Carl Perkins (ldr), Carl Perkins (p), unknown (b, d)

Carl Perkins (ldr), Carl Perkins (p), Edwin Perkins (b), Herb Williams (d)

Illinois Jacquet (ldr), Illinois Jacquet (ts), Oscar Moore (g), Carl Perkins (p), Red Callender (b), J. C. Heard (d)

Soloists:
Track a - Perkins, Jacquet, Moore, Jacquet
Track c - Jacquet
Track d - Perkins (intro), Jacquet, Perkins, Jacquet
Track e - Perkins (intro), Jacquet

Max Roach (ldr), Clifford Brown (t), Teddy Edwards (ts), Carl Perkins (p), George Bledsoe (b), Max Roach (d)

Teddy Edwards (ts) on a, c.

The recording date comes from Jim Harrod's West Coast Jazz Research Blog which notes that the April 1954 date usually assigned to this concert was actually that of another live performance at The Californian Club, recorded by Gene Norman but never issued.

Robert Gordon in his book, "Jazz West Coast" (Quartet Books, London, 1986) notes on p. 108 that these performances are edited. The 2005 Fresh Sound CD 377 has a longer version of "Tenderly" than other issues, the source being a tape owned by Teddy Edwards. That timing is shown here. Most timings for this track are around 4:40.

"Clifford's Axe" is credited to Clifford Brown but is improvisation based on the chord structure of "The Man I Love."

Soloists:
Track a - Perkins (intro), Edwards, Brown, Perkins, Roach
Track b - Perkins (intro), Brown
Track c - Bledsoe/Perkins (intro), Brown, Edwards, Perkins
Track d - Roach/Perkins (intro), Brown, Brown/Roach (4-bar exchanges), Bledsoe, Brown

Oscar Moore (ldr), Oscar Moore (g), Carl Perkins (p), Joe Comfort (b), George Jenkins (d)

The recording date comes from the AFM Local 47 union contract courtesy of Jim Harrod. George Jenkins (and not Lee Young) is the drummer. Tampa Records did, in fact, issue two versions of LPs 16 and 22. There may be a third incarnation of 22, but I'm not sure.

Soloists:
Track a - Moore, Perkins, Moore, Confort (walking)
Tracks b-d, f - Moore, Perkins, Moore
Track e - Moore, Perkins, Comfort

Frank Morgan (ldr), Conte Candoli (t), Frank Morgan (as), Wardell Gray (ts), Howard Roberts (g), Carl Perkins (p), Leroy Vinnegar (b), Larance Marable (d)

Conte Candoli (t) on a-e; Wardell Gray (ts) on a-e.

Track c is called "Milt's Tune" and credited to Milt Jackson as composer but is the standard "I Got Rhythm" variation known as "The Theme."

Oscar Moore (ldr), Oscar Moore (g), Carl Perkins (p), Joe Comfort (b), George Jenkins (d)

Oscar Moore is the only soloist on all four tracks. The rest of Norgran 1033 and its reissues are recordings by Tal Farlow and Barney Kessel. Some sources, including the notes to Franklin Mint 30, give the recording date of this session as September 2, 1953. The matrix numbers are consistent with a 1955 session.

Bill Holman (ldr), Bill Holman (ts), Carl Perkins (p), Leroy Vinnegar (b), Larry Bunker (d)

Soloists:
Track a - rhythm section (intro), Holman, Perkins, Vinnegar
Track b - Holman/Bunker (intro), Holman, Perkins, Holman/Bunker (4-bar exchanges)
Track c - Holman, Perkins, Holman
Track d - Perkins, Holman, Holman/Bunker (4-bar exchanges), Vinnegar (walking)

Oscar Moore (ldr), Oscar Moore (g), Carl Perkins (p), Joe Comfort (b), George Jenkins (d), Mike Pacheco (bo)

George Jenkins (d) on b-c, h, j; Mike Pacheco (bo) on a, d-g, i.

The recording date comes from the AFM Local 47 union contract courtesy of Jim Harrod. George Jenkins (and not Lee Young) is the drummer.

The liner notes to Tampa 10 indicate that a total of 5 takes of "Up Tempo" were recorded, 2 of "April In Paris" and 2 of the "Samson and Delilah Theme." All the alternate takes are unissued. The notes also indicate that the session was done in a total of 5.5 hours over 2 days. The union contract indicates 5 musicians over 6 hours.

Soloists:
Track a - Moore, Perkins, Moore, Comfort (walking), Perkins, Pacheco/Comfort
Tracks b-c, g - Moore, Perkins, Moore
Track d - Moore, Perkins
Track e - Moore, quartet/Pacheco (4-bar exchanges)
Track f - Moore, Perkins, quartet/Pacheco (2-bar exchanges)
Tracks h, j - Moore
Track i - Moore, Perkins, ensemble/Pacheco/Comfort (4-bar exchanges)

Illinois Jacquet (ldr), Harry 'Sweets' Edison (t), Illinois Jacquet (ts), Irving Ashby (g), Carl Perkins (p), Gerald Wiggins (or), Curtis Counce (b), Albert Bartee (d)

Gerald Wiggins (or) on a-e, g-i; Curtis Counce (b) on c-i.

The shorter take of "Honeysuckle Rose" is a 78 rpm master.

Soloists:
Track a - Wiggins/Perkins (intro), Jacquet, Edison
Track b - Perkins (intro), Jacquet, Edison, Perkins, Wiggins, Jacquet/Bartee, Jacquet/Edison (4-bar exchanges)
Track c - Ashby (intro), Edison, Jacquet
Track d - Jacquet, Edison, Wiggins, Jacquet
Track e - Bartee (intro), Jacquet, Edison, Jacquet
Track f - Jacquet (Edison obbl.)
Track g - Wiggins, Jacquet, Edison, Jacquet
Track i - Ashby, Edison, Perkins, Jacquet

Dizzy Gillespie (ldr), Harry 'Sweets' Edison, Dizzy Gillespie (t), Melba Liston (tb), Willie Smith (as), Curtis Amy, Ed Beal (ts), Clyde Dunn (bar), Carl Perkins (p), George Bledsoe (b), Albert Bartee (d), Toni Harper (v)

Toni Harper (v) on a-b.

The liner notes from the CD reissue Verve 314 513 875-2 incorrectly give the recording date for track d as July 8, 1957 and incorrect personnel. Aural evidence clearly supports the 10-piece ensemble shown and the presence of Willie Smith (as).

Soloists:
Track a - Harper
Track b - Harper, Gillespie, Harper
Track c - Gillespie, Perkins, Gillespie
Track d - Gillespie, Smith, Gillespie

Dexter Gordon (ldr), Jimmy Robinson (t), Dexter Gordon (ts), Carl Perkins (p), Leroy Vinnegar (b), Chuck Thompson (d)

Jimmy Robinson (t) on a, c, f.

Soloists:
Track a - Perkins (intro), Gordon, Robinson, Perkins
Track b - Perkins (intro), Gordon, Perkins, Gordon
Track c - Thompson (intro), Gordon, Robinson, Perkins, Gordon
Track d - Perkins, Gordon, Perkins, Gordon
Track e - Perkins (head bridge), Gordon, Perkins, Gordon/Thompson (4-bar exchanges)
Track f - Robinson, Gordon, Perkins, Vinnegar (walking), Gordon/Robinson (4-bar exchanges with Thompson)
Track g - Gordon, Perkins, Gordon
Track h - Perkins, Gordon, Perkins, Vinnegar (walking), Gordon/Thompson (4-bar exchanges)
Track i - Perkins (intro), Gordon, Perkins, Gordon

Carl Perkins (ldr), Carl Perkins (p), Leroy Vinnegar (b), Larance Marable (d)

This session represents Carl Perkins' only album as a leader. The recording date comes from Perkins’ questionnaire submitted to Leonard Feather’s The Encyclopedia of Jazz. ”Mia" is listed as "Way Cross Town."

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Soloists:
Track a - Land, Perkins, Land, Land/Sheldon, Land
Track c - Land, Sheldon, Perkins, Counce, Butler
Track d - Perkins, Land, Sheldon, Counce
Track e - Land/Sheldon (head bridge), Land, Sheldon, Perkins, Counce (walking), Land/Sheldon (head bridge)
Track f - Butler, Land, Sheldon, Butler
Track g - Land, Sheldon, Perkins, Counce, Land/Sheldon (4-, 2- and 1-bar exchanges with Butler)

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Soloists:
Track a - Land, Perkins, Sheldon, Counce, Butler
Track b - Sheldon, Perkins, Land, Counce (walking), Butler
Tracks c-d - Land, Perkins, Sheldon, Counce, Butler
Track e - Perkins (intro), Land, Sheldon, Perkins
Track f - Land, Sheldon, Perkins, Counce, Land/Sheldon (4-bar exchanges with Butler)

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d), Anita O'Day (v)

Anita O'Day (v) on d-e.

The version of "A Fifth for Frank" is incomplete. For information on this show see Calliope Records and James A. Harrod, Stars of Jazz: A Complete History of the Innovative Television Series, 1956-1958, McFarland & Co., Jefferson, NC, 2020.

Soloists:
Track a - Sheldon, Land, Perkins, Counce
Track b - Perkins (intro), Counce
Track c - Butler, Land, Sheldon, Butler

Chet Baker, Art Pepper (ldr), Chet Baker (t), Art Pepper (as), Phil Urso (ts), Carl Perkins (p), Curtis Counce (b), Larance Marable (d)

The recording date shown is confirmed by the AFM Local 47 contract (thanks to Jim Harrod for providing this information). Other sources (including this discography) have incorrectly reported the recording date as October 31, 1956.

The version of "C.T.A." on Pacific Jazz PJ 60 is edited to 2:59. Some discographies refer to an alternate take of "C.T.A." but Chet Baker historian Jeroen De Valk reports that this alternate does not exist.

Soloists:
Track a - Urso, Pepper, Baker, Perkins, Counce, Urso, Marable, Pepper, Marable
Track b - Baker, Pepper, Urso, Perkins, Counce (walking), Baker/Pepper/Urso/Perkins (8-bar exchanges with Marable)
Track c - Perkins (intro), Pepper, Baker, Urso, Perkins
Track d - Perkins (intro), Urso, Baker, Pepper, Perkins, Counce (walking), Urso/Baker/Pepper/Perkins (8-bar exchanges with Marable)
Track e - Counce (intro), Baker, Urso, Pepper, Perkins
Track f - Urso/Pepper/Baker (intro), Urso, Baker, Pepper, Perkins, Urso/Baker/Pepper/Perkins (4-bar exchanges with Marable)
Track g - Pepper, Baker, Urso, Perkins, Counce, Marable

Jim Hall (ldr), Jim Hall (g), Carl Perkins (p), Red Mitchell (b)

The versions of "Stompin' At the Savoy," "Things Ain't What They Used To Be," "Tangerine," "Stella By Starlight," "Look For the Silver Lining" and "Seven Come Eleven" present on most reissues are edited versions of those originally issued on LP PJ 1227. Pacific Jazz CD reissue 46851 contains both the long and short versions of track b, the longer one being described as an "alternate take"; however, the shorter version is an edit of the longer one. Apparently, when reissues of this session began to emerge starting in 1988, the complete versions most of of these tracks as well as the master of "This Is Always" could not be found. The track timings shown are for the complete versions on the original LP and the 2006 CD TOCJ 6819 reissue which reproduces PJ 1227. Not having examined every reissue, I cannot be absolutely sure of the content of each regarding the edits. Pacific Jazz PJ/ST 79 (1963 issue) has drummer Larry Bunker dubbed in to the original recordings.

The edited versions differ from the originals as follows:
Track a (4:01) - Second chorus of bass solo deleted
Track b (4:40) - Bass solo (2 choruses) completely deleted
Track e (3:52) - Second chorus of bass solo deleted
Track f (3:08) - Second half (16 bars) of bass solo deleted; first half (16 bars) of last chorus (head) deleted
Track i (3:12) - Second choruses of guitar, piano and bass solos deleted
Track j (3:50) - Second chorus of bass solo deleted

Soloists:
Tracks a, d, e - Hall, Perkins, Mitchell
Track b - Hall, Mitchell, Perkins
Tracks c, g - Hall, Perkins
Tracks f, i - Hall, Perkins, Mitchell, Hall
Track h - Hall
Track j - Perkins, Mitchell, Hall
Track k - Perkins, Hall

Stuff Smith (ldr), Stuff Smith (vn), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Information on the unissued takes comes from Stuff Smith historian Anthony Barnett (UK) (emails September 13, 2013) to whom I am most grateful. Restoration producer Barnett is investigating and restoring Verve tapes from this session provided to him by Phil Schaap and Ben Young (USA). Transfer and remastering is being done by Nick Dellow (UK). Hopefully, more information will emerge.

Soloists:
Track a - Smith, Perkins, Counce, Smith, Counce, Smith
Track d - Perkins, Smith, Perkins, Smith
Track j - Smith, Perkins, Smith
Track k - Perkins (intro), Perkins, Counce (call and response), Smith, Butler (call and response)

Art Pepper (ldr), Art Pepper (as), Carl Perkins (p), Ben Tucker (b), Frankie Capp (d)

Many sources give the date of this recording as January 18, 1957 and indicate that the performances come from the Steve Allen Show rather than Stars of Jazz. The bassist has also been credited as Clarence Jones and the drummer, Chuck Flores or Larance Marable. The information shown is taken from Jazz On the Screen by David Meeker. It has been confirmed by jazz on film/TV expert Mark Cantor.

Information on this show can also be found in James A. Harrod, Stars of Jazz: A Complete History of the Innovative Television Series, 1956-1958, McFarland & Co., Jefferson, NC, 2020.

Carl Perkins solos on tracks a and c.

Stuff Smith (ldr), Stuff Smith (vn), Carl Perkins (p), Red Callender (b), Oscar Lee Bradley (d)

Soloists:
Track a - Perkins, Smith
Track b - Perkins, Smith
Track c - Smith, Perkins, Smith
Track d - Smith
Track e - Smith, Perkins, Smith
Track f - Perkins (intro), Smith
Track g - Smith
Track h - Perkins (intro), Smith

Quincy Jones (ldr), Conte Candoli, Pete Candoli, Harry 'Sweets' Edison, Jack Sheldon (t), Carl Perkins (p), Leroy Vinnegar (b), Mel Lewis (d), Quincy Jones (dir)

The recording date and location come from the AFM Local 47 union contract courtesy of Jim Harrod. It is not known why the master numbers are not consecutive.

Carl Perkins solos on tracks a and c.

Quincy Jones (ldr), Walter Benton, Buddy Collette, Bill Perkins (ts), Pepper Adams (bar), Carl Perkins (p), Leroy Vinnegar (b), Shelly Manne (d), Quincy Jones (dir)

c, d, e, f, g  performed as medley

Walter Benton (ts) on a-b, g; Buddy Collette (ts) on a-b, e; Bill Perkins (ts) on a-c; Pepper Adams (bar) on a-b, d.

The recording date and location come from the AFM Local 47 union contract courtesy of Jim Harrod. It is not known why the master numbers are not consecutive.

The ballad medley (tracks c-g) is 6:17 in total duration.

Carl Perkins solos on tracks a, b and f.

Art Pepper (ldr), Art Pepper (as), Carl Perkins (p), Ben Tucker (b), Chuck Flores (d)