1.Twisted
2.Easy Living
3.Southside
4.Sweet Lorraine

NYC - 11/11/49

5.Scrapple from The Apple
6.Move 

Hula Hut, LA 8/27/50

7.A Sinner Kissed an Angel 
8.Blue Gray
9.Grayhound 
10.Treadin 

Detroit - 4/25/50

11.April Skies 
12.Bright Boy 
13.Jackie 
14.Farmer's Market
15.Sweet and lovely 
16.Lover man 

LA - 1/21/52

17.The Man I Love 
18.Lavonne 
19.So Long Broadway 
20.Paul's Cause 

LA - 2/20/53

Musicians:
Wardell Gray - tenor sax
Al Haig - piano
Tommy Potter - bass
Roy Haynes - drums
Clark Terry - trumpet
Sonny Criss - alto sax
Dexter Gordon - tenor sax
Jimmy Bunn - piano
Billy Hadnott - bass
Chuck Thompson - drums
Phil Hill - piano
John Richardson - bass
Art Madigan - drums
Art Farmer - trumpet
Hampton Hawes - piano
Harper Crosby - bass
Lawrence Marable - drums
Robert Collier - conga
Frank Morgan - alto sax
Sonny Clark - piano
Teddy Charles - vibes
Dick Nivison – bass

Wardell Gray was one of the top tenors to emerge during the bop era (along with Dexter Gordon and Teddy Edwards). His Lester Young-influenced tone made his playing attractive to swing musicians as well as younger modernists. He grew up in Detroit, playing in local bands as a teenager. Gray was with Earl Hines during 1943-1945, recording with him (1945). That same year, he moved to Los Angeles and he became a major part of the Central Avenue scene, having nightly tenor battles with Dexter Gordon; their recording of "The Chase" was popular. Gray recorded with Charlie Parker in 1947 and yet his style appealed to Benny Goodman, with whom he played the following year. Among his own sessions, his solos on "Twisted" (1949) and "Farmer's Market" (1952) were turned into memorable vocalese by Annie Ross a few years later. Back in New York, Gray played and recorded with Tadd Dameron and the Count Basie septet and big band (1950-1951); "Little Pony," his showcase with the Basie orchestra, is a classic. Gray was featured on some Norman Granz jam sessions ("Apple Jam" has a particularly heated solo) and recorded with Louie Bellson (1952-1953). Ironically, Wardell Gray, who in the late '40s was an inspiration to some younger musicians due to his opposition to drug use, himself became involved in drugs and died mysteriously in Las Vegas on May 25, 1955, when he was just 34. ---Scott Yanow, allmusic.com

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1 	Dell's Bells 	2:56
2 	One For Prez 	3:12
3 	The Man I Love 	3:04
4 	Easy Swing 	3:00
5 	The Great Lie 	4:45
6 	Dell's Bells 	3:00
7 	One For Prez 	3:14
8 	The Man I Love 	3:23
9 	Easy Swing 	3:06
10 	Dell's Bells 	3:09
11 	Dell's Bells (Incomplete) 	1:38
12 	Dell's Bells 	3:06
13 	The Man I Love 	3:34
14 	One For Prez 	3:05
15 	One For Prez 	2:54
16 	One For Prez 	2:45

Bass – Red Callender
Drums – Chuck Thompson (tracks: 6), Harold "Doc" West (tracks: 1 to 5, 7 to 16)
Piano – Dodo Marmarosa
Tenor Saxophone – Wardell Gray

Wardell Gray's admitted direct and huge influence is Lester Young, and as a tenor saxophonist growing up in the passing lane between swing to bop, it would be difficult for anyone to ignore the so-called President of Jazz. Gray's time in Los Angeles with Dexter Gordon further refined his sound, but these recordings, his first as a leader, define the greatness of Gray. Originally recorded on 78s for Vogue Records, and an LP for the Fontana label, this collection is essentially a complete session, done November 23, 1946 in Hollywood, CA, with several alternate takes included. Drummer Harold "Doc" West and bassist Red Callender are the cream of the crop West Coast rhythm section at the time, and cook up a storm when asked to up the tempo. Alongside pianist Dodo Marmarosa, Gray is inspired to play unison lines with him on several occasions, especially in the introductions and melody lines of these pieces, as they mesh brilliantly into a stunning display of teamwork and compatibility. Five versions of "Dell's Bells" display the shared values between Gray and Marmarosa, as they scoot along in perfect tandem lines that seem telepathic, while also displaying the fluid dynamics of the tenor man. "One for Prez" falls along the same lines, basing this jam on the theme of "How High the Moon." Five versions of this one -- three at the end of the CD -- are shorter with a more edited introduction. Settling into a more cozy mood, three renditions of the ballad "The Man I Love" have Marmarosa in more of a support role, offering chiming chords and comping that is clearly interactive. Two takes of "Easy Swing" are just that, an original based on a simple theme adding big doses of the blues and an off-minor mode à la Thelonious Monk, a big influence on Marmarosa. Drummer Chuck Thompson replaces West for a sole take of "The Great Lie," an out-and-out furious bopper, all Gray, with Marmarosa and the ever brilliant Callender pumping up the rhythm to maximum levels. If you are fond of saxophonists like Don Byas, Chu Berry, Herschel Evans, and Lester Young, please include Gray and this wonderful introduction to him as a leader, backed by a bulletproof all-star combo, all deserving high praise. ---Michael G. Nastos, AllMusic Review

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1 	Blue Lou 	
2 	Sweet Georgia Brown 	
3 	Tenderly 	
4 	Just You, Just Me 	
5 	One O'Clock Jump

Wardell Gray - Tenor saxophone
Irving Ashby 	Guitar
Harry Babasin 	Bass
Red Callender 	Bass 
Vic Dickenson 	Trombone
Erroll Garner 	Piano 
Barney Kessel 	Guitar
Don Lamond 	Drums
Howard McGhee 	Trumpet
Jackie Mills 	Drums
Vido Musso 	Sax (Tenor)
Arnold Ross 	Piano
Ernie Royal 	Trumpet 

This album was recorded live in Los Angeles in 1948, and finds the great Wardell Gray amidst some of the finest musicians of the time. In the late 1940s, the West Coast jazz scene introduced the big band jazz concert idea to the public. At this time in his short career, Gray was starting his ascent and would achieve lasting fame in tenor sax history. The recorded sound on the album is tinny, given that it was recorded in a hall, and the echo is distracting. However, the compact disc cleaned much of this up, and the dueling between the two tenors shines right through. Vido Musso, the other fine tenor here, was with Stan Kenton for a time. His punchy style plays off the smoother swing of Gray. There's also some strong, bright soloing by Howard McGhee, Ernie Royal, Barney Kessel, and Red Callender. The rhythm section swings hard throughout the session, and Gray knows how to ride the wave with a vengeance. He had that effortless tone of Lester Young, and was full with the fire of bop at the same time. His improvisation was prodigious, and he could translate a landslide of ideas through his horn. The genius Erroll Garner, then only 35, renders a fine solo version of "Tenderly." The compact disc version adds the bonus cut "Sweet Georgia Brown." This is what ignited jazz at the summit sounded like in concert in the late 1940s. Recommended. ---Mark Romano, AllMusic Review

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