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.

Charlie Parker (ldr), Chet Baker (t), Frank Morgan, Charlie Parker (as), Don Wilkerson (ts), Amos Trice (p), David Bryant (b), Larance Marable (d)

c, d;   f, g;   k, l, m  performed as medleys

Chet Baker (t) on a.

Most of the information on this informal jam session comes from Peter Losin. Jirayr Zorthian was an Armenian-American artist and a friend of Charlie Parker who hosted a series of jam sessions at his ranch in Altadena, CA. This recording was made at one of them. The audio quality is poor, the partygoers are noisy and the tracks are incomplete and fragmented. Tracks c-d and f-g are not really medleys but rather performances where two themes were included.

It is really difficult to offer a detailed and accurate description of the soloing. Bird is the main soloist but a young Frank Morgan holds his own in exchanges with the master heard on "Au Privave" and "Cool Blues." Trumpeter Chet Baker is only heard on track a which some sources indicate was recorded on July 28, 1952.

Regarding the date, apparently the recording was done in the early hours of the morning of July 15, 1952.

The 2021 Verve release has 2 catalog numbers, one on the disc sleeves (B0032477-01) and another on the box spine (B0029739-02).

Teddy Charles (ldr), Frank Morgan (as), Wardell Gray (ts), Teddy Charles (vib), Sonny Clark (p), Dick Nivison (b), Larance Marable (d)

Kenny Clarke (ldr), Frank Morgan (as), Walter Benton (ts), Milt Jackson (vib, v), Gerald Wiggins (p), Percy Heath (b), Kenny Clarke (d)

Milt Jackson (vib) on a-d, f, (v) on e.

There are 2 issues of Savoy MG 12006, one titled Kenny Clarke and another titled Telefunken Blues.

Spud Murphy (ldr), Russ Cheever (ss), Benny Carter, Frank Morgan (as), Buddy Collette (ts), Bob Gordon (bar), Spud Murphy (cel, dir), Buddy Clark (b), Richie Frost (d)

Spud Murphy (cel) on a.

Spud Murphy (ldr), Russ Cheever (ss), Benny Carter, Frank Morgan (as), Buddy Collette (ts), Bob Gordon (bar), Spud Murphy (cel, dir), Buddy Clark (b), Chico Hamilton (d)

Spud Murphy (cel) on d.

Frank Morgan (ldr), Conte Candoli (t), Frank Morgan (as), Wild Bill Davis (or), Robert Rodriguez (b), Jose Mangual (bo), Rafael Miranda (cng), Ubaldo Nieto (tim)

“Chooch” is based on the chord structure of “S’Wonderful.” “Whippet” is based on the chord structure of “Sweet Georgia Brown.”

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."

Frank Morgan (ldr), Jack Sheldon (t), Frank Morgan (as), James Clay (ts, f), Bobby Timmons (p), Jimmy Bond (b), Larance Marable (d)

James Clay (ts) on a, d-e, (f) on b-c.

Benny Powell (ldr), Jerry Rusch (t, fh), Benny Powell (tb, v), Frank Morgan (as), Herman Riley (ts), Brenton Banks (vn), Craig McMullen, John Rowin (g), Larry Nash (elp, snt), John B. Williams (b), Wilton Felder, Byron Miller (eb), Ndugu Chancler, James Gadson (d), Joe Clayton, Moacir Santos (per), Petsye Powell (v)

This was Benny Powell's first album as a leader. Overdubbing is prevalent. The personnel is probably collective over more than one session. Recording dates are not known.

Benny Powell is unaccompanied on track a. Petsye Powell is heard on tracks d-f. Benny Powell and Frank Morgan appear to be the only horns on track f.

Benny Powell (ldr), Benny Powell (tb), Frank Morgan (as), Dwight Dickerson (p), Henry Franklin (b), Billy Higgins (d), Muumba (bo, cng)

This was Benny Powell's first album as a leader. Benny Powell overdubs additional trombone parts on this track. The recording date is unknown.

L. Subramaniam (ldr), Frank Morgan (ss), L. Subramaniam (vn), Emil Richards (vib, mar), Thom Rotella (g), S. Vijayashree (tan, swa), Milcho Leviev (key, p), David Edelstein (eb), Bob Forte (d), Zakir Hussain (per)

Frank Morgan (ss) on a; Emil Richards (vib) on a, (mar) on b; Milcho Leviev (key) on a, (p) on b.

This and the following session are most unusual settings for Frank Morgan. The genre is essentially fusion with a strong South Asian influence. They also offer relatively rare examples of his soprano saxophone work.

Guitarist Rotella is not listed among the personnel but mentioned in the liner notes.

Several Indian instruments are heard. Vijayasshree plays the tanbura (tampura), a plucked string instrument and swarmandal (suramandal), which resembles a harp or zither. Hussain plays tabla, naal and duggi, all Indian drums.

L. Subramaniam (ldr), Frank Morgan (ss, as), L. Subramaniam (vn), Emil Richards (vib), Thom Rotella (g), S. Vijayashree (tan, swa), Milcho Leviev (key, p), David Edelstein (eb), Ralph Humphrey (d), Zakir Hussain (per)

Frank Morgan (ss) on c, (as) on a; Milcho Leviev (key) on b, (p) on a, c; Zakir Hussain (per) on b-c.

Guitarist Rotella is not listed among the personnel but mentioned in the liner notes.

Several Indian instruments are heard. Vijayasshree plays the tanbura (tampura) a plucked string instrument and swarmandal (suramandal), which resembles a harp or zither. Hussain plays tabla, naal and duggi, all Indian drums.

Stéphane Grappelli, L. Subramaniam (ldr), Frank Morgan (as), Stéphane Grappelli (vn), L. Subramaniam (swa), Mark Massey (p), Jerry Watts (b)

This is the only track of the album on which Frank Morgan appears.

Frank Morgan, Cedar Walton (ldr), Frank Morgan (as), Cedar Walton (p), Tony Dumas (b), Billy Higgins (d)

Frank Morgan (ldr), Frank Morgan (as), Cedar Walton (p), Buster Williams (b), Billy Higgins (d)

Terry Gibbs (ldr), Frank Morgan (as), Terry Gibbs (vib), Sonny Bravo (p), Robert Rodriguez (eb), Jose Madera (per, cng), Johnny Rodriguez (per, bo), Tito Puente, Orestes Vilato (tim)

Frank Morgan (as) on a, c, g; Tito Puente (tim) on a, e-f; Orestes Vilato (tim) on b-d, g-i.

George Cables, Frank Morgan (ldr), Frank Morgan (as), George Cables (p)

Mark Murphy (ldr), Claudio Roditi (t, fh), Frank Morgan (as), Jose Roberto Bertrami (key, p, elp, snt), Alex Malheiros (eb, per), Ivan 'Mamão' Conti (d, per), Mark Murphy (v)

Claudio Roditi (t) on a-d, f-g, (fh) on a-d, f-g; Frank Morgan (as) on a, c-g.

There are 2 additional tracks on the album but Frank Morgan is not present on them: “Ticket” (“Bilhete”) which is a Murphy/Bertrami duet and “Before We Lose Tomorrow” on which both Morgan and Roditi are absent.

The trio of Bertrami, Malheiros and Conti comprised the popular Brazilian jazz-funk trio known as Azymuth. It is that genre that permeates this album and Morgan and Roditi fit in admirably. Bertrami died in 2012.

Some of the track timings shown on the issues are incorrect.

Randy Brecker (t), Frank Morgan (as), Ernie Watts (ts), Eric Gale (g), Roger Kellaway, McCoy Tyner (p), Stanley Clarke (b, eb), Peter Erskine (d)

Randy Brecker (t) on b; Frank Morgan (as) on a; Ernie Watts (ts) on c; Eric Gale (g) on a; Roger Kellaway (p) on c, f-g; McCoy Tyner (p) on a, d, f-g; Stanley Clarke (b) on a-d, f-g, (eb) on e; Peter Erskine (d) on a-d, f-g.

The producer is Jack Lewis.

Timings shown include announcements and applause.

Track a features Morgan and Gale; track b, Brecker; track c, Watts; track d, Tyner; track e, Clarke; tracks f-g, Tyner and Kellaway.

Track a (partial):

Frank Morgan (ldr), Johnny Coles (fh), Frank Morgan (as), Cedar Walton (p), Buster Williams (b), Billy Higgins (d)

g, h  performed as medley

Johnny Coles (fh) on a-d, f-h; Buster Williams (b) on a-d, f-h; Billy Higgins (d) on a-d, f-h.

The timings shown include announcements and applause.

Track h is not listed on the issues. At the end of track g, the band immediately plays one chorus of “The Theme” to end the set.

Track e is a Morgan/Walton duet.

Frank Morgan, Bud Shank (ldr), Frank Morgan, Bud Shank (as), George Cables (p), John Heard (b), Jimmy Cobb (d)

Frank Morgan (as) on a-d, f; Bud Shank (as) on a-c, e-f.

Here are two West Coast alto saxophone legends, with much different backgrounds and approaches, sounding inspired, in a rare appearance together. These live performances were recorded direct to digital. Frank Morgan is largely in the right channel and Shank, the left channel. The timings shown do not include applause or announcements.

Frank Morgan, McCoy Tyner (ldr), Frank Morgan (as), McCoy Tyner (p), Avery Sharpe (b), Louis Hayes (d)

Frank Morgan (ldr), Frank Morgan (as), Dick Hyman (p), John Hebert (b), Donald Bailey (d)

d, e;   f, g  performed as medleys

Not auditioned.

Frank Morgan (ldr), Frank Morgan (as), Larry Willis (p), George Mraz (b), Victor Lewis (d)

Not auditioned.

Benny Bailey, Frank Morgan (ldr), Benny Bailey (t), Frank Morgan (as), Niels Lan Doky (p), Jesper Lundgaard (b), Ed Thigpen (d)

Not auditioned.

Frank Morgan (ldr), Frank Morgan (as), Mulgrew Miller (p), Ron Carter (b), Al Foster (d)

Frank Morgan (ldr), Frank Morgan (as), Joe Henderson (ts), Bobby Hutcherson (vib), Mulgrew Miller (p), Ron Carter (b), Al Foster (d)

Morgan recorded 2 albums over 3 days, the preceding session with a quartet and this with a sextet having the same instrumentation as the Kenny Clarke session of Nov. 1, 1954 above.

Frank Morgan (ldr), Frank Morgan (as), Mark Levine (p), Jeff Chambers (b), Eddie Marshall (d)

The host is Bud Spangler. The “Blues” is probably “Parker’s Mood.” The broadcast includes an interview.

Not auditioned.

Frank Morgan (ldr), Frank Morgan (as), Ronnie Mathews (p), David Williams (b), Ben Riley (d)

The broadcast includes an interview with Frank Morgan.

Not auditioned.

Frank Morgan (ldr), Frank Morgan (as), George Arvanitas (p), Luigi Trussardi (b), Charles Bellonzi (d)

a, b;   c, d;   j, k  performed as medleys

Frank Morgan (as) on a-h, j-k.

Morgan is out on track i.

Not auditioned.

Frank Morgan, Cedar Walton (ldr), Frank Morgan (as), Cedar Walton (p), David Williams (b), Billy Higgins (d)

m, n  performed as medley

Not auditioned.

Frank Morgan, Cedar Walton (ldr), Frank Morgan (as), Cedar Walton (p), David Williams (b), Billy Higgins (d)

Not auditioned.

Frank Morgan, Cedar Walton (ldr), Frank Morgan (as), Cedar Walton (p), David Williams (b), Billy Higgins (d)

Not auditioned.

Art Farmer (ldr), Art Farmer (t, fh), Frank Morgan (as), Lou Levy (p), Eric von Essen (b), Albert 'Tootie' Heath (d)

The timings shown include applause.

Vincent Herring, Jackie McLean, Frank Morgan, Bob Mover, Clarence 'C' Sharpe, Phil Woods (as), Walter Davis, Jr. (p), Percy Heath (b), Roy Haynes (d)

These performances were part of a three day celebration of the genius of Charlie Parker. This was day two. We have not auditioned this private recording so tracks a and g, which are undoubtedly Parker compositions or songs associated with him, remain unidentified. The information comes from Peter Mansell.

Bob Mover indicates that he is the only alto sax on track d, Woods only on track b and McLean and Sharpe only on track f.

Vincent Herring, Jackie McLean, Frank Morgan, Bob Mover, Clarence 'C' Sharpe, Phil Woods (as), Walter Davis, Jr. (p), Percy Heath (b), Roy Haynes (d)

c, d, e  performed as medley

These performances were part of a three day celebration of the genius of Charlie Parker. This was day three. We have not auditioned this private recording so tracks a and f, which are undoubtedly Parker compositions or songs associated with him, remain unidentified. The information comes from Peter Mansell.

Frank Morgan (ldr), Wynton Marsalis (t), Frank Morgan (as), George Cables (p), Buster Williams (b), Al Foster (d)

Wynton Marsalis (t) on d, f; Frank Morgan (as) on a-d, f-k; George Cables (p) on a-d, f-h, j-k; Buster Williams (b) on b, d-g, i-j; Al Foster (d) on b, d, f-g, i-j.

Spoken comments by Frank Morgan listed as "Gratitude" (0:55) follow the final selection.

Tracks a, c, h and k are alto saxophone/piano duets; track e is an unaccompanied bass solo; tracks d and f are performed by a quintet; tracks b, g and j are performed by a quartet; track i is performed by an alto sax/bass/drums trio.

George Cables, Frank Morgan (ldr), Frank Morgan (as), George Cables (p)

i, j  performed as medley

The timings shown include announcements and applause.

Track f sounds very much like “Parker’s Mood.”

Frank Morgan, Red Rodney (ldr), Red Rodney (t, fh), Frank Morgan, Phil Woods (as), Monty Alexander (p), Rufus Reid (b), Roy Haynes (d), Jon Hendricks (v)

Red Rodney (t) on a, e, h, (fh) on b, d, i, k; Frank Morgan (as) on a-b, e, g-i, k; Phil Woods (as) on k; Monty Alexander (p) on a-e, g-k; Rufus Reid (b) on a-e, g-k; Jon Hendricks (v) on k.

The film includes reminiscences of Charlie Parker by Red Rodney and Frank Morgan. The producers are Ben Sidran and Clive Woods and the director, Stanley Dorfman. Information on this concert can be found at Library of Congress.

Tracks a, b, e, h and i are performed by the quintet; track k, by the quintet with Woods and Hendricks added. Tracks c and j are performed by Alexander, Reid and Haynes. Track d features Rodney with the rhythm section and g, Morgan with the rhythm section.

The timings shown do not include announcements, interviews or applause.

McCoy Tyner (ldr), Frank Morgan (as), John Blake (vn), Emily Remler (g), McCoy Tyner (p), Avery Sharpe (b), Aaron Scott (d)

Frank Morgan (as) on d-g; John Blake (vn) on c, g; Emily Remler (g) on g.

Not auditioned.

Frank Morgan (ldr), Frank Morgan (as), Renee Rosnes (p), Marlene Rosenberg (b), Albert 'Tootie' Heath (d)

Pat Sajak interviews Morgan following the performance.

The date comes from IMDB. This was episode 278 of the Pat Sajak Show.

Frank Morgan (ldr), Roy Hargrove (t, fh), Frank Morgan (ss, as), George Cables (p), David Williams (b), Lewis Nash (d), Abbey Lincoln (v)

Roy Hargrove (t) on b, e, (fh) on d; Frank Morgan (ss) on c, (as) on a-b, d-i; Abbey Lincoln (v) on c, g.

The CD issue incorrectly gives composer credits for "Everything Happens To Me" to Johnny Mercer & Hoagy Carmichael.

Frank Morgan (ldr), Frank Morgan (as), Kenny Barron, Tommy Flanagan, Roland Hanna, Barry Harris, Hank Jones (p)

Frank Morgan (as) on b, d, f-g, i, k-l; Kenny Barron (p) on a-b; Tommy Flanagan (p) on c-d; Roland Hanna (p) on h-i; Barry Harris (p) on e-g; Hank Jones (p) on j-l.

These performances are a mix of alto saxophone/piano duets and piano solos. Tracks a, c, e, h and j are the piano solos. Morgan is not present on them.

Joe Chambers (ldr), Donald Harrison, Lee Konitz, Frank Morgan (as), George Cables (p), Santi Debriano (b), Joe Chambers (d)

Frank Morgan is present only on this and the 3 tracks in the following session, on the issues.

Drummer Joe Chambers was the producer.

Joe Chambers (ldr), Dave Liebman (ss), Donald Harrison, Lee Konitz, Frank Morgan, John Zorn (as), David Murray, Archie Shepp (ts), George Cables (p), Rufus Reid (b), Joe Chambers (d)

Dave Liebman (ss) on a; Donald Harrison (as) on a-b; Lee Konitz (as) on a-b; John Zorn (as) on b; David Murray (ts) on a-b; Archie Shepp (ts) on b.

Frank Morgan is present only on these 3 tracks and the one in the preceding session, on the issues. It is not certain that all 3 tracks were recorded on the same day.

Drummer Joe Chambers was the producer.

Saxophonists present:
Track a - Konitz, Morgan, Liebman, Murray, Harrison
Track b - Konitz, Morgan, Shepp, Murray, Harrison, Zorn
Track c - Morgan

Frank Morgan (ldr), Frank Morgan (as), Kenny Burrell (g), Ron Carter (b), Grady Tate (d)

Ron Carter (b) on b-d, f-g; Grady Tate (d) on b-d, f-g.

This is a rather low key album in which Morgan stays close to the melody on several of the tracks.

Tracks a, e and h are alto saxophone/guitar duets. The others are performed with the quartet.

Frank Morgan (ldr), Frank Morgan (as), James Williams (p), John Lockwood (b), Alan Dawson (d)

Frank Morgan (as) on a-b, d-k.

Not auditioned.

Steve Kuhn, Frank Morgan (ldr), Frank Morgan (as), Steve Kuhn (p)

Track b is a blues.

Not auditioned.

Kenny Burrell, Frank Morgan (ldr), Frank Morgan (as), Kenny Burrell (g), Ray Drummond (b), Yoron Israel (d)

Track f is a Morgan/Burrell duet. Track k is a Burrell solo.

Not auditioned.

Frank Morgan (ldr), Frank Morgan (as), Cedar Walton (p), Ray Brown (b), Billy Higgins (d)

Cedar Walton (p) on a-i, k; Billy Higgins (d) on a-i, k.

Track j is an alto saxophone/bass duet.

Frank Morgan, Ben Sidran (ldr), Frank Morgan (as), Ben Sidran (p), Richard Davis (b), Leo Sidran (d)

Kenny Barron (ldr), Gary Bartz, Frank Morgan, Phil Woods (as), Kenny Barron (p), Reggie Johnson (b), Ben Riley (d)

Not auditioned.

Ben Sidran (ldr), Frank Morgan (as), Phil Upchurch (g), Ben Sidran (p, v), Ricky Peterson (or), Richard Davis (b), Clyde Stubblefield (d), Alejo Poveda (per), Margie Cox (bkv)

Phil Upchurch (g) on a, d; Ricky Peterson (or) on a-b, d; Clyde Stubblefield (d) on a-b, d; Alejo Poveda (per) on a-b, d; Margie Cox (bkv) on a-b, d.

Frank Morgan does not appear on any of the remaining 8 tracks of the issues.

“Lover Man” is performed with only the trio of Sidran, Morgan and Davis.

Abbey Lincoln (ldr), Frank Morgan (as), Marc Cary (p), Michael Bowie (b), Alvester Garnett (d), Abbey Lincoln (v)

Frank Morgan does not appear on the other tracks of the album which feature saxophonists Justin Robinson, Oliver Lake, Riley T. Bandy III, Julien Lourau and Steve Coleman.

Frank Morgan (ldr), Frank Morgan (as), Rodney Kendrick (p), Ray Drummond, Curtis Lundy (b), Leroy Williams (d)

Ray Drummond (b) on h; Curtis Lundy (b) on a-g.

Art Farmer (ldr), Art Farmer (fh), Frank Morgan (as), Jack Nelson (p), Jeff Chambers (b), Victor Lewis (d)

Not auditioned.

Art Farmer, Frank Morgan (ldr), Art Farmer (flp), Frank Morgan (as), Mike Wofford (p), Andy Simpkins (b), Albert 'Tootie' Heath (d)

The names of the pianist and bassist are inaudible on the tape but were provided by Erika Torri and Lucy Peters of the Athenaeum Music & Arts Library.

Tracks a-f comprise set 1 and g-j, set 2.

The timings shown do not include applause.

Frank Morgan (ldr), Art Farmer (flp), Frank Morgan (as), Peter Schimke (p), Terry Burns (b), Joe Pulice (d)

This is the first set of the evening. Timings shown include announcements (sometimes lengthy) and applause. Track e segues to a bit of “The Theme.” Track f segues to one chorus of “The Theme.”

An annoying fire alarm is heard on some tracks.

Frank Morgan seems to be the leader.

Frank Morgan (ldr), Frank Morgan (as), John Hicks (p), Lyles West (b), Ed Soph (d)

Frank Morgan (as) on c-j.

CD-R of this concert exists. Recording by NPR. Timings include applause and announcements.

Frank Morgan is out on tracks a-b.

On track e, Morgan plays Charlie Parker’s “Now’s the Time” at the end.

Sonny Fortune, Frank Morgan (ldr), Sonny Fortune (as, f), Frank Morgan (as), John Hicks (p), Jeff Chambers (b), Steve Johns (d)

Morgan is heard on tracks a-c, g. Fortune is heard on tracks d-g.

Not auditioned.

Sonny Fortune, Frank Morgan (ldr), Sonny Fortune (as, f), Frank Morgan (as), John Hicks (p), Jeff Chambers (b), Steve Johns (d)

Sonny Fortune (as) on a, c, h, (f) on b; Frank Morgan (as) on d-h; Jeff Chambers (b) on a-c, e-h; Steve Johns (d) on a-c, e-h.

Track d is a Morgan/Hicks duet. Morgan is not present on tracks a-c. Fortune is not present on tracks d-g.

The timings shown do not include announcements or applause.

These performances can be auditioned on YouTube.

Frank Morgan (ldr), Frank Morgan (as), Roger Boykin (p), Lyles West (b), Ed Soph (d)

CD-R of this concert exists. Recorded by NPR. Timings shown include announcements and applause.

On track c, Morgan actually plays a combination of “What Is this Thing Called Love” and Tadd Dameron’s contrafact on that standard, “Hot House.”

Sonny Fortune, Frank Morgan (ldr), Sonny Fortune, Frank Morgan (as), George Cables (p), Anthony Cox (b), Steve Johns (d)

Track c is a feature for Sonny Fortune. Track e is a Morgan/Cables duet.

Not auditioned.

Frank Morgan (ldr), Frank Morgan (as), George Cables (p), Curtis Lundy (b), Billy Hart (d)

Curtis Lundy (b) on a-j, l-w.