “I understand you were involved with drugs, and did some time because of it!” This left Gerry with little more to say than “yes.” Though Wallace was using the information Gerry had given him at the rehearsal, he gave his audience the impression that he was confronting Gerry with the results of his own private investigations. Gerry managed to field Wallace’s questions with his usual aplomb, but he found himself at a loss when Wallace asked him, “I notice there are no black musicians in your group. Is this accidental, or by design?” Actually, it was the first time in years that, by happenstance, there were no black musicians in Gerry’s quartet, but any short answer to that question would have sounded lame. As Gerry considered how best to respond, Bob Brookmeyer glared at Wallace, jerked a thumb at Mel Lewis, and said frostily, “We’ve got a Jewish drummer. Will that help?” Wallace dropped the subject.

Our thanks to Pierre Giroux writing in the Jan. 2024 Ed. of The New York City Jazz Record

“Gerry Mulligan: Writings on a Jazz Original, by jazz historian Steven Cerra, delves into the life and work of the groundbreaking baritone saxophonist, composer, arranger and bandleader. The book is a reader, and its seven discrete chapters cover specific periods in the musician’s musical life, each chapter presenting selections from essays, articles, interviews and liner notes by various hands and providing insights into Mulligan’s unique style, contributions and impact on the jazz genre. Throughout a nearly 50-year career (this month marks the baritone saxophonist’s 28-year deathaversary), Mulligan was at the inflection point of many changes in jazz. In 1944, at the age of 17, he started out in big bands and his musical career from then until the early ’70s represents his most productive and innovative period. This fact is reflected in the compelling written material sourced by Cerra, which comprises the book’s first three chapters and represents over two-thirds of the book’s pages. Among the many highlights, we learn of the impact he made arranging and composing for the big bands of Gene Krupa, Claude Thornhill and Elliot Lawrence in the mid to late ’40s, his captivating contributions to the Miles Davis Nonet Birth of the Cool sessions (1949) and the formation of the groundbreaking pianoless quartet with trumpeter Chet Baker in the early ‘50s, which foreshadowed the West Coast jazz movement. For the balance of the ’50s all the way into the early ’70s, Mulligan burnished his reputation with various iterations of the quartet, which included trombonist Bob Brookmeyer and trumpeter Art Farmer. He also led an influential sextet that included Brookmeyer, saxophonist Zoot Sims and trumpeter Jon Eardley, led his own twelve-piece Concert Jazz Band from 1960-64 and joined Dave Brubeck’s group from 1968-72. This is not meant to be an exhaustive recounting of Mulligan’s activities but rather to demonstrate the richness of his endeavors. Readers will additionally gain valuable insights into Mulligan’s musical influences, collaborations and partnerships, which affected the evolution of his distinctive sound. Contributors to the book include George T. Simon, Ira Gitler, Michael Cuscuna, Jack Gordon, Nat Hentoff and Leonard Feather, among others. Mulligan died on January 20, 1996, at what would be considered a still youthful 68. Cerra has provided a comprehensive and insightful exploration of his contribution to jazz, offering a profound exploration of Gerry Mulligan’s musical legacy as well as his enduring impact.”

Our Thanks to Gordon Jack.

Here’s another unabashed plug, this time by Gordon Jack, who is a frequent contributor to JazzJournal where this review is currently appearing. What is omitted from his summary for ethical reasons is the fact that Gordon Jack has contributed a number of his fine essays on Gerry to the Mulligan Reader. The book is available as both an eBook and a paperback exclusively on Amazon.com. With the holidays coming up, why not consider purchasing a copy for the Jazz fan in your family? Gerry Mulligan: Writings On A Jazz Original by Gordon Jack “Steven Cerra studied drums with Victor Feldman and Larry Bunker before going on the road with Bobby Troup, Anita O’Day and Juliet Prowse during the sixties. He eventually left the music scene in 1970 to pursue work in other fields. His interest in Gerry Mulligan began when he first heard the Mulligan sextet’s famous 1954 San Diego concert which featured Jon Eardley, Bob Brookmeyer, Zoot Sims, Red Mitchell and Larry Bunker. That album began a life-long interest in Mulligan’s music. This is the third book published this year devoted to one of the most innovative performers of the post-war jazz scene. The Gerry Mulligan 1950s Quartets by Alyn Shipton is a forensically detailed look at one of one of the genre’s most unique small groups. Being Gerry Mulligan: My Life In Music comes from a collection of audio tapes he left behind which have been lovingly reconstructed as an autobiography by Ken Poston. Back in 1986 Raymond Horricks wrote a brief appreciation which he expanded in 2003 to include a discography of commercial and bootleg material (Gerry Mulligan’s Ark). Jerome Klinkowitz’s 1991 Listen: Gerry Mulligan is a useful reference but Jeru’s Journey by Sanford Josephson published in 2015 is a disappointing attempt at a biography revealing little that is new. Just like the Miles Davis Reader and the Duke Ellington Reader, Writings On A Jazz Original offers something a little different. The fifty-two articles, interviews and liner-notes by major jazz writers here reveal a fascinating anthology of his activities over the years: George T. Simon (Insert notes to Elliot Lawrence Plays Gerry Mulligan), Peter Welding (Insert Notes to Birth of the Cool), Peter Welding (Insert Notes to The Complete Pacific Jazz and Capitol Recordings of the Gerry Mulligan Quartet and Tentette with Chet Baker), Steven Cerra (Gerry Mulligan and Stan Kenton), Alun Morgan (Insert Notes to The Fabulous Gerry Mulligan Sextet), Nat Hentoff (Gerry Mulligan-The White Mainstreamer), Leonard Feather (Before and After), Bill Crow (From Birdland to Broadway), Bill Kirchner (Booklet Notes to The Complete Verve Gerry Mulligan Concert Band Sessions), Michael Cuscuna (Booklet Notes to The Age of Steam), Gene Lees (Meet Me at Jim & Andy’s), Ira Gitler (Swing to Bop) and Mathew Ruddick (The Life And Times of Chet Baker). There are three Downbeat Blindfold Tests that Mulligan undertook including one with Harry Carney. Cerra also includes interviews with Gerry’s two wives Arlyne Brown Mulligan and Franca Rota Mulligan. Writings On A Jazz Original is a most welcome addition to the extensive literature already devoted to one of the giants of the music. When the definitive Gerry Mulligan biography is finally written, Steven Cerra’s book will be an essential source. Gerry Mulligan: Writings On A Jazz Original By Steven A Cerra. Self Published. 355 pp. Gordon Jack

My thanks to Michael Steinman at Jazz Lives

“GERRY MULLIGAN: WRITINGS ON A JAZZ ORIGINAL,” by STEVEN A. CERRA (Amazon, 2023) www.jazzlives.wordpress.com Posted on November 9, 2023 | 4 comments “Forgive the culinary metaphor, but some books are snacks, some are satisfying dinners. Steve Cerra's new book on Gerry Mulligan is a delightfully overwhelming banquet. When I first received a copy, I found it engrossing but I also thought, "I might need a few weeks to do this book justice." So this admiring review comes with the caveat that I, the admiring reviewer, have read here and there in the book. But I think it is such a valuable compilation that it should get heralded right now. To me, Mulligan is in the odd position of being simultaneously celebrated and viewed at a curious distance. He had a nearly fifty-year career as a jazz luminary, a deep influence as a singular player of a sometimes-underestimated instrument, the baritone saxophone. For some, he would have been slightly behind Ellington's majestic Harry Carney; for others, he would have outstripped Carney as an innovator and creative thinker. Mulligan appeared to "move with the times," but in reality he stubbornly chose to be himself, no matter what the context: his piano-less quartet, his Concert Jazz Band, the "Birth of the Cool" group; his later recordings that each seem to be jubilant explorations of new landscapes. To understand him, one has only to make a quick mental list of the people he played with and chose to work with: Bill Crow, Miles Davis, Brew Moore, Charlie Parker, Bob Brookmeyer, Chet Baker, Dave Brubeck, Jimmie Rowles, Dizzy Gillespie, Duke Ellington, Jack Teagarden, Tony Fruscella, Bill Charlap, Zoot Sims, Johnny Hodges, Teddy Wilson, Thelonious Monk, Art Farmer, Ben Webster, Phil Woods, Elliot Lawrence, Joe Sullivan, Gene Krupa, Annie Ross, Billie Holiday, Clark Terry, Stan Getz, Paul Desmond, Lee Konitz, Chubby Jackson, Charles Mingus, Mel Torme, Shorty Rogers, Zoot Sims, Lionel Hampton, Cleo Laine . . . and that is not including his arrangements for Lawrence, Krupa, Claude Thornhill, Stan Kenton, and his own groups. He has been categorized as part of the "cool jazz" or "West Coast jazz" school, but those schools are merely names journalists give to groups of musicians when they need a quick and often inaccurate classifier. Cerra's book is not the only one on Mulligan: Sanford Josephson's biography, JERU'S JOURNEY: THE LIFE AND MUSIC OF GERRY MULLIGAN, appeared in 2015, and two oral histories appeared earlier. But Cerra's book, an appealing collection, does not duplicate the previous works. It is a Reader, or a collection of articles, interviews, and liner notes to recordings. As such, it is not only a shifting multi-layered portrait of Mulligan, person and artist, it is also a cross-section of journalistic and essayistic jazz history. Consider, if you will, a book of reviews of Ulysses: a reader would learn not only about the subject, Joyce's work, but how it was regarded, decade after decade. Thus, Cerra's large-format book (with illustrations) is fifty-plus perspectives on the artist, his groups, his colleagues, and his reputation as the times shift. Cerra himself doesn't demand center stage, but his writing is clear and unfussy, a pleasure. Let us assume, even if it's heresy, that the imagined reader isn't terribly fascinated by Jeru in all his many selves. The book is still an arresting collection of stories (I was reading it last night, or this morning, at 2 AM). I didn't know that George Duvivier had been invited by Duke to join the band at the same time Duke found Jimmie Blanton, and why Duvivier said no; I hadn't known how Al Cohn had lost one eye; his tumultuous relationship with Chet Baker, his working relationships with Miles Davis, Gil Evans, and much more. For those who thrive on darkness, there's heroin, cancer, imprisonment, broken hearts as well. I won't describe the book more, because I don't want to take away the serendipitous joys of finding a new story, a new insight, musicians seen from multiple perspectives. At first, I was disconcerted that the book lacked an index (possibly a financial decision) but rambling through its pages, I have welcomed the opportunity to find surprises without arrows pointing to them. One of the most charming aspects of Mulligan is that he understood, and loved, the whole history of the music. Had there been a jazz festival with Leon Roppolo and Ornette Coleman on sequential stages, Gerry would have sat in with both of them and made everyone feel at home with his presence. And, in turn, he was loved and respected by Coleman Hawkins and Rex Stewart, among other "elders." This leads me to the filmed evidence (December 1957) of the magic moment when I first saw and heard him live. You'll recognize the sublimely glittering crew, and please marvel once again at how Jeru not only gets comfortable but lifts the music: After Jimmy Rushing walks to one side, there's the Basie rhythm section (without Walter Page, who was ill): Basie, piano; Eddie Jones, double bass; Freddie Green, guitar; Jo Jones, drums. Then Ben Webster, tenor saxophone; Bennie Morton, trombone; Joe Wilder, trumpet -- then Gerry, soaring, lyrical and down-to-earth; Vic Dickenson, trombone; Roy Eldridge, trumpet; Emmett Berry, trumpet; Coleman Hawkins, tenor saxophone; Dickie Wells, trombone; Joe Newman, trumpet; Basie and the ensemble, cheered on by Billie Holiday. Of course there are thousands of hours of Gerry on record and film to savor. But this book will add to the enjoyment, and I salute its diligent author-editor. It's available as a large-format paperback or ebook here, and Cerra says in his acknowledgments that after publishing costs have been met, half the proceeds will go to the Gerry Mulligan Foundation "to support school music programs and acquiring instruments for students," commendable indeed. Make room on your shelves.”

With gratitude to Gary Giddins

Some Early Reviews

WELL DONE STEVE! Just received your handsome Reader. Although I'm familiar with it from your emails over the years, I intend to start re-reading now it's in book form. It's been a long struggle, but your book provides essential information to the ongoing Mulligan research which hopefully will one day result in a full-blown biography. Steve WONDERFUL. I have only read the introduction thus far, but I wanted to tell you, that I can see that this book is just what I was expecting, and I believe that it will fill a huge void in understanding - and appreciating - Gerry Mulligan. Whilst I have enjoyed (to a degree) all the books previously published about Gerry, I do not believe that any of them, bar perhaps Alyn Shipton's recent publication, have come anywhere near addressing Mulligan's real significance in jazz history. I think you have achieved something special in pulling this together. I thank you. I hope you make a fortune - both for the Foundation and for yourself. (I have already persuaded a good friend to purchase this book and will try with others I know). Congratulations, and above all thanks. I now look forward to months of careful reading (probably with Mulligan playing in the background....) Hi Steve, Well, I've read enough of your book to allow me to think that I can comment intelligently on it. First off, it's great! I love your idea of telling the story by way of excerpts from the writing of various authors. I do think that it gives a more well-rounded picture of Jeru than any single author could offer.I was familiar with many of the pieces, of course, but reading them again--the excerpts surrounded by other essays/articles that focus on the same period--helps me, at least, get a firmer idea of the author's point of view on that subject. And there were/are various excerpts in your book that I hadn't seen before. I was especially happy to find the piece by Matthew Ruddick from his book on Chet Baker. I think it's the best summation of the beginnings & contributions of the original Quartet that I've ever read. I'll have to get Ruddick's book. I do love the book and appreciate the time and effort that you've put into it. It's a worthy addition to the jazz canon, and I'd unhesitatingly recommend it to anyone. And, print format or not, I'm really enjoying reading it.