Reissued in 1990 by Fresh Sound Records, The Bethlehem Years compiles landmark mid-1950s West Coast recording sessions by legendary tenor saxophonist Dexter Gordon for the Bethlehem Records label. Anchored by the complete material from his acclaimed 1955 quartet album Daddy Plays The Horn, the 12-track compilation showcases Gordon's huge, instantly recognizable tone, precise swing, and inventive bebop phrasing during a pivotal era in his career. Backed by stellar West Coast rhythm sections—including pianists Kenny Drew and Lou Levy, trumpeter Conte Candoli, trombonist Frank Rosolino, bassist Leroy Vinnegar, and drummers Lawrence Marable and Stan Levey—the set features definitive hard bop treatments of Charlie Parker's "Confirmation," Miles Davis's "Tune Up," and Gordon's own original blues showcase "Daddy Plays The Horn." An essential archival document of 1950s hard bop.

Originally recorded in 1956 for the legendary Bethlehem label and beautifully preserved on this 2004 Japanese Toshiba EMI reissue, Grand Stan is an absolute pinnacle of West Coast hard bop architecture. Fronted by powerhouse drummer and bebop pioneer Stan Levey, this blistering sextet session brings together the absolute elite of the mid-50s Los Angeles scene: trumpet virtuoso Conte Candoli, trombone master Frank Rosolino, and the wonderfully lyrical tenor saxophonist Richie Kamuca. The rhythm engine is uniquely driven by the deeply soulful, definitive Blue Note piano icon Sonny Clark and walking bass legend Leroy Vinnegar. Far from the cool, relaxed jazz often associated with California at the time, this album delivers an intensely swinging, high-octane set of intricate charts. From the explosive drive of the title track and the percussion showcase on "Hit That Thing" to a deeply swinging reading of Jerome Kern's "Yesterdays," the front line trades fierce, precise solos with absolute authority. This definitive archival release stands as an essential masterpiece for collectors of golden-era bop history.

One of the tightest, sharpest sessions ever from trumpeter Conte Candoli - an early date done for Bethlehem Records, with a quartet setting that gives Conte plenty of room to cook! The solos are bold and fierce right from the start - with an energy that goes beyond even Candoli's work in bigger groups - and the rhythms are often very lively, and seem to push Conte onto his best level of expression - thanks to work from Stan Levey on drums, Max Bennett on bass, and Claude Williamson on piano. There's a bit more bite here than you'd guess from the west coast pedigree of the group.

This recording brings back an obscure session from the long defunct Andex label that was probably recorded around 1956. The emphasis is on Latin jazz with altoist Art Pepper, trumpeter Conte Candoli, tenor saxophonist Bill Perkins, pianist Russ Freeman, bassist Ben Tucker, and drummer Chuck Flores interacting with the percussion of Jack Costanza and Mike Pacheko. With arrangements by Bill Holman, Johnny Mandel, Benny Carter, and Pepper, the music is quite jazz-oriented if a touch lightweight. Worth investigating by fans of the idiom.

Trumpeter Conte Candoli and pianist Lou Levy had only occasional opportunities to work as leaders before this 1955 session they recorded together for Atlantic Records. Both made the most of the chance, fronting a quintet that also included tenor saxophonist Bill Holman, bassist Leroy Vinnegar, and drummer Lawrence Marable. The group got out of the gate quickly (following a contemplative piano intro, that is) on a quickstep bop reading of the Sigmund Romberg operetta tune "Lover Come Back to Me," which quickly established that a commonplace of jazz ensembles would hold - no matter whose name is in large print on the cover, it's the group that's performing, and other people will get their chance to shine, too…