Liberty Records • Jazz in Hollywood Series (IV)

Abe Most Quintet

Mister Clarinet

✤Liberty LJH 6004✤

Abe Most (February 27, 1920 – October 10, 2002) was a swing clarinetist and alto saxophonist who is known for his performances and recordings of the works of Artie Shaw and Benny Goodman. He began his career in 1939 as a member of Les Brown's big band. After serving three years in the US Army during World War II from 1942-1945, he became a member of Tommy Dorsey's big band.

Most made a few albums with smaller labels, including Superior (1946), Trend (1954), Annunciata (1978) and Camard (1984). He was a studio musician for seven decades, playing on albums by Earth, Wind & Fire, Ted Gärdestad, Dick Haymes, Joni Mitchell, Randy Newman, and Dory Previn among others. He can also be heard playing on the soundtrack of the film "How to Marry a Millionaire". He is the older brother of jazz musician Sam Most. *library.ucsb.edu*

Mister Clarinet stands out due to its emphasis on swing music and showcases Abe leading a quintet made up of prominent musicians from that time. The twelve tracks featured on the album highlight Most's remarkable versatility and skill on the clarinet. This album is well-regarded for its sophisticated performances and the high standard of its arrangements, reinforcing Abe Most's status as an exceptional swing clarinetist. *worthpoint.com*

He's a jazz clarinet player and he's the Most! And Abe is his first name. 

He stands 6 ft. 2 in — weighs 15 stone. He’s good-natured, guileless, easy-going and always smiling. As so many of the Hollywood musicians say: "Of all the guys around, Abe is the friendliest and the happiest". 

But. one Christmas Day he cried his eyes out. It was December 25, 1929. He was nine. For three years Jack Teagarden had been his idol. Naturally, young Abe Most wanted Santa to give him a trombone, and he'd "gotten a clarinet instead". 

"You see, things weren't too good in Dad's hat business", Abe told me. And the still youthful Pop Most chimed in: "Yes, licorice sticks were much cheaper than slip horns". 

Anyway, it seems that little Abe soon dried his eyes. He quickly transferred his affections from Big T (Jack Teagarden) to BG (Benny Goodman) and settled down to learn the intricacies of the Boehm system. He practised to good effect, as is amply evidenced on the fascinating new recordings by Abe with his own group of Hollywood jazz stars. 

The accomplished Abe was born, of Russian parents, in New York. Immediately on leaving high school he formed his own jazz quartet, a clarinet-accordion-guitar-bass group. 

However, the California sun lured Abe back. He returned to Hollywood to rejoin Les Brown. The Most clarinet was heard with the Brown band on the Bob Hope and other radio and TV shows emanating from the West Coast.

In 1950, Abe left Les to go to the 20th-Century Fox film studios as their jazz clarinettist. 

Nevertheless, Abe and his friend Buddy de Franco have their own mutual admiration society. Abe was, actually, Buddy's successor in Tommy Dorsey's band. 

Abe has studied extensively under the Schillinger system. He composes and arranges everything played by the group.

You will find that it is not, in any way music for profound study. But it is music for consummate enjoyment. It's modern jazz with a completely unpretentious approach — a swinging, ebullient sound that expresses the personality of its creator — articulate ABE (the) MOST.

*Howard Lucraft (liner notes)*

Side 1

1 - Let's Fall In Love

(Arlken, Koehler)

2 - There's A Small Hotel

(Rodgers, Hart)

3 - You Go To My Head

(Coots, Gillespie)

4 - Smoke Rings

(Gifford, Washington)

5 - The Lively Ghost

(Abe Most)

6 - Myrtha

(Abe Most)

Side 2

7 - Lady Is A Tramp

(Rodgers, Hart)

8 - Little Girl Blue

(Rodgers, Hart)

9 - Makin' Whoopee

(Kahn, Donaldson)

10 - Stuffed Olives

(Abe Most)

11 - What Is There To Say

(Harburg, V. Duke)

12 - Mr. Caddis Thorpe

(Abe Most)

Abe Most (clarinet), Tony Rizzi (guitar),

Paul Smith (piano), Joe Mondragon (bass), Larry Bunker (drums).

Recorded in Hollywood, California, August 1955

Liberty Records • Jazz in Hollywood Series (III)

Herbie Harper

Featuring Bud Shank And Bob Gordon

✤Liberty LJH 6003✤

Hollywood, with its activity in the various fields of entertainment, has, for many years, attracted outstanding musisians of every category. Jazz men, in addition to many of our foremost concert artists, symphonic conductors and composers, make their homes in Hollywood. However, it is the development of local musical talents such as Bud 

Shank and Bob Gordon of which the film city can be most proud. Their emergence as full-fledged stars recalls the fact... Hollywood has been the birthplace of many a musical luminary. LIBERTY'S "JAZZ IN HOLLYWOOD" SERIES, in presenting Herbie Harper, Bud Shank and Bob Gordon, is adding a link in the never-ending chain of fine recorded jazz for which Hollywood is known.

⁂

On these sides, Herbie Harper, Bud Shank and Bob Gordon were in the company of many of Hollywood's (or the nation, for that matter) finest musical talent... the sparkling piano work of Jimmy Rowles on the Gordon sides, the inventive Marty Paich, who played and arranged the Shank sides, the splendid rhythmic backing of Harry Babasin on bass, and the strong drumming of Roy Harte. The combined creative effort of these artists will provide the listener with a representative musical glimpse of JAZZ IN HOLLYWOOD.  *Harry Babasin (liner notes)*

Trombonist Herbie Harper was one of the best underground talents on the LA cool jazz scene of the 50s — and although he cut albums like this, full of tight playing and imagination, he never really got the due that he deserved. He's heard here in two groupings — one with Bud Shank on tenor and baritone, the other with Bob Gordon on baritone. All the tracks are short and ensemble-heavy, with backing by a piano trio that features either Marty Paich or Jimmy Rowles. Titles include "The Happy Clown", "Five Brothers", "Jeepers Leapers", "Summertime", "Herbstone", and "New York City Ghost". *Dusty Groove, Inc.*

Side 1

1 - Now Playing

(Neal Hefti)

2 - The New York City Ghost

(Victor Young, Peggy Lee)

3 - The Happy Clown

(Marty Paich)

4 - Dinah

(Lewis, Young, Akst)

5 - Sanguine

(Marty Paich)

Side 2

6 - Five Brothers

(Gerry Mulligan)

7 - Summertime

(Gershwin)

8 - Herbstone

(Harper)

9 - Jive At Five

(Harry Edison, Count Basie)

10 - Jeepers Leapers

(McDougal)

Herbie Harper (trombone), with:

Bud Shank (tenor sax, baritone sax), Harry Babasin (bass), 

Marty Paich (piano), Roy Harte (drums) [#1 to #5].

Bob Gordon (baritone sax), Harry Babasin (bass),

Jimmy Rowles (piano), Roy Harte (drums) [#6 to #10].

Recorded at United Western Recorders, Los Angeles, California, 

February 27 (#4, #6, #7, #8,#9, #10) and September 16 (#1, #2, #3, #5), 1954

Liberty Records • Jazz in Hollywood Series (II)

Dom Frontiere Sextet

Dom Frontiere And His El Dorado

✤Liberty LJH 6002✤

Dominic Frontiere (1931-2017) had barely turned four when he began learning the basic accordion technique. Having mastered his instrument through his classical studies, Dom became interested in modern music. In 1950, he moved to Hollywood, where he lost no time in establishing himself, not only as the leading accordionist in the movie industry but as a composer and arranger as well. He also appeared playing in several films, but 1955 brought him something special.

In March, Dom was signed to a term recording contract with Liberty Records, which led to his first album recording as a leader in the summer, conducting a sextet made up of renowned fellow Hollywood studio musicians. The album came out in the fall with the title Dom Frontiere and his El Dorado.

 His skill with the accordion was indisputable. "In the hands of a master [the accordion becomes] much more than a polka party instrument", Down Beat magazine admitted.

Starting in 1960 and over twenty years, the scores he penned for popular TV series and films, garnered him awards and international recognition as the firstrate composer he was.

This young instrumentalist and arranger revealed his talent and personal approach to the world, by skillfully blending the harmonies of classical music with the rhythm and improvisation of jazz. Dominic Frontiere and his stimulating musical confreres bring us a varied repertoire of well known melodies and originals in their own spirited, happy and swinging way. *Jordi Pujol*

When LIBERTY gave me the test pressing of this album I took it to the radio station with me and played it for engineers, announcers, salesmen, writers, maintenance men and anyone who might be wandering through the halls. I took it home and played it for my wife. I asked my best friend, a fellow jazz enthusiast, to come over and hear it. We played it along with recordings of other accordionists... we turned it up and listened to every note for musicianship, balance, fidelity... we played it in the background 

for atmosphere effect. After I felt I had thoroughly "tested" this finished product I recalled Dom’s words that "an accordionist is only as good as his instrument". It might be interesting to note that six different accordions were tested before a decision was made as to which produced the best sound. The instrument that won out was the custom-made Gretsch "El Dorado" the prototype which is now in full scale production.

⁂

No matter how you play this album — softly in the background while having dinner, or volume wide open on a hi-fi set — it's great! If you like classical music you'll be impressed with the technique and charmed by the humor; if you're a "pop" fan you'll find this as wonderful for dancing as it is for what might be called "putting on a good stack of records"; and if you're a jazz enthusiast... you'll FLIP! *Jack Wagner (liner notes)*

Side 1

1 - Mr. B

(Bach, Frontiere)

2 - Poinciana

(Simon)

3 - Leap For Joy

(Frontiere)

4 - September In The Rain

(Warren, Dubin)

5 - Perpetual Motion

(Paganini)

6 - Tenderly

(Gross, Lawrence)

Side 2

7 - Nola

(Arnt)

8 - Breeze And I

(Lecuona, Stillman)

9 - I'll Be Seeing You

(Fain, Kahal)

10 - Where's The Melody

(A Variation Of 24th Caprice By Paganini)

(Paganini, Frontiere)

11 - Beguine For Bette

(Frontiere)

12 - My Heart Stood Still

(Rodgers, Hart)

Dom Frontiere (accordion), Abe Most (clarinet), Bill Ulyate (bass clarinet),

Jack Marshall (guitar), Mike Rubin (bass), Nick Fatool (drums).

Recorded at Capitol Records, Hollywood, California, between July and August, 1955

Liberty Records • Jazz in Hollywood Series (I)

Jazz In Hollywood

✤Liberty LJH 6001✤

This is the first in an unlimited series of Jaz recordings to be released by LIBERTY. The artists featured in this album are not new-comers. These are the established, schooled and respected musicians of the West Coast. They are musicians in the true sense of the word. Unlike the "Tooters" who play and record in the name of Jazz, many of the artists in this album are also actively engaged in other phases of music. 

⁂

There are many facets to this gem called "JAZZ"; and I’m sure you'll feel as I do that some of the choicest are evident here. The rare cello work of Harry Babasin, the sophisticated improvisations of Jimmy Rowles, the incredible tempo achieved by Lou Levy and Buddy Wise, Dom Frontiere’s flawless accordion technique, the drive and imagination displayed by Abe Most on the clarinet, the precision of the Hollywood Saxophone Quartet and the familiar earthy sounds expressed by Herbie Harper, Bob Gordon, Bud Shank, Virgil Gonsalves and Bob Enevoldsen.

⁂

As a disc jockey and jazz enthusiast who really loves music, I am very impressed with the fine taste displayed in the presentation of this album. And this is just the beginning. These and other top jazz artists will be presented in LIBERTY albums of their own in the very near future.

*Jack Wagner (liner notes)*

Liberty scoops up a wide variety of West Coast jazz musicians and presents them under the title "Jazz In Hollywood". We hear samplings of the talents of Herbie Harper, Bud Shank, Jimmy Rowles, Virgil Gonsalves, Harry Babasin, Lou Levy, Dom Frontiere, Abe Most, Bob Enevoldsen, Bob Gordon, Buddy Wise, and the Hollywood Saxphone Quartet. Space does not allow comments on each artista involved. As an over-all description, it is an interesting collection of assorted talents playing easy to listen to west coast jazz. Improvisations in most cases stick close to the Melody line. Jazz fans should find it strong interest. *Billboard, September 24, 1955*

Side 1

1 - Sanguine

(Paich)

Herbie Harper (trombone), Bud Shank (alto, tenor and baritone saes),

Marty Paich (piano), Harry Babasin(bass), Roy Harte (drums).

Recorded at United Western Recorders, Los Angeles, California, September 16, 1954

2 - There Will Never Be Another You

(Gordon, Warren)

Hollywood Saxophone Quartet:

Russ Cheever (soprano sax), Jack Dumont (alto sax), Morrie Crawford (tenor sax),

Bill Ulyate (baritone sax), Mike Rubin (bass), Dick Cornell (drums).

Recorded at Capitol Studios,  September 1955

3 - Serenade In Blue

(Gordon, Warren)

Jimmy Rowles (piano), Red Mitchell (bass), Art Mardigan (drums).

Recorded at United Western Recorders, Los Angeles, California, December 13, 1954

4 - Yesterdays

(Kern, Harbach)

Virgil Gonsalves (baritone sax), Bob Enevoldsen (valve trombone), Buddy Wise (tenor sax),

Lou Levy (piano), Harry Babasin (bass), Larry Bunker (drums).

Recorded at United Western Recorders, Los Angeles, California, September 29, 1954

5 - The Girl Friend

(Rodgers, Hart)

Harry Babasin (bass, cello), Larry Bunker (vibes),

Jimmy Rowles (piano), Bob Enevoldsen (bass), Roy Harte (drums).

Recorded at United Western Recorders, Los Angeles, California, September 23, 1955

(other source gives April 18, 1954)

6 - Bloo Denim

(Levy)

Lou Levy (piano), Harry Babasin (bass), Larry Bunker (drums).

Recorded at United Western Recorders, Los Angeles, California, August 29, 1954

Side 2

7 - Perpetual Motion

(Paganini)

Dom Frontiere (accordion), Abe Most (clarinet), Bill Ulyate (bass clarinet),

Jack Marshall (guitar), Mike Rubin (bass), Nick Fatool (drums).

Recorded at Capitol Records, Hollywood, California, summer 1955

8 - Bob White

(Mercer, Hanighen)

9 - Danza Do Brazil

(Paich)

Bob Enevoldsen (tenor sax [#8], valve trombone [#9]), Marty Paich (piano),

Howard Roberts (guitar), Harry Babasin (bass), Don Heath (drums), Roy Harte (bongos [#9]).

Recorded at United Western Recorders, Los Angeles, California, summer 1954

10 - Bab-O-Ling

(Babasin)

Harry Babasin (bass, cello), Larry Bunker (vibes),

Jimmy Rowles (piano), Bob Enevoldsen (bass), Roy Harte (drums).

Recorded at United Western Recorders, Los Angeles, California, September 23, 1954

(other source gives April 18, 1954)

11 - Jive At Five

(Edison)

Herbie Harper (trombone), Bob Gordon (baritone sax),

Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drums).

Recorded at Gold Star Studios, Hollywood, California, February 27, 1954  

(other source gives Recorded at United Western Recorders, February 27, 1954)

12 - Love Me Or Leave Me

(Kahn, Donaldson)

Virgil Gonsalves (baritone sax), Buddy Wise (tenor sax), Bob Enevoldsen (valve trombone),

Lou Levy (piano), Harry Babasin (bass), Larry Bunker (drums).

Recorded at United Western Recorders, Los Angeles, California, September 29, 1954

Liberty Records • Jazz in Hollywood Series (0)

 

A dozen single albums plus a first compendium as a presentation will star in the next OUTLET JAZZ series.

This time, the collection was the result of the association of two famous record labels from the 1950s: Liberty, again, and Nocturne Records.

Liberty Records was a record label founded in the United States by chairman Simon Waronker in 1955 with Alvin Bennett as president and Theodore Keep as chief engineer, while Nocturne Records, a label based in Hollywood concentrated on West Coast jazz, was a jazz record company and label founded in 1954 by drummer Roy Harte and bassist Harry Babasin.

Even before the first Liberty album came out, Simon Waronker was working to obtain sources for new records and this effort was finally realized in late May 1955. 

The news was reported in a small article in Billboard magazine in the June 4, 1955 issue under the title "Liberty Merger With Nocturne":

Indies Liberty and Nocturne Records this week completed a merger whereby the latter firm's catalog will henceforth be issued under the Liberty label.

Liberty, headed by 20th-Fox music director Si Waronker, Will release the Nocturne output under its "Jazz in Hollywood" series. Harry Babasin, former president of the jazz line, Will continue to supervise the repertoire function of the line.

Liberty created the prefix "LJH" for that purpose and the thirteen-disc collection was called the Liberty 6000 series. We will meet them in the next 13 posts...

◈◈◈

Liberty Records • Lighthouse Series (III)

Max Roach And Stan Levey

Drummin' The Blues

Lighthouse Series • Volume 3

The art of jazz drumming has come a long way since the day of the bass drum player in the marching bands of ole New Orleans. Today we have come to expect a drummer to be an excellent technician, a well rounded percussionist, capable of improvising as well as any solo instrumentalist in any musical aggregation. It would take a very thick book to discuss the requirements of being a jazz drummer, and even then, it would be necessary to interpret the printed word through skins, sticks, cymbals and mechanical contrivancesin order to express yourself and your feeling for the music.

No doubt about it, drums and drummers are popular subjects; whether you're an avid jazz enthusiast or bandleader, it is always interesting to hear and compare notes on the way different drummers play.

Among my personal favorites are two very good friends — two wonderful guys, each representing the moder idiom in the best possible manner: Max Roach and Stan Levey.

⁂

When they expressed the desire to do this album, it was may great pleasure (and Liberty's) to be able to record it. However this is where the parallel ends, because, although they are the best of friends, great believers in the other's playing, they both display what every good jazz musician strives for — his own distinct musical personality. Care to compare? *Howard Rumsey (liner notes)*

Stan and Max are about as unlikely a pair as you could imagine — both jazz drummers, but one with a cooler, more laidback sound (Levy), the other with a harder, more full-on and bop driven approach (Roach). This set features each drummer alternating track to track — supporting a core group with Bill Perkins on tenor, Conte Candoli on trumpet, and Frank Rosolino on trombone. Given that such a setting is more Levy's territory than Roach's, he actually fits in a bit more with the sound — but even on the Roach tracks, the west coast jazz vibe pervades — so don't expect a super-huge change in the style. Titles include "Breadline Blues", "Facts About Max", "Royal Garden Blues", "The Count's Blues", and "Blues In The Night". *Dusty Groove, Inc.*

1 - Facts About Max

(Marty Paich)

2 - Milano Blues

(Bob Cooper)

3 - Swingin' The Blues

(Count Basie, Eddie Durham)

4 - Breadline Blues

(Dick Shreve)

5 - Bye Bye Blues

(Lown, Gray, Bennett, Hamm)

6 - Blues In The Night

(H. Arlen, J. Mercer)

7 - Royal Garden Blues

(C. Williams, S.Williams)

8 - The "Count's" Blues

(Conte Candoli)

Conte Candoli (trumpet), Bill Perkins (tenor sax [#1, #3, #6, #8]), 

Bob Cooper (tenor sax [#2, #4, #5, #7]), Frank Rosolino (trombone),

Dick Shreve (piano), Howard Rumsey (bass),

Max Roach (drums [#1, #3, #6, #8]), Stan Levey (drums [#2, #4, #5, #7]).

#1, #3, #6, #8:

Recorded in Los Angeles, California, March, 1957

#2, #4, #5, #7:

Recorded at "The Lighthouse", Hermosa Beach, California, March 1957

Liberty Records • Lighthouse Series (II)

Bill Perkins And Richie Kamuca

Tenors Head-On

Lighthouse Series • Volume 2

To anyone familiar with the jazz scene, the names BILL PERKINS and RICHIE KAMUCA mean fresh tenor excitement at its grooviest and innovating best. This album more than successfully combines these two major talents in a free-swinging, right-from-the-head session. And I am sure that you will find the spontaneous, contrapuntal interplay of the horn players, as well as the material utilized, most interesting.

Please keep in mind that no written arrangements were used... which as you know, makes for wonderful, easy-to-listen-to jazz brimming with spirit, emotion and spontaneity. 

⁂

This album was not merely happenstance. It was a long time in the making. It actually started back in '54 when Richie and Perk were blowing for Woody. They spent a lot of time practicing together, exchanging ideas and discussing tenor men... mostly "Pres". That groundwork really became apparent that first Sunday evening I heard them blending their crazy sounds at the Lighthouse. Right then it was decided to blend them with a rhythm section, and this album is the culmination of that idea.

It was a genuine thrill to be in on this one, and considering the fact the entire opus was recorded in one session and a half hour overtime is in itself conclusive that it was a wonderfully cohesive experience for all concerned... Drop the diamond, relax, and join the group.

*Howard Rumsey (liner notes)*

A killer date from two of the hippest tenors of the west coast scene in the 50s — Bill Perkins and Richie Kamuca — both musicians who worked in the cool school, but could also come across with plenty of soul! The album's got both tenors working head on — hitting counterpoint modes at times, but also opening up more freely at others — showing the balance between composition, arrangement, and improvisation that made the scene so great at the time — yet executed with a bit more depth of feeling, as we'd expect from Perkins and Kaumca. Rhythm is from the trio of Pete Jolly on piano, Red Mitchell on bass, and Stan Levey on drums — and titles include "Spain", "Pick A Dilly", "Oh! Look At Me Now", "Don't Be That Way", and "Blues For Two".

*Dusty Groove, Inc.*

Side 1

1 - Cotton Tail

(Harry Brewer)

2 - I Want A Little Girl

(W. S. Stevenson)

3 - Blues For Two

(K. Mitchell)

4 - Indian Summer

(B. Gregory)

Side 2

5 - Don't Be That Way

(Goodman, Sampson, Parrish)

6 - Oh! Look At Me Now

(J. Bushkin, J. DeVries)

7 - Spain

(Jones, Kahn)

8 - Pick A Dilly

(Al Cohn)

Bill Perkins, Richie Kamuca (tenor saxes); Pete Jolly (piano);

Red Mitchell (bass); Stan Levey (drums).

Recorded in Los Angeles, California, July, 1956

Liberty Records • Lighthouse Series (I)

Howard Rumsey's Lighthouse All Stars

Host Charlie Persip And His Jazz Statesmen

Double Or Nothin'

Lighthouse Series • Volume 1

One of the few albums ever cut as a leader by crack drummer Charlie Persip — and a great record that you might have missed because Howard Rumsey's name is bigger on the cover than Charlie's! The album's one of Rumsey's "Lighthouse Series" sides of the 50s — but it's a lot harder-driving and more energy-filled than most of the other Lighthouse-related sides coming out of LA at the time. Half the record features Charlie's group — a set of east coasters that includes Lee Morgan, Benny Golson, and Wynton Kelly — and the other part features some of the players from that ensemble mixing it up with drummer Stan Levey and other LA talents that include Frank Rosolino, Conte Candoli, Bob Cooper, and others. In all, the album's a great meeting of east and west coast hardbop styles — with short driving tracks that include "Reggie Of Chester", "Celedia", "Moto", "The Champ", and "Wildwood". *Dusty Groove, Inc.*

Double or Nothin' promises a creative East Coast-meets-West Coast musical confrontation, but never delivers. Ace trumpet men Conte Candoli, based in California, and Philly-born Lee Morgan, then making his first impression on the jazz world, headline this 1957 session that grew out of a Charlie Persip gig at the legendary Pacific Coast club the Lighthouse. These two all-star groups belie the assumptions made at the time about the differences between the East and West Coast sounds (with underlining racial assumptions). Both trumpet players draw heavily on Dizzy Gillespie for inspiration, and both saxophonists (Benny Golson and Bob Cooper) are more indebted to swing master Lester Young than to any bebop saxophonist. Indeed, the contrast between the two is one of the pleasures of the session. Golson's lines are blurry and oblique, while Cooper's are finely etched and to-the-point. Both are also more noted for their writing skills, which are also on display here. Though the listener may expect such a jam session would feature usual blowing vehicles, here the music is largely original or of more recent vintage (though two [Golson's "Stablemates" and Horace Silver's "Quicksilver"] were destined to become standards). While the repertoire is refreshing, it leads to tentative performances on the tracks in which the two groups interact. The solos have awkward pauses between phrases, and loquacious soloists such as Morgan and trombonist Frank Rosolino rely on pet turns of phrase. The strongest playing comes on the tracks when the Morgan group and the Lighthouse All-Stars play as separate units. *David Dupont*

1 - Reggie Of Chester

(Benny Golson)

2 - Stablemates

(Benny Golson)

3 - Celedia

(Benny Golson)

4 - Moto

(Bop Cooper)

5 - The Champ

(Dizzy Gillespie)

6 - Blues After Dark

(Benny Golson)

7 - Wildwood

(Gigi Gryce)

8 - Quicksilver

(Horace Silver) 

#1: 

Lee Morgan (trumpet), Benny Golson (tenor sax),

Wynton Kelly (piano), Wilfred Middlebrooks (bass), Charles Persip (drums).

#2:

Lee Morgan (trumpet), Frank Rosolino (trombone), Benny Golson (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

#3:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Wynton Kelly (piano), Wilfred Middlebrooks (bass), Charles Persip (drums).

#4:

Lee Morgan, Conte Candoli (trumpets); Frank Rosolino (trombone);

Benny Golson, Bob Cooper (tenor saxes); Dick Shreve (piano),

Red Mitchell (bass), Stan Levey (drums).

#5:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

#6:

Lee Morgan (trumpet), Benny Golson (tenor sax),

Wynton Kelly (piano), Red Mitchell (bass), Charles Persip (drums).

#7:

Lee Morgan, Conte Candoli (trumpets); Frank Rosolino (trombone);

Benny Golson, Bob Cooper (tenor saxe); Wynton Kelly (piano);

Wilfred Middlebrooks (bass); Charles Persip (drums).

#8:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

Recorded at Liberty Studios, in Hollywood, California,

February 14 (#2, #4) and 27 (#1, #3, #5 to #8), 1957

Liberty Records • Lighthouse Series (0)

Liberty Records was founded in 1955 in Hollywood by Simon Waronker. He liked lush orchestral music and the label´s catalog was in the beginning filled with movie music, big bands. In 1957, Liberty acquired Pacific Jazz Records, and in mid 1960s they also acquired Blue Note Records. A few years later Liberty was sold to the owner of United Artists Records, who in 1971 dropped the Liberty name. But in 1980, a new owner, EMI, dropped United Artists name and revived the Liberty name.

More information about its history and associations with other record labels can be found on sites like bsnpubs.com or friktech.com.

But there is one very particular partnership about which there is Little — if any — information. It is documented only in the press release published by Billboard on April 13, 1957, which announced:

"In a move to solidify its position in the jazz market, Liberty Records has signed Howard Rumsey to a long-term pact in a dual capacity. Rumsey, credited with being one of the pioneer's of the West Coast jazz movement, will henceforth handle all artist and repertoire chores on all of the company's future jazz efforts, and in adition will record with the Lighthouse All-Stars.

According to Vice President Jack Ames, Rumsey will be given free rein with the Lighthouse series of albums to create and develop new ideas and talent for the firm". 

Bassist Howard Rumsey initiated a jazz program at the Lighthouse Cafe in Hermosa Beach, California, in 1949. His Lighthouse All-Stars performed every night, typically hosting a 12-hour jam session on Sundays. Although Rumsey eventually created his own record label, Lighthouse Records, the primary recording outlet for the Lighthouse All-Stars was Lester Koenig's record company, Contemporary Records.

Hence, the aforementioned partnership between Rumsey and Liberty Records is interesting, given that the "project" only had three volumes released.

It is this rare and obscure trilogy that will motivate the next three OUTLET JAZZ posts.

◈◈◈

Charlie Mariano On Bethlehem

In the 1950s, Charlie Mariano was one of the most promising of the bop-oriented altoists. His personnel here is consistent, with Mariano joined by pianist Claude Williamson, bassist Max Bennett, drummer Stan Levey, trombonist Frank Rosolino, and the cool-toned trumpeter Stu Williamson. The repertoire mixes together fairly basic group originals and swinging standards with many fine solos by the horns. An excellent example of Charlie Mariano's playing in the '50s.

Charlie Mariano

Charlie Mariano Plays

Altoist Charlie Mariano, active since the late Forties playing around his native Boston, became much better known through his stay at Stan Kenton's orchestra (1953-1955). He managed to assert his own individual quality and his own musical importance while keeping a deep-seated devotion to Charlie Parker. On these early sides, recorded in Los Angeles, Mariano blows with a great deal of emotion, authority, bite and consistency, showing why he became one of the most demanded studio sidemen in the West Coast (1953-1957) as well as one of the most important altoists in modern jazz since Charlie Parker.

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The Hollywood studio sessions included in this CD were originally produced and released by Bethlehem Records. In the three of them, Charlie Mariano is backed by the same solidly-swinging rhythm section composed of Stan Levey on drums, Max Bennett on bass and Claude Williamson on piano, one of the more felicitous trios to come from the West Coast. The result of their effort and talent is a driving, swinging and thoughtful beat.

On these recordings Charlie Mariano reached new heights as a musician. In them, we begin hear a change in his style, a style that allowed him to assert his own individual quality and his own musical importance while keeping a deepseated devotion to Charlie Parker. Mariano blows with a great deal of emotion, authority, bite and consistency, showing why he became one of the most demanded studio sidermen in the West Coast as well as one of the most important altoists in modern jazz. *Jordi Pujol (liner notes)*

1 - 'S Nice

(Charlie Mariano)

2 - Chlo-E

(Moret, Kahn)

3 - Three Little Words

(Ruby, Kalmar)

4 - Green Walls

(Charlie Mariano)

5 - My Melancholy Baby

(Burnett, Norton)

6 - You Go To My Head

(Coots, Gillespie)

7 - Slugger

(Claude Williamson)

8 - There Will Never Be Another You

(Warren, Gordon)

9 - Sunday

(Coots, Grey)

10 - Sapphire

(Stu Williamson)

11 - Don't Get Around Much Anymore

(Ellington, Russell)

12 - Strike Up The Band

(G. and I. Gershwin)

13 - Just Max

(Max Bennett)

14 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

15 - I'll Never Smile Again

(Ruth Lowe)

16 - T.K.

(Tiny Kahn)

17 - Rubberneck

(Frank Rosolino)

18 - Jeppers Creepers

(Warren, Mercer)

#1 to #6: from the album Mariano (Bethlehem Records - BCP 1022)

Stu Williamson (trumpet), Frank Rosolino (trombone), Charlie Mariano (alto sax),

Claude Williamson (piano), Max Bennett (bass), Stan Levey (drums).

Recorded in Hollywood, December 21, 1954

#7 to #12: from the album Saphire (Bethlehem Records - BCP 1024)

Stu Williamson (trumpet), Charlie Mariano (alto sax),

Claude Williamson (piano), Max Bennett (bass), Stan Levey (drums).

Recorded in Hollywood, January 18, 1955

#13 to #18: from the album Max Bennett (Bethlehem Records - BCP 1028)

Frank Rosolino (trombone), Charlie Mariano (alto sax),

Claude Williamson (piano), Max Bennett (bass), Stan Levey (drums).

Recorded in Hollywood, January 27, 1955