Rare And Obscure Argo Recordings (V)

Ahmad Jamal Trio

Count 'Em 88

It was in the spring of 1952, when Jamal played the Embers, that noted critic John Hammond hailed the Jamal trio as "prodigious" and "Unbelievably subtle". 

Jamal is indeed subtle, and he is dartquick in facility, with a firm-yet-delicate touch that enables him to skim through figures that is charted on graph paper would look like the ups and downs in the career of Yellow Kid Weil.

It is obvious at first hearing that Ahmad approaches a piano as a skilled fisherman might a mile-long lake teeming with fish. He has a lot of room to get a lot out of it, and he casts about with sure skill, utilizing the entire area to achieve his results.

This is a long way to go about saying that Jamal is a two-handed pianist, a species sometimes difficult to find. It is demonstrated neatly here, however, as is his good taste and droll sense of humor. You might be as happy as I am that he chose to include "I Just Can't See for Lookin", a Nat Cole vocal effort a decade ago. 

"Easy to Remember" is a good example of the unit feel the trio achieves, and their romping qualities come out on "Beat Out One".

Ahmad is offered the sturdy support here of bassist Israel Crosby, for years a well-known figure in jazz, and drummer Walter Perkins, whose credits include work with Ben Webster. He frequently was the drummer for Jutta  Hipp when he was stationed in Germany a couple of years ago.

They provide friendly atmosphere for Jamal, who is content that this is the best set of sides he has yet recorded.

I will have to agree with him. *Jack Tracy (liner notes)*

This LP was pianist Ahmad Jamal's first with his new group, a trio also including bassist Israel Crosby and drummer Walter Perkins. Although he was reasonably popular around the Chicago area at the time, Jamal's major breakthrough would be the following album, >But Not for Me<, recorded more than a year later. The "Jamal sound", with its expert use of dynamics, close interplay, space and subtle surprises was very much in place, and this out-of-print set is on the same level as his better-known hits to come. Highlights include "Green Dolphin Street", "How About You" and "Easy To Remember." Well worth searching for. *Scott Yanow*

That's right, count 'em — 88 keys on the piano in all, and Ahmad does a pretty good job of hitting them all in this early album of piano virtuosity! The album's amazing — set the pace for a whole new generation of piano expressiveness, with a cool and earthy approach that also still has quite a bit of poise. The group features Walter Perkins on drums and Israel Crosby on bass — fantastic rhythm players both of them, giving the album a pulsating live that goes way beyond the simple format of the tunes! *Dusty Groove, Inc.*

Side 1

1 - Volga Boatman

(Public Domain)

2 - Green Dolphin Street

(Bronisław Kaper, Ned Washington)

3 - How About You

(Ralph Freed, Burton Lane)

4 - I Just Can't See For Lookin

(A. Stanford, N. Robinson)

5 - Spring Will Be A Little Late This Year

(Frank Loesser)

Side 2

6 - Beat Out One

(Ahmad Jamal)

7 - Maryam

(Ahmad Jamal)

8 - Easy To Remember

(Lorenz Hart, Richard Rodgers)

9 - Jim Loves Sue

(Ahmad Jamal)

Ahmad Jamal (piano), Israel Crosby (bass), Walter Perkins (drums).

Recorded in Chicago, Illinois, September 27 and October 4 (#4), 1956.

 

Rare And Obscure Argo Recordings (IV)

The Herb Pilhofer Trio

Jazz

A good portion of American jazz, like many other areas of entertainment, is embroiled in a star-system that exults the individual performer and discourages ensemble efforts. 

Many groups have no choice but to build their work around a featured performer because they lack the ability to perform as an integrated unit. Such groups are quickly transformed into the promotion man's "personality" product. 

And so it is indeed refreshing to find a group like the Herb Pilhofer trio that produces that scarce commodity, ensemble jazz, and with such extremely good taste. So emphatic‘ is Pilhofer about the group concept that he rejected several bookings that would have featured him with bass and guitar. It was the group or nothing, a decision that delayed wider recognition, but kept Herb’s musical philosophy intact. 

Argo has, with this album, acknowledged the honesty and integrity of Pilhofer's bias. As one observer remarked while listening to the tapes, "it's the whole cloth, without any superfluous embroidery". It is a good metaphor for describing the trio's work, comparing its music to a rich and finely woven fabric. No matter what the trio cuts from the bolt it applies its craft masterfully.

This album demonstrates Pilhofer's theories of unity. There are no exhibits of individual talent at the expense of the trio. It's the total instrumentation — a piano, a guitar, and a bass — that prevails. One exception is Pilhofer's solo performance of "It Might As Wll Be Spring". Still, this an obvious showcase for the piano and not a misappropriation of the unit. *Charles Hanna (liner notes)*

The Herb Pilhofer Trio (Argo LP 657) is, as far as I know, the initial recording of this group with guitarist Dale Olinger and bassist Stu Anderson. The unit is a tightly integrated one and depends for much of its effectiveness upon the close polyphonic interplay of the voices.

They have chosen material which is good in itself and has not been overplayed: "Valse Hot", "The Duke", "My Ship", "Godchild". Their playing is always in good taste and their ideas are clearly defined and consistently developed. Each player seems to understand the others and to know how to work in with them. Pilhofer and Olinger bear most of the solo burden and they acquit themselves well. Nevertheless, most of the performances seem to lack what I would call vitality. Everything is well done, but one is conscious of what seems a desire to be correct at all costs, and neither the solos nor the polyphonic passages seem to have feeling of deep engagement.

*H. A. Woodfin (The Jazz Review, November 1960)*

Side 1

1 - Valse Hot

(Sonny Rollins)

2 - Sweets

(Bill Russo)

3 - More Than You Know

(Youmans, Rose, Eliscu)

4 - The Duke

(Dave Brubeck)

5 - My Ship

(Weill, Gershwin)

Side 2

6 - Trio

(Herb Pilhofer)

7 - Ship Without A Sail

(Rodgers, Hart)

8 - Isn't It Romantic

(Rodgers, Hart)

9 - It Might As Well Be Spring

(Rodgers, Hammerstein)

10 - Godchild

(George Wallington)

Herb Pilhofer (piano), Dale Olinger (guitar), Stuart Anderson (bass).

Recorded at Ter-Mar Recording Studios, Chicago, Illinois, September 8 and 9, 1959.

Rare And Obscure Argo Recordings (III)

King Fleming Trio

Stand By

"I know there are a lot of good talented piano players around but they all sound the same to me".

I have heard that particular comment a number of times and, on occasions, have agreed. However, I feel that those talents should always be given some sort of a chance to be exposed or listened to and, of course, finally judged by the public. It is true that some of these people, or talents, are tucked away in a string of small local lounges, but they still have a chance to develop a following, which can be of great assistance as a stepping stone to their first recording session. When it does come, the artist, in most cases, is wise in his selection of tunes. In this particular collection, the above mentioned is quite evident. 

King Fleming offers you a variety program, including: modern jazz, blues, ballads, afro-jazz and latin music. I might add here that King has a great amount of patience and works very well with vocalists, providing them with arrangements and the proper amount of accompaniment. He is a well rounded musician, composer and arranger.

The main objective in this album was to have something for everyone. This has been accomplished with the supporting efforts of drummer Royce Rowan, who studied at the Roy Knapp School of Music (Royce, also holds a B.A. in music) and has worked with Miles Davis, the late Billy Holiday, Wardell Gray and Charlie Parker. Also tugging the load is Malachi Favors, the bass player. He too has had the pleasure of performing with some of the big ones, such as drummers: Art Blakey and Philly Jo Jones, which he considers invaluable experience.

You'll find in this album a considerable amount of interesting, clever and pleasureable moments of listening. I hope that this album will serve as another stepping stone to success for King Fleming. He's a hard worker with a deep appreciation for music, talent and friends, and most important, he knows their values. *Burt Burdeen" (liner notes).

Incredible work from Chicago pianist King Fleming – a lost talent that had a key influence on more famous players in the scene, but who rarely got his due because he hardly left the Windy City! The set's got a really incredible feel – partly in the gentle groove of Ahmad Jamal, but also with one ear towards the more righteous rhythms that were coming into piano jazz during the 60s. A key element of the strength of the set is work in the trio by bassist Malachi Favors – working here years before his time with the Art Ensemble Of Chicago – and the set's also graced by some wonderful originals that show Fleming to be a heck of a great writer as well as musician! Titles include "Time Out", "Stand By", "On Green Dolphin Street", "Song Of Paradise", "Between The Toes", and "Lonely One". *Dusty Groove, Inc.*

Side 1

1 - Time Out

(King Fleming)

2 - On Green Dolphin Street

(Washington, Kaper)

3 - I Didn't Know What Time It Was

(Rodgers, Hart)

4 - Stand By (part 1)

(King Fleming)

5 - Then I'll Be Tired Of You

(Harburg, Schwartz)

Side 2

6 - Junction City Blues

(King Fleming)

7 - Song Of Paradise

(King Fleming)

8 - Stand By (part 2)

(King Fleming)

9 - Lonely One

(King Fleming)

10 - Gypsy In My Soul

(Clay, Moe)

11 - Between The Toes

(King Fleming)

King Fleming (piano), Malachi Favors (bass), Royce Rowan (drums),

Charles Stepney (vibes [#1, #6]), Unidentified males (african percussions and voices [#8]).

Recorded at Ter-Mar Recording Studios, Chicago, Illinois, March 2 (#1 to #8, #10)

and March 9 (#9, #11), 1962.

Rare And Obscure Argo Recordings (II)

• The Jazz Exponents •

This first Argo LP by the "Jazz Exponents" serves as an introduction, nation-wide of a versatile Jazz group that has tremendous popularity in the northern Michigan territory. It is also my first introduction to them... After auditioning the LP for the purpose of composing these liner notes, I hope to have the opportunity of being able to hear them in person. They have some very rare qualities, an awareness of the latest happenings in the ever-changing Modern Jazz repertoire; the technical and artistic abilities necessary to convey successfully their interpretations to an audience; and an obvious in-born talent for improvisation, without which the other attributes would be nil!

The leader is Jack Gridley, a triple-threat man, no less, from Saginaw, Michigan. Vibes are his main instrument, but his piano comping, and trombone playing are very outstanding. His organizational powers have helped maintain the young unit through its "scuffle" days.

Bob Elliot, also from Saginaw, was formerly lead trombonist with one of Jerry Wald’s big bands, and now doubles on piano and trombonium. His is a lyrical style on piano and drivingly hot on trombone. His arranging talents are also in evidence in this LP.

The group is rounded out by Philadelphian, Norm Diamond on bass, and Dick Riordan, drums, from Sault Sainte Marie, Michigan. Diamond has strength of tone, plays the right notes, and maintains a steady pulse for the group to swing on. Riordan plays lightly but firmly, and has the all-too-rare feeling of just when, and when not to, punctuate the proceedings.

The "Exponents" in general, have two major sounds. Dominating side one, and the first tune on side two, is the vibes/ piano and rhythm grouping, with the two-trombone, ala J & K, sound closing out the last three tunes of the album. *Joe Segal (liner notes)*

The versatile jazz group has a distinctive sound on a fine selection of tunes which include "Night in Tunisia", "The Preacher" and "Love Letters". Each member of the group wich features Jack Gridley on vibes, piano and trombone; Bob Elliot, trombonium and piano; Norm Diamond on bass, and Dick Riordan show fine control. It's a fine first album for the group, and the set can be a good programming set for op as well as jazz jocks. It rates exposure. *Billboard, September 8, 1958*

Side 1

1 - Love Letters

(Victor Young, E. Heyman)

2 - Doodlin

(Horace Silver)

3 - Minors Holiday

(Kenny Dorham)

Side 2

4 - Night In Tunisia

(Dizzy Gillespie)

5 - Button Up Your Overcoat

(De Silva, Henderson, Brown)

6 - Bob 'N Weave

(Bob Elliot)

7 - The Preacher

(Horace Silver)

Jack Gridley (vibes, piano, trombone), Bob Elliot (trombonium, piano),

Norm Diamond (bass), Dick Riordan (drums).

Recorded in Chicago, Illinois, 1958.

 

Rare And Obscure Argo Recordings (I)

Ralph Sharon & Friend

2:38 a.m.

I don’t know what the record people call it when they ask you to write a few notes about someone who has worked as closely with you as Ralph Sharon has with me, but I do know that he has provided me with an excellent vehicle for my own talent. It’s always a pleasure to work with him and his fine group.

We were playing the Chez Paree in Chicago, when Argo Records asked Ralph to do this album for them. The night the record was cut, the club management kindly consented to let us break the last set early, so Ralph and the boys could get over to the studio. The session began at 2:38 A.M., and I think it’s a good title for this album because it kind of gives you the idea of what went on. The boys were pretty relaxed by this time, and they told me later that someone had brought in a floor lamp for light — everything was real subdued. Relaxed as they were, the sounds just had to come out as fine as they did. I was surprised when I learned that they completed the session at 5:40 A.M., 3 hours ahead of schedule. 

Ralph Sharon’s music speaks for itself and there isn’t much more I can say, except to name his fine group. They are all really great! Now, I wish you the same thrill hearing them as I have working with them... so listen and have a ball! *Tony Bennett (liner notes)*

Here's an interesting jazz effort on the Argo label. It features pianist Ralph Sharon with friend Candido who handles the congo drums. Billy Exner handles the snare drums and Allan Mack in on bass. The music is rhythmic and swinging, sparked by Sharon piano and the Candido congo work. Tunes include originals and an-occasional standard, with "Blues" and "Friends Blues" both by Sharon, among the album's best. *Billboard, November 10, 1958*

Side 1

1 - Blues

(Ralph Sharon)

2 - Ol' Man River

(J. Kern, O. Hammerstein II)

3 - Garden In The Rain

(C. Gibbons, I. Dyrenforth)

4 - Linguine Lover's Lullaby

(Ralph Sharon)

5 - Teach Me Tonight

(Cann, DePaul)

Side 2

6 - Friend's Blues

(Ralph Sharon)

7 - How Long Has This Been Going On

(G. and I. Gershwin)

8 - Time

(Shapiro, Lynn)

9 - I'll Never Be The Same

(F. Signorelli, M. Malneck, G. Kahn)

10 - Love Me Or Leave Me

(Kahn, Donaldson)

Ralph Sharon (piano), Allan Mack (bass), Billy Exner (drums),

Candido (conga), Tony Bennett (scat on #6)

Recorded at the Chez Paree nightclub, Chicago, June 3, 1958.

• The Jazz School •

A nice bop compilation featuring three different sessions as below:

Art Mardigan Sextet featuring John Williams on piano: a refreshing bop session with unique sound colour; Paul Gonsalves Sextet featuring Clark Terry: a bit corny, but also a nice mainstream session; and two tracks by Joe Gordon Quintet: Gordon's brilliant trumpet blows so great, and Art Blakey's propulsive rhythm gives the entire mood of this great hard-bop session.

Strictly personal rating (to what extent I could enjoy this album); 8 out of 10.

*Matsubayashi "Shaolin" Kohji [microgroove.jp]*

There are sixteen students in this class of the Jazz School; sixteen young men whose grades are impeccable, whose studies have clearly qualified them for a successful and distinguished career. 

At the head of the class for the first four exercises is a member of the drums Corps, a familiar figure by the name of Arthur Mardigan.

Art is a native Detroiter, born in December, 1923 and a name band musician since the age of nineteen, when he joined Tommy Reynolds. After Army service in 1943-44 he spent a year with Georgie Auld's group, then went home to Detroit for a while before entering the New York scene, where he was a part of many noteworthy 52nd Street combos under the leadership of Charlie Parker, Dexter Gordon, Allen Eager and Kai Winding. In addition, Art worked off and on with Woody Herman and Elliot Lawrence. In 1954, when Pete Rugolo came east to form a band for a tour, Art was a cornerstone of that all-star ensemble.

Featured with Art on his four performances here are Don Joseph, a cornetist who's been a familiar figure around New York jazz circles for several years; Milt Gold, a trombonist who has seen service with such name bands as Stan Kenton's and Claude Thornhill's; and Al Cohn, the tenor saxophonist and arranger who has been rising rapidly to jazz eminence in the past year. Heard with Mardigan in the rhythm section are John Williams, the 25-year-old pianist from Windsor, Vermont, best known for his work with Stan Getz; and Teddy Kotick, a 27-year-old bass man who has been prominent on the New York scene with Charlie Parker, Buddy Rich, Buddy De Franco and a flock of other combos. 

Class dismissed.

A new group moves in: at the head of this class is Paul Gonsalves, tenor saxophonist from Brockton, Massachusetts. Raised in Pawtucket, R.I., Paul started his musical life as a guitarist at the age of sixteen, in 1936; later, switching to tenor saxophone, he became popular as a featured member of the Sabby Lewis orchestra, a well known Boston group, with which he made his record debut.

A three-year hitch in the Army, from 1942 to '45, was followed by a stint in the Count Basie orchestra, and a brief fling in Dizzy Gillespie's final big band. Then, early in 1951, Paul joined the great Duke Ellington orchestra, of which, except for a few weeks in Tommy Dorsey's band in 1953, he has been a member ever since. 

Paul's colleagues on this, his first record session under his own leadership, include Clark Terry, another great Ellingtonian of several years standing and sitting; Porter Kilbert, baritone saxophonist, who worked briefly on alto with Ellington in 1951; Junior Mance, a gifted 27-year-old pianist from Chicago, best known for the fine work he has done as Dinah Washington's accompanist; Eugene Miller on drums; and the inimitable, poll-winning bassist of erstwhile Woody Herman fame, Greig Stewart "Chubby" Jackson. 

... dismissed...

Time now for graduation exercises. The class is headed by Joseph Henry Gordon, another brilliant New Englander on the modern jazz scene. Born in 1928 in Boston, Joe worked as a sandwich boy on the Boston-Albany railroad as recently as 1947, but later in that same year made his professional bow with his own combo at Boston's Savoy Ballroom, where the above-named Sabby Lewis was a frequent favorite. Joe also worked as a sideman with Sabby, as well as with a variety of other groups, from Georgie Auld to Charlie Mariano, from Charlie Parker to Lionel Hampton.

Heard with Joe on these sides are Charlie Rouse, a tenor man from Washington, D.C., who was with Duke Ellington in 1949-'50; Junior Mance, reappearing on piano; Jimmy Schenck on bass; and the pride of Pittsburgh, winner of the 1953 New Star award in the critics’ poll, Art Blakey on drums.

So these are the men you will meet in the Jazz School. It seems superfluous to point out that every last man of these sixteen students has graduated, as he deserves to, summa cum laude. 

*(from the liner notes)*

Side 1

1 - I've Found A New Baby

(Plamer, Williams)

2 - Moroccan Blues

(Al Cohn)

3 - Old Gold

(Milt Green)

4 - Golden Touch

(Quincy Jones)

5 - Evening Lights

(Joe Gordon)

Side 2

6 - It Don't Mean A Thing

(Mills, Ellington)

7 - Take Nine

(Paul Gonsalves)

8 - Everything Happens To Me

(Adair, Dennis)

9 - Don't Blame Me

(Fields, McHugh)

10 - Body And Soul

(Heyman, Sour, Green, Eyton)

#1 to #4: Art Mardigan Sextet

Don Joseph (cornet), Milt Gold (trombone), Al Cohn (tenor sax), John Williams (piano), Teddy Kotick (bass), Art Mardigan (drums).

Recorded in New York City, May 20, 1954.

#6 to #9: Paul Gonsalves Sextet

Clark Terry (trumpet), Porter Kilbert (alto sax), Paul Gonsalves (tenor sax), Junior Mance (piano), Chubby Jackson (bass), Eugene Miller (drums).

Recorded (probably) in Chicago, Illinois, February 6, 1954.

#5 and #10: Joe Gordon Quintet

Joe Gordon (trumpet), Charlie Rouse (tenor sax), Junior Mance (piano), Jimmy Schenck (bass), Art Blakey (drums).

Recorded at Fine Sound Studio, New York City, September 3 (#10) and 8 (#5), 1954.

 

Art Blakey & Joe Gordon - The Complete Art Blakey On EmArcy

The textbook method of studying jazz history frequently creates and perpetuates misconcenptions, overemphasizing certain individuals at the expense of others. While Art Blakey should be a familiar name to all jazz fans, Joe Gordon and Gigi  Gryce have been somewhat forgotten. However,  in their time, both men were extremely well respected and worked with manyof the figures who made the textbook roll call.

The 1954s sessions recorded for EmArcy label collected here, have long been favorites of connoisseurs of the intense but accessible sounds know as hard bop, a style wich was developed in the mid-1950s. However, they have been hard to come by, and this is their first complete appearance on a United States compact disc. 

Blakey

&

Introducing Joe Gordon

A fantastic hard bop reissue! This CD combines two rare early sessions by Art Blakey – one recorded under his name, the other under the leadership of trumpeter Joe Gordon, a fantastic player who died an early death, and never got to record as much as he should have. Both albums were only ever issued on rare 10" LPs during the mid 50s, and they're combined here with great sound, great notes, and two bonus tracks. The set's over 70 minutes in length, and every cut crackles with a sinister intensity that's just fantastic – made all the more special by a host of original compositions by both Gordon and Gigi Gryce, who arranged one of the session. One session features Gordon on trumpet, Gigi Gryce on alto, and Walter Bishop on piano; the other features Gordon, Charlie Rouse, and Junior Mance – and Blakey is on drums throughout. Titles include "Evening Lights", "Rifftide", "Lady Bob", "Eleanor", "Minority", "Hello", "Mayreh", and "Futurity".  *Dusty Groove, Inc.*

This compilation assembles some long unavailable bop sessions led by either Art Blakey or trumpeter Joe Gordon as a collectable Verve Elite Edition reissue CD. Blakey's quintet includes Gordon pianist Walter Bishop, Jr. and alto saxophonist Gigi Gryce, who composed most of the music. "Minority" has long since become a standard among boppers but "Salute To Birdland" is almost as good; the remaining tracks are quite as strong. Gordon's set leads off with Coleman Hawkins' well known riff tune "Rifftide"; Pianist Junior Mance provides Gordon with some strong backing and a young Charlie Rouse adds a spirited tenor sax solo. Gordon's playing is a little choppy on his tunes "Xochimilco" and "Evening Lights", while his lyrical take of "Body And Soul" is strangely backed by Blakey's tom toms. This is a mandatory acquisition for Blakey fans and those who enjoy bop. *Ken Dryden*

1 - Minority

(Gigi Gryce)

2 -Salute To Birdland

(Gigi Gryce)

3 - Eleanor

(Gigi Gryce)

4 - Futurity

(Gigi Gryce)

5 - Simplicity

(Gigi Gryce)

6 - Strictly Romantic

(Gigi Gryce)

7 - Hello

(Gigi Gryce)

8 - Mayreh

(Horace Silver)

9 - Rifftide

(Coleman Hawkins)

10 - Lady Bob

(Quincy Jones)

11 - Grasshopper

(Quincy Jones)

12 - The Theme

(Kenny Dorham)

13 - Bous Bier

(Quincy Jones)

14 - Xochimilco

(Joe Gordon)

15 -Evening Lights

(Joe Gordon)

16 - Body And Soul

(Edward Heyman, Frank Eyton, John Green, Robert Sour)

#1 to #8: from the album Blakey, EmArcy (MG 26030)

Joe Gordon (trumpet), Gigi Gryce (alto sax), Walter Bishop, Jr. (piano), Bernard "Bernie" Griggs (bass), Art Blakey (drums).

Recorded at Fine Sound, New York City, May 20, 1954.

#9 to #14: from the album Introducing Joe Gordon, EmArcy (MG 26046) and EmArcy (MG 36025)

#15 and #16: from the album The Jazz School, EmArcy (MG-36093)

Joe Gordon (trumpet), Charlie Rouse (tenor sax), Junior Mance (piano), James "Jimmy" Schenk (bass), Art Blakey (drums).

Recorded at Fine Sound, New York City, September 3 (#11, #12, #14, #15) and September 8 (#9, #10, #13, #16), 1954.

Specs Powell & Co. - Movin' In

Drummer Gordon "Specs" Powell born in New York on June 5, 1922, and died in San Marcos, California, on September 15, 2007. He traveled the jazz world discreetly, spending most of his career in CBS radio and television studios, notably for the famous Ed Sullivan Show, as part of Raymond Scott's house band. He was also the first black musician hired by a radio orchestra, in 1943. His flexibility, due to the fact that he also played castanets, bongos and the whole range of small percussion instruments, also contributed to his longevity. He left CBS in 1972 to retire to the Virgin Islands, then to the San Diego area.

Specs Powell had begun his professional career in the late 1930s with Edgar Hayes, in the middle of the swing era, and continued it with Benny Carter and Ben Webster. After recording on a number of V-Discs, he found himself in the whirlwind of Manhattan's 52nd Street nightlife, sometimes playing four different gigs a night to accompany legends such as Billie Holiday, John Kirby, Benny Goodman, Coleman Hawkins and Red Norvo.

It was in 1957 that he recorded Movin' In, his first and only album as a leader. At the time of the infancy of bebop, he had been one of the very first drummers to accompany the emergence of Charlie Parker and Dizzy Gillespie. Hence the affection shown by the latter in his presentation text on the back of the album cover. He laments that most "modern" drummers have missed the dimension and mastery of this drummer and percussionist that he adores. The album, a condensed swing with a team of familiar faces from Count Basie's orchestra, does him full justice in this regard. It should be noted that it was released on the Roulette label, at a time when Basie himself was signing a few masterpieces there. *Alex Dutilh*

A neglected gem from Specs Powell & Co. in 1957. The versatile but little-known drummer Gordon "Specs" Powell (1922-2007) was active in the 1930s and 40s and worked with Errol Garner during the 1950s.This excellent album was his only session as leader recorded for ROULETTE in 1957.

With Powell (drums) were Sahib Shihab (alto & baritone sax); Aaron Sachs (tenor sax & clarinet); Pritchard Cheeseman (baritone sax); George Dorsey (alto sax & flute); Ray Copeland, Leon Merian (trumpets); Jimmy Cleveland, Jimmie Dahl (trombones); Hank Jones, Nat Pierce (piano); Clyde Lombardi (bass).

The 12 memorable tracks are a mix of Powell originals and standards with arrangements by Ray Copeland. There are plenty of fine solos and this swinging modern-mainstream jazz deserves to be more widely known.

Dizzy Gillespie's enthusiastic liner notes require the eyes of a hawk or a very strong pair of "specs". *Jazzrook (from Amazon review)*

1- Undecided

(Robin, Shavers)

2 - All Or Nothing At All

(Lawrence, Altman)

3- It's a Pitty To Say Goodnight

(B. Reid)

4 - You Don't Know What Love Is

(Raye, DePaul)

5 - Spider Blues

(Specs Powell)

6 - Rat Race

(Specs Powell)

7 - Suspicion

(Specs Powell)

8 - Locked Out

(Specs Powell)

9 - He's My Guy

(Raye, DePaul)

10 - I'll Remember April

(Raye, DePaul, Johnston)

11 - Dispossessed

(Specs Powell)

12 - Movin' In

(Specs Powell)

 

Ray Copeland, Leon Merian (trumpets); Jimmie Dahl, Jimmy Cleveland (trombones); George Dorsey (alto sax, flute); Sahib Shihab (alto sax, baritone sax); Aaron Schs (tenor sax, clarinet); Pritchard Cheeseman (baritone sax); Clyde Lombardi (bass); Hank Jones, Nat Pierce [#11] (pianos); Specs Powell (drums).

Recorded in New York City, February 13 and 20, 1957

John Gamba And Claude Williamson - Rare And Obscure Jazz Albums

 

Mr. Counterpoint

This album took its title from a club in West Orange, N.J., called Counterpoint. The club was owned by pianist John Gamba, making him one of the few jazz musicians to become a club owner. A skilled technician, the pianist managed to infuse his performances with a good deal of unexpected fire. Indeed, there were moments on "In Other Words", "Yesterdays", and "Lullaby Of The Leaves" that sharply suggested the legendary Eddie Costa. Gamba had the strong percussive approach to his instrument that was a hallmark of Costa and displayed a similar concept of time. Don Cinderella kept tightly in the rhythm section and proved to be a sensitive and imaginative soloist of some measure in "Lullaby Of The Leaves", "Things Ain't What They Used To Be", and "In Other Words". Paul Motian, Bill Evans' drummer for the previous three years, made his presence decidedly felt in the group's sound, and his secondary playing was very sensitive and musical, adding color and depth to John Gamba's honest and swinging piano playing. *Jordi Pujol*

The Fabulous Claude Williamson Trio

Claude Williamson (1926-2016) stood out as one of the most prolific jazz pianists on the West Coast in the 1950s. Influenced primarily by Teddy Wilson, later by Al Haig and Bud Powell, he took his first steps as a member of Charlie Barnet's excellent orchestra (1947-1949), showcasing himself as a jazzman with numerous virtues: a burgeoning pianist with a keen sense of emotions and definite instrumental ability. After this initial and enriching experience, Claude accompanied June Christy (1950-1951) and then spent over two years as the resident pianist at the Lighthouse Café, where he solidified his reputation as a soloist with the Howard Rumsey All-Stars. Subsequently, thanks to his exceptional versatility and talent, and until the mid-1960s, Claude played a crucial role not only as the leader of his trio in recordings but also as an accompanist on numerous albums featuring almost all the best jazz performers and orchestras from the Los Angeles scene. In this recording from 1961, Claude leads a trio that delivers a powerful and emotionally charged performance, presenting an excellent selection of standards with many captivating moments. *Jordi Pujol*

1 - Things Ain't What They Used To Be

(Duke Ellington)

2 - In Other Words

(Bart Howard)

3 - In A Sentimental Mood

(Duke Ellington)

4 - Yesterdays

(Jerome Kern)

5 - Green Dolphin Street

(Kaper, Washington)

6 - Wait Till You See Her

(Rodgers, Hart)

7 - Lullaby Of The Leaves

(Petkere, Young)

8 - Secret Love

(Fain, Webster)

9 - Witchcraft

(Coleman, Leight)

10 - A Foggy Day

(G. and  I. Gershwin)

11 - Young At Heart

(Richards, Leigh)

12 - You Make Me Feel So Young

(Myrrow, Gordon)

13 - Nancy

(Van Heusen, Cahn)

14 - The Lady Is A Tramp

(Rodgers, Hart)

15 - Anything Goes

(Cole Porter)

16 - All The Way

(Van Heusen, Cahn)

17 - They Can't Take That Away From Me

(G. and  I. Gershwin)

18 - While We're Young

(Wilder, Palittz, Engvic)

19 - Let There Be Love

(Cole Porter)

#1 to #8:

from the album Mr. Counterpoint – Jazz Impressions by John Gamba (Del Moral LPDM 103)

John Gamba (piano), Don Cinderella (bass), Paul Motian (drums).

Recorded at Bell Sound Studios, New York City, August 1962

#9 to #19:

from the album The Fabulous Claude Williamson Trio (Contract 15001)

Claude Williamson (piano), Duke Morgan (bass), Chuck Flores (drums).

Recorded in Los Angeles, California, 1961

Claude Williamson - Mulls The Mulligan Scene

Claude Williamson Mulls The Mulligan Scene merely means making Mulligan's music more pianistic: The word mull can take on many meanings, but in this instance it has to do with the interesting presentation of this collection of successful instrumentals with a group featuring piano, whereas the original recordings of these tunes by Gerry have been unique in that they had no piano in their instrumentation ("Blue at the Roots" is the exception).

To make the conception of these composition more unique, Claude Williamson is actually featured by four hands on two pianos. When the idea for this album first was discussed, the plan was to have Claude play a duet with another pianist. 

However, it was difficult to match the styles of Claude and the various pianists available for the project. Also, rehearsing and arranging with two busy men made it apparent that there would have to be another approach. Finally, it was decided that Claude would actually play the four hands by the simple process of playing on a second track over the original one.

*Claude Williamson (liner notes)*

What makes this 1958 album clever is Williamson plays piano on two tracks, giving the impression of two pianists. What makes the arrangements ironic is all of the tracks are Gerry Mulligan compositions, and they were originally recorded by Mulligan without a piano. 

As you listen to the sound samples it's no surprise that the sound is rich. Not only does Williamson play a second track of piano, but Howard Roberts' guitar adds even more depth to ensemble. Red Mitchell on bass and Stan Levey on drums round out the rhythm section. I am a big fan of both Mitchell and Levey, and Levey in particular is one of my personal inspirations.

This album was originally recorded for Criterion Records in Los Angeles in 1958. Fresh Sounds has done a remarkable job of remastering, and to be honest, for digging it out of obscurity and making it once again available.

If you are a Claude Williamson fan this is a wonderful album to add to your library. If you are also a Gerry Mulligan fan the song list is going to grab you, but the music is going to grab you even more. *Mike Tarrani*

1 - Walkin Shoes

2 - Limelight

3 - Westwood Walk

4 - A Ballad

5 - Utter Chaos

6 - Bark For Barksdale

7 - Simbah

8 - Blue At The Roots

9 - Apple Core

10 - Line For Lyons

11 - Ontet

(All compositions by Gerry Mulligan)

Claude Williamson (piano), Howards Roberts (guitar), Red Mitchell (bass), Stan Levey (drums).

Recorded at Radio Recorders, Studio B, Los Angeles, California, 1958