the door to yeterday. vol. 4 no. 24 alan warner 2020 round idnight



 Jazz music has rarely been explored 

in earlier “Door To Yesterday” bulletins 

and so I thought this a good time to share a few

of my personal favorite vintage jazz instrumentals. 

I stress that this is purely a random selection…


(Thelonious Monk/Cootie Williams/Bernie Hanighen)

by The Miles Davis Quintet 

(Columbia: 1957) 

Recorded in ’56 by The Miles Davis Quintet

Miles (trumpet), John Coltrane (tenor sax), 

Red Garland (piano), Paul Chambers (bass) 

and Philly Joe Jones (drums). 

The tune dates back a number of years earlier 

when its melody was written by pianist Thelonious Monk.

 In the summer of ’44, trumpeter and Duke Ellington band member Cootie Williams 

recorded a version and his arrangement resulted in his name being added as co-writer; 

a lyric was also created by Bernie Hanighen. The version recognized as Monk’s own original 

was issued in late ’47. Miles Davis reintroduced the tune at the 1955 Newport Jazz Festival.


(Paul Desmond)

by Dave Brubeck Quartet

Pro: Teo Macero 

(Columbia: 1959) 

With Paul Desmond’s alto sax spelling out the melody 

and pianist Dave Brubeck playing in the 5/4 time signature, 

this became a huge popular hit in ’61.Also featured: 

Gene Wright (bass) and Je Morello (drums).


(Ernest Gold)

by Eddie Harris 

(Vee-Jay: 1961) 

Tenor sax arrangement of the Title Theme from 

Otto Preminger’s 1960 film starring Paul Newman 

& Eva Marie Saint.  

Edited down to a two-minute singleEddie’s record became a Top 40 single.

. Supporting Eddie: Willie Pickens (piano), Joe Diorio (guitar), 

William Yancy (bass) and Harold Jones (drums).


(Josef Zawinul)

by 'Cannonball' Adderley

Pro: David Axelrod 

(Capitol: 1966) 

Recorded live, this became a Top 20 hit in ’67 

for alto saxman Cannonball Adderley supported 

by his cornet-playing brother Nat and pianist/composer Josef Zawinul 

with Victor Gaskin (bass) and Roy McCurdy (drums).


(George Shearing)

by the George Shearing Quintet 

(MGM: 1952) 

Written by pianist Shearing as the theme tune for Morris Levy’s 

New York jazz club radio show.

 Supporting George: Dick Garcia (guitar), Al McKibbon (bass), 

Marquis Foster (drums) and Joe Roland on vibes. 

It became George’s all-time theme tune.

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(Billy Strayhorn)

by Duke Ellington & His Famous Orchestra 

(Victor: 1941) 

The Duke’s famous signature tune named for a New York City subway service. 

The orchestra at the time comprised the Duke on piano 

plus Ray Nance (trumpet),Rex Stewart (cornet), Wallace Jones (trumpet),

 trombonists Joe Nanton, Juan Tizol & Lawrence Brown

clarinetist & tenor saxman Barney Bigard, alto & soprano saxman Johnny Hodges,

 alto saxman Otto Hardwick,

tenor saxman Ben Webster, baritone saxman Harry Carney, guitarist 

Fred Guy,bassist Jimmy Blanton and drummer Sonny Greer 

plus composer/pianist Billy Strayhorn


(Lee Morgan)

by Lee Morgan 

(Blue Note: 1964)  

Lee Morgan (trumpet), Joe Henderson (tenor sax), 

Barry Harris (piano), Bob Cranshaw (bass), Billy Higgins (drums). 


(Jimmy Forrest)

by Jimmy Forest (tenor sax) & All Star Combo

(United: 1952) 

The combo: Bunky Parker (piano), Johnny Mixon (bass), 

Oscar Oldham (drums) & Percy James (congo drums & bongo). 

A successful hard-driving R&B instrumental, it has a Duke Ellington 

pedigreein that the opening riff first materialized in Johnny Hodges’ 1940 78 of 

THAT’S THE BLUES OLD MAN after which the Duke re-used it himself 


Jimmy Forrest had earlier played in the Ellington orchestra. 

NIGHT TRAIN was successfully revived by 

James Brown a decade later in ’62.


(Bobby Timmons)

by Art Blakey & The Jazz Messengers

Pro: Alfred Lion 

(Blue Note: 1958) 

Composer Bobby Timmons’ piano opens the track 

which features Lee Morgan (trumpet), Benny Golson (tenor sax), 

Jymie Merritt (bass) and of course Art Blakey (drums).


(Antonio Carlos Jobim) 

by Stan Getz/Charlie Byrd

Pro: Creed Taylor

 (Verve: 1962) 

Stan Getz (tenor sax), Charlie Byrd (guitar), 

Keter Betts (bass), Gene Byrd (bass & guitar), 

Buddy Deppenschmidt & Bill Reichenbach (percussion). 

This was a defining moment in the popularity 

of the Brazilian bossa nova rhythm.


(Herbie Hancock)

by Mongo Santamaria & His Orchestra

Pro: Orrin Keepnews & Larry Maxwell 

(Battle: 1963) 

Conga-meister Mongo Santamaria achieved pop chart success 

with this Latin jazz tune just a few months after Herbie Hancock 

released his original version. Mongo’s musicians: Marty Sheller (trumpet), 

Pat Patrick (alto sax), Bobby Capers (tenor sax), Rodgers Grant (piano), 

Victor Venegas (bass), Frank Hernandez & Kalil Madi (drums), 

Kako’, Joseph Gorgas & Chihuahua Martinez (percussion).


(Erroll Garner)

by Erroll Garner Trio 

(Mercury: 1954)  

Erroll’s superb piano styling was supported by 

Wyatt Ruther (bass) and Fats Heard (drums). 

MISTY is also remembered as a vocal ballad success by 

Johnny Mathis  in ’59 with a lyric by Johnny Burke. 

Clint Eastwood featured Erroll Garner playing his classic melody 

on the soundtrack of the 1971 film drama “Play Misty For Me”

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(Elmer Bernstein)

by Jimmy Smith & The Big Band

Arr: Oliver Nelson

Pro: Creed Taylor (Verve: 1962) 

Bombastic brass-laden version with organist 

Jimmy Smith of the title theme from the movie starring

 Laurence Harvey, Capucine & Jane Fonda. 

Conductor Oliver Nelson’s swingin’ band arrangements 

dominate the track’s first half setting the scene for Jimmy’s 

spectacular organ bops and wails which begin around 2.40. 

The Big Band comprised trumpeters 

Joe Newman, Ernie Royal, Doc Severinsen & Joe Wilder

trombonists Jimmy Cleveland, Urbie Green,

 Britt Woodman and Tom Mitchell, alto saxmen 

Jerry Dodgion and Phil Woods, tenor saxmen Bob Ashton and Babe Clark,

 baritone saxman George Barrow,guitarist Barry Galbraith, bassist George Duvivier

 and drummer Ed Shaughnessy.

As in all my postings,

 the recordings listed and referenced above 

are in no way intended as definitive collections.

Please send any comments or suggestions to

Rock on.

Alan Warner

© Alan Warner, 2020. Unauthorized use and/or duplication of this material without express and 

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