Tad Richards' odyssey through the catalog of Prestige Records:an unofficial and idiosyncratic history of jazz in the 50s and 60s. With occasional digressions.
You've heard of swing-to-bop. Well, everything old is new again, and maybe this is bop-to-swing--taking some modern concepts and swinging them hard. And it's American music, right in the heart of it, drawing from blues and swing and rhythm and blues and American song to create a sound that's timeless and modern. As I've said before, these Swingville releases, with swing veterans, are not recreations of the music of the 1930s.
These guys have great swing credentials. Buck Clayton (Basie, Ellington, Goodman, Harry James) and Buddy Tate (Andy Kirk, Basie, Goodman) we've met before on Prestige, and recently.
And great credentials in general. Sir Charles Thompson (knighted by Lester Young) covered swing (Bennie Moten, Clayton, Vic Dickenson), bop (Bird, Miles), rhythm and blues (Lucky Millinder, Earl Bostic), and everything in between (Coleman Hawkins). He co-composed the jazz standard Robbins Nest with Illinois Jacquet when he worked in the latter's band.
Gene Ramey is a long time between Prestige appearances. In the label's very early days, he played bass on a Stan Getz date. It seems odd now to think of Getz as a Prestige artist, but a lot of the label's early artists were Woody Herman alumni, and Getz filled that bill. He had a similar background to Thompson, moving from Kansas City swing (Walter Page, Jay McShann) to bebop (Bird again, Horace Silver, Thelonious Monk) to those great tenor players who seemed to exist out of time (Ben Webster, Hawkins) and, like Thompson, easily moving back and forth, continuing to play with trad ensembles as well as the
moderns.
Mousie Alexander essentially worked the traditional side of the street, starting out with Jimmy McPartland (who made two 78s for Prestige--Alexander played one of them). He worked almost exclusively with traditional jazzmen (and women, an extensive stint with Marian McPartland), so I had assumed he must be the elder statesman of the bunch, but actually, born in 1922, he was a decade or more younger than the others. He did have one modern gig on his resume, with ultra-modern Lennie Tristano acolyte Lee Konitz.
Three of the tunes on the date are Clayton originals, including a tribute to the jazz Mecca where four of the five had learned their trade, "Kansas City Nights," which features inspired blowing by the two leads, and a lovely solo by Sir Charles Thompson. "When a Woman Loves a Man" is a Johnny Mercer song, and "Thou Swell" a Rodgers and Hart classic. "Can't We Be Friends," which has become a standard for jazz musicians and pop singers alike, is one of the relatively few hit tunes to be written by an investment hanker--all right, probably the only hit tune to be written by an investment banker. Lyricist "Paul James," in his banking life Paul Warburg (and a member of Franklin D. Roosevelt's first cabinet), was briefly married to composer Kay Swift, and collaborated with her on this tune.
The album was entitled Buck and Buddy, on Swingville. Esmond Edwards produced.
The Latin Jazz Quintet appears not to have been locked into the idea of a set lineup, not even within the same session:two different piano players are used here. And they appear not to have been locked into the notion that a quintet should have five members: Here there six, or seven if you count both piano players. There was a great rhythm and blues/doo wop group of this same era named the "5" Royales, and they, too, were not exactly committed to the idea of being limited to five members, so maybe these guys should have called themselves the Latin Jazz "Quintet," but so it goes. Conguero Juan Amalbert and bassist Bill Ellington, at least so far, seem to be the only constants, appearing on their earlier recordings with Shirley Scott and Eric Dolphy.
Alto sax player Bobby Capers was part of Mongo Santamaria's band, where he played both alto and baritone. His younger sister, pianist Valerie, came onto the scene as a pianist later in the decade, and put together a substantial career. Will Coleman, Bill Ellington and Jose Ricci seem not to have recorded beyond the Latin Jazz Quintet, and I can find no further information about them.
Ernest Phil Newsom was better known, to the extent that he was known at all, as Phil Newsum. And within the confines of the Bronx, he was quite well known. Although he and other Latin music-loving African- Americans met with resistance from some in the Latino community, they became very much a part of the Bronx Latin music scene (the lineup of the Latin Jazz Quintet is evidence of that), and it was a vibrant and thriving musical hot spot. “There was all this intermingling of musicians,” Newsum told an interviewer for the Bronx Historical Society. “I don’t think African-Americans are as involved with this now.” African American and Puerto Rican singers came together in Harlem, too, and Frankie Lymon and the Teenagers were the result. An amazing treasure trove of oral histories of Black and Latin music in the Bronx can be found at Fordham University's Bronx African American History Project. Newsum also recorded with Sabu Martinez.
Two of the hottest spots for Bronx Latin jazz were club 845, at 845 Prospect Street in the Morrisania section of the Bronx, and the Blue Morocco on Boston Road. A New York Times article by Manny Fernandez, recalls a
Sunday afternoon in March 1946, [when] you could have stepped into Club 845 -- admission $1.25, plus tax -- and danced to a goateed, bespectacled trumpet player named Dizzy Gillespie.
And later, in the late 1950s, the Latin Jazz Quintet's Arthur Jenkins played piano at the Blue Morocco, accompanying two African American singers--first Irene Reid, who had already made a solid name for herself but had not cracked the supper club big time of Ella Fitzgerald. The Blue Morocco's second chanteuse of the era was Nancy Wilson, who was discovered there.
The one breakout career from the Latin Jazz Quintet belonged to Arthur Jenkins, who made his recording debut here on one track (which ended up on the cutting room floor), but who was the full time piano man when the six-man quintet next gathered in May of 1961. After his stint at the Blue Morocco, and his recording debut with Amalbert, Jenkins went on to a career that touched a lot of bases. He spent nine years with pop-reggae-soul star Johnny Nash, and while working with him in Jamaica, also participated in recording Bob Marley and Peter Tosh. He recorded, toured with, and arranged music for Harry Belafonte. He had a hand in hit recordings in the disco field (Van McCoy's "The Hustle") and cool jazz (Roberta Flack and Donny Hathaway, Grover Washington Jr. and Bill Withers).
And as a result of being recruited to work on Yoko Ono's album Feeling the Space, he came to the attention of John Lennon. He played on Lennon's Mind Games album and on all his subsequent projects.
He worked in the Broadway theater, on commercials, and made two solo albums of jazz keyboards, which are worth a listen if you can find them. I love running across these stories of the under-the-radar lives in the music business.
The session included two originals (by Amalbert? not sure). two pop standards ("Summertime" and "Blue Moon") and two jazz standards ("Red Top" and "Round Midnight"). They're very percussion-focused, with Will Coleman's vibes the chief melody instrument. Bobby Capers's alto sax is much more sparingly used.
This and a subsequent Latin Jazz Quintet session each became part of two LPs--one on Prestige entitled Latin Soul, and the other on a short-lived Prestige budget imprint, Tru-Sound. That one was called Hot Sauce and the ensemble was billed as Juan Amalbert's Latin Jazz Quintet.
Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon. And Vol. 4 is very close to completion. Watch for it! The most interesting book of its kind that I have ever seen. If any of you real jazz lovers want to know about some of the classic records made by some of the legends of jazz, get this book. LOVED IT. – Terry Gibbs
Budd Johnson never lacked for work over a five-decade career. The gig he's best known for is Earl Hines, for whom he worked in the 1930-1940s, and then again in the 1960s-1970s, but when he wasn't with Hines he was with someone, from the Kansas City sound of Jesse Stone to the hot jazz of Louis Armstrong to the swing of Roy Eldridge, Ben Webster and Benny Carter. When the Count met the Duke, he was there. When Coleman Hawkins went to 52nd Street to help develop bebop, he was there, and he played with beboppers like Dizzy Gillespie, Bud Powell and Sonny Stitt, with soul jazzers like Cannonball Adderley and Jimmy McGriff, with jazz
singers like Carmen McRae and rhythm and blues singers like Ruth Brown And that just scratches the surface. For a few years in the late 1950s-early 1960s he recorded as a leader (just this one album for Prestige), and again for a few years in the early 1970s. He certainly had the stuff to step out front under his own name, as he proves here, and he shows his range and versatility, from the sweet sound of "Someone to Watch Over Me" to the hard-edged drive of his own "Uptown Manhattan" and "Downtown Manhattan," to the bebop subversion of Harry Warren's "I Only Have Eyes For You." The sentimental, dreamy side of this tune had recently been brought to the fore with the Flamingos' doowop hit; Johnson and his group romp and stomp through it.
The group includes Johnson's older brother Keg on trombone. Budd had the more prominent career of the two brothers, but both claimed their place in jazz history. They started out together in Dallas playing in their father's band and also--an unusual credit--in the ensemble of Portia Washington Pittman, the daughter of Booker T. Washington and a noted music educator in Dallas. They played in bands together in Dallas and later in Kansas City, but then Keg struck out on his own for Chicago, where he joined Louis Armstrong's ensemble. He put together a solid career in music, including 15 years with Cab Calloway. This was his only recording with his brother. Shortly thereafter, he would join Ray Charles's band, and remain in that group until his death in 1967.The rhythm section of Tommy Flanagan, George Duvivier and Charlie Persip is impeccable, and all three are active participants, especially Duvivier and Persip. Duvivier has some memorable exchanges with Budd, and Persip some infectious solos.Duvivier by this time was a solid regular on many Prestige sessions. Persip had done a few others, starting in 1956 with Phil Woods and Donald Byrd. And he had been a spectator at a memorable early Prestige session--the 1954 Miles Davis Quintet, where Miles and Monk almost came to blows. Persip had been invited along as a protégé of Kenny Clarke, the drummer on the session, and his account of the conflict, and the story behind one of Monk's oddest piano solos, is in our entry on the date.
Tommy Flanagan, straight from Detroit in 1956, had made his Prestige debut that same year on a Miles Davis session. In those days, coming from Detroit was virtually all the credential one needed to gain a foothold in New York's highly competitive jazz world, but Flanagan was one of the best Detroit had to offer. He had already played on over two dozen Prestige sessions, and would do many more, including a few as leader later in the 1960s. He is particularly strong here on "Blues by Budd," my favorite cut, and my "Listen to One."
The album was called Let's Swing!, and it was appropriately released on Swingville. Esmond Edwards produced.
Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon. And Vol. 4 is very close to completion. Watch for it! The most interesting book of its kind that I have ever seen. If any of you real jazz lovers want to know about some of the classic records made by some of the legends of jazz, get this book. LOVED IT. – Terry Gibbs
Prestige, for most of the last part of 1960, is in a holding pattern, not looking to break new ground. A lot of Swingville, Moodsville and Bluesville albums with veteran players and vocalists. But if this is a holding pattern, thank God they held onto it for as long and hard as they did. There isn't a one of these albums that you would wish unmade. And if it's a holding pattern in the history of jazz, or in terms of the music industry, it's not a holding pattern for these artists. Jazz musicians are always exploring, and probably no jazz musician ever has gone into the studio so often that he or she runs out of ideas, or the urgency to create.
Al Sears, who had been in Rudy Van Gelder's studio the day before Arnett Cobb, made three albums for Prestige in 1960 and 1961. Too much Al Sears? Too much of a holding pattern? Well, let's put it another way. Al Sears played jazz, and some rhythm and blues and rock 'n roll, on a professional level for over 50 years, which means that over five decades, bandleaders (like Duke Ellington) wanted him in their bands, club owners wanted to book him, people wanted to hear what he was playing. Yet in those five decades, those three Prestige albums were his only albums as leader. Try to tell me that's too much. We're lucky to have them.
Arnett Cobb made eight albums for Prestige in 1959 and 1960, and there's not a one of them that's too much Arnett. There's not a one of them that's not Arnett giving his all, and delivering music of lasting value and lasting joy. Before his "holding pattern" with Prestige, he had recorded a handful of 78s and 45s from the mid-1940s to the mid-1950s, and afterwards, he did not record again until 1970.
Opportunity, or lack of it. is part of the reason for a long hiatus between recording sessions. Another...these guys go into the studio because they have something new to say, and they frequently will stay away if they don't feel that they do. The most famous example of this is Sonny Rollins's two-year sabbatical at a height of popularity, retreating to a solitary woodshed under the Williamsburg Bridge (there's a movement to rename the bridge the Sonny Rollins Bridge, which I support--you can find out more, sign a petition, make a contribution at this website).
Cobb's retreat, before and after this recording, had to do with health. In 1956 he had been in a devastating auto accident, one that left him bedridden and flat on his back for a year, and left him in pain for the rest of his life. His 1959-60 recording burst was heroic.
Cobb was no stranger to injury. When he was a ten-year-old boy in Houston, he sneaked out of his home and took the trolley downtown to go to the movies. Crossing the street, he was hit by a car. He got up and walked away, but told no one, because he didn't want to be punished for sneaking out. But the untreated injury to his hip would lead to lifelong pain until finally twenty years later, in 1948, the hip had to be operated on, leading to his first enforced absence from music. He needed crutches for the rest of his life, and learned to play his powerful driving tenor saxophone while balancing on a crutch.
The auto accident in 1956 crushed both of his legs. They were not reset properly, so he was left with one leg shorter than the other.
On this album he is matched, as on his November session with Red Garland and his trio, George Tucker replacing George Duvivier on bass and J. C. Heard on drums, playing some blues and some standards. Tucker got quite a bit of work from Prestige in those days, and across a range of styles. In 1959-1960 he appeared with Johhny "Hammond" Smith, Shirley Scott, Eric Dolphy, and Oliver Nelson. He was at the beginning of a career that would be shockingly short: He died in 1965 of a brain henhorrage while playing with KennyBurrell.
The session starts out with "The Way You Look Tonight," one of my favorite songs. Lyricist Dorothy Fields said of it that when Jerome Kern first sent her the melody, she cried when she head it. And it is that beautiful. Originally written for Fred Astaire in Swing Time, it has become one of the most beloved of standards, with over 500 recordings, by pop, jazz, doo wop, country, British Invasion and opera singer, and a wide spectrum of jazz instrumentalists.J.C. Heard starts it off setting an intriguing rhythm. Cobb honors the melody, with a warm and sensitive statement of the head and an improvisation that finds new resonance in the melody's beauty.
The other standards are "Sweet Georgia Brown,: everyone's idea of a fun song, so much so that it's also been recorded over 500 times, not to mention the Harlem Globetrotters performing their pre-game workout to it. Cobb has fun with it too, but it's a more sophisticated kind of fun, a little bebop, a little rhythm and blues. Garland and Tucker contribute a bebop-tempoed break, and Heard has some hot licks as well. And "Georgia on My Mind," the Hoagy Carmichael classic that bests both of the others in the popularity, with nearly 600 cover versions--and one that dominates all the others. Ray Charles had released his just a couple of months previous, and it had shot up to Number One on the charts. Everyone knew how good it was, but it had not yet reached the iconic status where it would be named the state song of Georgia, and covering it seemed like a good idea. And it was a good idea. Cobb and the guys do it proud.
Cobb and Illinois Jacquet have always been linked by the two great versions of "Flying Home" with the Lionel Hampton band, and Cobb chooses a Jacquet composition (with prolific composer Jimmy Mundy) for this set, "Black Velvet," which has also become a jazz standard, though on a more modest scale, both under its original title and, with lyrics added, as "Don'cha Go Way Mad." Cobb lets some of his wailin' side loose here, though the melody has a sweetness to it.
His own compositions are "Blue Sermon" (bluesy, funky, a delight, with some great work by Garland) and "Sizzlin' (walking vamp by Tucker sets the pace and the mood; Cobb sizzles).
Sizzlin' was a Prestige release, Esmond Edwards producing.
Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon. And Vol. 4 is very close to completion. Watch for it!
Al Sears in his first Prestige session as leader. He'd co-helmed a Swingville session with Taft Jordan and Hilton Jefferson previously (as the Swingville All Stars), and played on Mildred Anderson's Bluesville recording in September 1960. Here he arrives with a quintet of mostly new to Prestige and mostly unfamiliar names, but they can swing, and as the title of his album declares. Swing's the Thing. Wendell Marshall is the Prestige veteran here, the stalwart of many a Prestige, Moodsville, Bluesfille and Swingville recording session. Drummer Joe Marshall is no relation, and neither of them are related to the earlier Joe "Kaiser" Marshall, also a drummer for virtually everyone from the 1920s
through the 1940s. Or, for that matter, rock drummer John Marshall or British swing drummer Jim Marshall, later to gain fame as the inventor of the Marshall amp. This Joe Marshall kept the name alive starting in the 1940s with Milt Larkin, Jimmie Lunceford and Duke Ellington (the two Joes could almost have overlapped in the Ellington orchestra). In the 1950s, he played on a lot of rhythm and blues recordings, including albums by Ruth Brown and LaVern Baker, and was used on one of the first experiments with doubling up drummers, joining with Bobby Donaldson to provide the punch for a recording by Louisiana swamp rocker Joe Clay. He's on the original cast recording of the Fats Waller Broadway musical, Ain't Misbehavin'.
Guitarist Wally Richardson, born in 1930, came of age in the 1950s, playing jazz (Louis Armstrong), blues ( Willie Dixon -- for Prestige-- and John Lee Hooker), pop (Tony Bennett and Eartha Kitt), rhythm and blues (Frankie Lymon and the Four Tops). and even gospel (Mahalia Jackson). And in 1968, he returned to Prestige to make the recording, Soul Guru, for which he is best remembered.
Soul Guru reflected the fractured and fused music of the late 1960s, but jazz remained his first love. Now retired, he reflected in a recent interview with Pennsylvania's online newspaper The Citizen's Voice:
Jazz will never end. Maybe people won’t listen to it but it will always be there being created in some little club. It may take a curb because it is influenced by different parts of the world — Middle East, Africa, Europe — but it’s wherever Jazz people are. It’s a strong influence but it doesn’t make as much money as rock, but it’ll be there all the time. It’s like the spirit of music, the spirit of ...
Don Abney appeared on Sears' Swingville All Stars session, so he's had experience with Sears before. My guess is that all of them were guys who worked regularly in clubs with Sears. They certainly have an easy swinging familiarity.
The album is divided between originals and compositions by others, starting (taking them in the order of presentation on the record) with one by Walter Bishop, "Moving Out." Bishop was originally
Jamaican--his calypso, "Sex is a Misdemeanor (De More You Miss, de Meaner You Get)," continues to be widely performed--who went on to write songs recorded by Count Basie, Louis Jordan and others. His son, Walter Bishop, Jr., became an important pianist in the bebop era. "Moving Out" sounds as though it might be an Eric Dolphy title, but it's a lovely swing ballad that's given a choice introduction by Richardson before Sears takes over with some beautiful, relaxed, thoughtful swing. Abney has a strong solo also.
Three compositions by Sears follow. "Record Hop" is appropriately danceable, with some boppish elements (mostly provided by Abney). It's a four-and-a-half minute cut, and while that can all fit into the grooves of a four-and-a-half-minute 45 RPM disc, I'm guessing Abney's solo was cut for the jukebox release. "Take Off Road" takes off, from lyrical to harder driving swing, but without ever losing that lyrical feel. "Already Alright" has that lyricism too. As a composer, Sears is really only known for "Castle Rock," but these show him to be a worthy melodist.
Don Abney is also represented with one original, "Ain't No Use," which features a lot of piano and guitar, and which I liked a lot."
The others are standards, which Sears and co. handle with aplomb, particularly the Ellington standby, "In a Mellow Tone."
"Record Hop" is probably my favorite from the session, and it was released on 45 along with "Take Off Road." Esmond Edwards produced.
Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon. And Vol. 4 is very close to completion. Watch for it! The most interesting book of its kind that I have ever seen. If any of you real jazz lovers want to know about some of the classic records made by some of the legends of jazz, get this book. LOVED IT. – Terry Gibbs
Jimmy Oden wasn't St. Louis's most famous blues export to Chicago--that would be Chuck Berry--but he was the one whose name identified him with the city, although he had actually been born in Nashville. Moving to the Gateway City in the 1920s, he entered a musical partnership with Roosevelt Sykes, and they dominated the St, Louis blues scene for a decade, sufficiently that when the two of them moved to Chicago, he brought the city's name with him, and kept it for the rest of his career. He had begun as a piano player, but perhaps because of his association with the piano virtuoso Sykes, he came to concentrate on vocal performance and songwriting. He
wrote a couple for Muddy Waters, and Waters and Sunnyland Slim backed him up on some of his early recordings.
Like another songwriter/vocalist, Percy Mayfield, he is mostly remembered for his songs, especially "Goin' Down Slow," a hit for him on the race records charts in 1941 which went on to become one of the most widely recorded of blues standards. It has been recorded by Chicago blues royalty--Little Walter, Howlin' Wolf, James Cotton, and by acoustic folk blues singers like Mance Lipscomb , Sonny Terry/Brownie McGhee, and Memphis Slim. Ray Charles recorded it twice, once in his early West Coast days and once in the 1960s on a blues album for ABC-Paramount. Jazz versions included Jimmy Witherspoon with Ben Webster. Rhythm and blues stars like Little Junior Parker, Bobby "Blue" Bland and B. B. King recorded. Across the Atlantic, it was picked up by Alexis Korner, the Animals, ex-Animal Alan Price, Procol Harum and others. Movie stars have recorded it (Danny Glover). And new versions are still being recorded, most recently by Dee Dee Bridgewater (jazz) and Peter Frampton (rock).
Also like Percy Mayfield, his career had been spiked by a serious auto accident, in 1957. So this, his first album session, was also his first since recuperating from the accident.
Oden's voice had the rawness we associate with Chicago blues, but it also had a bit of a silken quality--again like Percy Mayfield, but still more Chicago raw than West Coast smooth. And he was used to working with the aggressive, take no prisoners style of the best Chicago bluesmen.
He had one of them on this session--Jimmie Lee Robinson, who had worked the Shakey Jake Harris date for Ozzie Cadena and Prestige just two days earlier. Pianist Robert Banks also comes over from the Shakey Jake session, and plays a much more featured role than he did with Harris. That had been full steam ahead electric guitar and mouth harp blues, this features a more sophisticated
arrangement, built mostly around Banks's piano--similar to the original 1941 version on Bluebird, although Oden's voice has also developed in sophistication over the years.
Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon. The most interesting book of its kind that I have ever seen. If any of you real jazz lovers want to know about some of the classic records made by some of the legends of jazz, get this book. LOVED IT. – Terry Gibbs And Listening to Prestige Vol. 4 is not far off!
Shakey Jake Harris's first Prestige outing put him together with two of the label's soul jazz all stars, Jack McDuff and Bill Jennings. This time he's given Robert Banks, who has played keyboards on a wide variety of blues recordings for Prestige, and Leonard Gaskin, one of the label's most reliable bassists. But the real sound here is pure Chicago, with Harris's harmonica and vocals, Jimmie Lee Robinson's guitar, and John "Junior" Blackmon's drums.
Prestige had used Robinson once before, on Al Smith's first album, where he also worked with Robert Banks, but this is his real wheelhouse. He was a Chicago bluesman, playing with Freddie King, Little Walter, Howlin' Wolf and Harris's nephew Magic Sam, before retiring to a certainly blues-traditioned career: running a Chicago neighborhood candy store. Blackmon was also from Chicago, and considered a reliable session man for blues recordings. Between the three of them, they bring pure Chicago to Englewood Cliffs, in the style of Magic Sam or Jimmy Reed, but very much his own man.
The songs are mostly by Harris. There's one by Armand "Jump" Jackson ("Angry Lover"), another Chicagoan, and one by producer Ozzie Cadena ("Things Are Different Baby"). There's an unusual instrumental ("Jake's Cha Cha"), a slower and soulful instrumental
("Mouth Harp Blues," which is Robinson's even more than Harris's, and has some nice piano by Banks), and a lot of solid Chicago blues, the sound that had fired up the rhythm and blues charts in the 1950s, and would rule the world as it began to be discovered by a younger generation in far-off England. Shakey Jake would never cash in on the popularity of Chicago blues the way some of his contemporaries did, but he would have a solid career, as musician, nightclub owner and crapshooter.
Mouth Harp Blues is the title of the album.
Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon. The most interesting book of its kind that I have ever seen. If any of you real jazz lovers want to know about some of the classic records made by some of the legends of jazz, get this book. LOVED IT. – Terry Gibbs And Listening to Prestige Vol. 4 is not far off!
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