Jay McShann (ldr), Art Farmer, James Ross (t), Frank Sleet (as), Pete Peterson (ts), Milburn Newman (bar), Jay McShann (p), Addison Farmer (b), Robert Brady (d), Lois Booker (v)

Lois Booker (v) on a-b, d.

The liner notes to Night Train 7021 place track a in another session in 1949, on which Art Farmer was not present. The Lord discography indicates it is part of this session. Swing Time 148 definitely contains a version of “Black Train Blues” but I can’t confirm it’s the same one as on the Night Train CD.

Pete Johnson, Joe Turner (ldr), Art Farmer, James Ross (t), Frank Sleet (as), Pete Peterson (ts), Milburn Newman (bar), unknown (g), Pete Johnson (p), Addison Farmer (b), Robert Brady (d), Joe Turner (v)

The ensemble is basically Jay McShann’s band at the time with Pete Johnson on piano. Why the matrix numbers have gaps is unknown. The Lord discography indicates that track a (but not track i) was recorded at a separate session. The recording date shown is found in the Lord discography and the liner notes to Classics CD 1094 but Arhoolie CD 333 indicates only 1948/1949. The master take of “B & O Blues” is apparently the shorter (faster tempo) version although Down Beat/Swing Time 152 has not been auditioned to confirm this. The liner notes to Arhoolie F 1012, which includes the shorter version, state: “An alternate master of B & O Blues can be heard on the album R 2004: Jumpin’ the Blues by Joe Turner and Pete Johnson.” The version on Arhoolie R 2004 and CD 333 is the longer one.

Roy Porter (ldr), Art Farmer, James Metlock, Eddie Preston, Bob Ross (t), Danny Horton, Jimmy Knepper, William 'Wiggie' Wiginton (tb), Eric Dolphy, Leroy 'Sweetpea' Robinson (as), Joe Howard, Clifford Solomon (ts), Clyde Dunn (bar), Ben White (g), Joe Harrison (p), Addison Farmer (b), Roy Porter (d), Alvy Kidd (cng), Paul Sparks (v)

Paul Sparks (v) on b-d.

This session is listed in the discography section of Roy Porter’s autobiography, “There and Back.” The date is given as “1948/9.” Could this have been a rehearsal for the Savoy sessions of January and February 1949? None of these tracks has been auditioned.

Roy Porter (ldr), Art Farmer, James Metlock, Eddie Preston, Bob Ross (t), Danny Horton, Jimmy Knepper, William 'Wiggie' Wiginton (tb), Eric Dolphy, Leroy 'Sweetpea' Robinson (as), Joe Howard, Clifford Solomon (ts), Clyde Dunn (bar), Ben White (g), Joe Harrison (p), Roger Alderson (b), Roy Porter (d), Alvy Kidd (cng), Paul Sparks (v)

Paul Sparks (v) on c.

The recording date may be January 19, 1949 or even as early as 1948 (see M. Ruppli/B. Porter Savoy discography).

Roy Porter (ldr), Art Farmer, James Metlock, Eddie Preston, Bob Ross (t), Danny Horton, Jimmy Knepper, William 'Wiggie' Wiginton (tb), Eric Dolphy, Leroy 'Sweetpea' Robinson (as), Joe Howard, Clifford Solomon (ts), Clyde Dunn (bar), Ben White (g), Joe Harrison (p), Roger Alderson (b), Roy Porter (d), Alvy Kidd (cng), Paul Sparks (v)

Paul Sparks (v) on c.

Roy Porter (ldr), Kenny Bright, Art Farmer, Ruben McFall, Bob Ross (t), Danny Horton, Jimmy Knepper, William 'Wiggie' Wiginton (tb), Eric Dolphy, Joe Maini (as), Hadley Caliman, Joe Howard (ts), Bob Gordon (bar), Harold Grant (g), Russ Freeman (p), Addison Farmer (b), Roy Porter (d), Alvy Kidd (cng)

The personnel and date are uncertain. Track b is called “Everything’s Cool.” Track c has not been auditioned.

Art Farmer (t), Art Pepper (as), Bob Cooper, Teddy Edwards (ts), Hampton Hawes (p), John Simmons (b), Chuck Thompson (d)

The ensemble is called “The Kenton All Stars” even though the only Kenton sidemen are Cooper and Pepper. Track a is listed as “Perdido” (Juan Tizol) but what the ensemble actually plays is the contrafact on that standard called “Wahoo.” This was an Armed Forces Radio Service broadcast. Teddy Edwards’ solo on track b was deleted because it was inaudible.

Roy Porter (ldr), Kenny Bright, Art Farmer, Ruben McFall, Bob Ross (t), Danny Horton, Jimmy Knepper, William 'Wiggie' Wiginton (tb), Eric Dolphy, Joe Maini (as), Hadley Caliman, Joe Howard (ts), Anthony Ortega (bar), Harold Grant (g, v), Russ Freeman (p), Addison Farmer (b), Roy Porter (d), Mike Pacheco (per, bo, cng)

Harold Grant (v) on b.

According to the Bob Gordon Discography, Gordon is the baritone saxophonist and not Ortega. That source also indicates this session took place in Spring of 1949. The information shown comes from Roy Porter’s autobiography, “There and Back.” It is uncertain whether tracks a and b were ever issued. All of the Knockout masters were destroyed in a fire, according to Porter. This session took place after a serious automobile accident that occurred when the band was traveling through New Mexico injuring Porter, Farmer and Clyde Dunn, all of whom required hospitalization and extended recovery.

Maxwell Davis, Meredith Howard (ldr), Art Farmer (t), Marshal Royal (as), Maxwell Davis (ts), Jack McVea (bar), Willard McDaniel (p), Billy Hadnott (b), Oscar Lee Bradley (d), Meredith Howard (v)

The Ruppli Mercury label discography gives the recording date as June 14, 1951 which is not possible since the 78s were mentioned in the June 2, 1951 issue of Billboard Magazine. Only track d has been auditioned.

Ike Lloyd (ldr), Art Farmer, George Orendorff (t), Earl Brown (as), Plas Johnson (ts), Pee Wee Crayton (g), Lloyd Glenn (p), Billy Hadnott (b), Bob Harvey (d), Ike Lloyd (v)

Joe Adams, Nat 'King' Cole (ldr), Art Farmer, Joseph Kelly, Bob Ross, Gerald Wilson (t), Jimmy Cheatham, John Ewing, James Robinson (tb), Buddy Collette, Frank Morgan, Vernon Slater (as), Eddie Davis, Jr. (ts), Maurice Simon (bar), Nat 'King' Cole (p, v), Ernie Freeman (p), David Bryant (b), Leroy McCray (d), Clarence Metcalfe (tap), Joe Adams (con), Mauri Lynn (Mauri Leighton, Marilyn Kilroy) (v)

Many thanks to jazz on film authority Mark Cantor for providing the personnel and recording date. Gratitude also to Will Friedwald for additional information.

This short motion picture was directed by Will Cowan.

The orchestra is really the Gerald Wilson Orchestra fronted by Joe Adams.

Synopsis:
Track a: A fast blues with brief solos by Collette and Davis, Jr.
Track b: A medium tempo love song by Mauri Lynn the title of which is not announced.
Track c: An amazing tap dance feature with Metcalfe dancing in perfect time while holding a chair and then a table in his teeth! The big band accompanies him.
Track d: Nat ‘King’ Cole sings and plays piano with the big band.
Track e: Nat ‘King’ Cole sings his hit accompanied only by himself on piano (not auditioned).
Track f: Nat ‘King’ Cole sings with the big band (not auditioned).

Information on the film can found at Jazz on the Screen.

Part of the film can be viewed here.

Wardell Gray (ldr), Art Farmer (t), Wardell Gray (ts), Hampton Hawes (p), Harper Crosby (b), Larance Marable (d), Robert Collier (cng)

Art Farmer (t) on a-d, f.

Despite what most sources indicate, conga is heard on all tracks, including e and f.

Wardell Gray (ldr), Art Farmer (t), Wardell Gray (ts), Howard Roberts (g), Hampton Hawes, Amos Trice (p), Joe Mondragon (b), Shelly Manne (d)

Art Farmer (t) on a, c-d, f-j; Howard Roberts (g) on h-j; Hampton Hawes (p) on a-h; Amos Trice (p) on i-j.

On track j, the ensemble actually plays the “Out of Nowhere” contrafact, “Nostalgia” (composed by Fats Navarro), on the last chorus. The timings shown represent pitch correction. Many thanks to historian James Accardi for sharing pitch corrected versions of these tracks.

Ray Johnson (ldr), Art Farmer (t), Jewell (Jewel) Grant (as), Plas Johnson (ts), Roy Hayes (g), Ray Johnson (p, v), Eddie Williams (b), Jesse Sailes (d)

Information on this session comes from the liner notes to the CD. Neither the Lord discography nor the Ruppli Mercury discography specify personnel.

Ray Johnson, Herbert 'Woo Woo' Moore (ldr), Art Farmer (t), Jewell (Jewel) Grant (as), Plas Johnson (ts), Roy Hayes (g), Ray Johnson (p), Eddie Williams (b), Jesse Sailes (d), Herbert 'Woo Woo' Moore (v)

Information comes from the CD liner notes. The Lord discography indicates the recording date was July 1953. The 78 is mentioned in the August 1, 1953 issue of Billboard Magazine. The Ruppli Mercury discography gives no personnel other than Ray Johnson and no specific recording date.

Lionel Hampton (ldr), Art Farmer, Quincy Jones, Ed Mullens, Walter Williams (t), Jimmy Cleveland, Buster Cooper, Al Hayse (tb), Anthony Ortega, Bobby Plater (as), Clifford Scott, Clifford Solomon (ts), Oscar Estelle (bar), Lionel Hampton (vib), Billy Mackel (g), Elmer Gill (p), Tom Montgomery (eb), Sonny Johnson (d), Ernestine Anderson, Sonny Parker (v)

Ernestine Anderson (v) on a, c-e; Sonny Parker (v) on b.

Information on this private recording comes from Michel Ruppli, Art Farmer: His Complete Discography, International Records News, Oct. 1982, p. 57. Not auditioned.

Art Farmer (ldr), Art Farmer (t), Jimmy Cleveland (tb), Clifford Solomon (ts), Oscar Estelle (bar), Quincy Jones (p, con), Monk Montgomery (eb), Sonny Johnson (d), unknown (per), Gigi Gryce (con)

unknown (per) on c; Gigi Gryce (con) on d; Quincy Jones (con) on a-c.

In subsequent liner notes, Ira Gitler confirms Gryce was in the studio for this session. A clavé is heard on track c.

Lionel Hampton (ldr), Clifford Brown, Art Farmer, Quincy Jones, Walter Williams (t), Jimmy Cleveland, Buster Cooper, Al Hayse (tb), Gigi Gryce, Anthony Ortega (as), Clifford Scott, Clifford Solomon (ts), Oscar Estelle (bar), Lionel Hampton (vib, v), Billy Mackel (g), George Wallington (p), Monk Montgomery (eb), Alan Dawson, Curley Hamner (d)

d, e  performed as medley

Lionel Hampton (v) on c.

The medley of tracks d and e is titled "Oh, Rock!" Some issues list Sonny Parker and/or Annie Ross as vocalists but they are not heard on any of these tracks. For more information on this and other concerts the Hampton band performed on this tour see Schneeburger, Mario: Names & Numbers, 64, January 2013, p. 34.

Clifford Brown, Art Farmer, Quincy Jones (ldr), Clifford Brown, Art Farmer (t), Åke Persson (tb), Arne Domnérus (as), Lars Gullin (bar), Bengt Hallberg (p), Gunnar Johnson (b), Jack Noren (d), Quincy Jones (con)

Åke Persson (tb) on a-d.

The theme is never stated on tracks e and f except partially, by Farmer, at the very end.

Lionel Hampton (ldr), Clifford Brown, Art Farmer, Walter Williams (t), Quincy Jones (t, p), Jimmy Cleveland, Buster Cooper, Al Hayse (tb), Gigi Gryce, Anthony Ortega (as), Clifford Scott, Clifford Solomon (ts), Oscar Estelle (bar), Lionel Hampton (vib, p, d, v), Billy Mackel (g), Monk Montgomery (eb), Alan Dawson (d), Curley Hamner (d, v), Sonny Parker (v)

c, d, e;   k, l;   s, t;   x, y  performed as medleys

Lionel Hampton (p) on j-k, o, w, (d) on r, (v) on u, aa; Quincy Jones (p) on w; Curley Hamner (d) on r, (v) on r, z; Sonny Parker (v) on b, w, y.

This live concert was recorded by Radio Basel. A tape was provided by Otto Fluckiger and most of the recording was subsequently issued commercially. Gigi Gryce arranged track q which is a feature for Clifford Brown. Gryce solos on tracks a and v. For more information on this and other concerts the Hampton band performed on this tour see Schneeburger, Mario: Names & Numbers, 64, January 2013, p. 34.

Gigi Gryce (ldr), Art Farmer (t), Jimmy Cleveland (tb), Gigi Gryce (as, con), Anthony Ortega (as, f), Clifford Solomon (ts), William Boucaya (bar), Quincy Jones (p, con), Henri Renaud (p), Pierre Michelot (b), Alan Dawson (d)

Art Farmer (t) on b-e; Anthony Ortega (as) on a-b, (f) on a, c-e; Quincy Jones (p) on c-e, (con) on b-e; Henri Renaud (p) on a-b; Gigi Gryce (con) on a.

Although listed as rehearsals, the incomplete takes of "La Rose Noire" were obviously spliced together to produce the issued take. Vogue (Jpn.) DY5903-3 is a bonus LP never sold individually but given to purchasers of volumes 1-4.

Art Farmer (ldr), Art Farmer (t), Jimmy Cleveland (tb), Anthony Ortega (as), Clifford Solomon (ts), Henri Renaud (p), Pierre Michelot (b), Alan Dawson (d)

Vogue CD 88116-2 has 2 takes of “Strike up the Band” but it is unknown whether the alternate included is take 2 or take 3. Actually, the CD indicates the alternate take is performed by a quartet with the only horn being Farmer, but this is clearly wrong. It’s an alternate, shorter septet version. This CD also indicates that the bassist is Alphonse Masselier and not Pierre Michelot.

Gigi Gryce (ldr), Clifford Brown, Art Farmer, Fred Gérard, Quincy Jones, Fernand Verstraete, Walter Williams (t), Jimmy Cleveland, Al Hayse, Bill Tamper (tb), Gigi Gryce, Anthony Ortega (as), Henri Bernard, Clifford Solomon (ts), Henri Jouot (bar), Henri Renaud (p), Pierre Michelot (b), Alan Dawson (d)

Fred Gérard (t) on a-b.

The location comes from Bob Weir's Clifford Brown discography, which has Fred Gérard listed for "Keepin' Up With Jonesy." Three takes of "Strike Up the Band" were recorded at this session (53V4657-1, 2, 3) but Gigi Gryce was not part of that ensemble.

Lionel Hampton (ldr), Clifford Brown, Art Farmer, Walter Williams (t), Quincy Jones (t, p), Jimmy Cleveland, Buster Cooper, Al Hayse (tb), Gigi Gryce, Anthony Ortega (as), Clifford Scott, Clifford Solomon (ts), Oscar Estelle (bar), Lionel Hampton (vib, p, v), Billy Mackel (g), Monk Montgomery (eb), Alan Dawson, Curley Hamner (d), Sonny Parker (v)

c, d, e, f  performed as medley

Lionel Hampton (p) on j-k, (v) on a, n; Sonny Parker (v) on j-k, n-o.

This concert was broadcast on German radio (RIAS). Other titles may have been recorded. For more information on this and other concerts the Hampton band performed on this tour see Schneeburger, Mario: Names & Numbers, 64, January 2013, p. 34 with an update available here.

Tracks m-o have not been auditioned. Tracks c-f comprise a medley 10:55 in duration.

The timings shown do not include applause or announcements.

Gigi Gryce (ldr), Clifford Brown, Art Farmer, Quincy Jones, Walter Williams (t), Jimmy Cleveland, Al Hayse, Benny Vasseur (tb), Gigi Gryce, Anthony Ortega (as), Andre Debonneville, Clifford Solomon (ts), William Boucaya (bar), Henri Renaud (p), Pierre Michelot (b), Jean-Louis Viale (d)

Art Farmer (ldr), Art Farmer (t), Jimmy Cleveland (tb), Anthony Ortega (as), Henri Renaud (p), Marcel Dutrieux (b), Jean-Louis Viale (d)

The Lord discography indicates that the version of “Serenade To Sonny” on Vogue 7081 and 1045 as well as Blue Note 5051 is take 1.

Quincy Jones (ldr), Art Farmer (t), Jimmy Cleveland, Åke Persson (tb), Arne Domnérus (as, cl), Lars Gullin (bar), Bengt Hallberg (p), Simon Brehm (b), Alan Dawson (d), Quincy Jones (con)

Arne Domnérus (as) on a-c, (cl) on d.

Track d fades out during the piano solo. The remainder of the Jazz Abroad LP features a Roy Haynes-led group that does not include Art Farmer.

Clifford Brown, Art Farmer, Quincy Jones, Jørgen Ryg (t), Jimmy Cleveland (tb), Gigi Gryce, Anthony Ortega (as), Clifford Solomon (ts), Max Bruel (bar), Jorgen Bengtson, Lionel Hampton (p), Erik Moseholm (b), Ole Jorgensen (d)

The personnel is speculative. Clifford Scott (ts) and Jorgen Lausen (p) may be present. Track d is apparently a Hampton/Bengston piano duet. This is a private tape recording by Chris Albertson. For further information on this jam session, see his blog.

Clifford Brown, Art Farmer, Quincy Jones (t), Jimmy Cleveland (tb), Anthony Ortega (as), Guy Combres, Gigi Gryce, Lucky Starway [Lucien Serror] (p), Joe Ford (b), Others Unknown (var)

The date is definitely earlier than November 24, 25 or 26, 1953 which is as listed in Weir's Clifford Brown discography. The Hampton band departed from Paris on November 24, 1953 for New York (via London and Glasgow). Unknown French musicians from Algiers also participated in this session. This tape is lost and the report is based on an anecdotal report from an eyewitness.

Art Farmer (t), unknown (t, p), John Gilmore, Eddie Harris (ts), Wilbur Ware (b), Wilbur Campbell (d)

Information on this incomplete track was provided by James Accardi. There are definitely at least 2 trumpet players heard based on the exchanges but only Farmer’s complete solo has been preserved. Hopefully, further details and possibly other performances from this concert will surface.

Art Farmer (ldr), Art Farmer (t), Sonny Rollins (ts), Horace Silver (p), Percy Heath (b), Kenny Clarke (d)

Sonny Rollins (ts) on b-d.

The first 4 tracks on CD1 of the Solar Records compilation are titled incorrectly. The actual order is: 1. “Autumn Nocturne” (from the session of November 9, 1954 below); 2. “Confab in Tempo”; 3. “I’ll Take Romance”; 4. “Wisteria”. Therefore, as noted in Lord’s The Jazz Discography, “Soft Shoe” is not present in the Solar compilation.

On Past Perfect CD 220306-203, tracks 9-12 are incorrectly labeled:
Track 9: Listed as “Soft Shoe” but is really “Confab in Tempo.”
Track 10: Listed as “I’ll Take Romance” but is really “Wisteria.”
Track 11: Listed as “Confab in Tempo” but is really “I’ll Take Romance.”
Track 12: Listed as “Autumn Nocturne” but is really “Soft Shoe.”

Track c is based on the chord changes of “Get Happy.”

Art Farmer, Gigi Gryce (ldr), Art Farmer (t), Gigi Gryce (as), Horace Silver (p), Percy Heath (b), Kenny Clarke (d)

Art Farmer (ldr), Art Farmer (t), Jimmy Cleveland (tb), Charlie Rouse (ts), Danny Bank (bar), Horace Silver (p), Percy Heath (b), Arthur Taylor (d), Gigi Gryce, Quincy Jones (con)

Gigi Gryce (con) on b, d; Quincy Jones (con) on a, c.

It is likely that Gryce and Jones were present to direct their compositions. Track d was copyrighted as "Tijuana" but issued as "Tiajuana."

The timing of track c on Past Perfect CD 220306-203 is incorrectly listed as 3:15. It is really 3:25.

Art Farmer (ldr), Art Farmer (t), Wynton Kelly (p), Addison Farmer (b), Herb Lovelle (d)

Track f is not listed on the Solar Records compilation but is the first track on the first CD of that collection. See the note to the session of January 20, 1954 above.

Track f is listed as being track 12 on the 2002 Past Perfect CD 220306-203 (Soft Shoe), but this is incorrect. Track 12 on the CD is actually “Soft Shoe” from the January 20, 1954 session above.

Art Farmer, John Jenkins, Ira Sullivan (ldr), Art Farmer (t), John Jenkins (as), Ira Sullivan (ts), Norman Simmons (p), Victor Sproles (b), Vernel Fournier [Amir Rushdan] (d)

The exact recording date is unknown. The tracks are fragments of what must be much longer performances.

Ira Sullivan, Norman Simmons and Victor Sproles were part of the house band at the Bee Hive.

Many thanks to James Accardi for providing information about this recording.

Art Farmer, Gigi Gryce (ldr), Art Farmer (t), Gigi Gryce (as), Freddie Redd (p), Addison Farmer (b), Arthur Taylor (d)

Thelonious Monk (ldr), Art Farmer (t), Eddie Bert (tb), Teo Macero (ts), Thelonious Monk (p), Charles Mingus (b), Willie Jones (d)

Information on this television appearance comes from Robin D. G. Kelley, “Thelonious Monk: The Life and Times of an American Original,” Free Press, New York, 2009, p. 187-189 (many thanks to Guy Kopelowicz). This was Monk’s television debut. Other acts on this show included Charlie Applewhite, Nancy Walker and Judy Tyler.

Track a begins with Steve Allen attempting to interview Monk. Track b ends during the final chorus. The timings shown do not include dialog or applause. The sound quality of the two tracks is abysmal.

The CD issue incorrectly gives the recording date as October 6, 1955 and identifies the tenor saxophonist as Hank Mobley, the drummer as Art Blakey and the trombonist as unknown.

Gene Ammons (ldr), Art Farmer (t), Lou Donaldson (as), Gene Ammons (ts), Freddie Redd (p), Addison Farmer (b), Kenny Clarke (d)

Track a is an “I Got Rhythm” contrafact. Track b is a blues in F. Track b was presumably edited to fit on both sides of a single 45. Although Gene Ammons has been credited as composer of “Woofin’ and Tweetin’, the legal composer of this tune is Art Farmer according to U.S. Copyright Office and BMI records.

Adolph Sandole, Dennis Sandole (ldr), Art Farmer (t), Sonny Russo (tb), John La Porta (as), Teo Macero (ts), George Barrow, Adolph Sandole (bar), Dennis Sandole (g), Al Del Governatore (p), Milt Hinton (b), Clem De Rosa (d)

John La Porta (as) on a, c; Teo Macero (ts) on d; George Barrow (bar) on b-c; Adolph Sandole (bar) on a, d.

The personnel assignments shown on Fantasy FCD-24763-2 are inaccurate.

Adolph Sandole, Dennis Sandole (ldr), Art Farmer (t), Sonny Russo (tb), John La Porta (as), unknown (ts), Adolph Sandole (bar), Dennis Sandole (g), Al Del Governatore (p), Wendell Marshall (b), Clem De Rosa (d)

unknown (ts) on b; Al Del Governatore (p) on b-f.

The personnel assignments shown on Fantasy FCD-24763-2 are inaccurate. There is a solo on track b by an unidentified tenor saxophonist who could very well be Teo Macero.

Charles Mingus (ldr), Art Farmer (t), Eddie Bert, Britt Woodman (tb), John La Porta (as, cl), Teo Macero (ts), Teddy Charles (vib), Mal Waldron (p), Charles Mingus (b), Elvin Jones (d)

Art Farmer (t) on a-c, e-h; Eddie Bert (tb) on a-c, e-h; Britt Woodman (tb) on a-c, e-h; Teo Macero (ts) on a-c, e-h; John La Porta (cl) on a-c, e-h; Teddy Charles (vib) on a-c, e-h; Mal Waldron (p) on a-c, e-h; Elvin Jones (d) on a-c, e-h.

This performance was a Voice of America radio broadcast which has, apparently, never been issued. It was part of a panel discussion Jazz from the Inside Out on Sunday afternoon of the 1955 Newport Jazz Festival. Tapes of this event are stored at the Library of Congress. The Library of Congress documentation indicates a title "Sounds of April" which is most likely a misidentification of Teo Macero's composition "Sounds of May." An online Charles Mingus discography lists "Non-sectarian" as one of the tracks performed but this title is not among those given in the Library of Congress documentation. Track d is a Mingus/LaPorta duet. I have not auditioned these performances.

Teo Macero (ldr), Art Farmer (t), Eddie Bert (tb), Don Butterfield (tu), John La Porta (as, cl), Teo Macero (as, ts), George Barrow (bar), Mal Waldron (p), Orlando DiGirolamo (Lanny DiJay) (acc), Wendell Marshall (b), Ed Shaughnessy (d), unknown (per, tmp), Howard Shanet (con), Ernest Anderson (v)

Art Farmer (t) on d-f; Eddie Bert (tb) on d-f; Don Butterfield (tu) on d-f; Teo Macero (as) on c; George Barrow (bar) on d-f; Mal Waldron (p) on a-c; unknown (per) on c-d, (tmp) on f; Ernest Anderson (v) on c.

“T.C.’s Groove” is dedicated to vibraphonist Teddy Charles. On "Sounds Of May,” Ernest Anderson overdubbed 8 vocal parts and Macero overdubbed one alto saxophone part. Tape speed manipulation was also utilized.

This is very unusual and experimental music with a lot of what sounds like simultaneous, free improvisation. It is also very difficult to discern what is written and what is improvised. Thus solo information is only provided for tracks d and e where the soloists are more easily identified.

Oscar Pettiford (ldr), Art Farmer, Joe Wilder (t), Eddie Bert (tb), Gigi Gryce (as), Jerome Richardson (ts), Danny Bank (bar), Hank Jones (p), Oscar Pettiford (b), Osie Johnson (d)

The timings shown include announcements and applause.

Art Farmer (ldr), Art Farmer (t), Gigi Gryce (as), Duke Jordan (p), Addison Farmer (b), Philly Joe Jones (d)

Track a is called "Forecast." The same line was later recorded by its composer, Duke Jordan, using the title "Table Chess."

Gigi Gryce (ldr), Art Farmer (t), Eddie Bert (tb), Julius Watkins (frh), Bill Barber (tu), Gigi Gryce (as), Cecil Payne (bar), Horace Silver (p), Oscar Pettiford (b), Art Blakey (d), Ernestine Anderson (v)

Gigi Gryce (ldr), Art Farmer (t), Jimmy Cleveland (tb), Gunther Schuller (frh), Bill Barber (tu), Gigi Gryce (as), Danny Bank (bar), Horace Silver (p), Oscar Pettiford (b), Kenny Clarke (d)