Sonny Stitt - Featuring Howard McGhee (1967,61)

A concise compilation of works by two master jazz artists: Sonny Stitt and Howard McGhee. The tracks chosen are taken from two excellent 'Black Lion' releases arising out of two separate sessions; the first one held in Zürich from 1967 and the second held in New York City in 1961. Howard McGhee is featured on all tracks and six are his own compositions. The great altoist Sonny Stitt is joined by trumpet great Howard McGhee on the first half of the album along with pianist Walter Bishop, Jr., bassist Tommy Potter and drummer Kenny Clarke. For the second half of the album Howard McGhee takes over with his quintet comprising of tenorist Georg Coleman, pianist Junior Mance, bassist George Tucker and drummer Jimmy Cobb. All tunes are strong derivatives of bop and all players are at the top of their game. Many enthusiasts if they haven't done so beforehand will search out the original albums: Night Work & Shades Of Blue, Well Recommended! 

Jazz Life, 2473242, 1988
Recorded 18th October, 1967 (#1,2,4-6) at Turicop Studios, Zürich, Switzerland;
8th December, 1961 (#3,7-10) at Stea-Phillips Studios, New York City 

Musicians:
Sonny Stitt - Alto Saxophone (#1,2,4-6)
Howard McGhee - Trumpet (#1-10)
George Coleman - Tenor Saxophone (#3,7-10)
Walter Bishop, Jr. - Piano (#1,2,4-6)
Tommy Potter - Double Bass (#1,2,4-6)
Kenny Clarke - Drums (#1,2,4-6)
Junior Mance - Piano (#3,7-10)
George Tucker - Double Bass (#3,7-10)
Jimmy Cobb - Drums (#3,7-10) 

Tracks:
01. Night Work {Howard McGhee} (7:26)
02. Matter Horns {Eiger, Jungfrau} (10:43)
03. Shades Of Blue {Howard McGhee} (5:05)
04. Don't Blame Me {Dorothy Fields, Jimmy McHugh} (4:06)
05. Lover Man [Oh Where Can You Be] {Davis, Sherman, Ramirez} (5:15)
06. Hello {Howard McGhee} (6:50)
07. The Sharp Edge {Howard McGhee} (5:56)
08. Cool {Howard McGhee} (2:55)
09. The Day After {Tom McIntosh} (2:06)
10. Topside {Howard McGhee} (4:21) 

Total Time: 54:49 

Producer - Alan Bates
#1,2,4-6
Sonny Stitt - Night Work [Black Lion Records - BLP-307]
#3,7-10
Howard McGhee - Shades Of Blue  [Black Lion Records - BL-305] 

Matter Horns

Eric Dolphy - Giants Of Jazz (1958-61)

This CD contains a selection of some of Eric Dolphy’s prime cuts. It spans the years from 1958 when he spent time with Chico Hamilton through to the classic 1961 tracks taken from the infamous Five Spot date. In addition, the listener will be treated to further tunes taken from his association with Booker Little, Charles Mingus etc., to name a few of the notorieties he interfaced with during his condensed career, like Booker cut short by an untimely death. Any jazz lover should know his work, but this compilation will certainly serve to enhance his following. So, sit back and marvel at Eric’s musicianship, and no doubt many newcomers to jazz will be won over, Enjoy!

Giants Of Jazz, CD 53164, 1995

Recorded 30^th December, 1958 - 16^th July, 1961

#1 from Eric Dolphy At The Five Spot, Volume 1 (1961)

#2,3 Eric Dolphy - Here And There (1960)

#4-6 Booker Little - Out Front (1961)

#7 Charles Mingus - Mingus (1960)

# 8-10 - Chico Hamilton - Gongs East! (1958)

Personnel:

Eric Dolphy - Alto Sax (#2-10) Flute (#2,4-6,8-10), Bass Clarinet (#1,2,8-10)

Booker Little - Trumpet (#1,4-6)

Freddie Hubbard - Trumpet (#3)

Ted Curson - Trumpet (#7)

Julian Priester - Trombone (#4)

Mal Waldron - Piano (#1)

Jaki Byard - Piano (#2,3)

Don Friedman - Piano (#4-6)

Dennis Budimir - Guitar (#8-9)

Richard Davis - Bass (#1)

George Tucker - Bass (#2,3)

Art Davis - Bass (#4)

Ron Carter - Bass (#5,6)

Charles Mingus - Bass (#7)

Wyatt Ruther - Bass (#8-10)

Nate Gershman - Cello (#8-10)

Ed Blackwell - Drums (#1)

Roy Haynes - Drums (#2,3)

Max Roach - Drums, Percussion (#4-6)

Dannie Richmond - Drums (#7)

Chico Hamilton - Drums (#8-10)

Tracks:

01. Bee Vamp {Booker Little} (12:19)

02. April Fool {Eric Dolphy} (4:04)

03. G.W. {Eric Dolphy} (7:57)

04. Quiet, Please {Booker Little} (8:02)

05. Moods In Free Time {Booker Little} (5:37)

06. Hazy Hues {Booker Little} (5:29)

07. Stormy Weather {Harold Arlen, Ted Koehler} (13:15)

08. Where I Live {Gerald Wilson} (2:58)

09. Gongs East {Chico Hamilton} (5:03)

10. Beyond The Blue Horizon {Leo Robin, Richard A. Whiting} (3:04)

Total Time: 67:48

Dave Pike - Plays The Jazz Version Of Oliver! (1963)

Dave Pike Plays the Jazz Version of Oliver! is an album by American jazz vibraphonist Dave Pike performing compositions by Lionel Bart from the musical Oliver! which was recorded in 1962 for the Moodsville label. Dave turns his hand to a well-loved musical and one that future generations will no doubt cherish. Dave's interpretation of Bart's compositions are wondrously arranged and joining him is a prominent grouping of veteran jazz musicians; including pianist Tommy Flanagan, guitarist Jimmy Raney, bassist George Tucker and Drummer Walter Perkins; all noted for their exceptional contributions to other album from this era. Dave's vibes are scintillating as per usual producing a very moving and compelling expose of these seminal writings. All tunes reflect the sensitive emotions that this Broadway musical and Hollywood movie portrayed. An included gem is the bassist's solo of the moving rendition of "Boy For Sale'. Ideally the album could easily have been expanded to include all of the tunes, but with what is offer here the listener can't and will not be disappointed, enjoy!

Moodsville Records, MVST 36, 1963

Recorded 28^th December, 1962 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Dave Pike - Vibraphone, Arranger

Tommy Flanagan - Piano

Jimmy Raney - Guitar

George Tucker - Bass

Walter Perkins - Drums

Tracks:

A1. I'd Do Anything {Lionel Bart} (4:52)

A2. As Long As He Needs Me {Lionel Bart} (5:44)

A3. Who Will Buy? {Lionel Bart} (6:16)

B1. Food, Glorious Food {Lionel Bart} (3:22)

B2. Boy For Sale {Lionel Bart} (1:19)

B3. Where Is Love? {Lionel Bart} (5:57)

B4. It's A Fine Life {Lionel Bart} (4:51)

Total Time: 32:21

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Rudy van Gelder

Liner Notes - Dan Morgenstern

Shirley Scott - Shirley's Sounds (1958,60) [re-rip]

There's a good reason why Scott's second album as a bandleader sounds very much like her first, Great Scott!, for both albums were cut at the same May 23, 1958, session. On Shirley's Sounds, Scott's again backed by the rhythm section of George Duvivier on bass (though George Tucker takes over the instrument for one number, "Bye Bye Blackbird") and Arthur Edgehill on drums. Like its predecessor, it's superior early organ jazz, full-sounding but streamlined owing to the trio format. Devoted entirely to outside compositions, the tracks capture both her virtuosic skill on the organ and her taste, squeezing the bluesiest inflections out of a standard like "Summertime." "(Back Home Again In) Indiana" is the cut that cooks the hardest, and blues colors are a big part of her interpretations of "Baby Won't You Please Come Home" and "I Can't See for Lookin'." ~ by Richie Unterberger, AMG.

Prestige Records, PRLP 7195, 1961
Recorded 23rd May (#A1-A3,B1-B3); 23rd October (#B4), 1958 and
8th April (#A4), 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Shirley Scott - Organ [Electric]
George Duvivier - Bass
George Tucker - Bass (#A4)
Arthur Edgehill - Drums

Track Listing:
A1. It Could Happen To You {Johnny Burke, Jimmy Van Heusen} (4:34)
A2. Summertime {George Gershwin, Dubose Heyward} (3:59)
A3. There Will Never Be Another You {Mack Gordon, Harry Warren} (3:22)
A4. Bye Bye Blackbird {Mort Dixon, Ray Henderson} (6:39)
B1. S'Posin' {Andy Razaf, Paul Denniker} (4:18)
B2. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (4:03)
B3. [Back Home Again In] Indiana {Ballard MacDonald, James F. Hanley} (3:24)
B4. I Can't See For Lookin' {Dave Bartholomew} (4:12)

Credits:
Producer - Bob Weinstock
Recording Engineer - Rudy van Gelder
Liner Notes - Joe Goldberg

Shirley Scott - Satin Doll (1963) [re-rip]

This 1963 release, which was recorded two years earlier, was one of two Duke Ellington tributes that organist Shirley Scott (1934-2002) recorded for the Prestige label. It was Scott's second album of Duke Ellington compositions after Scottie Plays the Duke (1959). The bare bones session had Scott backed by just bass (George Tucker) and drums (Mack Simpkins) and the music is a little more sedate than what you'll find on most of the organist's LPs. The Satin Doll album has not been released on CD. ~ Guitars and All That Jazz

With George Tucker on bass and Jack Simpkins on drums. A bit more prim, though Scott still burns. ~ by Ron Wynn, AMG.

The Merger of Scott and Ellington is a delight in harmonic contrasts. Miss Scott retains her warm, blues-rooted feeling which gently mingles with the lyric quality of these great Ellington standards, and she is both individual and sophisticated in her interpretations. Shirley’s ability to attack lyrical tunes without forfeiting her verve, fire or personal feelings of lament, herald her arrival as a major figure in the world of modern jazz. ~ Excerpts from Liner Notes by Les Davis (July 1963).

This LP is another beautiful tribute by Shirley Scott to the great Duke Ellington. For this album Scott remains within a tight trio grouping. George Tucker’s bass lines, backed up by Mack Simpkins’ deft drumming, beautifully accentuate Shirley’s organ romps. In Essence it is another brilliant soul jazz excursion from the 'Queen of the Organ'.

Prestige Records, PRLP 7283, 1963

Recorded 7th March, 1961 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Organ

George Tucker - Bass

Mack Simpkins - Drums

Tracks:

A1. Satin Doll {Duke Ellington, Johnny Mercer, Billy Strayhorn} (5:10)

A2. It Don't Mean A Thing [If It Ain't Got That Swing] {Duke Ellington, Irving Mills} (5:34)

A3. C Jam Blues {Barney Bigard, Duke Ellington} (5:18)

B1. Perdido {Ervin Drake, Hans Lengsfelder, Juan Tizol} (4:32)

B2. Mood Indigo {Barney Bigard, Duke Ellington, Irving Mills} (3:38)

B3. Things Ain't What They Used To Be {Mercer Ellington, Ted Persons} (3:48)

B4. Solitude {Eddie DeLange, Duke Ellington, Irving Mills} (4:24)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Les Davis (July 1963)

Johnny "Hammond" Smith - For Lovers (1959-69) [vinyl]

A marvellous compilation of great soul jazz standards played by the talented organist Johnny “Hammond” Smith taken from some of his classic New Jazz and Prestige sides spanning 1959 through to 1969. He is joined by an amazing and diverse cast of players: Thornel Schwartz, Freddie McCoy, Houston Person, Eddie McFadden, Rusty Bryant, Wally Richardson, Earl Edwards, Ray Barretto, George Tucker, Leo Stevens, Wendell Marshall, to name a few, Enjoy!

Prestige Records, PRST 7777, 1970

Tracklisting:

A1. Bye Bye Blackbird {Mort Dixon, Ray Henderson} (4:30)

Johnny "Hammond" Smith - Organ

Thornel Schwartz - Guitar

George Tucker - Bass

Leo Stevens - Drums

Recorded 4^th November, 1959 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - That Good Feelin'

New Jazz [NJLP 8229]

A2. Because You Left Me {Johnny "Hammond" Smith} (5:27)

Johnny "Hammond" Smith - Organ

Freddie McCoy - Vibraphone

Eddie McFadden - Guitar

Wendell Marshall - Bass

Leo Stevens - Drums

Recorded 12^th May, 1961 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Stimulation

Prestige Records [PRLP 7203]

A3. On A Clear Day {Alan Jay Lerner, Burton Lane} (4:20)

Johnny "Hammond" Smith - Organ

Otis Sutton - Alto Saxophone

Houston Person - Tenor Saxophone

Eddie McFadden - Guitar

Leo Stevens - Drums

Recorded 4^th January, 1966 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith, Byrdie Green - Stringer Meets The Golden Thrush

Prestige Records [PR 7464]

A4. A Portrait Of Jenny {Russell Robinson, Gordon Burdge} (2:21)

Johnny "Hammond" Smith - Organ

George Tucker - Bass

Art Taylor - Drums

Ray Barretto - Congas

Recorded 22^nd April, 1960 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Talk That Talk

New Jazz [NJLP 8241]

B1. Sad Eyes {Johnny "Hammond" Smith} (4:50)

Johnny "Hammond" Smith - Organ

Freddie McCoy - Vibraphone

Eddie McFadden - Guitar

Wendell Marshall - Bass

Leo Stevens - Drums

Recorded 12^th May, 1961 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Opus De Funk

Prestige Records [PR 7420]

B2. All Soul {Curtis Lewis} (4:17)

Johnny "Hammond" Smith - Organ

Rusty Bryant - Tenor, Alto Saxophone, Varitone

Wally Richardson - Guitar

Bob Bushnell - Electric Bass

Bernard Purdie - Drums

Recorded 19^th May, 1969 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Soul Talk

Prestige Records [PR 7681]

B3. There Is No Greater Love {Isham Jones, Marty Symes} (5:30)

Johnny "Hammond" Smith - Organ

Earl Edwards - Tenor Saxophone

Floyd Smith - Guitar

John Harris - Drums

Recorded 7^th May, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - The Stinger

Prestige Records [PR 7408]

B4. An Affair To Remember {Harry Warren, Leo McCarey, Harold Adamson} (2:33)

Johnny "Hammond" Smith - Organ

George Tucker - Bass

Art Taylor - Drums

Ray Barretto - Congas

Recorded 22^nd April, 1960 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Talk That Talk

New Jazz [NJLP 8241]

Eric Dolphy - Here And There (1961) + BONUS

Sort of a "house cleaning" album, one in which Prestige collected together a number of unissued Dolphy tracks after his death - but still a strong one, and in a way, the record features music that's even a bit more far-reaching than some of the studio albums on Prestige. Dolphy plays a solo bass clarinet version of "God Bless The Child"; he plays with Booker Little and Mal Waldron on "Status Seeking"; he's on flute in a quartet with Jaki Byard on "April Fool"; and he plays with a pickup Danish rhythm section on an alternate take of "Don't Blame Me". © Dusty Groove, Inc.

Prestige Records, PR 7382, 1966

Recorded 16^th July, 1961 (#A1,A2) At The Five Spot Café, New York City;

1^st April, 1960 (#B1) At Van Gelder Studio, Englewood Cliffs and

6^th September, 1961 (#B2) in Berlingske Has, Copenhagen, Denmark

Musicians:

Eric Dolphy - Alto Sax (#A1), Bass Clarinet (#A2), Flute (#B1,B2)

Booker Little - Trumpet (#A1)

Mal Waldron - Piano (#A1)

Jaki Byard - Piano (#B1)

Bent Axen - Piano (#B2)

Richard Davis - Bass (#A1)

George Tucker - Bass (#B1)

Erik Moseholm - Bass (#B2)

Eddie Blackwell - Drums (#A1)

Ed Blackwell - Drums (#A1)

Roy Haynes - Drums (#B1)

Jorn Elniff - Drums (#B2)

Tracks:

A1. Status Seeking {Mal Waldron} (13:13)

A2. God Bless The Child {Arthur Herzog, Jr., Billie Holiday} (5:18)

B1. April Fool {Eric Dolphy} (4:05)

B2. Don't Blame Me [Take 2] {Dorothy Fields, Jimmy McHugh} (12:59)

Credits:

Producer - Esmond Edwards

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Mack Thomas (Dec. 1965)

Note:

Bonus Track included on CD [OJC Records - OJCCD-673-2, 1991]

G.W. [Take 1] {Eric Dolphy} (12:09)

Taken from 'Outward Bound' session

===========================

Eric Dolphy - Alto Saxophone

Freddie Hubbard - Trumpet

Jaki Byard - Piano

George Tucker - Bass

Roy Haynes - Drums

Recorded 1^st April, 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey

Willis Jackson - Neapolitan Nights (1962) [vinyl]

Naples (or, if you will, Napoli) is one of the world's most scenic cities, and also the home of the pizza pie. Like all the great cities of Italy, it is full of music; among other accomplishments, Naples gave the world Enrico Caruso. Here it serves as the starting point of a musical tour of Italy, guided by the potent tenor saxophone of Willis Jackson at the helm of a swinging rhythm-section. Some of the tunes are old, others are new, and one (Verdi's Vonce) is the blues - though not very blue. All are melodic and have that special romantic flavor long associated with the popular songs of the homeland of grand opera and bel canto. Willis Jackson handles this material with appropriate gusto and warmth. His big, ripe tone is admirably suited to bring out the flavor of a singable melody, and his jazz conception and innate swing stand him in good stead where the avoidance of excessive sentimentality and bathos is concerned. This is not a schmaltzy album, though Mama - one of the best-loved tearjerkers in the Mediterranean repertoire - is handled with the proper traditional feeling. ~ Excerpt from the Liner Notes by Dan Morgenstern

On this album Jackson is joined with a number of other heavyweights. Gildo Mahones for one sets up some wonderful backing including space to showcase some brilliant piano solos. Equally, Bucky Pizzarelli lays down some marvellous sections of guitar. In essence the rest of the group also command much praise, bassist George Tucker holds things together while drummer Bobby Donaldson and conga expert Montego Joe add their special touches to this broad selection of Italian derived tunes. I have to admit whilst perfecting this rip from a very old well-loved vinyl I have grown much love for this LP. Hopefully you too can share in my delight of this relatively hard to find side from the "Gator".

Prestige Records, PR 7264, 1963

Recorded 19^th December, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Gildo Mahones - Piano

Bucky Pizzarelli - Guitar

George Tucker - Bass

Bobby Donaldson - Drums

Montego Joe - Congas

Tracks:

A1. Neapolitan Nights {Traditional} (6:58)

A2. Arrivederci Roma {Renato Rascel, Pietro Garinei, Sandro Giovannini} (5:42)

A3. Mama {Cesare Andrea Bixio} (5:14)

B1. Volare {Franco Migliacci, Domenico Modugno} (5:32)

B2. Al Di Là {Carlo Donida, Mogol} (4:38)

B3. Verdi's Vonce {Willis "Gator" Jackson} (7:05)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Dan Morgenstern

Shirley Scott - Now's The Time (1967) [vinyl>flac]

Now's the Time is an album by organist Shirley Scott compiling several tracks recorded between 1958 and 1964 and released on the Prestige label in 1967. "This is early Scott, several takes from different sessions for this Prestige release", Allmusic.

Yes once upon a time jazz was a man's world but with gals like Shirley Scott around some of the cats are beginning to get inferiority complexes. Like isn't a woman’s place in the kitchen! Not when she happens to be Shirley Scott. Her latest cooking is done on a Hammond, not a stove. ~ Extract from Liner Notes by Mark Gardner.

Prestige Records, PR 7440, 1967

Recorded 27th May, 1958 (#A3); 23rd October, 1958 (#B2-B4);
23rd June, 1960 (#B1); 22nd August, 1961 (#A2)
& 31st March, 1964 (#A1) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Organ

Joe Newman - Trumpet (#A2)

Stanley Turrentine - Tenor Saxophone (#A1)

Oliver Nelson - Tenor Saxophone (#A2)

Lem Winchester - Vibraphone (#B1)

Bob Cranshaw - Bass (#A1)

George Tucker - Bass (#A2)

George Duvivier - Bass (#A3-B4)

Otis Finch - Drums (#A1)

Roy Brooks - Drums (#A2)

Arthur Edgehill - Drums (#A3-B4)

Track Listing:

A1. As It Was {Milt Jackson, Shirley Scott} (5:24)

A2. How Sweet {Shirley Scott} (7:22)

A3. Ebb Tide {Robert Maxwell, Carl Sigman} (4:11)

B1. Now's The Time {Charlie Parker} (4:26)

B2. That's Where It's At {Shirley Scott} (3:21)

B3. Cafe Style {Shirley Scott} (4:27)

B4. Out Of This World {Harold Arlen, Johnny Mercer} (4:27)

Credits:

Producer - Ozzie Cadena (#A1)

Producer - Bob Weinstock (#A3)

Producer - Esmond Edwards (#A2,B1-B4)

Recording Engineer - Rudy van Gelder

Liner Notes - Mark Gardner (June 1967)

Bennie Green - Back On The Scene (1958) [vinyl>flac]

It's evident from the opening pair of Latin-flavored performances that Back on the Scene is one of Bennie Green's most diverse efforts. Green's warm, supple tone and fondness for swinging, bop-influenced mainstream jazz and jump blues hasn't disappeared; he's just found new facets in his style. The infectious Latin rhythms on Cole Porter's "I Love You" and "Melba's Mood" are welcome, as is "You're Mine You," which showcases Green's sensitive ballad style. Reviving the standard "Just Friends" emphasizes the trombonist's ties to big band and bop, particularly through tenor saxophonist Charlie Rouse's strong solos. The jumping "Bennie Plays the Blues" and "Green Street" are also terrific, finding Green, Rouse and pianist Joe Knight trading full-bodied solos. Even with this vast array of styles, Back on the Scene retains all the good-natured spirit and humor of his earlier Prestige albums. ~ Stephen Thomas Erlewine, Allmusic.com.

Blue Note, BLP 1587, 1958

Recorded 23rd March, 1958 at Van Gelder Studio, Hackensack, New Jersey

Track Listing:

A1. I Love You {Cole Porter} (6:01)

A2. Melba's Mood {Melba Liston} (5:33)

A3. Just Friends {John Klenner, Sam M. Lewis} (7:00)

B1. You're Mine You {Johnny Green, Edward Heyman} (5:16)

B2. Bennie Plays The Blues {Bennie Green} (8:24)

B3. Green Street {Melba Liston} (5:09)

Personnel:

Bennie Green - Trombone

Charlie Rouse - Tenor Saxophone

Joe Knight - Piano

George Tucker - Bass

Louis Hayes - Drums

Credits:

Producer - Alfred Lion

Recording Engineer - Rudy van Gelder

Bennie Green was one of the few trombonists of the 1950s who played in a style not influenced by J.J. Johnson (Bill Harris was another). His witty sound and full tone looked backwards to the swing era yet was open to the influence of R&B. After playing locally in Chicago, he was with the Earl Hines Orchestra during 1942-1948 (except for two years in the military). Green gained some fame for his work with Charlie Ventura (1948-1950) before joining Earl Hines' small group (1951-1953). He then led his own group throughout the 1950s and '60s, using such sidemen as Cliff Smalls, Charlie Rouse, Eric Dixon, Paul Chambers, Louis Hayes, Sonny Clark, Gildo Mahones, and Jimmy Forrest. Green recorded regularly as a leader for Prestige, Decca, Blue Note, Vee-Jay, Time, Bethlehem, and Jazzland during 1951-1961, although only one further session (a matchup with Sonny Stitt on Cadet in 1964) took place. Bennie Green was with Duke Ellington for a few months in 1968-1969 and then moved to Las Vegas, where he spent his last years working in hotel bands, although he did emerge to play quite well at the 1972 Newport Jazz Festival and in New York jam sessions. ~ Scott Yanow, All Music Guide.