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Philly Joe Jones Biography by Scott Yanow

Milestones

A fiery drummer and a masterful accompanist, Philly Joe Jones came to fame as a key member with the first classic Miles Davis Quintet. After serving in the Army, he moved to New York in 1947, became the house drummer at Cafe Society and played with a who's who of bop (including Charlie Parker, Dizzy Gillespie, and Fats Navarro). He worked regularly with Ben Webster, Joe Morris, Tiny Grimes, Lionel Hampton, and Tadd Dameron (1953). Jones was with Miles Davis during 1955-1958, including the quintet years (1955-1956) with John Coltrane, Red Garland, and Paul Chambers and the beginnings of the super sextet that also included Cannonball Adderley (recording the classic Milestones album). In 1958, he started leading his own groups, recording for Riverside (1958-1959) and Atlantic (1960). Jones lived in London and Paris during 1967-1972 (performing and recording with some avant-garde players, including Archie Shepp). He eventually returned to Philadelphia, where he led a fusion group, Le Grand Prix, toured with Bill Evans during 1976, recorded for Galaxy in 1977 and 1979, and worked with Red Garland. Starting in 1981, he led the group Dameronia, which revived Tadd Dameron's music. But in reality, everything that Philly Joe Jones did after Miles Davis was anticlimactic.

Round Midnight Review by Ron Wynn

Excellent Italian set with sorely neglected Dizzy Reece on trumpet.

Philly Joe Jones* – Round Midnight

Label:

Lotus – LOP 14.073, Lotus – LOP 14073

Series:

Jazz (23)

Format:

Vinyl, LP, Album, Reissue, Stereo

Country:

Italy

Released:

1980

Genre:

Jazz

Style:

Hard Bop

A1 That's Earl Brother

Written-By – Powell*

8:44

A2 It Don't Mean A Thing

Written-By – Ellington*

9:06

B1 Round Midnight

Written-By – Monk*

7:15

B2 Percy

Written-By – Reece*

12:44

Distributed By – Saar s.r.l.

Marketed By – Saar s.r.l.

Phonographic Copyright ℗ – Saar

Bass – Isla Eckinger

Drums – Philly Joe Jones*

Photography By [Album Photos], Design – K. Abe*

Piano – Larry Vuckovich

Tenor Saxophone – Bent Jædig

Trumpet – Dizzy Reece

Recorded live in Pescara, Italy, July, 1969.

Distributed & Marketed by SAAR srl, Milan

Rights Society: SIAE

Matrix / Runout (Side A etched): LPPS·11·115·A 7·3·80

Matrix / Runout (Side B etched): LPPS·11·115·B 7·3·80

GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.