Jimmy Wormworth: Het American Jazz Quintet in Parijs (1957)- deel 2

De Chat Qui Pêche (Parijs -1957) Open elke dag, de hele nacht
Dat is toch geen muziek; dat is alleen een bak herrie.(Philly Joe Jones citeert de clubeigenaars)
Hans Koert

In augustus 1957 waren Jimmy Wormworth en zijn American Jazz Quintet uitgenodigd voor een serie optredens in Le Chat Qui Pêche, een jazzkelder in Parijs. In clubs zoals de Saint-Germain gingen ze na afloop van hun optreden, luisteren naar andere jazzmusici, zoals Kenny Clarke, Lucky Thompson en Nico Bunink.
George Braithwaite (= Braith) en twee groupies (foto: Jimmy Wormworth)
Jimmy herinnert Floris (Nico) Bunink, hij zou zich vanaf zijn achttiende gewoon Nico laten noemen, woonde al vanaf 1956 in Parijs en had zijn eigen draai gevonden in de Parijse jazzscene. Hij speelde in het kwintet van Barney Wilen tot 1958, waarin Al Levitt op slagwerk te horen was. Nico en Al Levitt werden vrienden en je kunt je voorstellen hoe Jimmy Wormworth, Roland Ahby, Sal Amico, Barry Rogers en George Braith, allen leden van de American Jazz Quintet met hun neus in de boter vielen, als ze na afloop van hun optreden bij bijv. Al Levitt, die Jimmy als slagwerker hoog waardeerde, konden gaan luisteren. We never played in the Club St. Germain - we only sat in after we played in the Chat Qui Pêche.(= We hebben nooit in de Saint-Germain gespeeld - we gingen er alleen na afloop van ons optreden in Le Chat Qui Pêche luisteren.) De Club Saint-Germain lag op de linker oever en was De Club in de jaren vijftig waar de grote jazzmannen optraden, zoals Lester Young en Miles Davis (eind 1957). Kenny Clarke schijnt er in 1958 zelfs een tijdje onderdak gevonden te hebben. Jimmy herinnert zich dat hij en Nico het samen goed konden vinden: We became quite close.....very close friends. (= We werden erg dikke vrienden). George Braith met een Parijse groupy (foto: Jimmy Wormworth)

Nico verliet Europa in 1959 en ging in de VS wonen, waar hij een plekje vond bij de band van Charles Mingus, toen Mingus hem hoorde spelen in Minton's Playhouse. Toen Jimmy later weer terug was in New York zochten ze elkaar vaak op. We hung out in NYC, a lot, whenever he was here!! (= Als hij in New York was, zochten we elkaar vaak op) herinnert Jimmy zich. Nico had ook een broer, gaat Jimmy verder, die een motor had en met hem reed ik dan langs alle hoogtepunten van Parijs. He had a motorcycle, a BMW, I think. (= Hij had een motor, ik geloof een BMW). I remember the motorcycle, because he took me on it, to see the Sacre Coeur cathedral, on the Rive Droite and the Montmartre neighbourhood, Place Pigalle, etc. (= Ik herinner me die motor nog, omdat we daarmee langs de Sacre Coeur, de rechter oever van de Seine en Montmartre, Place Pigalle en zo). Hoewel Jimmy's tweede zoon Nico heet, moet Jimmy nog al eens uitlegggen dat hij hem niet naar Nico Bunink genoemd heeft: Everybody asks me if I named my son after Nico Bunink, but that's not true; it was just another name I suggested to my wife and she liked it. ( = Ik word nog al eens gevraagd of ik mijn zoon naar Nico Bunink genoemd heb, maar dat is niet waar; het was gewoon één van de namen die ik aan mijn vrouw voorstelde en die ze leuk vond). Een fan, die luisterde naar de naam Jean Plaisir ( foto: Jimmy Wormworth)
De club Le Chat Qui Peche was geopend rond 1955 in de rue de la Huchette in het Quartier Latin, gerund door Madame Ricard, die tijdens de Tweede Wereldoorlog in het Franse Verzet had gezeten. Le Chat was in 1957 een smalle, één ruimte tellende club. Madame Marie-Thérèse Ricard (rechts) met criticus Maurice Cullaz en twee onbekenden op de beneden verdieping van Le Chat Qui Pêche. (foto: Chenz)(Dank aan Brownie)

I was told that we made her club so successful, because there were many bus tours coming to hear us, that, after us, Madam Ricard hired many famous American jazz musicians, so that she had the funds to add another floor in the club. ( = Ik heb horen vertellen dat ze haar club zo succesvol had gemaakt dankzij busladingen toeristen die hier naar ons kwamen luisteren, zodat Madame Ricard later allerlei beroemde Amerikaanse jazzmusici kon contracteren en er een verdieping op kon laten bouwen). I don't know if that's true, but I think it was the late Al Levitt, who told me that, because he stayed in Paris, after we came back to the USA. (= Of het waar is weet ik niet, maar ik geloof dat Al (Levitt) me dat vertelde, want die bleef, nadat we terug waren naar de VS, hier spelen). Anderen hebben gelijksoortige herinneringen aan Le Chat Qui Pêche. De kelderclub was buitengewoon populair, maar zag er niet uit, herinnert Louis Victor Maily, journalist voor het Parijse Jazz Hot magazine. Open all night every night.( Open elke dag, de hele nacht). Le Chat Qui Pêche is nu een restaurant.
It was a popular place to play for US musicians, where they found a second home, where they could play the kind of music they really liked, there by making lots of new friends in modern jazz, or Hard bop as it came to be know later (= Het was een geliefde plek voor Amerikaanse musici om te spelen, een thuis, waar ze de muziek konden spelen die ze echt leuk vonden, waar ze veel nieuwe vrienden maakten, die net als hen hielden om moderne jazz te spelen, of Hard bop, zoals het later genoemd werd), schrijf Bernie Newman in het boekje bij de Cd van het Donald Byrd Quartet "Au Chat Qui Peche" 1958 ( Fresh Sound FSCD-1028). US musicians liked the appreciative European audience, as was quite different from what they were accustomed to in New York (= Amerikaanse musici hielden van het Europese publiek, dat waardering had voor hun spel, iets dat ze thuis in New York niet gewend waren). Art Taylor, die in 1958 zelf drie maanden in Le Chat Qui Pêche optrad, laat Philly Joe Jones in zijn boek Notes for Notes (een bundel interviews) vertellen, dat the owners of the club didn't really like the music they played; they only wanted to make money ......... (= de eigenaren van de club eigenlijk niks gaven om de muziek die ze speelden, ze wilden alleen geld verdienen). Like the people who run the Chat Qui Pêche, they don't care whether you're playing well or not. (= Neem nu de mensen die Le Chat Qui Pêche leidden; het kon hen niets schelen of je nu goed of slecht speelde.) It's how much money they earn. (= Het ging hen alleen om de verdiensten). They'll accept all the money and be smiling because they're making money, but deep down inside they say: They aren't musicians, it's just a bunch of noise. ( = Ze telden hun inkomsten en stonden dan te lachen naar je omdat ze goed verdiend hadden, maar in werkelijkheid zag je ze denken: Dat is toch geen muziek; dat is alleen een bak herrie). De club bleef open tot 1970 toen Madame Ricard haar vergunning verkocht; tegenwoordig is het een restaurant dat nog steeds dezelfde naam draagt. Al Levitt en Jean Plaisir - augustus 1957 (Foto: Jimmy Wormworth)
Volgens Jimmy speelden ze de hele maand augustus in Le Chat, wat dus betekent dat ze halverwege terug moesten rijden naar Amsterdam om te spelen in het voorprogramma van het J. J. Johnson concert op de 17de augustus en, waarschijnlijk, de volgende dag weer terug. Feit is dat ze ook weer op tijd bij de Holland Amerika Lijn moesten zijn in Rotterdam voor hun terugtocht naar New York. Ik heb nog geen dienstregeling kunnen vinden, maar wel dat op 2 september 1957 het HAL-schip De Zuiderkruis naar New York afvoer, waar het op de 21ste September aankwam. Feit is, herinnert Jimmy zich, that I had my 19th birthday celebrated in Le Chat Qui Peche (14th of August) ( = dat ik de 14de mijn negentiende verjaardag vierde in de Chat Qui Pêche.) Al Levitt got me very drunk for the 1st time in my life, and I was so sick that I couldn't play at Le Chat, that night! (= Al Levitt voerde me toen voor het eerst van mijn leven zo dronken, dat ik die avond niet meer kon spelen in Le Chat!!)
Bedankt Jimmy en Faith voor al jullie informatie!
Hans Koert
keepswinging@live.nl

Le Chat Qui Pêche was één van die clubs in het Parijs van de jaren vijftig, waar Amerikaanse jazzmusici zich thuis voelden - waar ze hun muziek konden spelen. Madame Ricard leidde de club en gaf de musici daarvoor alle ruimte. De musici voelden zich hier gewaardeerd door het Parijse publiek; iets dat ze in New York misten. Jimmy Wormworth en zijn American Jazz Quitet (+ één) traden hier in augustus 1957 op en ontmoetten er o.a. Nico Bunink, de Nederlandse pianist, die in Amerika weliswaar een glansrijke carriere maakte in bands als die van Charles Mingus, Zoot Sims en Stan Getz, om er een paar te noemen, maar terug in Nederland hiervoor weinig erkenning kreeg. De Keep Swinging blog publiceert de herinneringen van Jimmy Wormworth uit deze periode. Als je niets wilt missen volg haar dan via Twitter (#keepswinging) of vraag haar gratis Nederlandse- of Engelstalige nieuwsbrief ( of allebei). Vraag ernaar: keepswinging@live.nl

Retrospect
Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions




(English links) Jimmy Wormworth: The 1956 Student Cruise Program stay in Holland - Jimmy Wormworth: The 1957 American Jazz Quintet in Holland - Jimmy Wormworth: The American Jazz Quintet in Paris (1957)- part one Jimmy Wormworth: The American Jazz Quintet in Paris (1957)-part two The American Jazz Sextet: The 1957 J. J. Johnson concert
Nederlandse link: Jimmy Wormworth: Het Studenten Cruiseprogramma en zijn verblijf in Nederland (1956) - Jimmy Wormworth: Het American Jazz Quintet in Nederland (1957) - Jimmy Wormworth: Het American Jazz Quintet in Parijs (1957)- deel 1 Jimmy Wormworth: Het American Jazz Quintet in Parijs (1957)- deel 2 Het American Jazz Sextet opent J.J.Johnson concert.

Jimmy Wormworth: The American Jazz Quintet in Paris (1957)-part two

Le Chat Qui Pêche (Paris)(1957) - Open all night - every night.
They aren't musicians, it's just a bunch of noise (Philly Joe Jones quotes the club owners).
Hans Koert

In August 1957 Jimmy Wormworth and his American Jazz Quintet were invited to perform at Le Chat Qui Pêche, a jazz cellar in Paris. They loved to sit in, in clubs like Saint-Germain to listen to other jazz men, like Kenny Clarke, Lucky Thompson and Nico Bunink.

George Braithwaite ( = Braith) and two so-called groupies (photo courtesy: Jimmy Wormworth)
Jimmy remembers the Dutch piano player Floris (Nico) Bunink, he named himself Nico since his 18th birthday, who lived in Paris since 1956 and who had found his own place inside the French jazz scene. He played in the Quintet of Barney Wilen up to 1958, in which Al Levitt played the drums. Nico and Al Levitt became friends and you can imagine how Jimmy and his friends were in luck to be able to meet those great jazz men in clubs like the Chat Qui Pêche and the Club Saint-Germain. We never played in the Club Saint-Germain - we only sat in after we played in the Chat Qui Peche, Jimmy told me. The Club Saint-Germain was on the left bank and during the 1950s great US musicians played in the club, like Lester Young and Miles Davis (late 1957) and Kenny Clarke even lived there for some times around 1958. Jimmy remembers that he and Nico became good friends. We became quite close.....very close friends.

George Braith with a Parisian groupy (photo courtesy: Jimmy Wormworth)
Nico left Europe for the States in 1959, where he became for a short time, a member of the Charles Mingus band, when Mingus heard him playing at Minton's Playhouse. When Jimmy had returned from his European trip they would look out for each other. We hung out in NYC, a lot, whenever he was here!! Jimmy remembers that Nico's brother, he doesn't remembers his name anymore, had a motorcycle and toured with him along all highlight of Paris: He had a motorcycle, a BMW, I think. I remember the motorcycle, because he took me on it, to see the Sacre Coeur Cathedral, on the Rive Droite ( the right bank of the river Seine) and the Montmartre neighbourhood, Place Pigalle, etc. Although Jimmy's second son was named Nico, Jimmy loves to refute that he wanted to honour Nico Bunink: Everybody asks me if I named my son after Nico Bunink, but that's not true; it was just another name I suggested to my wife and she liked it.
A fan whose name sounded like Jean Plaisir ( photo courtesy: Jimmy Wormworth)
The Le Chat Qui Pêche was founded around 1955 in the Rue de la Huchette in the Latin Quarter; the cellar nightclub was run by a woman named Madame Ricard, who had worked in the French Resistance during the war. The Chat was just a small, one-floor club at that time and not yet as famous at it would become later.
Madame Marie-Thérèse Ricard (right) with critic Maurice Cullaz and two unknown at the groudfloor of Le Chat Qui Pêche. (photo courtesy: Chenz)(Thanks to Brownie)

I was told that we made her club so successful, because there were many bus tours coming to hear us, that, after us, Madame Ricard hired many famous American jazz musicians, so that she had the funds to add another floor in the club. Jimmy continues: I don't know if that's true, but I think it was the late Al Levitt, who told me that, because he stayed in Paris, after we came back to the USA. Others have similar recollections about Le Chat Qui Pêche. The cellar club was extremely popular but “terrible looking”, remembers Louis Victor Maily, a writer for Paris’s Jazz Hot magazine. Open all night every night.
Le Chat Qui Pêche is now a restaurant.
It was a popular place to play for US musicians where they found a second home, where they could play the kind of music they really liked, there by making lots of new friends in modern jazz, or Hard bop as it came to be know later, Bernie Newman writes in the liner notes of Donald Byrd Quartet "Au Chat qui Peche" 1958 ( Fresh sound FSCD-1028). US musicians liked the appreciative European audience, as it was quite different from what they were accustomed to in New York. Referring to Philly Joe Jones in Notes For Notes, the book with interviews by Art Taylor, who played in 1958 for three month in the Chat Qui Pêche, the owners of the club didn't really like the music they played; they only wanted to make money ......... Like the people who run the Chat Qui Peche, they don't care whether you're playing well or not. It's how much money they earn. They'll accept all the money and be smiling because they're making money, but deep down inside they say: They aren't musicians, it's just a bunch of noise. The club lasted up to 1970 when Madame Ricard sold her license; today it seems to be a restaurant with the same name.

Al Levitt and Jean Plaisir - August 1957 (Photo courtesy: Jimmy Wormworth)
Jimmy says to remember that the played the whole month of August in Le Chat, which means that they had to leave for Amsterdam to be at the J. J. Johnson concert at the 17th of August and returned, possible the next day, to Paris. Fact is that they had to be back in time to embark at the HAL Line ship to New York which left from Rotterdam. I haven't found the cruise schedules for that year, but I found out that the HAL ship De Zuiderkruis left Rotterdam on the 2nd of September, 1957 and arrived in New York City on the 21st. Fact is, Jimmy remembers, that I had my 19th birthday celebrated in Le Chat Qui Pêche (14th of August): Al Levitt got me very drunk for the 1st time in my life, and I was so sick that I couldn't play at the Chat, that night!
Hans Koert
keepswinging@live.nl

In a later blog I hope to inform you about the American Jazz Sextet concert as the opener of the Amsterdam J. J. Johnson concert (August 1957)
Thanks to Jimmy and Faith for their recollections.
Le Chat Qui Pêche was one of those numerous 1950s Parisian venues were jazz men could play. Madame Ricard ruled the cellar club and gave the musicans elbow-room. The US musicians liked to play there; the audience was quite different from what they were accustomed to in New York. Jimmy Wormworth and the his American Jazz Quitet (+ one) performed there during the month of August 1957 and met great musicians like Nico Bunink, the Dutch piano player that would make a career in the US playing with Charles Mingus, Zoot Sims and Stan Getz, to list some, but stayed fully underrated in his homeland. The Keep Swinging blog shares Jimmy Wormworth's recollection of this period and if you don't want to miss any contribution, follow it at Twitter (#keepswinging) or ask for its free newsletter. (keepswinging@live.nl)

Retrospect
Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions



(English links) Jimmy Wormworth: The 1956 Student Cruise Program stay in Holland - Jimmy Wormworth: The 1957 American Jazz Quintet in Holland - Jimmy Wormworth: The American Jazz Quintet in Paris (1957)- part one Jimmy Wormworth: The American Jazz Quintet in Paris (1957)-part two The American Jazz Sextet: The 1957 J. J. Johnson concert
Nederlandse link: Jimmy Wormworth: Het Studenten Cruiseprogramma en zijn verblijf in Nederland (1956) - Jimmy Wormworth: Het American Jazz Quintet in Nederland (1957) - Jimmy Wormworth: Het American Jazz Quintet in Parijs (1957)- deel 1 Jimmy Wormworth: Het American Jazz Quintet in Parijs (1957)- deel 2 Het American Jazz Sextet opent J.J.Johnson concert.

Jimmy Wormworth: The American Jazz Quintet in Paris (1957)-part one

August 1957: The American Jazz Quintet in Paris.
Yeahhh, kid, you were playing great!! (Kenny Clarke)
Hans Koert
( Thanks to the recently released 1957 J.J. Johnson Quintet album What's New I came into contact with Jimmy Wormworth who was the leader of the American Jazz Sextet, which was scheduled to play the first set during that concert (17th of August,1957). Jimmy loved to share his remembrances about this concert and started to inform me about his first trip to Holland in 1956 as part of a Student Cruise Program of the Holland America Line which offered young music students a cheap opportunity to visit Europe while performing during the boat trip. Donn Andre, who was the leader of the Catatonic Five shared his remembrances of this period in: Donn Andre: The 1956 Dutch Catatonic Five Tour in a previous blog.
The rented EMW, probably in The Hague: In front: Roland Ashby and Sal Amico . (photo courtesy: Jimmy Wormworth)
During he summer of 1957 the American Jazz Quintet ( + Dutch bass player Mike Fels (aka Thijs Chanowski)) toured with a kind of variety show, featuring artists like Zwarte Riek and Joop De Knegt, two Dutch popular vocalists, not related to jazz music at all. Mijn stiefvader was Jan Fels en ik heb in mijn Apeldoornse tijd ook zijn naam aangenomen.( = My stepfather was Jan Fels and when I lived in Apeldoorn I used his family name ) Thijs explained his pseudonym Mike Fels. Chanowski is mijn eigen naam die door Ger Lugtenburg van de AVRO weer te voorschijn is gehaald toen ik daar ging werken als producer / regiseur. (= Chanowksi is my real name, which was used again by Ger Lugtenburg of the AVRO-network again, when I started there as a producer). Thanks to Thijs, Lou Van Rees, the great Dutch jazz producer, invited the American Jazz Quintet (+ one) to play as the opener of the J.J.Johnson concert at the Concertgebouw in Amsterdam, the 17th of august, 1957, but first they had a gig in Paris.
Barry Rogers, the trombone player of the American All Stars with Jean, who was a fan, a hanger-on in Paris when we worked at the Chat Qui Peche (quote: Jimmy Wormworth) (photo courtesy: Jimmy Wormworth)
During the two weeks preceding the Concertgebouw concert Jimmy Wormworth and his men travelled to Paris where they were invited to play at the famous Le Chat Qui Pêche club. The members of the band were: Jimmy Wormworth drummer and leader, Roland Ashby piano player, Sal Amico trumpet, Barry Rogers trombone and George Braithwaite (= George Braith) alto saxophone. Jimmy Wormworth had rented a car when they arrived in Holland late June 1957 to travel more easily. We had our own rented car, an EMW, which we purchased from a car dealership in The Hague, when we 1st arrived in Holland. The EMW's, full named Eisenacher Motoren Werk, were build in the Soviet occupation zone of Germany, later called East Germany; later the factory built the better known Wartburg motor car. I think that they cheated us, because the car was always breaking down, and we had to pay all the repairs. The repairs cost us a lot of our money, Jimmy remembers.
George Braithwaite (= Braight), a I'm with the band girl, a groupie and trumpet player Sal Amico (Paris August 1957) ( photo courtesy: Jimmy Wormworth)
The American Jazz Quintet was invited to Paris by the US drummer Al Levitt. Jimmy had met him in Scheveningen at the Pia Beck Flying Dutchman club the previous year, where he accompanied Pia Beck together with the Canadian bass player Lloyd Thompson. (He) got me some work for August in Paris at the club which eventually became famous, the name of which was Le Chat qui Pêche. In Paris Jimmy needed a double bass player and invited the French bass player Michel Gaudry to complete his band. Michel Gaudry, born in September 1928 in Eu (France), had studied the double bass at the Lausanne Conservatory in Switzerland and had returned to Paris in 1957 to become a sought after accompanist for musicians like Art Simmons, Billy Holiday and Carmen McRae who visited Paris in 1957. Michel Gaudry, who must be in his 80s now, has always been active in jazz and performed and recorded with dozens of well known jazz musicians from Bud Powell, Stephane Grappelli, Sonny Criss, Barney Kessel up to Sam Woodyard and Lionel Hampton ( to list some). Billie Holiday while in France (November1958) with Mal Waldron (piano), unknown bass player and Michel Gaudry on bass ( source: songbook1.wordpress.com)
Jimmy remembers that they met Lucky Thompson, the US saxophone player, who had recorded as a leader on a dozen albums in Paris in 1956 and, back in the States, returned to France in the summer of 1957 to stay there up to 1962. In the summer of 1957 Lucky Thompson can be find in the recording studios with Martial Solal and Sammy Price and, in September 1957 with US drummer Kenny Clarke. In the intervening periods Lucky Thompson and his men must have played in the Paris club St. Germain where they heard him playing, together with the Dutch piano player Nico Bunink, who had replaced Martial Solal in Lucky Thompson's regular quartet.
Another Parisian snapshot: Jean Plaisir and Roland Ashby (photo courtesy: Jimmy Wormworth).
Jimmy don't remembers the bass player who was in the Lucky Thompson Quartet. It was not Pierre Michelot, I think that the bassist was another guy named Pierre; Pierre Fol, maybe? I really cannot remember. Jimmy has sweet memories to Kenny Clarke who played the drums: Klook was the drummer; it was his gig and he was there. He was not on holiday! I think Al said that Barney (Kenny Clarke used to play with Barney Wilen) was on summer holiday, like so many people in Paris in the summer. But, I’m not very sure of that. Jimmy sighs: So many of those people have died! I know that one night, after we sat in with Lucky (Thompson) and Nico (Bunink), we played "I Remember April". After we got off the bandstand, Klook ( = nickname for Kenny Clarke) said to come over to him and he was laughin and he gave me a kiss on the cheek, because he liked how I played that!! He said something to me, like, "Yeahhh, kid, you were playing great!!" I will remember that, for the rest of my life! Kenny Clarke told me that I was "playing great"!! (to be continued)
Thanks Jimmy and Faith for your kind support.
Tomorrow: Jimmy Wormworth: The American Jazz Quintet in Paris (1957)-part two
Hans Koert
keepswinging@live.nl
Jimmy Wormworth had met Al Levitt, the New York drummer, in the summer of 1956 while playing at the Pia Beck Flying Dutchman in Scheveningen, the beach resort of The Hague and when Jimmy returned to Holland the next year he was invited to play with his group in Le Chat Qui Pêche Club in Paris, August 1957. Jimmy Wormworth, now in his 70s, remembers the inspiring Paris jazzscene of 1957. Tomorrow part two of his Parisian gig with his recalls to Dutch piano player Nico Bunink. The Keep Swinging blog loves to share with you Jimmy Wormworth's recollections about his first trip to Europe in 1956 and 1957, when he played in Holland and France. If you don't want to miss any contribution, follow this subject at Twitter (#keepswinging) or ask for the free Keep Swinging newsletter ( keepswinging@live.nl)


Retrospect
Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions


(English links) Jimmy Wormworth: The 1956 Student Cruise Program stay in Holland - Jimmy Wormworth: The 1957 American Jazz Quintet in Holland - Jimmy Wormworth: The American Jazz Quintet in Paris (1957)- part one Jimmy Wormworth: The American Jazz Quintet in Paris (1957)-part two The American Jazz Sextet: The 1957 J. J. Johnson concert
Nederlandse link: Jimmy Wormworth: Het Studenten Cruiseprogramma en zijn verblijf in Nederland (1956) - Jimmy Wormworth: Het American Jazz Quintet in Nederland (1957) - Jimmy Wormworth: Het American Jazz Quintet in Parijs (1957)- deel 1 Jimmy Wormworth: Het American Jazz Quintet in Parijs (1957)- deel 2 Het American Jazz Sextet opent J.J.Johnson concert.