Houston Stokes (ldr), Matthew Garrett (t), Frank Strozier (as), Gilmore Daniels (ts), Erskine McLellan (g), Evans Bradshaw (p), Houston Stokes (d, v)

Houston Stokes (v) on a-e.

The information shown is taken from an online Sun Records discography that has subsequently disappeared. Sun Records historian John Boija informs me that the original source is probably "Sun Records: The Discography" by Colin Escott & Martin Hawkins, Bear Family Books BFB 10010, W. Germany, 1987, a book that I have not yet examined. The details at first seem somewhat suspect. Frank Strozier would have been only 15 years old at the time but being from Memphis where the recording took place, it is certainly conceivable that he was involved. Furthermore, photos exist of Strozier with alto saxophone around this time. Bruyninckx indicates that there are no horns on tracks a and b. After auditioning some, but not all of this material, it appears that horns are definitely present on tracks c and d and possibly briefly on a. Bruyninckx also indicates the existence of two additional titles, "Going Crazy" and "The Hammer." Perhaps these are the "untitled instrumentals." There also may be alternate takes of titles a and b. This material was never issued originally and the issued titles only appeared much later on the blues anthologies listed. Sun Box 105 is a 9 LP set released in 1984.

Bruyninckx shows another session from 1952 with this same band recording a tune called "Got Me a Horse and Wagon" and issued on Sun/Charly (Eng.) CD 38 (The Sun Blues Archives Vol. 6 - Too Blue To Cry). This title could not be found in the Sun Records discography.

Frank Strozier (ldr), Frank Strozier (as), Billy Wallace (p), Bill Lee (b), unknown (d)

This session was produced by Max Roach for the Mercury label but never issued. The drummer could be Bill Hobbs, Donald Clark or Vernel Fournier.

Booker Little, Louis Smith (t), Frank Strozier (as), George Coleman (ts), Calvin Newborn (g), Phineas Newborn, Jr. (p), Jamil Nasser [George Joyner] (b), Charles Crosby (d)

Booker Little (t) on a-c; Louis Smith (t) on a-c; Frank Strozier (as) on a-d; George Coleman (ts) on a-c; Calvin Newborn (g) on a-c, e.

The recording date comes from the Ruppli/Cuscuna Blue Note Label Discography CD-ROM. Fresh Sound 1642 gives the recording date as April 15, 1959.

It has recently come to my attention* that the mono and stereo versions of “Things Ain’t What They Used to Be” are actually different takes! The mono take is about 20 seconds longer and has different and more adventurous solos. Most issues of this session seem to contain the stereo version.

*Email from Bertrand Uberall, June 24, 2021, communicating information disclosed by Ben Young at a virtual meeting that day.

Edward 'Bunky' Redding (ldr), Sonny Cohn (t), Morris Brice (frh), Frank Strozier (as), Von Freeman (ts), McKinley Easton (bar), unknown (str, bkv), Lefty Bates (g), Floyd Morris (p), Quinn Wilson (b), Marshall Thompson (d), Edward 'Bunky' Redding (v)

An unidentified string section and backup vocalists are present on this session. The disc labels give arranger credit to "R. Evans." I am assuming this is Chicago-based Richard Evans.

Walter Perkins (ldr), Willie Thomas (t), Frank Strozier (as), Harold Mabern (p), Bob Cranshaw (b), Walter Perkins (d)

This Chicago-based quintet was known as the MJT+3 (MJT = Cranshaw, Perkins = The Modern Jazz Two). The alternate takes, found only on the Koch CD, have not been reissued.

Frank Strozier (ldr), Booker Little (t), Frank Strozier (as), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d)

*Matrix numbers were not assigned to these tracks. Runnin' is called Run on Vee Jay NVJ2-903. Some discographies indicate that Vee Jay LP 1007 was the first issue of Fantastic Frank Strozier but this catalog number was assigned to a John Lee Hooker LP. Track e is the first recorded version of this title - see also the session of February 3, 1960.

Frank Strozier (ldr), Booker Little (t), Frank Strozier (as), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d)

*Matrix numbers were not assigned to the alternate takes so the master numbers are duplicated here for convenience. Some discographies indicate that Vee Jay LP 1007 was the first issue of Fantastic Frank Strozier but this catalog number was assigned to a John Lee Hooker LP.

Walter Perkins (ldr), Willie Thomas (t), Frank Strozier (as), Harold Mabern (p), Bob Cranshaw (b), Walter Perkins (d)

This Chicago-based quintet was known as the MJT+3 (MJT = Cranshaw, Perkins = The Modern Jazz Two). The version of "Love Letters" on Trip 5025 may be edited. Track a is a blues march.

Lee Morgan (ldr), Lee Morgan (t), Frank Strozier (as), Wayne Shorter (ts), Bobby Timmons (p), Bob Cranshaw (b), Louis Hayes, Albert 'Tootie' Heath (d)

Louis Hayes (d) on a-d; Albert 'Tootie' Heath (d) on e-h.

*The actual matrix numbers of the alternate takes are unknown but are assigned here the same ones as the masters for convenience. This ensemble was called The Young Lions. On Vee Jay NVJ2-908, "Scourin'" and "Peaches and Cream" are interchanged.

Some of Wayne Shorter’s compositions have unusual structures: Theme of tracks a-b 50 bars (14+14+8+14); track g 44 bars (12+10+12+10).

Walter Perkins (ldr), Willie Thomas (t), Frank Strozier (as, f), Harold Mabern (p), Bob Cranshaw (b), Walter Perkins (d)

Frank Strozier (as) on a-c, e-g, (f) on d.

This Chicago-based quintet was known as the MJT+3 (MJT = Cranshaw, Perkins = The Modern Jazz Two). Track g has not been auditioned.

Johnny Griffin (ldr), Bobby Bryant, Clark Terry (t), Matthew Gee, Julian Priester (tb), Frank Strozier (as), Johnny Griffin, Edwin Williams (ts), Charles Davis (bar), Harold Mabern (p), Victor Sproles (b), Charli Persip (d)

Johnny Griffin (ldr), Bobby Bryant, Clark Terry (t), Matthew Gee, Julian Priester (tb), Frank Strozier (as), Johnny Griffin, Edwin Williams (ts), Charles Davis (bar), Bobby Timmons (p, cel), Victor Sproles (b), Charli Persip (d)

Bobby Timmons (p) on b, (cel) on a.

Bill Henderson (ldr), Willie Thomas (t), Frank Strozier (as), Harold Mabern (p), Bob Cranshaw (b), Walter Perkins (d), Bill Henderson (v)

No solos on this track.

Frank Strozier (ldr), Frank Strozier (as), Billy Wallace (p), Bill Lee (b), Vernel Fournier [Amir Rushdan] (d)

*The actual matrix numbers of the alternate takes are unknown but are assigned here the same ones as the masters for convenience. Discographies assign matrix numbers 60-1657 and 60-1658 to "untitled blues." This blues is most likely "Cloudy and Cool "and so these numbers have been assigned to that title. This altered blues has an initial strain similar to that found in the A section of "Black Coffee" by Johnny Burke and Paul Francis Webster. Its composer is probably Frank Strozier but this has not been confirmed.

Walter Perkins (ldr), Willie Thomas (t), Frank Strozier (as, f), Harold Mabern (p), Bob Cranshaw (b), Walter Perkins (d)

Frank Strozier (as) on a-m, (f) on n-o.

This Chicago-based quintet was known as the MJT+3 (MJT = Cranshaw, Perkins = The Modern Jazz Two). This session was originally recorded but never issued by the Vee Jay label. *The actual matrix numbers of the alternate takes are unknown but are assigned here the same ones as the masters for convenience.

Some of these compositions have unusual structures: Theme of tracks f-g, 56 bars (16+16+8+16); tracks l-m, 68 bars (16+16+4+16 in 3/4 time+16).

Tracks n-o: this line is based on the chords of the standard “Too Marvelous for Words.” On the alternate take (o), the horns enter 4 bars too soon cutting off the end of the bass/drums exchanges.

Frank Strozier (ldr), Frank Strozier (as, f), George Coleman (ts), Pat Patrick (bar, f), Chris Anderson (p), Bill Lee (b), Walter Perkins (d)

Frank Strozier (as) on a-e, g-h, (f) on f; George Coleman (ts) on a, c, f, h; Pat Patrick (bar) on a, c, h, (f) on f.

The theme of track h has a rather unusual 44-bar structure: 8+8+8+8+12.

Frank Strozier (ldr), Frank Strozier (as, f), Harold Mabern (p), Bill Lee (b), Al Dreares (d)

Frank Strozier (as) on b-e, g-h, (f) on a, f.

The theme of track b has a rather unusual 54-bar structure: 8+8+16+22.

Sam Jones (ldr), Blue Mitchell, Clark Terry (t), Jimmy Cleveland (tb), Frank Strozier (as), Jimmy Heath (ts), Pat Patrick (bar), Wynton Kelly (p), Ron Carter, Sam Jones (b), Ben Riley (d), Ernie Wilkins (con)

The recording dates of this and the following two sessions are uncertain. The liner notes to the 1995 reissue OJCCD-1864-2 indicates the recording date is August 16, 1962. The Lord Discography claims the recording date of this session is August 15, 1962.

Sam Jones (ldr), Blue Mitchell, Snooky Young (t), Jimmy Cleveland (tb), Frank Strozier (as), Jimmy Heath (ts), Pat Patrick (bar, f), Josef Zawinul (p), Sam Jones (b), Ben Riley (d), Ernie Wilkins (con)

Pat Patrick (f) on a.

The liner notes to the 1995 reissue OJCCD-1864-2 indicates the recording date of this session is August 16, 1962. The Lord Discography claims the recording date is August 15, 1962.

Sam Jones (ldr), Frank Strozier (f), Sam Jones (vc), Josef Zawinul (p), Ron Carter (b), Ben Riley (d)

The liner notes to the 1995 reissue OJCCD-1864-2 indicate the recording date of this session is June 25, 1962 but it seems more likely this track was recorded at the previous session.

Booker Ervin (ldr), Frank Strozier (as), Booker Ervin (ts), Horace Parlan (p), Butch Warren (b), Walter Perkins (d)

Frank Strozier (as) on a-e, g-h.

The theme of track a is a 24-bar blues. That of track b has a 46-bar structure (10+10+16+10).

Roy Haynes (ldr), Frank Strozier (as, f), Ronnie Mathews (p), Larry Ridley (b), Roy Haynes (d)

e, f, g  performed as medley

Frank Strozier (as) on c-g, (f) on a-b.

The theme of track a is a 16-bar waltz but it is not utilized as the basis of the solos. Track d has a boogaloo feel. Titles e-g constitute a medley of 11:05. Track e is a fast minor blues. Track f is a medium blues. Track g is only one chorus in duration.

McCoy Tyner (ldr), Thad Jones (t), Frank Strozier (as), John Gilmore (ts), McCoy Tyner (p), Butch Warren (b), Elvin Jones (d)

According to the ABC ledger, master number 90049 was not used.

Roy Haynes (ldr), Frank Strozier (as, f), Sam Dockery (p), Larry Ridley (b), Roy Haynes (d)

Frank Strozier (as) on a, c-e, g-h, j, (f) on b, f, i.

Chet Baker (ldr), Chet Baker (fh), Frank Strozier (as, f), Phil Urso (ts), Hal Galper (p), Mike Fleming (b), Charlie Rice (d)

Frank Strozier (as) on a-d, (f) on e.

This recording date is found in Bruyninckx and Lord and the Thorbjorn Sjogren Chet Baker discography; however, the Ruppli Mercury label discography and the liner notes to Limelight 82003 and the Verve CD reissue give November 14, 1964 as the recording date for this session. "Baby Breeze" and "Comin' Down" are credited to Richard Carpenter. "Baby Breeze" was composed by Phil Urso but the rights to the song were sold to Carpenter.

Track c is based on the chord structure of “What Is this Thing Called Love.”

Shelly Manne (ldr), Conte Candoli, Al Porcino, Ray Triscari, Stu Williamson, Jimmy Zito (t), Mike Barone, Bob Edmondson, Frank Rosolino (tb), Vincent De Rosa, Richard Perissi (frh), John Bambridge (tu), Justin Gordon, Jack Nimitz, Bud Shank (r), Frank Strozier (as), Russ Freeman (p), Monty Budwig (b), Shelly Manne (d)

Shelly Manne (ldr), Conte Candoli, Lee Katzman, Larry McGuire, Al Porcino, Stu Williamson (t), Mike Barone, Bob Edmondson, Frank Rosolino (tb), Vincent De Rosa, Richard Perissi (frh), John Bambridge (tu), Justin Gordon, Jack Nimitz, Bud Shank (r), Frank Strozier (as), Russ Freeman (p), Monty Budwig (b), Shelly Manne (d)

Shelly Manne (ldr), Conte Candoli (t), Frank Strozier (as), Russ Freeman (p), Monty Budwig (b), Shelly Manne (d)

Don Specht (ldr), Conte Candoli (t), Frank Strozier (as), Shelly Manne (d), Don Specht (con), Others Unknown (var)

This track and those on the following three sessions were issued on a rare LP that includes several other titles on which Frank Strozier does not perform. The intent appears to be to showcase Specht's talents as an arranger. Recording dates are not provided. The liner notes were written by drummer Shelly Manne. A big band is present but only Candoli, Strozier and Manne are identified. There are no solos on this brief track.

Don Specht (ldr), Bobby Bryant, Conte Candoli, Don Fagerquist, Al Porcino (t), Dick Leith, Dick Nash, Dick Noel (tb), Med Flory, Ronnie (Ronny) Lang, Jack Nimitz, Bill Perkins (sax), Frank Strozier (as), Lou Levy (p), Buddy Clark (b), Shelly Manne (d), unknown (bo), Don Specht (con)

No recording date is provided. See note to previous session. There are no solos.

Don Specht (ldr), Conte Candoli, Jack Laubach, Ollie Mitchell, Ray Triscari (t), Herbie Harper, Dick Noel, Ernie Tack (tb), Med Flory, Jack Nimitz, Bill Perkins, Bud Shank (sax), Frank Strozier (as), unknown (f, acg), Victor Feldman (vib), Lou Levy (p), Buddy Clark (b), Shelly Manne (d), Don Specht (con)

unknown (f) on b, (acg) on b; Victor Feldman (vib) on b.

No recording date is provided. See note to first Don Specht session above. Flute and acoustic guitar are heard on track b. There are no solos.

Don Specht (ldr), Conte Candoli (t), Dick Nash, Dick Noel, Tom Shepard, Ernie Tack (tb), Vincent De Rosa (frh), Frank Strozier (as), Dom Fera (cl), Bill Perkins (f), Victor Feldman (vib), Lou Levy (p), Buddy Clark (b), Shelly Manne (d), Don Specht (con)

No recording date is provided. See note to first Don Specht session above.

Shelly Manne (ldr), Conte Candoli (t, fh), Frank Strozier (as), Russ Freeman (p), Monty Budwig (b), Shelly Manne (d)

The timings shown include applause. Tracks d and f have not been auditioned.

Shelly Manne (ldr), Conte Candoli (t), Frank Strozier (as, f), Mike Wofford (p), Monty Budwig (b), Shelly Manne (d)

Frank Strozier (as) on a-c, e, (f) on d.

These short tracks are taken from "The Navy Swings" radio shows and are thought to have been recorded between 1965 and 1967, not necessarily all at the same session. Since this version of the Manne quintet recorded several times in 1967, I am guessing that is the year these tracks were recorded. "Frank's Tune" is performed here as a 40-bar, ABA structure whereas on other recordings, it is a 56-bar, AABA composition. Presumably time restrictions mandated elimination of the second A section in this abbreviated performance.

Shelly Manne, The Airmen of Note (ldr), Conte Candoli, Paul Hubinon, Paul Kelly, Dick Montz, Vince Somma, Scott Waller (t), Bob Mann (t, g), Bill Booth, Ed Green, Gary Ross, Dave Steinmeyer (tb), Don Grossi, Ernie Hensley, Bill McPherson, Dave Napier, Kim Richmond, James Towsey, Barry Weinstein (r), Frank Strozier (as), Tom Baldwin, Dick Reitan, Mike Wofford (p), Monty Budwig, Don Dempsey, Dick Jones (b), Gary Gauger, Shelly Manne, Charlie McIlroy (d), Bob Bunton (dir)

This is one track of a compilation featuring The Airmen of Note in concert with various guests, in this case, the Shelly Manne Quintet (Candoli, Strozier, Wofford, Budwig). The LP was produced by the U.S. Air Force and not meant for sale or commercial distribution. This is the only track of the LP on which the Manne group, including Strozier, appears. The date of this performance is not given but the presence of Wofford suggests 1967. The personnel are collective for all the appearances on the LP which took place over the period 1966-1967 and it is not known who actually performs on this track, especially regarding the rhythm section players. All of the musicians, other than Manne's group, were enlisted men. Not auditioned.

Oliver Nelson (ldr), Bobby Bryant, Conte Candoli, Buddy Childers, Freddy Hill (t), Louis Blackburn, Billy Byers, Pete Myers, Ernie Tack (tb), Howard Johnson (tu), Oliver Nelson (ss, con), Gabe Baltazar, Frank Strozier (as), Bill Perkins, Tom Scott (ts), Jack Nimitz (bar), Frank Strazzeri (p), Monty Budwig (b), Ed Thigpen (d)

Frank Strazzeri is incorrectly listed as Strazzori in the liner notes to Impulse A/S 9153. Howard Johnson's presence on tuba is confirmed by Johnson himself and by aural evidence despite not being credited in any other sources. The timing shown includes applause.

Oliver Nelson (ldr), Bobby Bryant, Conte Candoli, Buddy Childers, Freddy Hill (t), Louis Blackburn, Billy Byers, Pete Myers, Ernie Tack (tb), Howard Johnson (tu), Oliver Nelson (ss, con), Gabe Baltazar, Frank Strozier (as), Bill Perkins, Tom Scott (ts), Jack Nimitz (bar), Frank Strazzeri (p), Monty Budwig (b), Ed Thigpen (d)

This title is the later of the two Miles Davis tunes with this name. Frank Strazzeri is incorrectly listed as Strazzori in the liner notes to Impulse A/S 9153. Howard Johnson's presence on tuba is confirmed by Johnson himself and by aural evidence despite not being credited in any other sources. The timing shown includes applause.

Oliver Nelson (ldr), Bobby Bryant, Conte Candoli, Buddy Childers, Freddy Hill (t), Louis Blackburn, Billy Byers, Pete Myers, Ernie Tack (tb), Howard Johnson (tu), Oliver Nelson (ss, con), Gabe Baltazar, Frank Strozier (as), Bill Perkins, Tom Scott (ts), Jack Nimitz (bar), Mel Brown (g), Frank Strazzeri (p), Monty Budwig (b), Ed Thigpen (d)

Mel Brown (g) on b-c.

Frank Strazzeri is incorrectly listed as Strazzori in the liner notes to Impulse A/S 9153. Howard Johnson's presence on tuba is confirmed by Johnson himself and by aural evidence despite not being credited in any other sources. The timings shown include announcements and applause.

Shelly Manne (ldr), Conte Candoli (t, fh), Frank Strozier (as, f), Mike Wofford (p), Monty Budwig (b), Shelly Manne (d)

Conte Candoli (t) on a-c, (fh) on d; Frank Strozier (as) on a-c, (f) on d.

Budwig plays arco on track c.

Shelly Manne (ldr), Conte Candoli (t), Frank Strozier (as, f), Mike Wofford (p), Monty Budwig (b), Shelly Manne (d)

Frank Strozier (as) on a, c, (f) on b.

Shelly Manne (ldr), Conte Candoli (t), Frank Strozier (as), Mike Wofford (p), Monty Budwig (b), Shelly Manne (d), unknown (per)

unknown (per) on b.

This session was originally recorded for but never issued by the Atlantic label. Track a has not been auditioned.

Shelly Manne (ldr), Conte Candoli (t), Frank Strozier (as, f), Mike Wofford (p), Monty Budwig (b), Shelly Manne (d)

Frank Strozier (f) on d.

This session was originally recorded for but never issued by the Atlantic label. Track c has not been auditioned.

Nancy Wilson (ldr), Gene Cipriano (r, ts), Bill Green (r, as), Ernie Small (r, bar), Frank Strozier (as), Plas Johnson (ts), Victor Arno, Edward Bergman, Harry Bluestone, Jacques Gasselin, James Getzoff, Louis Kaufman, Lou Raderman, Sidney Sharp, Marshall Sosson (vn), Samuel Boghossian, Alvin Dinkin, Louis Kievman (vl), Anne Goodman, Ray Kramer, Igor Roroshevsky, Gloria Strassner (vc), Ann Stockton (hrp), John Collins, Bobby Gibbons (g), Donn Trenner (p), Buster Williams (b), Hal Blaine (d, per), Oliver Nelson (con), Nancy Wilson (v)

Frank Strozier does not solo on any of these tracks.

Carmen McRae (ldr), Bobby Bryant, Conte Candoli, Freddy Hill, Al Porcino (t), Louis Blackburn, Billy Byers, Frank Rosolino, Ernie Tack (tb), Buddy Collette, Bill Green, Anthony Ortega, Frank Strozier (sax), John Collins (g), Norman Simmons (p), Ray Brown (b), Shelly Manne (d), Oliver Nelson (con), Carmen McRae (v)

Frank Strozier does not solo on any of these tracks.

Shelly Manne (ldr), Justin Gordon, Bud Shank, Arthur Smith, Frank Strozier (r), Larry Bunker, Frank Carlson, Victor Feldman, Emil Richards (vib, mar, per), Robert Bain (g), Mike Wofford (p), Bill Pittman (b), Shelly Manne (d), unknown (v)

unknown (v) on c.

This is music used in the soundtrack of a television series. The version of "Out On a Limb" on Atlantic 2497 is edited. The unidentified alto saxophone soloist on track b could very well be Frank Strozier. This recording features a variety of African and Western woodwind and percussion instruments.

Shelly Manne (ldr), Justin Gordon, Bud Shank, Arthur Smith, Frank Strozier (r), Larry Bunker, Frank Carlson, Victor Feldman, Emil Richards (vib, mar, per), Robert Bain (g), Mike Wofford (p), Bill Pittman (b), Shelly Manne (d), unknown (v)

unknown (v) on d.

This is music used in the soundtrack of a television series. The unidentified alto saxophone soloist on tracks a-c could very well be Frank Strozier. This recording features a variety of African and Western woodwind and percussion instruments.

Shelly Manne (ldr), Justin Gordon, Bud Shank, Arthur Smith, Frank Strozier (r), Larry Bunker, Frank Carlson, Victor Feldman, Emil Richards (vib, mar, per), Robert Bain (g), Mike Wofford (p), Bill Pittman (b), Shelly Manne (d), unknown (v)

unknown (v) on c, e.

This is music used in the soundtrack of a television series. The unidentified alto saxophone soloist on tracks a and c could very well be Frank Strozier. This recording features a variety of African and Western woodwind and percussion instruments.

The Three Sounds (ldr), Bobby Bryant, Buddy Childers, Freddy Hill, Melvin Moore (t), Louis Blackburn, Billy Byers, Pete Myers (tb), Ernie Tack (btb), Anthony Ortega, Frank Strozier (as), Plas Johnson (ts), Bill Green (bar), Gene Harris (p), Andy Simpkins (b), Donald Bailey (d), Kenneth Watson (per)

Blue Note BST 84285 lists "Georgia On My Mind" as "Georgia." The personnel shown come from the Cuscuna-Ruppli Blue Note discography. There appears to be a tenor saxophone missing. The Blue Note discography lists a Roger Hutchinson as part of the ensemble but with no instrument assigned. Anthony Ortega does not remember anyone with this name either on this session or as a Los Angeles musician of the time period. Other searches have failed to turn up anyone with this name who might have been associated with this session. It is not Bobby Hutcherson since no vibraphone is audible. Frank Strozier does not solo on any of these tracks. The main soloist is Gene Harris.

The Three Sounds (ldr), Bobby Bryant, Buddy Childers, Freddy Hill, Melvin Moore (t), Louis Blackburn, Billy Byers, Pete Myers (tb), Ernie Tack (btb), Anthony Ortega, Frank Strozier (as), Jay Migliori (ts), Bill Green (bar), Gene Harris (p), Andy Simpkins (b), Donald Bailey (d), Lou Singer (per, tmp), Kenneth Watson (per)

The personnel shown come from the Cuscuna-Ruppli Blue Note discography. There appears to be a tenor saxophonist missing. Frank Strozier does not solo on any of these tracks. The main soloist is Gene Harris.