Mjt+3

In 1957, drummer Walter Perkins formed a quintet, the MJT + 3, that recorded four albums before breaking up in 1962. Walter Perkins was a longtime fixture in the Chicago jazz scene. He gained some recognition for playing with the Ahmad Jamal Trio during 1956-1957 (right before Jamal really caught on). A 1957 set for Argo led by Perkins (and also featuring trumpeter Paul Serrano, tenor saxophonist Nicky Hill, the young pianist Richard Abrams, and bassist Bob Cranshaw) used the name of MJT Plus 3. The better-known version of the band (with trumpeter Willie Thomas, altoist Frank Strozier, pianist Harold Mabern, and bassist Bob Cranshaw) recorded three albums for Vee-Jay during 1959-1960 and was popular for a time locally before breaking up in 1962.

One of several excellent hard bop pianists from the Memphis area, Harold Mabern has led relatively few dates through the years, but he has always been respected by his contemporaries. He played in Chicago with MJT + 3 in the late '50s and then moved to New York in 1959. Mabern worked with Jimmy Forrest, Lionel Hampton, the Jazztet (1961-1962), Donald Byrd, Miles Davis (1963), J.J. Johnson (1963-1965), Sonny Rollins, Freddie Hubbard, Wes Montgomery, Joe Williams (1966-1967), and Sarah Vaughan. During 1968-1970, Mabern led four albums for Prestige, he was with Lee Morgan in the early '70s, and in 1972, he recorded with Stanley Cowell's Piano Choir. Harold Mabern has recorded as a leader for DIW/Columbia and Sackville and toured with the Contemporary Piano Ensemble (1993-1995).

Various Artists - Chicago Hit Factory: The Vee-Jay Story 1953-1966 (2014) {10CD Set Charly Records CHARLY 915 B}
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© 1953-66, 2014 Charly Records / Vee-Jay | CHARLY 915 B
Rhythm & Blues / Doo-Wop / Blues / Soul / Gospel / Jazz

Celebrating sixty years since the launch of one of the most successful independent record labels in US Popular music. Received wisdom would have us believe that before Motown, no black-owned record company had made a significant impact on the US mainstream. However, the actuality is something else entirely. Way back in the early 50s, long before Berry Gordy had written his first song, VEE-JAY RECORDS - a black, family owned and run, Chicago-based label - was establishing itself via a steady stream of Blues, R&B, DooWop and Gospel hits.

Harold Ousley - Tenor Sax (1961) {2013 Japan Bethlehem Album Collection 1000 CDSOL-6048}
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© 1961, 2013 Solid Records Japan / Bethlehem | CDSOL-6048 | LP BCP-6059
Jazz / Hard Bop / Jazz Blues / Soul Jazz / Saxophone

Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. A legendary album from this tenor genius from Chicago – a hell of a player who emerged in the same generation as Clifford Jordan, John Gilmore, Eddie Harris, and Johnny Griffin – yet never fully got his due! The album's easily one of the most sharp-edged for the Bethlehem label – and has the power of a rare Blue Note or Prestige date from the same time – thanks partly to Harold's sharp bite in the tone of his tenor, and partly to an ultra-hip lineup that includes Charles Davis on baritone sax, Julian Priester on trombone, Phillip Wright on piano, Thomas Williams on bass, and Walter Perkins on drums.

Frank Strozier - Cool, Calm and Collected (1960) {Vee-Jay–KOCH Jazz KOC-CD-8552 rel 2000}
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© 1960, 2000 KOCH Jazz / Rhino / Vee-Jay | KOC-CD-8552
Jazz / Hard Bop / Saxophone

This advanced hard bop session from 1960 was previously unreleased until it appeared on a Vee-Jay CD in 1994. Altoist Frank Strozier is heard with a Chicago-based trio comprised of pianist Billy Wallace, bassist Bill Lee and drummer Vernel Fournier. The CD really gives listeners two records in one because of the seven songs, all but one are heard in two versions and two of the pieces are heard three times. Strozier is in fine form, the obscure Billy Wallace (mistakenly called Wallace Williams in the liner notes) plays some fiery solos and the performances are satisfying. Still, due to the duplicate titles, one might not want to consume the whole program in one sitting.

One of several excellent hard bop pianists from the Memphis area, Harold Mabern has led relatively few dates through the years, but he has always been respected by his contemporaries. He played in Chicago with MJT + 3 in the late '50s and then moved to New York in 1959. Mabern worked with Jimmy Forrest, Lionel Hampton, the Jazztet (1961-1962), Donald Byrd, Miles Davis (1963), J.J. Johnson (1963-1965), Sonny Rollins, Freddie Hubbard, Wes Montgomery, Joe Williams (1966-1967), and Sarah Vaughan. During 1968-1970, Mabern led four albums for Prestige, he was with Lee Morgan in the early '70s, and in 1972, he recorded with Stanley Cowell's Piano Choir.