The last one contains four tunes but the first one, in fact, four too, but all? I can imagine that someone who wants to buy a nice bebop recording will leave this CD in the shop due to the fact that it contains seven versions of Southside.
Never throw your unsuccesfull pictures away! During the 78rpm Easy Living - Wardell Gray - Memorial Volume One each tune was recorded on a wax plate and when the recording session had finished the audio engineer and producer took those takes that were good Ammore Guaglione - Roberto Murolo - La Canzone Napoletana Vol.3 to produce the final shellack product; some takes were stored in the archive in case the original would be damaged - other stampers where destroyed.
The saved takes contain versions of the song as played during that set, and a real jazz artist will improvise and play each tune each time in a different way, so it is very interesting to have the seven takes on one CD to compare with each other. Sweet Lorraine. Easy Living - Wardell Gray - Memorial Volume One R. So Long Broadway. Paul's Cause. The Man I Love. Twisted Wardell Gray. Southside Wardell Gray. Sweet Lorraine Clifford R.
He soon became a featured soloist, and the band's recordings show a relaxed, fluent stylist very much in the Lester Young mold. While some of the live Jubilee sessions have been reissued on CD 1the studio recordings from are still available only on LP. He left Hines late insettling in Los Angeles, California; soon after arriving there, he recorded the first session under his own name.
This was a quartet session for Eddie Laguna's Sunset label, and on it Wardell had strong support from Dodo Marmarosa on piano. The date produced some excellent sides, notably "Easy Swing" and "The Man I Love"; there is a reissue of the whole session, including alternate takes 2Chattanooga Choo Choo - Glenn Miller - Original Legends Versions a selection is available on But the real focus in LA at this time was in the clubs along Central Avenue, which was still thriving after the boom years brought about by the huge injection of wartime defence spending.
Here Wardell found his element, playing in the mainly after-hours sessions in clubs such as Jack's Basket Room, the Down Beat, Lovejoy's and the Club Alabam, and his early success in these sessions led Ross Russell to include him in a studio session he was organising for his Dial label.
The session was designed as a showcase for Charlie Parker, but Wardell acquitted himself superbly, showing no sign at all of being over-awed by Parker's presence 3. Easy Living - Wardell Gray - Memorial Volume One two were ideally matched: Wardell's light sound and swift delivery were more than a match for Dexter's big, blustering sound, and their tenor jousts became a kind of symbol for the Easy Living - Wardell Gray - Memorial Volume One Avenue scene.
Easy Living - Wardell Gray - Memorial Volume One later recalled: "There'd be a lot of cats on the stand but by the end of the session it would wind up with Wardell and myself His playing Station - Five!
Fast!! Hits!!! - For A Fiver very fluid, very clean He had a lot of drive and Easy Living - Wardell Gray - Memorial Volume One profusion of ideas". Their fame began to spread, and Ross Russell managed to get them to simulate one of their battles on "The Chase" 4which became Wardell's first nationally-known recording and has been assessed as "one of the most exciting musical contests in the history of jazz". The success of "The Chase" was the break that Wardell needed, and he became increasingly prominent in public sessions in and around LA, including the "Just Jazz" series of jam sessions organised by the disc jockey Gene Norman.
There were concerts at the Pasadena Civic Auditorium and the Shrine Auditorium and other venues 5, 6, 7. Several unedited versions of these performances have since been issued. Apart from a spell with a little band led by Al Killian some Jubilee recordings by this group 8 show Wardell in fine form Wardell was still working mainly in one-off sessions during However, at a concert around the turn of that year which also featured Benny Goodman, Wardell so impressed the clarinettist that Goodman hired him for a small group which he was just setting up as part of his flirtation with bebop.
Gray was still working regularly despite his drug problems, and when Benny Carter was engaged in May to provide the band at the opening of the Moulin Rouge Hotelhe called on Gray. Gray attended rehearsals but was absent when the club opened on May The next day he was found on a stretch of desert on the outskirts of Las Vegas  dead with a broken neck. Although there was a poor examination of circumstances, by most accounts, Gray's demise was ruled an accidental death.
Foul play was suspected by some, especially given Gray's possible association with Minueto - Various - Grandes Paginas De La Musica Classica boss Meyer Lansky. James Ellroy 's novel The Cold Six Thousand contains a reference to Gray's disappearance and death:  according to this, he was murdered by fictional racist conspirator Wayne Tedrow, Sr.
Jack Kerouac explicitly references Wardell in his novel On the Road : "They Michigan - New Evil - New Evil (File) voraciously as Neal, sandwich in hand, stood bowed and jumping before the big phonograph listening to a wild bop record I just bought called 'The Hunt', with Dexter Gordon and Wardell Gray blowing their tops before a screaming audience that gave the record fantastic frenzied volume.
With Louis Bellson. With Frank Morgan. From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
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