The Carl Perkins Discography
by Noal Cohen

Back to Carl Perkins page at Noal Cohen's Jazz History Website

Note: For conventions and abbreviations used in this discography, please see: Discography Key.

Carl Perkins (ldr), Carl Perkins (p), unknown (b, d)

Carl Perkins (ldr), Carl Perkins (p), Edwin Perkins (b), Herb Williams (d)

Illinois Jacquet (ldr), Illinois Jacquet (ts), Oscar Moore (g), Carl Perkins (p), Red Callender (b), J. C. Heard (d)

Oscar Moore (ldr), Oscar Moore (g), Carl Perkins (p), Joe Comfort (b), Mike Pacheco (bo)

Mike Pacheco (bo) on a, d-g, i.

No bongo drum can be heard on Brother Can You Spare a Dime (listed as Buddy Can You Spare a Dime), There Will Never Be Another You, Moonlight In Vermont or Dinner For One. On these tracks, a drummer seems to be present who could be Pacheco or possibly, Lee Young. The liner notes to Tampa 10 indicate that a total of 5 takes of Up Tempo were recorded, 2 of April In Paris and 2 of the Samson and Delilah Theme. All the alternate takes are unissued. The notes also indicate that the session was done in a total of 5.5 hours over 2 days.

Oscar Moore (ldr), Oscar Moore (g), Carl Perkins (p), Joe Comfort (b), Lee Young (d)

Max Roach (ldr), Clifford Brown (t), Teddy Edwards (ts), Carl Perkins (p), George Bledsoe (b), Max Roach (d)

Teddy Edwards (ts) on a, c.

Clifford's Axe is credited to Clifford Brown but is improvisation based on the chord structure of The Man I Love. Track timings vary considerably among issues because of editing.

Carl Perkins (ldr), Carl Perkins (p), Leroy Vinnegar (b), Larance Marable (d)

This session may have been recorded in early 1956. Mia is listed as Way Cross Town.

Frank Morgan (ldr), Conte Candoli (t), Frank Morgan (as), Wardell Gray (ts), Howard Roberts (g), Carl Perkins (p), Leroy Vinnegar (b), Larance Marable (d)

Conte Candoli (t) on a-c, e; Wardell Gray (ts) on a-c, e.

Milt's Tune is credited to Milt Jackson but is the standard I Got Rhythm variation known as The Theme.

Oscar Moore (ldr), Oscar Moore (g), Carl Perkins (p), Joe Comfort (b), George Jenkins (d)

Oscar Moore is the only soloist on all four tracks. The rest of Norgran 1033 and its reissues are recordings by Tal Farlow and Barney Kessel. Some sources, including the notes to Franklin Mint 30, give the recording date of this session as September 2, 1953. The matrix numbers are consistent with a 1955 session.

Bill Holman (ldr), Bill Holman (ts), Carl Perkins (p), Leroy Vinnegar (b), Larry Bunker (d)

Illinois Jacquet (ldr), Harry 'Sweets' Edison (t), Illinois Jacquet (ts), Irving Ashby (g), Carl Perkins (p), Gerald Wiggins (or), Curtis Counce (b), Albert Bartee (d)

Gerald Wiggins (or) on a-e, g-i; Curtis Counce (b) on c-i.

The shorter take of Honeysuckle Rose is a 78 rpm master.

Dizzy Gillespie (ldr), Harry 'Sweets' Edison, Dizzy Gillespie (t), Melba Liston (tb), Willie Smith (as), Curtis Amy, Ed Beal (ts), Clyde Dunn (bar), Carl Perkins (p), George Bledsoe (b), Albert Bartee (d), Toni Harper (v)

Toni Harper (v) on a-b.

The liner notes from the CD reissue Verve 314 513 875-2 incorrectly give the recording date for track d as July 8, 1957 and incorrect personnel. Aural evidence clearly supports the 10-piece ensemble shown and the presence of Willie Smith (as).

Dexter Gordon (ldr), Jimmy Robinson (t), Dexter Gordon (ts), Carl Perkins (p), Leroy Vinnegar (b), Chuck Thompson (d)

Jimmy Robinson (t) on a, c, f.

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

A Fifth for Frank is a drum feature for Frank Butler.

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Chet Baker, Art Pepper (ldr), Chet Baker (t), Art Pepper (as), Phil Urso (ts), Carl Perkins (p), Curtis Counce (b), Larance Marable (d)

The version of C.T.A. on Pacific Jazz PJ 60 is edited to 2:59. Some discographies refer to an alternate take of C.T.A. but Chet Baker historian Jeroen De Valk reports that this alternate does not exist. The liner notes to Fresh Sound 428 and Jazz Track 936 indicate that this session was recorded on November 20 & 21, 1956 but no documentation of that claim is provided.

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d), Anita O'Day (v)

Anita O'Day (v) on d-e.

The date is probably the broadcast date and not the recording date. The version of A Fifth for Frank is incomplete. The information on the two Anita O'Day vocal tracks is unconfirmed and comes from Jazz On the Screen by David Meeker.

Jim Hall (ldr), Jim Hall (g), Carl Perkins (p), Red Mitchell (b)

The versions of Stompin' At the Savoy, Things Ain't What They Used To Be, Tangerine, Stella By Starlight, Look For the Silver Lining and Seven Come Eleven present on most reissues are edited versions of those originally issued on LP PJ 1227. Pacific Jazz CD reissue 46851 contains both the long and short versions of track b, the longer one being described as an "alternate take"; however, the shorter version is an edit of the longer one. Apparently, when reissues of this session began to emerge starting in 1988, the complete versions most of of these tracks as well as the master of This Is Always could not be found. The track timings shown are for the complete versions on the original LP and the 2006 CD TOCJ 6819 reissue which reproduces PJ 1227. Not having examined every reissue, I cannot be absolutely sure of the content of each regarding the edits. Pacific Jazz PJ/ST 79 (1963 issue) has drummer Larry Bunker dubbed in to the original recordings.

The edited versions differ from the originals as follows:
Track a (4:01) - Second chorus of bass solo deleted
Track b (4:41) - Bass solo (2 choruses) completely deleted
Track f (3:53) - Second chorus of bass solo deleted
Track g (3:07) - Second half (16 bars) of bass solo deleted; first half (16 bars) of last chorus (head) deleted
Track j (3:11) - Second choruses of guitar, piano and bass solos deleted
Track k (3:50) - Second chorus of bass solo deleted

Stuff Smith (ldr), Stuff Smith (vn), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Art Pepper (ldr), Art Pepper (as), Carl Perkins (p), Ben Tucker (b), Frankie Capp (d)

Many sources give the date of this recording as January 18, 1957 and indicate that the performances come from the Steve Allen Show rather than Stars of Jazz. The bassist has also been credited as Clarence Jones and the drummer, Chuck Flores or Larance Marable. The information shown is taken from Jazz On the Screen by David Meeker. It has been confirmed by jazz on film/TV expert Mark Cantor.

Stuff Smith (ldr), Stuff Smith (vn), Carl Perkins (p), Red Callender (b), Oscar Lee Bradley (d)

Quincy Jones (ldr), Conte Candoli, Pete Candoli, Harry 'Sweets' Edison, Jack Sheldon (t), Carl Perkins (p), Leroy Vinnegar (b), Mel Lewis (d), Quincy Jones (dir)

Three sessions provided the tracks that make up the LP "Go West, Man." These took place on February 25 & 26 and March 1, 1957 with three different ensembles, one of which is not found here because Lou Levy is the pianist. Unfortunately, the ABC Paramount logs are not helpful in determining which titles were recorded on which date. It is not known why the matrix numbers are not consecutive but there is no question that the tracks were recorded by the ensembles shown in this and the following session based on aural evidence.

Quincy Jones (ldr), Walter Benton, Buddy Collette, Bill Perkins (ts), Pepper Adams (bar), Carl Perkins (p), Leroy Vinnegar (b), Shelly Manne (d), Quincy Jones (dir)

c, d, e, f, g performed as medley.

Walter Benton (ts) on a-b, g; Buddy Collette (ts) on a-b, e; Bill Perkins (ts) on a-c; Pepper Adams (bar) on a-b, d.

The ballad medley (tracks c-g) is 6:17 in total duration. Three sessions provided the tracks that make up the LP "Go West, Man." These took place on February 25 & 26 and March 1, 1957 with three different ensembles, one of which is not found here because Lou Levy is the pianist. Unfortunately, the ABC Paramount logs are not helpful in determining which titles were recorded on which date. It is not known why the matrix numbers are not consecutive but there is no question that the tracks were recorded by the ensembles shown in this and the previous session based on aural evidence.

Art Pepper (ldr), Art Pepper (as), Carl Perkins (p), Ben Tucker (b), Chuck Flores (d)

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Jack Sheldon (t) on a-b; Harold Land (ts) on a-b; Carl Perkins (p) on a-b; Curtis Counce (b) on a-b.

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

These tracks may have been recorded on April 22, 1957.

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Inez Jones (ldr), Oscar Moore (g), Carl Perkins (p), Curtis Counce (b), Bill Douglass (d), Inez Jones (v)

Carl Perkins (p) on a-g, i-j; Bill Douglass (d) on a-e, g, i-j.

Riverside RLP 12-819 (and presumably Fresh Sound 411) has two additional tracks, "Tangerine" and "There's a Small Hotel" which are Oscar Moore (g)/Leroy Vinnegar (b) duets and based on the liner notes, may have been recorded at this session. The liner notes fail to reflect that drums are absent on tracks f and h and piano is out on track h as well.

Richie Kamuca (ldr), Richie Kamuca (ts), Carl Perkins (p), Leroy Vinnegar (b), Stan Levey (d)

Herbie Mann (ldr), Herbie Mann (f), Carl Perkins (p), Leroy Vinnegar (b), Bill Douglass (d), Ella Mae Morse (v)

Herbie Mann (f) on a-c; Ella Mae Morse (v) on d-e.

The date is probably the broadcast date and not the date of recording. The vocal tracks d and e do not sound as though they were recorded at the same session as tracks a-c. The instrumental tracks sound as if they were recorded in a studio with dubbed in applause.

Pepper Adams (ldr), Stu Williamson (t), Pepper Adams (bar), Carl Perkins (p), Leroy Vinnegar (b), Mel Lewis (d)

Leroy Vinnegar (ldr), Gerald Wilson (t), Teddy Edwards (ts), Victor Feldman (vib), Carl Perkins (p), Leroy Vinnegar (b), Tony Bazley (d)

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Victor Feldman (ldr), Frank Rosolino (tb), Harold Land (ts), Victor Feldman (vib), Carl Perkins (p), Leroy Vinnegar (b), Stan Levey (d)

Frank Rosolino (tb) on e-g; Harold Land (ts) on e-g.

Curtis Counce (ldr), Jack Sheldon (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Carl Perkins (p)

Other West Coast pianists were featured on the rest of this issue. Mode LP 128 was never issued originally but did appear later when reissued by V.S.O.P.

Leroy Vinnegar (ldr), Gerald Wilson (t), Teddy Edwards (ts), Victor Feldman (vib), Carl Perkins (p), Leroy Vinnegar (b), Tony Bazley (d)

Gerald Wilson (t) on a-b; Teddy Edwards (ts) on a-b.

Leroy Vinnegar (ldr), Gerald Wilson (t), Teddy Edwards (ts), Victor Feldman (vib), Carl Perkins (p), Leroy Vinnegar (b), Tony Bazley (d)

Gerald Wilson (t) on b; Teddy Edwards (ts) on b.

Calvin Jackson (ldr), Al Viola (g), Calvin Jackson, Carl Perkins (p), Buddy Woodson (b), Mel Lewis (d), Rayna Clay (v)

Al Viola (g) on a-c, e; Calvin Jackson (p) on a-b, e; Carl Perkins (p) on c-d; Buddy Woodson (b) on a-c, e; Mel Lewis (d) on a-c, e; Rayna Clay (v) on c-d.

The information on this session was provided by Jim Harrod who notes that the recording date information given on Calliope 3024 is incorrect. These performances were part of the Stars of Jazz TV series with Bobby Troup as the host (who introduces track e). The personnel on track c is not certain but most likely the same guitarist, bassist and drummer present on the Calvin Jackson tracks. Track d is a duet featuring Carl Perkins and vocalist Rayna Clay. The remainder of this LP features the Sonny Criss Quartet and vocalist Terry Morel.

Leroy Vinnegar (ldr), Richie Kamuca (ts), Carl Perkins (p), Leroy Vinnegar (b), Tony Bazley (d), Adele Francis (v)

Adele Francis (v) on d-e.

The date is probably the broadcast date and not the date of recording. The information on the two Adele Francis vocal tracks is not confirmed and comes from Jazz On the Screen by David Meeker.

Buddy DeFranco (ldr), Don Fagerquist (t), Georgie Auld (ts), Buddy DeFranco (cl), Victor Feldman (vib), Barney Kessel (g), Carl Perkins (p), Leroy Vinnegar (b), Stan Levey (d)

Buddy DeFranco (ldr), Don Fagerquist (t), Georgie Auld (ts), Buddy DeFranco (cl), Larry Bunker, Victor Feldman (vib), Barney Kessel (g), Carl Perkins (p), Leroy Vinnegar (b), Stan Levey, Bob Neel (d)

f, g, h;   j, k, l performed as medleys.

Larry Bunker (vib) on m-n; Victor Feldman (vib) on a-l; Stan Levey (d) on a-l; Bob Neel (d) on m-n.

Tracks f-h constitute a medley of 06:03 in duration. Tracks j-l constitute a medley of 05:54 in duration.

Bill Harris [LA] (tb), Carl Perkins (p)

The information on this recording was provided by Steven Harris. His father, Bill Harris, was a close friend of Carl Perkins and a Los Angeles trombonist but NOT the Bill Harris of Woody Herman fame. This was an informal session taped at Carl Perkins home in Los Angeles shortly before he passed away. The tape is in the possession of Steven Harris.

Curtis Counce (ldr), Gerald Wilson (t), Harold Land (ts), Carl Perkins (p), Curtis Counce (b), Frank Butler (d)

Gerald Wilson (t) on a, c-d; Harold Land (ts) on a-d; Carl Perkins (p) on a-d; Curtis Counce (b) on a-d.

Harold Land (ldr), Rolf Ericson (t), Harold Land (ts), Carl Perkins (p), Leroy Vinnegar (b), Frank Butler (d)

Liner notes indicate that Land and Hope collaborated on the arrangements.

Harold Land (ldr), Rolf Ericson (t), Harold Land (ts), Carl Perkins (p), Leroy Vinnegar (b), Frank Butler (d)

Liner notes indicate that Land and Hope collaborated on the arrangements.

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