Billy Mitchell (ldr), Thad Jones (t), Billy Mitchell (ts), unknown (bar), Terry Pollard (p, cel), Jimmy Richardson (b), Elvin Jones (d), Jackie (Sonny) Wilson (v)

Terry Pollard (p) on a-b, d, (cel) on c; Jackie (Sonny) Wilson (v) on b-c.

An unidentified baritone saxophone is heard on tracks a-c. An ensemble vocal is heard on track a. There are no instrumental solos on tracks a-c which are more in the R&B genre than jazz. Track d has not been auditioned.

Jackie Wilson is listed as Sonny Wilson. He is the Jackie Wilson who replaced Clyde McPhatter in the Dominoes vocal group.

Terry Pollard is listed as playing vibraphone on this session but the instrument heard on track c sounds much more like a celeste.

Billy Mitchell (ldr), Thad Jones (t), Billy Mitchell (ts), Terry Pollard (vib, p), unknown (p), Alvin Jackson (b), Elvin Jones (d)

Terry Pollard (vib) on a; unknown (p) on a.

The exact recording date seems to be unknown.

I have not been able to confirm that Dee Gee XP 4009 was issued.

Some sources indicate the bassist is Jimmy Richardson but the 1992 Savoy CD reissue lists Alvin Jackson.

Track a is listed as “Compulsary” on the Savoy issues.

The arrangements of tracks b and c are the same as those recorded by Thad Jones and Billy Mitchell for Blue Note Records on March 13, 1956 (Detroit-New York Junction, BLP 1513).

On track a, a piano is heard comping behind Terry Pollard’s vibraphone solo. This could be Jones or Mitchell or someone else unidentified.

Sax Kari (Isaac Columbus Toombs, Jr.) (ldr), unknown (as, d), Lester Shackleford (ts), Sax Kari (Isaac Columbus Toombs, Jr.) (g), Terry Pollard (p), Ernie Farrow (b), Gloria Irving (v)

Gloria Irving (v) on a.

The Jazz Discography lists a trumpet player named Dezie McCullers as being present on these tracks, but no trumpet is heard on either.

The Jazz Discography also lists the bass player as "Ernie Ferrall." No bass player could be found with that name, so it’s very likely the bassist is Ernie Farrow although confirmation is needed.

Sax Kari (Isaac Columbus Toombs, Jr.) (ldr), unknown (as, d), Lester Shackleford (ts), Sax Kari (Isaac Columbus Toombs, Jr.) (g), Terry Pollard (p), Ernie Farrow (b), Gloria Irving (v)

It is not known if Gloria Irving is present on the unissued tracks. Only track a has been auditioned.

The Jazz Discography lists the bass player as "Ernie Ferrall." No bass player could be found with that name, so it’s very likely the bassist is Ernie Farrow although confirmation is needed.

Terry Gibbs (ldr), Terry Gibbs (vib), Terry Pollard (p), Kenny O'Brien (b), Louis Ciccone (Chick Keeny) (d)

On Brunswick BL 54027, track f is called “Wednesday at Two.” It is identical to “Terry’s Blues” issued on Brunswick BL 58055 except that a few seconds of applause are added at the end.

Terry Gibbs (ldr), unknown (br, bar, g), Terry Gibbs (vib), Terry Pollard (p), Kenny O'Brien (b), Louis Ciccone (Chick Keeny) (d), Jackie Paris (v)

Jackie Paris (v) on d.

This information comes from discographer Michel Ruppli. According to other sources, the unidentified personnel could be Don Elliott (mellophone), Al Porcino, Johnny Mandel (trumpet), Al Epstein (baritone saxophone) and Turk van Lake (guitar). The pianist could be Claude Noel and the drummer Sid Bulkin.

Terry Pollard, Clark Terry (ldr), Norma Carson, Clark Terry (t), Urbie Green (tb), Lucky Thompson (ts), Corky Hale (hrp), Terry Pollard (vib, p), Tal Farlow, Mary Osborne (g), Beryl Booker, Horace Silver (p), Percy Heath, Oscar Pettiford, Bonnie Wetzel (b), Kenny Clarke, Elaine Leighton (d)

Terry Pollard (ldr) on e-g, (vib) on e-g, (p) on d; Clark Terry (ldr) on a-d, (t) on a-d; Norma Carson (t) on d-g; Urbie Green (tb) on a-d; Lucky Thompson (ts) on a-d; Corky Hale (hrp) on e-g; Tal Farlow (g) on a-d; Mary Osborne (g) on d-g; Beryl Booker (p) on e-g; Horace Silver (p) on a-d; Percy Heath (b) on c-d; Oscar Pettiford (b) on a-b; Bonnie Wetzel (b) on e-g; Kenny Clarke (d) on a-d; Elaine Leighton (d) on e-g.

This is one of Leonard Feather's "battle of the bands." Tracks a-c involve the men and e-g, the women. Both are heard on track d. Although Irving Berlin's melody is heard on track d, soloists employ the standard "I Got Rhythm" chord progression.

Terry Gibbs (ldr), Terry Gibbs (vib), Terry Pollard (p), Kenny O'Brien (b), Louis Ciccone (Chick Keeny) (d), unknown (per)

unknown (per) on h.

Unidentified percussion (bongos, conga) is audible on track h.

Dick Garcia (ldr), Gene Quill (as), Dick Garcia (g), Terry Pollard (p), Bill Anthony (b), Frank Isola (d)

The recording date could be 1956.

Terry Gibbs (ldr), Terry Gibbs (vib), Terry Pollard (p), Herman Wright (b), Bert Dale (Nils-Bertil Dahlander) (d)

The LP describes this as an aircheck. Not auditioned.

Terry Pollard (ldr), Terry Pollard (vib, p), Ernie Farrow (b), Frank DeVito (d)

Terry Pollard (vib) on e-h.

It is assumed that on tracks e-h, Pollard is heard on both vibraphone and piano via overdubbbing.

Terry Pollard (ldr), Don Fagerquist (t), Howard Roberts (g), Terry Pollard (p), Herman Wright (b), Frank DeVito (d)

Don Fagerquist (t) on a-b, f, h; Howard Roberts (g) on a-b, f-h.

This is Terry Pollard’s only session as a leader.

Terry Gibbs (ldr), Terry Gibbs (vib, p), Terry Pollard (p), Herman Wright (b), Bert Dale (Nils-Bertil Dahlander) (d)

Terry Gibbs (p) on h.

This session really demonstrates Terry Pollard’s strength as a soloist. It swings from start to finish.

Track d is dedicated to comedian and jazz aficionado Soupy Sales.

Terry Gibbs (ldr), Sam Marowitz, Hal McKusick (as), Ray Black, Frankie Socolow (ts), Al Epstein (bar), Terry Gibbs (vib), Turk Van Lake (g), Terry Pollard (p), Herman Wright (b), Jerry Segal (d), Manny Albam (con)

Terry Gibbs (ldr), Sam Marowitz, Hal McKusick (as), Ray Black, Frankie Socolow (ts), Al Epstein (bar), Terry Gibbs (vib), Turk Van Lake (g), Terry Pollard (p), Herman Wright (b), Jerry Segal (d), Manny Albam (con)

Terry Gibbs (ldr), Terry Gibbs (vib), Terry Pollard (p), Herman Wright (b), Jerry Segal (d)

Terry Gibbs (ldr), Al Derisi, Bernie Glow, Ernie Royal, Nick Travis (t), Don Elliott (t, mel), Urbie Green, Tom Mitchell, Chauncey Welsch (tb), Bob Brookmeyer (vtb), Sam Marowitz, Hal McKusick (as), Al Cohn, Frankie Socolow (ts), Al Epstein (bar), Terry Gibbs (vib), Terry Pollard (p), Herman Wright (b), Jerry Segal (d)

Terry Gibbs (ldr), Al Derisi, Bernie Glow, Ernie Royal, Nick Travis (t), Don Elliott (t, mel), Urbie Green, Tom Mitchell, Chauncey Welsch (tb), Bob Brookmeyer (vtb), Sam Marowitz, Hal McKusick (as), Al Cohn, Frankie Socolow (ts), Al Epstein (bar), Terry Gibbs (vib), Terry Pollard (p), Herman Wright (b), Osie Johnson (d)

Terry Gibbs (ldr), Al Derisi, Bernie Glow, Ernie Royal, Nick Travis (t), Don Elliott (t, mel), Urbie Green, Tom Mitchell, Chauncey Welsch (tb), Bob Brookmeyer (vtb), Sam Marowitz, Hal McKusick (as), Al Cohn, Frankie Socolow (ts), Al Epstein (bar), Terry Gibbs (vib), Terry Pollard (p), Herman Wright (b), Osie Johnson (d)

Terry Gibbs (ldr), Terry Gibbs (vib), Terry Pollard (vib, p), Steve Allen (p), Herman Wright (b), Jerry Segal (d)

Terry Pollard (vib) on b, (p) on a; Steve Allen (p) on b.

This is an amazing video of the Terrys (Gibbs and Pollard) having fun on the Tonight Show:


About the CD FEDJ: “This collectors item is in honor of African American jazz musician Terry Pollard. Representing Black History Month 2020, we present this special edition of her only known recorded original song, ‘Fedj.’”

Yusef Lateef (ldr), Yusef Lateef (ts, f, per), Frank Morelli (bar), William Austin (reb, b), Terry Pollard (p), Frank Gant (d, per), unknown (v)

a, b  performed as medley

Yusef Lateef (ts) on a-b, d, (f) on c, (per) on d; William Austin (reb) on a; Frank Gant (per) on c-d; unknown (v) on d.

Other titles were performed at this concert but not issued: “Brother,” “Shadrack,” “Shaw ‘Nuff,” “Oscalypso” and “G.K. Blues.”

Frank Gant plays gong and finger cymbals on tracks c and d.

Track b is performed in 5/4 and has no improvised solos.

The timings shown include announcements and applause.

Yusef Lateef (ldr), Kiane Zawadi (Bernard McKinney) (eu), Yusef Lateef (ts, f, o), Terry Pollard (p), William Austin (b), Frank Gant (d)

Kiane Zawadi (Bernard McKinney) (eu) on a-i; Yusef Lateef (ts) on c-i, (f) on b, j, (o) on a.

Dorothy Ashby (ldr), Dorothy Ashby (hrp), Terry Pollard (vib), Herman Wright (b), Jimmy Cobb (d)

Terry Pollard (vib) on a-g, i-k.

No vibraphone is heard on track h. Track d has no improvised solos.

Terry Pollard, Louis Smith (ldr), Louis Smith (t), Terry Pollard (p), Burt Myrick (b), Dan Kolton (d)

Louis Smith (t) on a-f, h-l, n-o.

Not auditioned.

Tracks a-h comprise the 8 PM set and i-o, the 10 PM set.

The composers of tracks h, i and o need confirmation.

Terry Pollard, Louis Smith (ldr), Louis Smith (t), Terry Pollard (p), Burt Myrick (b), Dan Kolton (d)

Louis Smith (t) on a-c, e-l.

Not auditioned.

Tracks a-f comprise the 8 PM set and g-l, the 10 PM set.

The composer of track l needs confirmation.

Terry Pollard, Louis Smith (ldr), Louis Smith (t), Terry Pollard (p), Burt Myrick (b), Dan Kolton (d)

Louis Smith (t) on a-h, j-k.

Not auditioned.

Tracks a-f comprise the 8 PM set and g-k, the 10 PM set.

The composer of track f needs confirmation.

Nathan Davis (ldr), Woody Shaw (t), Nathan Davis (ss), Dexter Gordon (ts), Terry Pollard (vib), Mike Longo (p), Abe Laboriel (b), Kenny Clarke (d)

Nathan Davis (ss) on b.

These 2 concert performances were broadcast on NPR’s Jazz Alive. The announcers/moderators are Billy Taylor and Ray Coleman. The timings shown include announcements and applause.

A review of this concert in the October 24, 1977 The Pitt News confirms the personnel and also indicates that titles performed were “Why Fall in Love” (could this be “When I Fall in Love”?), “Lover Man” and “Fried Bananas.” The review laments serious problems with the sound system. The radio broadcast recording was taken largely from the seminar program and includes Woody Shaw backed by a student trio playing “Au Privave,” “Autumn Leaves” and “Oleo.” Dexter Gordon then performs “LTD” (introduced as “Blues in B-flat”) apparently with the same rhythm section.

This concert is discussed in an article by Jason Squinobal in International Jazz Archives Journal, Vol. 3, No. 3 (Fall 2009-2010), p. 20. It was part of an annual jazz seminar held at the University of Pittsburgh and organized by saxophonist Nathan Davis (1937-2018) who started the series in 1970. He retired as director of the Jazz Studies Program at Pittsburgh in 2013. This event was also a reunion of 4 American musicians who liver in Europe for extended periods of time: Davis, Dexter Gordon, Woody Shaw and Kenny Clarke.