Five-Star Collection... Zoot Sims

Jazz, perhaps more than any other phase of music, is a world of strong likes and dislikes where a musician must earn recognition through his individual efforts, then must constantly strive to maintain his position. Among those who have successfully accomplished this dual role is Zoot Sims, a name to be conjured with wherever Jazz is performed.

Winner of numerous polls, many of them in which only musicians themselves vote, Zoot has been a consistent favorite among the Jazz aficionados both in the United States and abroad. Indeed, his name, and his "sound" are almost household words and music in countries both inside and out of the Iron Curtain. His appearances on the Continent have evoked tremendous interest among musicians and fans alike, and with each successive outing, his renown increases.

It was on just such a trip that this album was conceived and recorded. Producer Alan Douglas, in Paris during one of Zoot's visits, arranged for the session on short notice, and the program was put together in an equally short span of time. In addition to the two originals, "Zoot's Blues" and "A Flat Blues", seven standards were included. Each of the selections, you will hear, serves as an ideal showcase for the talented Zoot Sims, displaying the artistry which has firmly established him as one of the all-time Jazz greats. *Norman Weiser (liner notes)*

Zoot Sims

Zoot Sims Quartet In Paris

This release contains the complete original LP Zoot Sims in Paris (United Artists UAS15013), which presents the saxophonist performing live at the Blue Note club in a quartet format in late 1961. This album must not be confused with a CD by the same name which compiled two sessions made by Sims in Paris for Vogue in 1950 and 1953. In any case, Sims visited Paris on many occasions and was recorded on most of them, frequently backed by the same group of musicians. (...)

While the album was released as recorded at the celebrated Blue Note club in Paris, and applause and conversation are heard here and there, some sources indicate the location could well have been a recording studio or even the Blue Note after-hours, with applause added later. This is discussed by Charles Fox in his original review of this album for the British Gramophone Magazine, in its February 1964 edition: "Zoot Sims has a facility of expression which might prove fatal to a musician with less integrity. As it is, he never takes the easy way out. Nowhere on this LP, for instance, does he fall back upon his technique in the way that many of his contemporaries are inclined to do. This is, in short, a thoroughly delightful record, full of tenor solos that unroll with a deceptive fluency and simplicity. Zoot freewheels his way through the two blues and what amounts to a reworking of 'Stomping at the Savoy', but it is on the ballads that he really stretches out, particularly on 'Spring Can Really Hang You Up The Most' (an exceptionally good song by Tommy Wolf) and 'You Go to My Head', where the springiness and agility of Sims' lines are perfectly complemented by the lightness of his tone. The LP seems to have been made under fairly casual conditions, possibly 'after hours' in a Paris film studio. The date –the year as well as the month– remains a mystery". (...)

Modern discographies state the month, year and bassists as we put them on our release. The exact date, however, remains unknown.

As a bonus, we have added another complete live session recorded by Sims in Paris at the same venue earlier that year. He is featured again in a quartet format here, backed by the great Bud Powell on piano, Pierre Michelot on bass, and another superb American expatriate, Kenny Clarke, one of the fathers of bebop, on drums. Whatever we think of Henri Renaud’s capacity to swing (and this is highly criticized in the original Down Beat review reproduced below), it can in no way compare to Bud Powell’s driving power and imagination. These tracks were actually recorded at the Blue Note. However, the circumstances are also a bit obscure, the exact date is not known, and the existence of an unissued rehearsal on "Taking a Chance on Love" might prove that this was intended to be a live recording session, and not just a privately recorded concert. (...)

Bud Powell and Zoot Sims would never record any other music together than the three extended tunes heard here. *Arnold Marcus (from the liner notes)*

All Zoot Sims needs is some sort of rhythm section, some good standard tunes, a couple of blues, a good night—and he'll play his head off. Evidently such conditions obtained when this album, according to its producer. Alan Douglas, was cut on the set of a French movie in which Sims performed; the atmosphere is that of a night club with crowd noises, applause, and even some bandstand conversation. To me, it is some of the best Sims since the Zoot! album he did for Argo several years ago.

And the credit for the album's excellence goes to Sims; the rhythm section is quite lackluster, though Renaud plays tastefully, if blandly.

Sims' excellence almost defies analysis. Sure, there's the way he shades, suddenly stressing the unexpected, which comes like a kick in the shins; then, there's his ability to reshape a melody, without losing that melody, making it as personal a thing as an improvisation never touching the melody; above all, there's this man's time—it's been said before, and better, that he is the epitome of swing.

You see, some of us become almost inarticulate when we praise Sims. This might be the key to his appeal; it is emotional. And that's the hardest thing to put down on paper. With Zoot, one feels; one does not analyze. He just plays; it's that simple.

And on this album he plays so well, so consistently (oh, yes, he can be quite inconsistent) that it is senseless to give a blow-by-blow account. I'd rather sum this release up as being bone-marrow jazz that will give listeners many hours of pleasure. And if you can't get Sims, then forget the whole thing. What was it Fats Waller supposedly said to that chick—"Lady, if you have to ask what swing is, you’ll never know"? *Don DeMicheal (Down Beat, July 4, 1963 [5 stars])*

1 - Zoot's Blues

(Zoot Sims)

2 - Spring Can Really Hang You Up The Most

(Fran Landesman, Tommy Wolf)

3 - Once In A while

(Michael Edwards, Bud Green)

4 - These Foolish Things

(Harry Link, Holt Marvel, Jack Strachey)

5 - On The Alamo

(Isham Jones, Gus Kahn)

6 - Too Close For Comfort

(Jerry Bock, Larry Holofcener, George David Weiss)

7 - A Flat Blues

(Zoot Sims)

8 - You Go To My Head

(J. Fred Coots, Haven Gillespie)

9 - Stomping At The Savoy

(Benny Goodman, Andy Razaf, Edgar Sampson, Chick Webb)

10 - Groovin' High

(Dizzy Gillespie)

11 - Taking A Chance On Love

(Vernon Duke, Ted Fetter, John Latouche)

12 - Blue Bud Blues / 52nd Street Theme

(Bud Powell / Thelonious Monk)

#1 to #9:

Zoot Sims (tenor sax),  Henri Renaud (piano),

Bob Whitlock (bass), Jean-Louis Viale (drums).

#10 to #12:

Zoot Sims (tenor sax), Bud Powell (piano),

Pierre Michelot (bass), Kenny Clarke (drums).

Recorded live at the Blue Note, Paris, France,

December (#1 to #9) and January (#10 to #12), 1961

Five-Star Collection... Milt Hinton

Milt Hinton

East Coast Jazz /5

Milt Hinton is likely the most prolifically recorded musician in the history of jazz. His 70-year career yielded a discography that extends from the early '30s through the '90s. Along the way he performed with virtually every significant jazz innovator from Louis Armstrong to John Coltrane. "The Judge", as Hinton was fondly known in the jazz community, set a remarkable standard for his instrument, anchoring innumerable rhythm sections with his rock solid timekeeping while displaying a beautiful tone and inventive melodic sensibilities on the ballads. Hinton once modestly attributed his success as an accompanist to having enough humility to make somebody else sound good!

This 1955 Bethlehem album marked Hinton's first important recording as a leader, a role he had briefly toyed with in the late '40s on some obscure sides for Keynote and Staff. The musicians assembled here were all used to working together as the Tony Scott Quartet. The original liner notes' references to "A. J. Sciacca" are confusing, as this was actually clarinetist Tony Scott recording under a pseudonym. His given name was Anthony Sciacca. Scott's work fell into undeserved obscurity after he left the U.S. in 1959. He eventually settled in Italy. Drummer Osie Johnson was, along with Hinton, one of the most prolific studio musicians of the era, and he remained busy as both a drummer and arranger until his death in 1966. Pianist Dick Katz rounds out the group with an intriguing style that melds traditional influences with the innovations of the modernists. As an added bonus, a never before released alternate take of "Milt To The Hilt" can be heard on this reissue.

From the opening bars of "Mean To Me", Milt Hinton dominates these proceedings with his powerful yet deft technique and inimitable sound. The '50s witnessed a plethora of great jazz bassists, yet despite the fact that Hinton was already an established giant in the early swing era (before his friend Jimmy Blanton revolutionized the scope of this instrument), it is clear that he remained a force to be reckoned with. He led another date for Victor the month after this Bethlehem session, but wouldn't do so again for nearly a decade. Instead, he continued as a stellar sideman and also pursued his interest in jazz photography, eventually publishing two acclaimed volumes of his work. Milt Hinton died at the age of 90 in New York on December 19, 2000.

*Joseph F. Laredo (from the supplemental liner notes)* 

At the age of 40, Milt Hinton finally has his first LP under his own leadership, and it’s a magnificent quartet session. With Milt are pianist Dick Katz, drummer Osie Johnson, and clarinetist A. J. Sciacca (who came in third in last year's Down Beat readers' poll under another name). Katz, a much underrated pianist who plays with expressive economy and an allergy to cliches, is fine, and Johnson is a model of tasteful accompaniment. Sciacca plays with unexcelled jazz feeling, conception, and tone, including some wonderfully warm bass clarinet. Hinton comes through all the way with his characteristic full sound, swinging imagination and his contagious joy in living and playing.

There are too many highlights for detailed comment. The set is best summarized as a wailer with great emotional excitement. The originals are by Hinton, Katz, and Tony Scott. My only quarrel is with engineer Tom Dowd, who could have given the solo bass clearer, sharper definition. Firstrate notes by Bill Simon. This is labeled Vol. 5 of Bethlehem's East Coast Jazz series.

*Nat Hentoff (Down Beat, April 20, 1955 [5 stars])*

1 - Mean To Me

(Turk, Ahlert)

2 - Pick 'N Pat

(Hinton)

3 - Over The Rainbow

(Harburg, Arlen)

4 - Milt To The Hilt

(Scott)

5 - Don't Blame Me

(Fields, McHugh)

6 - Katz' Meow (A Canon for Cats)

(Katz)

7 - Upstairs With Milt

(Hinton)

8 - Ebony Silhouette

(Payne, Hinton)

9 - Cantus Firmus

(Katz)

10 - These Foolish Things

(Link, Strachey, Marvell)

11 - Milt To The Hilt (alternate take)

(Scott)

Tony Scott [as A.J. Sciacca] (clarinet, bass clarinet), Dick Katz (piano),

Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, January 20, 1955

More about "Checkmate": from screen to studio

Shelly Manne and His Men

Play

Checkmate

Checkmate is one of the most successful TV shows of the current season.  The three heroes of Checkmate — Sebastian Cabot, Doug McClure, and Anthony George — aim to stop crime before it happens, accompanied by the exposed thrills, chills, and danger — and by Johnny Williams's excellent score which strikes precisely the right balance between mayhem and music.

Shelly Manne, a friend and associate of Williams, held the percussion chair in the studio orchestra which recorded the Checkmate score. He realized that most of Williams's themes would lend themselves admirably to a jazz treatment by his own group. "What attracted me to the music", says Shelly, "was the mood the pieces create — you might call it a 'modal' mood. This is particularly true of The Isolated Pawn, The King Swings, En Passant. By modal I mean there aren't a lot of changes and because of it you can create more exciting rhythmic interest. With only a few changes as in Milestones or Coltrane's My Favorite Things, the rhythm can create tension and mounting excitement through use of ostinato effects. Oddly enough, the 'monotony' is what helps create the intensity!"

Shelly also likes Williams's melodic lines. "They are good jazz lines. He didn't conceive of Checkmate as a jazz score, but because Johnny is also a jazz musician, he knows how to write lines which lay just right for jazz blowing".

In the months before this recording, Manne & His Men played the Checkmate music for receptive audiences at the Manne-Hole, Shelly's jazz club in Hollywood. In this way the seven themes took their places on an equal footing with the standards, jazz originals, and jazz classics which comprise the group's extended repertoire.

The characteristic element which distinguishes these performances from Williams's own first-rate big band version of the score album is the extended improvisation by the soloists. The quality of improvisation is an elusive thing. It is primarily a personal and emotional expression. To play well, a musician has to believe in what he is doing. In the case of Checkmate, Manne and his colleagues had become thoroughly enthusiastic about the Williams music, and looked forward to the recording session with much more than ordinary anticipation. *Lester Koenig (from the liner notes)*

One would hardly think that music for television would form a solid basis for improvisation, being largely incidental music meant to set scenes rather than draw in the ear. However, Johnny Williams (the same John Williams who later created memorable music for Star Wars and the Harry Potter movies) was a composer who was able to transcend the usual boundaries of the small screen to create some memorable little themes that worked quite well apart from the show.

Shelley Manne, who had previously delved into musicals for fresh ideas (his My Fair Lady is a minor classic), was able to see the possibilities in Williams' noirish themes from Checkmate, a long forgotten TV show. It certainly helps that Manne's 1961 working quintet was filled with fire-breathers like Richie Kamuca and Conte Candoli, but clearly the music simply gave the musicians the opportunity to dig into some fresh material to generate ideas. The music bears the influence of recent modal experiments ("The King Swings" bears more than a passing resemblance to "Impressions") and Freeman, a stalwart West Coast pianist, demonstrates a knack for working within the loose framework. Other selections are based on sinister bass and prickly drumming that instantly recall numerous spy themes; the horns, in true form, dart around like criminals in the shadows. Clearly with the talent involved, this project was likely to provide some intense blowing; had this been done by anyone else, it might not have been so interesting.

*David Rickert (allaboutjazz.com)*

Side 1

1 - Checkmate

2 - The Isolated Pawn

3 - Cyanide Touch

Side 2

4 - The King Swings

5 - En Passant

6 - Fireside Eyes

7 - The Black Night

(All compositions by Johnny Williams)

Conte Candoli (trumpet), Richie Kamuca (tenor sax),

Russ Freeman (piano), Chuck Berghofer (bass), Shelly Manne (drums).

Recorded at Contemporary's Studio, Los Angeles, California, October 17 and 24, 1961

Jazz For The Screen ★ Johnny Williams and Lionel Newman

"Jazz in the Movies" Collection

•

Johnny Williams 

The Music From "Checkmate"

and

Lionel Newman

The Music From "Hong Kong"

John Williams' musical roots—like his credits—are impressive. Long before this highly skilled musician scored and conducted the acclaimed music of several of the most successful films of the last four decades—Star Wars, Jaws, Superman, Close Encounters of the Third Kind, The Empire Strikes Back, ET: The Extra-Terrestrial, Indiana Jones and the Last Crusade, The Accidental Tourist, Schlinder's List, Raiders of the Lost Ark, Return of the Jedi, etc.—he was an elegant and swinging young pianist as well as an ambitious arranger/composer in the jazz and pop fields. That work gained him recognition in the Hollywood entertainment and recording scenes of the Fifties, when all the "cats" called him Johnny. In 1961 he composed the haunting background music of the popular TV series Checkmate. The modern brass arrangements he conducted were played by the top West Coast jazz studio musicians.

From the same time, Hong Kong is an exciting album spotlighting background music from the 1961 TV show composed by Lionel Newman. The material combined the style and form of the racy Peter Gunn music with the sounds of the Orient, music played firstly in the Hollywood tradition of lush string and brass scoring and in its second half by a swinging jazz nonet featuring Frank Beach, Abe Most, Bob Cooper, Paul Smith and Larry Bunker, all under the direction of Newman, and scored by some of the most in-demand Hollywood arrangers. *Jordi Pujol*

When these TV film soundtracks were recorded more than five decades ago, you couldnt walk about Hollywood without bumping into a musician or three: jazz musicians, swing musicians, studio musicians, who could play almost anything you wanted and in whatever key. They gathered there in California like wasps round a jam jar, for this was where they could make a living irrespective of what kind of music they wanted to play. Among the personnel are many names from West Coast jazz lesser-known names like Conrad Gozzo who nevertheless played with Shorty Rogers and others, and the very familiar Jimmy Rowles, big band stylist and accompanist of Peggy Lee etc. These soundtracks made for two TV series give an idea of what these jazzmen (and non-jazzmen) were brought into the studios to accomplish. It was not always jazz-as-we-know-it.

But the selection written for Checkmate, while clearly fashioned to accompany cinematic action, has a great affinity to the big band sound which was on the wane outside in the real world. Its certain that some of these compositions would not have worked without the powerful interpretation of jazz-oriented brass players. The composer Johnny Williams had been active for years as a jazz pianist recording with Buster Bailey and Eddie Durham, for example. There are passages in En Passant, say, with a rousing French horn ensemble when his creative mind seems to remember its writing for Tinseltown. But overall this is composing and delivery which swing listeners would find satisfying and absorbing.

I find it hard to say the same about the Hong Kong tracks which, lumbered by a sizeable string section, come across largely as romantic/dramatic film music, but very professionally played. You can almost imagine the rustle of popcorn packets. Presenting it as jazz is optimistic. Nevertheless, some charts are arranged by Marty Paich and Billy May, showing how Hollywood helped the jazz economy. And (point of interest) I'd never heard of a mokkin before, a Japanese 16-key xylophone, played by vibist Larry Bunker. *Anthony Troon (Jazz Journal)*

Music from "Checkmate"

Johnny Williams

(Originally issued on Columbia CS 8391)

1 - Theme from Checkmate

2 - The Isolated Pawn

3 - Cyanide Touch

4 - Far Out Place

5 - Hassle In The Castle

6 - En Passant

7 - The Black Knight

8 - Fireside Eyes

9 - The Bishops Retreat

10 - Queens Sacrifice

11 - Shy Youth

12 - The King Swings

(All compositions by Johnny Williams)

#1, #2, #7, #10:

Conrad Gozzo, Pete Candoli, Olie Mitchell (trumpets); 

Vince De Rosa, Dick Perissi, John Cave (french horns); 

Dick Nash, Lloyd Ulyate, Dick Noel (trombones);

Ronny Lang, Ted Nash (ato sax, fute); Gene Cipriano (tenor sax, flute); 

Chuck Gentry (baritone sax); Jimmy Rowles (piano); Bob Bain (guitar);

Joe Mondragon (bass); Shelly Manne (drums); John F. Williams (percussion).   

Recorded at Columbia Records Studio, Hollywood, California, November 17, 1960 

#3, #5, #9, #12:

Conrad Gozzo, Pete Candoli, Olie Mitchell, Frank Beach (trumpets); 

Vince De Rosa, Dick Perissi, John Cave (french horns); 

Dick Nash, Lloyd Ulyate, Dick Noel (trombones);

Ronny Lang, Ted Nash (ato sax, fute); Gene Cipriano (tenor sax, flute); 

Chuck Gentry (baritone sax); Jimmy Rowles (piano); Bob Bain (guitar);

Joe Mondragon (bass); Shelly Manne (drums); John F. Williams (percussion). 

Recorded at Columbia Records Studio, Hollywood, California, December 1, 1960   

#4, #6, #8, #11:

Vince De Rosa, Dick Perissi (french horns); Dick Nash, Lloyd Ulyate (trombones);

Ronny Lang (flute); Jimmy Rowles (piano); Bob Bain (guitar);

Joe Mondragon (bass); Shelly Manne (drums); John F. Williams (percussion). 

Recorded at Columbia Records Studio, Hollywood, California, December 9, 1960

Music from "Hong Kong"

Lionel Newman

(Originally issued on ABC Paramount ABCS 367)

13 - Hong Kong

(Lionel Newman)

14 - Evans Theme

(Lionel Newman)

15 - Number One Girl

(Lionel Newman)

16 - Joanna

(Lionel Newman)

17 - The Jade Empress

(Frank Comstock)

18 - Blues For Evans

(Lionel Newman)

19 - Tullys Bar

(Lionel Newman)

20 - A Toast To Joanna

(Lionel Newman)

21 - Honorable Hong Kong Rock

(Billy May)

22 - Tully And Evans

(Lionel Newman)

23 - Chinesse Cha Cha

(Newman-Feller)

24 - Chop Chop Waltz

(Marty Paich)

#13 to #18:

Frank Beach, John Clyman, Bob Fowler (trumpets);

Vince DeRosa, Harry Schmidt, Fred Fox (french horns);

Hoyt Bohannon, Ray Klein, Marlo Imes (trombones);

Abe Most, Russ Cheever, Bill Ulyate, Morey Crawford (reeds);

Paul Smith (piano); Mike Rubin (bass); Richard Cornell (drums);

Dale Anderson, Ralph Collier, Harold Rees (percussion); Ann Stockton (harp); 

plus 10 violins, 2 violas, and 2 cellos unidentified  

#19 to #24:

Frank Beach (trumpet), Milt Bernhart (trombone),

Abe Most (alto sax), Bill Ulyate (bass clarinet, alto sax),

Bob Cooper (tenor sax), Larry Bunker (vibes, mokkin), Howard Roberts (guitar),

Mike Rubin [#21, #23, #24], Richard Cornell [#19, #20, #22] (drums). 

Recorded at United Recorders Studio, Hollywood, California,

November 2 (#13 to #18) and November 3 (#19 to #24), 1960

Géo Daly and Claude Marchand

Rare and Obscure Jazz Albums Collection

Géo Daly

Géo Daly et son Orchestre de La Rose Rouge

and

Claude Marchand

Dancing-Party à Saint-Germain-des-Prés

Vibraphonist Géo Daly was one of the defining voices of postwar French jazz. With brilliant technique, a bright, propulsive sound, and a constant urge to evolve, he established himself in the late 1940s as France's leading vibraphonist, bringing to the instrument both the exuberance of Lionel Hampton and a modern European sensibility of his own. After early success with the celebrated Edwards Band, Daly became a central figure at La Rose Rouge, the legendary Saint-Germain-des-Prés cabaret at the heart of Parisian nightlife.

The recordings gathered here capture Daly at his peak: vibrant, inventive, and irresistibly swinging. Joined by a remarkable cast—including Michel de Villers, Christian Chevallier, Bill Tamper, André Ross, Alix Bretand, Bernard Planchenault—he evokes the sound of a Paris where jazz flourished until dawn.   Released in 1958, Dancing-Party at Saint-Germain-des-Prés captures the vibrant spirit of Parisian jazz at a defining moment. The album introduced two rising talents of the French scene: pianist and singer Mimi Perrin, later internationally acclaimed with Les Double Six, and guitarist Pierre Cullaz, whose refined playing would make him one of France’s leading jazz guitarists.

With a lively blend of swing, chanson atmosphere, and Left Bank sophistication, these recordings evoke the clubs and cabarets of Saint-Germain-des-Prés, where modern French jazz found its own voice. A rare and charming snapshot of an era, this album stands today as both a musical delight and an important historical document. *Jordi Pujol*

If you think all of today's jazz sounds the same, you’re probably correct, as there are more imitators now than creators. Spain’s Fresh Sound Records looks forward by looking back to a day when artists painted with a different-colored brush, both in the US and abroad.

It was definitely April in Paris when Frenchie Géo Daly (vib) teamed up with Christian Chevallier (p), Alix Bret (b), Bernard Planchenault (dr), André Ross (ts), Bill Tamper (tb), and Michel de Villers (bar) for some chestnuts in blossom on this 1953 session. Daly's vibes hint at Milt Jackson on a lovely "Day Dream", while Chevallier's material, such as "Prez Wiggins" and "Cat Trick", has a full-bodied bounce. A larger ensemble sounds like the background for a film on "The Day of the Fog" and "The Night of the Cat", with vocalist Mimi Perrin accompanying herself on piano alongside a team of Claude Marchand (as), Pierre Cullaz (g), Jacques Perrin (b), and Jean-Pierre Drouet (dr), bringing a June Christy-ish coo to "How About You", "Fine and Dandy", and a peppy "Just One of Those Things". Bop with a beret. *George W. Harris (jazzweekly.com)*

1 - Prez Wiggins

(Christian Chevallier)

2 - Illya

(Christian Chevallier)

3 - Golden Skyes

(Christian Chevallier)

4 - Cat Trick

(Christian Chevallier)

5 - Tabou

(Ernesto Lecuona)

6 - À La New Daly

(Christian Chevallier)

7 - Katie

(Christian Chevallier)

8 - Wedding Day

(Christian Chevallier)

9 - Day Dream

(Ellington, Strayhorn)

10 - I Got It Bad And That Ain't Good

(Ellington, Webster)

11 - The Day Of A Dog

(Géo Daly)

12 - The Night Of A Cat

(Raymond Le Sénechal)

13 - Motion

(Jimmy Raney)

14 - I Cover The Waterfront

(Green, Heyman)

15 - Fine And Dandy

(Kay Swift)

16 - Walkin'

(Richard Carpenter)

17 - Just One Of Those Things

(Cole Porter)

18 - Speak Low

(Kurt Weill)

19 - We'll Be Together Again

(Fischer, Laine)

20 - Fluted Columns

(Bud Shank)

21 - How About You?

(Lane, Freed)

22 - What's New?

(Haggart, Burke)

#1 to #8:

from the LP Géo Daly et son Orchestre de La Rose Rouge (Vogue LD 184)

#9, #10:

from the 10-inch 78 rpm Géo Daly et son Orchestre (Vogue V 3327)

Géo Daly (vibes), Bill Tamper (trombone), André Ross (tenor sax),

Michel de Villers (baritone sax),Christian Chevallier (piano),

Alix Bret (bass), Bernard Planchenault (drums.

Recorded in Paris, April 5, 1953

#11, #12:

from the LP Géo Daly et son Orchestre (Columbia FP 1059)

Géo Daly (vibes), Fred Gerard, Bernard Hulin, Jean Liesse (trumpets);

André Paquinet, Charles Verstraete, Benny Vasseur, Gaby Vilain (trombones);

Francis Weisc (clarinet, alto sax); Marcel Cauvin (alto sax); André Ross (tenor sax);

Pierre Guillotin (baritone sax); Raymond Le Senechal (piano);

René Duchaussoir (guitar); Alix Bret (bass); Bernard Planchenault (drums).

Recorded in Paris, June 27, 1955

#13 to #22:

from the LP Dancing-Party à Saint-Germain-des-Près (Club National du Disque CV208)

#13 to #17: 

Claude Marchand (alto sax), Mimi Perrin (piano, vocals [#15, #17]);

Pierre Cullaz (guitar), Jacques Perrin (bass), Jean-Pierre Drouet (drums).

Recorded in Paris 1958

#18 to #22: 

Claude Marchand (alto sax), Jean-Pierre Drouet (piano), Pierre Cullaz (guitar),

Jacques Perrin (bass), Jean-Louis Conrozier (drums), Mimi Perrin (vocals [#19, #21]).

Recorded in Paris 1958

Dave Hildinger, Jack Noren and Sture Swenson

Rare and Obscure Jazz Albums Collection

Dave Hildinger Quintet

And 

The Jack Noren ~ Sture Swenson Nonet 

The Young Moderns showcases the remarkable talent of pianist, arranger and composer Dave Hildinger (1928–2020), whose sophisticated writing bridges the worlds of jazz tradition and modern musical innovation. Featuring his dynamic quintet and inventive arrangements, this 1956 recording captures the spirit of the emerging generation of jazz artists of the 1950s —formally trained, adventurous in sound and rhythm, yet deeply rooted in improvisation. A vibrant portrait of Dave Hildinger's unique musical voice.

Originally released in 1958, The Exhibit presents the distinctive compositions and arrangements of Swedish-born saxophonist and composer Sture Swenson, co-led with drummer Jack Noren. Bringing together some of Chicago's most creative Young jazz talents, the album blends sophisticated writing, adventurous ensemble textures—including the unusual use of four guitars—and inspired solo work. Swenson’s melancholic baritone enhances the haunting beauty of "Dear Old Stockholm", while the ambitious "Tamerlane Suite" reveals his imagination as a composer. A striking example of the modern jazz spirit flourishing on both sides of the Atlantic. *Jordi Pujol*

1 - Penrod

(Dave Hildinger)

2 - Tom Swift

(Dave Hildinger)

3 - Lazy Afternoon

(Moross, LaTouche)

4 - Blurb

(Dave Hildinger)

5 - Play Street

(Dave Hildinger)

6 - The Switch

(Dave Hildinger)

7 - Mister Snow

(Rodgers, Hammerstein II)

8 - Two Sleepy People

(Carmichael, Loesser)

9 - It's You Or No One For Me

(Styne, Cahn)

10 - Picadilly Circus

(Sture Swenson)

11 - Dear Old Stockholm

(Swedish Traditional)

12 - What A Difference A Day Made

(Grever, Adams)

13 - Topsy Returns

(Jerome Mulvihill)

14 - The Way You Look Tonight

(Kern, Fields)

Tamerlane Suite

(Sture Swenson)

15 - • The Way

16 - • Cortege To Samarkand

17 - • Angora

#1 to #9

from the LP The Young Moderns (Baton BL 1204)

Ed Mattson (trumpet), Norm Marnell (tenor sax), Dave Hildinger (piano),

Bill Stanley (bass, tuba), Ed Thigpen (drums).

Recorded in New York City, November 19, 1956

#10 to #17

from the LP The Exhibit (Replica 1007)

#10:

Fred Karlin (trumpet), Bill Porter (slide trombone),

Kenny Soderblom (tenor sax, alto sax, flute), Sandy Mosse (tenor sax),

Sture Swenson (baritone sax), Dave Poskonka (bass),

Fred Rundquist (guitar), Garri Sherman (piano), Jack Noren (drums).

#11:

John Gray, Fred Rundquist, Bill Balasti, Howard Stanley (guitars);

Sture Swenson (baritone sax); Jim Atlas (bass);

Garri Sherman (piano),  Jack Noren (drums).

#12:  

John Gray, Fred Rundquist, Bill Balasti, Howard Stanley (guitars);

Jim Atlas (bass); Garri Sherman (piano),  Jack Noren (drums).

#13:

Sture Swenson (baritone sax), Jim Atlas (bass),

Garri Sherman (piano),  Jack Noren (drums).

#14, #15, #16, #17:

Fred Karlin (trumpet), Bill Porter (slide trombone), Eddie Avis (valve trombone),

Kenny Soderblom (tenor sax, alto sax, flute), Sandy Mosse (tenor sax),

Sture Swenson (baritone sax), Walt Murphy (tuba), Dave Poskonka (bass),

Fred Rundquist (guitar), Garri Sherman (piano), Jack Noren (drums).

Recorded in Chicago, May 5, 1958

Cool Blends (V) ★ British Panorama (I)

Soho After Dark

London's '50s Modern Jazz Scene

During the 1950s and 1960s, the United Kingdom developed a thriving jazz scene that absorbed the influence of American cool jazz and West Coast jazz. The combination of sophisticated arrangements, counterpoint, smooth tones, and chamber music influences resonated deeply with several British composers and performers.

However, to understand how this refined sound germinated on the other side of the Atlantic, one must look to the urban labyrinth of Central London. As British music journalist Roy Carr noted, the London nightlife of those years was a snapshot of a time, now long gone, when London’s Soho square mile almost rivalled New York's 52nd Street and L.A.'s Central Avenue for musical excitement.

That "insatiable hunger for Modern Jazz", which caught fire just before Christmas in 1948 at the legendary Club Eleven on Great Windmill Street, took on a distinct identity within the British scene. The aesthetic was no mere carbon copy: stylistically, the music performed revealed influences that encompassed East Coast Hard Bop, Cu-Bop, and West Coast Cool, but importantly, all were delivered in an unmistakable local accent.

The high technical caliber of British soloists was so striking that visiting American jazz giants offered unreserved praise and eagerness to collaborate. In 1959, Woody Herman assembled an impressive lineup of local heroes—including Ronnie Ross, Don Rendell, Kenny Wheeler, and Bert Courtley—to form his Anglo-American Herd. That same year, the Modern Jazz Quartet toured with Joe Harriott and Ronnie Ross as special guests, while bandleaders like Stan Kenton routinely hired players such as Harry Klein, Tommy Whittle, or Rendell to dep for absent sidemen.

This installment of Cool Blends explores the studios, basements, and legendary clubs of Soho—from the 100 Club on Oxford Street to The Flamingo on Wardour Street, and Ronnie Scott’s newly opened cellar on Gerrard Street—through a mix of studio sessions and live dates to discover how British musicians translated the subtlety, balance, and poise of the cool jazz movement into an essential chapter of European jazz. *(taken from Roy Carr's liner notes)*

Subtitled "London's '50s Modern Jazz Scene" — a genre not too well covered even by most in-depth modern jazz histories — this two-CD compilation has two and a half hours of British jazz from 1949-1960. That's almost as much music as a double CD can hold, and while experts on the style will no doubt be aware of much worthy material that didn't make the cut, this would seem to be a good overview or introduction to this relatively little-studied corner of '50s jazz. A few of the names might be familiar to the serious jazz fan, like Ronnie Scott, Johnny Dankworth, Ted Heath, Don Rendell, Tony Crombie (unfortunately not represented by "Eastern Journey", upon which the Who based "Cobwebs and Strange"), Tubby Hayes, and Tito Burns (though he's more renowned as a pop manager/promoter than a musician). But it's safe to say that even the typical well-schooled jazz listener will have encountered few if any of these tracks before. While jazz is justly thought of as a primarily American idiom, however, this is a highly respectable and diverse collection of 35 tracks in various styles, from swing and bop to cool and Latin-influenced. It might be a bit more reserved than the most renowned recordings in these areas, and not heavily colored by (as U.K. rock of the 1960s was) a particularly British character. Yet it can hold its own with the jazz music being made across the ocean during the same era, occasionally going into some odd but interesting detours like Dankworth's cinematic "African Waltz" (a U.K. Top Ten hit), the Stan Tracey Trio's vibe-heavy "Free", and the Afro-Cuban jazz in Kenny Graham's Afro-Cubists' "Mango Walk". Some more in-depth detail and context in the liner notes would have been nice, but overall it's a surprisingly interesting and entertaining survey. *(All Music Guide)*

*CD 1*

1 - Second Eleven

(Dankworth)

Johnny Dankworth Club XI Quartet

Johnny Dankworth (alto sax), Norman Stenfalt (piano),

Joe Muddel (bass), Laurie Morgan (drums).

London, April 27, 1949

2 - 52nd Street Theme

(Monk)

Ronnie Scott Club XI Boptet

Ronnie Scott (tenor sax), Denis Rose (trumpet), Johnny Rogers (alto sax),

Tommy Pollard (piano), Lennie Bush (bass), Tony Crombie (drums), Ginger Johnson (bongos).

London, April 9, 1949

 

3 - Mango Walk

(Graham)

Kenny Graham's Afro-Cubists

Jo Hunter (trumpet), Kenny Graham (tenor sax), Jack Honeyborne (piano),

Roy Plummer (guitar), Cliff Ball (bass), Dickie Devere (drums, percussion).

London, February 10, 1951

4 - Festival Hall

(Hall)

Tito Burns and His Sextet

Tito Burns (accordion), Albert Hall (trumpet), Jimmy Chester (alto sax),

Rex Morris (tenor sax), Ronnie Price (piano), Coleridge Goode (bass), Derek Price (drums).

London, July 12, 1951

5 - The Slider

(Wise, Raeburn, Temple)

Johnny Dankworth Seven

Johnny Dankworth (alto sax), Don Rendell (tenor sax),

Jimmy Deuchar (trumpet), Eddie Harvey (trombone),

Bill Le Sage (piano), Eric Dawson (bass), Tony Kinsey (drums). 

London, July 12, 1951

6 - Catherine Wheel

(Parnell)

Jack Parnell and His Orchestra

Jimmy Deuchar, Albert Hall, Jo Hunter (trumpets); Mac Minshull, Ken Wray (trombones);

Derek Humble (alto sax); Ronnie Scott, Pete King (tenor saxes); Harry Klein (baritone sax);

Max Harris (piano), Sammy Stokes (bass), Jack Parnell, Phil Seamen (drums).

London, October, 1952

7 - The Champ

(Gillespie)

The Ronnie Scott Jazz Group

Ronnie Scott (tenor sax), Jimmy Deuchar (trumpet), Ken Wray (trombone),

Derek Humble (alto sax), Pete King (tenor sax), Benny Green (baritone sax),

Norman Stenfalt (piano), Lennie Bush (bass), Tony Crombie (drums).

London, December 1, 1952

8 - Hi-Ya Mr Jackson

(Jackson)

Tony Hall's Hall Stars

Jo Hunter (trumpet), Joe Temperley (tenor sax),

Kenny Napper (piano), Sammy Stokes (bass), Phil Seamen (drums). 

London, January, 1954

9 - Mambo Macoco

(Puente)

The Kirchin Band

Murray Campbell, Frank Donlan, Dougie Arthur, Norman Baren (trumpets);

Bryan Hayden (alto sax); Johnny Marshall, John Xerri (tenor saxes);

George Robinson (baritone sax); Johnny Patrick (piano);

Ronnie Seabrook (bass); Basil Kirchin (drums), Ivor Kirchin (conductor).

London, September, 1954

10 - Swinghouse

(Mulligan)

Vic Lewis and His Orchestra

Dave Loban, Ronnie Baker, Johnny Brown, Trevor Lannigan (trumpets);

John Watson, Rusty Hurren, Andy Wilson, Alec Gould (trombones);

Ronnie Chamberlain, Bernard Allen (alto saxes); Brian Gray, Howard Morgan (tenor saxes);

Brian Rodgerson (baritone sax); Red Mitchell (piano),

Len Edwards (bass), Andy White (drums).

London, January 9, 1955

11 - 'Bang!'

(Reece)

Dizzy Reece Quintet

Dizzy Reece (trumpet), Sammy Walker (tenor sax),

Tony Crombie (piano), Lennie Bush (bass), Phil Seamen (drums).

London, May 16, 1955

12 - Cool Sparks

(Rendell)

Don Rendell Quintet

Don Rendell (tenor sax), Ronnie Ross (baritone sax),

Damian Robinson (piano), Sammy Stokes (bass), Benny Goodman (drums).

London, May 16, 1955

13 - Kings Cross Climax

(Graham)

Ted Heath and His Music

Bobby Pratt, Duncan Campbell, Bert Ezzard, Eddie Blair (trumpets);

Wally Smith, Don Lusher, Jimmy Coombes, Ric Kennedy (trombones); 

Leslie Gilbert, Roy Willox (alto saxes); Henry Mackenzie (clarinet, tenor sax);

Danny Moss (tenor sax); Ken Kiddier (baritone sax); 

Frank Horrox (piano); Johnny Hawksworth (bass); Ronnie Verrell (drums).

London, February 14, 1955

14 - Cottontail

(Ellington)

Keith Christie Quartet

Keith Christie (trombone), Johnny Dankworth (alto sax),

Bill Sutcliffe (bass), Allan Ganley (drums).

London, July 26, 1955

15 - 'Early Morning'

(Le Sage)

Vic Ash Quartet

Vic Ash (clarinet), Terry Shannon (piano),

Pete Elderfield (bass), Benny Goodman (drums).

London, February 18, 1956

16 - Fascinating Rhythm

(Gershwin)

Tony Kinsey Trio with Joe Harriott

Joe Harriott (alto sax), Bill Le Sage (vibes),

Sammy Stokes (bass), Tony Kinsey (drums).

London, December 9, 1954

17 - It Don't Mean A Thing

(Ellington)

Tony Kinsey Trio with Joe Harriott

Joe Harriott (alto sax), Bill Le Sage (piano),

Eric Dawson (bass), Tony Kinsey (drums).

London, May 17, 1955

18 - Brawl For All

(Feldman)

Victor Feldman Septet

Victor Feldman (vibes); Jimmy Deuchar, Dizzy Reece (trumpets);

Derek Humble (alto sax); Tommy Pollard (piano);

Lennie Bush (bass); Phil Seamen (drums).

London, August 18, 1955

19 - Ten Bar Gait

(Whittle)

Tommy Whittle Quintet

Tommy Whittle (tenor sax), Harry Klein (baritone sax),

Dill Jones (piano), Joe Muddel (bass), Eddie Taylor (drums).

London, March 22, 1955

20 - Message To The Messengers

(South)

Tubby Hayes Quintet

Tubby Hayes (tenor sax), Dickie Hawdon (trumpet),

Harry South (piano), Pete Elderfield (bass), Bill Eyden (drums).

London, July 17, 1956

✳✳✳

*CD 2*

1 - African Waltz

(MacFarland)

Johnny Dankworth Orchestra

Dickie Hawdon, Kenny Wheeler, Gus Galbraith (trumpets);

Tony Russell, Eddie Harvey, Ian McDougall (trombones);

Johnny Scott (flute); Johnny Dankworth, Peter King (alto saxes);

Danny Moss, Art Ellefson (tenor saxes); George Tyndale (baritone sax);

Dudley Moore (piano), Spike Heatley (bass), Ronnie Stephenson (drums). 

London, July 2, 1960

2 - Cheek To Cheek

(Berlin)

The Jazz Couriers

Ronnie Scott, Tubby Hayes (tenor saxes);

Terry Shannon (piano); Phil Bates (bass); Bill Eyden (drums).

London, February 16, 1958

3 - Some Of My Best Friends Are Blues

(Scott)

The Jazz Couriers

Ronnie Scott (tenor sax), Tubby Hayes (vibes),

Terry Shannon (piano), Phil Bates (bass), Bill Eyden (drums).

London, February 16, 1958

4 - Mirage

(Hayes)

The Jazz Couriers

Ronnie Scott, Tubby Hayes (tenor saxes);

Terry Shannon (piano), Jeff Clyne (bass), Bill Eyden (drums).

London, November, 1958

5 - The Little Giant ║ Orient Line

(South)

Tubby Hayes and His Orchestra

Tubby Hayes (tenor sax); Mike Senn (alto sax); 

Jackie Sharpe (baritone sax); Ian Hamer, Dickie Hawdon (trumpets);

Harry South (piano); Pete Blannin (bass); Bill Eyden (drums).

London, February 18, 1956

6 - Minore

(Crombie)

Victor Feldman Modern Jazz Quartet

Victor Feldman (vibes), Tommy Pollard (piano),

Eric Peter (bass), Tony Crombie (drums).

London, September 12, 1955

7 - L'il O'l Pontsville

(Tracey)

Tony Crombie Jazz Inc. Orchestra

Leon Calvert, Les Condon (trumpets); Al Newman (clarinet, alto sax);

Bobby Wellins (tenor sax); Harry Klein (baritone sax);

Stan Tracey (piano); Kenny Napper (bass); Tony Crombie (drums).

London, January 5, 1960

8 - Little Klunk

(Tracey)

Stan Tracey Trio

Stan Tracey (piano), Kenny Napper (bass), Phil Seamen (drums).

London, May 22, 1959

9 - Free

(Tracey)

Stan Tracey Trio

Stan Tracey (vibes), Kenny Napper (bass), Phil Seamen (drums).

London, May 22, 1959

10 - Shepherd's Serenade

(Reece)

Dizzy Reece, Donald Byrd (trumpets); Tubby Hayes (tenor sax);

Terry Shannon (piano); Lloyd Thompson (bass); Art Taylor (drums).

London, August 24, 1958

11 - Wilton's Mood

(Gaynair)

Wilton "Bogey" Gaynair (tenor sax), Terry Shannon (piano),

Kenny Napper (bass), Bill Eyden (drums).

London, August 26, 1959

12 - Messin' About In Boats

(Moule)

Ken Moule's Music

Leon Calvert (trumpet); George Chisholm (trombone); 

Dickie Hawdon (tenor horn); Bob Edwards (tuba);

Johnny Scott, Roy Willox (flutes); Dougie Robinson (alto sax);

Bob Efford (tenor sax); Ronnie Ross (baritone sax);

Ken Moule (piano); Arthur Watts (bass); Allan Ganley (drums).

London, January 28, 1958

13 - Maenya

(Reece)

Victor Feldman Big Band

Jimmy Watson, Jimmy Deuchar, Dizzy Reece (trumpets); Ken Wray (trombone);

Derek Humble (alto sax); Ronnie Scott, Tubby Hayes (tenor saxes);

Harry Klein (baritone sax); John Burden (french horn);

Jim Powell (tuba); Norman Stenfalt (piano);

Victor Feldman (vibes); Lennie Bush (bass); Phil Seamen (drums).

London, September 21, 1955

14 - Just Goofin'

(Harriott)

Tony Kinsey Quintet

Joe Harriott (alto sax), Bob Efford (tenor sax),

Bill Le Sage (piano), Pete Blannin (bass), Tony Kinsey (drums).

London, May 16, 1957

15 - The Colonel's Tune

(Dankworth)

Johnny Dankworth Orchestra

Dickie Hawdon, Derek Abbott, Bob Carson, Stan Palmer, Colin Wright (trumpets);

Jack Botterill, Garry Brown, Laurie Monk, Tony Russell, Danny Elwood (trombones);

Jim Powell (tuba); Johnny Scott (flute); Johnny Dankworth (alto sax);

Danny Moss (tenor sax, clarinet); Alex Leslie (baritone sax, clarinet);

Bill Le Sage (vibes); Dave Lee (piano); Eric Dawson (bass); Kenny Clare (drums).

London, June 20, 1958

✳✳✳

Cool Blends (IV) ★ Californian Panorama (I)

California Cool

Presenting 

The Hip Jazz Sounds Of The West Coast

Ever since Stan Kenton disbanded his Innovations Orchestra in Los Angeles in 1951, both the local jazz and movie colonies have co-existed comfortably along California's coastline.

Far from being beached, most of these ex-Kentonites, together with a number who'd previously been in Woody Herman's employ, soon found themselves leading a lucrative lifestyle that quickly translated into matching continental sports' cars and casual wear. For most of those who worked Hollywood's sound stages by day, also blew jazz by night at local clubs.

The commencement of Sunday afternoon jams at The Lighthouse on May 29 1949 and Shorty Rogers recording his Modern Sounds 10-inch for Capitol on October 8, 1951 are regarded as the two major events that signify what became universally refered to as the West Coast Scene. Long before that, jazz had been an integral part of the area's local night life especially along Central Avenue (the Harlem of the West Coast) where Dexter Gordon was the key figure along with Wardell Gray, Teddy Edwards, Sonny Criss and Hampton Hawes. A bustling locale crammed with clubs such as Billy Berg's, The Jungle Room and Jack's Basket that nightly presented jukebox stars of the calibre of Slim Gaillard, Charles Brown, Louis Jordan and Nat Cole.

However, by the early 1950s, the indigenous music scene had, in the quest for the almighty dollar, polarized along race lines, and (white) West Coast Jazz was a commercial reality. It's bright primary coloured leisure image was meant to reflect an optimistic and affluent postwar mood of prosperity. Not for these guys the smoke and shadows of New York's jazz cellars. Out on the coast, the air was fresh, palm trees lined the avenues and the big decision of the day was whether to surf or golf!

Look closer and it was obvious that this was a surface image - albeit well intended. Likewise, listen closely to the wide cross section of music contained herein and it's obvious that, from Mulligan and Pepper right through to Edwards and Criss, there's much more depth than the whole movement was first credited with.

This Compilation was inspired by the books "California Cool" by Graham Marsh and Glyn Callingham, and "The Hip" by Roy Carr. *(from the liner notes)*

Cool jazz from the west coast — mostly from the 50s, and mostly from EMI-related catalogs, like Blue Note, Aladdin, Liberty, and Capitol. There's a nice mix of vocalists and instrumentalists on the set — and the overall feel is that of a warm LA night, set in black and white, driving down to Central Ave with the top down and a bottle under the seat. Titles include "Mambo De La Pinta" by Art Pepper, "Jimmy's Theme" by Chet Baker, "Route 66" by Bobby Troup, "Black Nightgown" by Gerry Mulligan, "Ironic" by Jimmy Giuffre, "This Could Be The Start Of Something" by Mark Murphy, "The Squimp" by Chico Hamilton, "I Hear Music" by Hampton Hawes, "Hey Bellboy" by Gloria Woods, "Two Can Play" by Bob Gordon & Jack Montrose, and "Our Love Is Here To Stay" by Teddy Edwards. *Dusty Groove, Inc.*

1- This Could Be The Start Of Something New

(Allen)

Mark Murphy (vocal); Conte Candoli, Pete Candoli (trumpets); Bill Holman (tenor sax);

Jimmy Rowles (piano), Bobby Gibbons (guitar), Joe Mondragon (bass), Mel Lewis (drums).

Los Angeles, May 28,1959

2 - Main Title From "The Man With The Golden Arm"

(E. Bernstein, Fine)

Billy May and his Orchestra:

Conrad Gozzo, Dick Cathcart, Mickey Mangano, Mannie Klein (trumpets);

Ed Kusby, Si Zentner, Murray McEachern, Tommy "Pullman" Pederson (trombones);

Skeets Herfurt, Wilbur Schwartz (clarinet ,alto sax) Ted Nash, Jules Jacobs (clarinet, tenor sax);

Bob Dawes (baritone sax); Paul Smith (piano); Al Hendrickson (guitar);

Joe Comfort (bass) Tommy Romersa (drums); Billy May (arranger, leader).

Los Angeles, January 31, 1956

3 - Black Nightgown

(J. Mandel)

Gerry Mulligan (baritone sax), Bud Shank (altosax), Art Farmer (trumpet),

Frank Rosolino (trombone), Pete Jolly (piano), Red Mitchell (bass), Shelly Manne (drums).

Los Angeles, May 24, 1958

4- The Squimp

(Katz)

The Chico Hamilton Quintet:

Chico Hamilton (drums), Buddy Collette (flute),

Jim Hall (guitar), Fred Katz (cello), Carson Smith (bass).

Los Angeles, February 10, 1956

5 - But Not For Me

(G. and I. Gershwin)

Chet Baker Quartet:

Chet Baker (vocal, trumpet), Russ Freeman (piano),

Carson Smith (bass), Bob Neel (drums).

Los Angeles, February 15, 1954

6 - Iranic

(J. Giuffre)

Jimmy Giuffre (clarinet), Jack Sheldon (trumpet),

Ralph Peña (bass), Artie Anton (drums).

Los Angeles, January 31, 1955

7 - I Hear Music

(F. Loesser, B. Lane)

Hampton Hawes (piano), Red Mitchell (bass), Mel Lewis (drums).

Los Angeles, May 2, 1955

8 - Loverman

(Davis, Sherman)

Lee Konitz (alto sax), Gerry Mulligan (baritone sax),

Chet Baker (trumpet), Carson Smith (bass) Larry Bunker (drums).

Los Angeles, January 23, 1953

9 - Hey, Bellboy!

(Candoli, Mack)

Gloria Wood with Pete Candoli And His Orchestra:

Gloria Wood (vocal); Pete Candoli, Conte Candoli, Ray Linn, Manny Klein (trumpets);

Milt Bernhart, Si Zentner, Tommy Pederson (trombones);

Skeets Herfurt (alto sax); Wilbur Schwartz (alto sax, clarinet);

Ted Nash (tenor sax); Gene Cipriano (tenor sax); 

Chuck Gentry (barítono sax); Paul Smith (piano); Barney Kessel (guitar);

Joe Mondragon (bass); Alvin Stoller (drums); Pete Rugolo (arranger).

Los Angeles, November 11, 1953

10 - Diablo's Dance

(Rogers)

Art Pepper with Shorty Rogers Nine:

Don Fagerquist (trumpet), Stu Williamson (valve trombone), Red Callender (tuba),

Art Pepper (alto sax), Bill Holman (tenor sax), Bud Shank (baritone sax),

Russ Freeman (piano), Monty Budwig (bass), Shelly Manne (drums).

Los Angeles, August 12, 1957

11 - Our Love Is Here To Stay

(G. and I. Gershwin)

Teddy Edwards (tenor), Les McCann (piano),

Leroy Vinnegar (bass), Ron Jefferson (drums).

Los Angeles, August 1959

12 - Route 66

(Troup)

Bobby Troup (vocal), Buddy Collette (tenor sax), Bob Enevoldsen (trombone),

Red Norvo (vibes), Jimmy Rowles (piano), Al Viola (guitar), Mike Rubin (bass), Don Heath (drums).

Los Angeles, November 7, 1956

13 - Two Can Play

(Gurvitz, Lironi)

Bob Gordon (baritone sax), Jack Montrose (tenor sax),

Paul Moer (piano), Joe Mondragon (bass), Billy Schneider (drums).

Los Angeles, May 27, 1954

14 - Take Five

(Desmond)

Bud Shank, Bill Perkins (alto saxes); Bob Hardaway, Bob Cooper (tenor saxes);

Jack Nimitz, John Lowe (baritone saxes); Dennis Budimir (guitar);

Ray Brown (bass); Larry Bunker (drums).

Los Angeles, December 1966

15 - Jimmy's Theme

(Stevens)

Chet Baker with Bud Shank Orchestra:

Chet Baker, Don Fagerquist, Ray Linn (trumpets); Milt Bernhart (trombone);

Bud Shank, Charlie Mariano, Herbie Steward (alto saxes);

Bill Holman, Richie Kamuca (tenor saxes);

Pepper Adams (baritone sax); Claude Williamson (piano); Monty Budwig (bass);

Mel Lewis (drums); Mike Pacheco (bongos); Johnny Mandel (arranger).

Los Angeles, November 8, 1956

16 - Something Cool

(Barnes)

June Christy (vocal), Maynard Ferguson, Conrad Gozzo, Shorty Rogers, Jimmy Zito (trumpets);

Milt Bernhart, Herbie Harper, Tommy Pederson, George Roberts (trombones);

Gus Bivona, Bud Shank (alto saxes); Bob Cooper, Ted Nash (tenor saxes);

Chuck Gentry (baritone sax); Jeff Clarkson (piano); Barney Kessel (guitar);

Joe Mondragon (bass); Frank Carlson (drums); Pete Rugolo (arranger).

Los Angeles,  August 14, 1954

17 - Mambo De La Pinta

(Art Pepper)

Art Pepper (alto sax), Jack Sheldon (trumpet),

Russ Freeman (piano), Leroy Vinnegar (bass), Shelly Manne (drums).

Los Angeles, August 1956

18 - Do I Love You?

(Cole Porter)

Peggy Lee With George Shearing:

Peggy Lee (vocal), George Shearing (piano), Warren Chaisson (vibes), Toots Thielemans (guitar),

James Bond (bass), Roy Haynes (drums), Armando Peraza (congas).

Miami, April 28, 1959

19 - Katanga

(Ike Turner)

Curtis Amy (tenor sax), Dupree Bolton (trumpet), Jack Wilson (piano),

Ray Crawford (guitar), Vic Gaskin (bass), Doug Sides (drums).

Los Angeles, March 1963

20 - A Handful Of Stars

(Lawrence, Shapiro)

Serge Chaloff (baritone), Sonny Clark (piano), Leroy Vinnegar (bass), Philly Joe Jones (drums)

Los Angeles, March 14, 1956

21 - West Coast Blues

(Sonny Criss)

Sonny Criss (alto sax), Kenny Drew (piano),

Barney Kessel (guitar), Bill Woodson (bass), Chuck Thompson (drums).

Los Angeles, February 24, 1956

Five-Star Collection... The Modern Jazz Quartet

The Modern Jazz Quartet

Prestige (PRLP 160)

In the original liner notes, Ira Gitler focuses on the distinctive character of each musician and how their individual trajectories enrich the group:

• Milt Jackson ("Bags"): Identified as the main soloist of the ensemble, placed at the same level of mastery and influence on his instrument as Charlie Parker or Bud Powell.

• John Lewis: Highlighted as the musical director and main arranger, recognized for his versatility in writing for both big bands and small groups, as well as his unique sensitivity in comping tailored to figures like Lester Young, Miles Davis, or Milt Jackson himself.

• Percy Heath: Presented as a key contributor from Philadelphia who provides not only a solid rhythmic foundation, but also a melodic voice that reinforces the group's collective identity.

• Kenny Clarke ("Klook"): A crucial figure since the historic jam sessions at Minton's in the early 1940s. The text highlights his technical skill, adaptability, and ability to handle the specific drum parts written by John Lewis (noting the unusual use of gong and tympani).

About the group: Beyond the individual personalities, the notes emphasize the freshness of the band's repertoire. They highlight the balance between original compositions by John Lewis (such as "Vendome" or "The Queen's Fancy") and the ingenious reinvention of traditional standards (such as "All The Things You Are" or "But Not For Me"), always maintaining swing as an essential drive to avoid the clichés of the format. *(taken from Ira Gitler's liner notes)*

First four have already been issued on 78 and EP. Second side is new and will soon be available in all speeds. These are extremely pleasurable in all ways — swing, sound, overall musicianship, and consistent thematic interest (But Not for Me is the only relatively weak band in regard to conception). These are also major initial steps in the evolution of extended form in jazz.

John Lewis has contributed four originals and brilliant arrangements (but one) of an equal number of standards worthy of expansion. In exploring the possibilities of more structured jazz, Lewis is beginning simply and surely. Lewis' writing is of a charm, meaningful direction, and spare unpretentiousness. There is also a quiet humor as in Vendome and The Queen's Fancy which bring to mind an 18th century cat, timemachined to now, and wailing on a sunny morning in May.

Milt Jackson, an inexplicably underrated vibist, Kenny Clarke, Percy Heath, and John on piano are superb all the way through. Lewis, as the notes indicate, writes parts for the drums, and Klook knows whereof he reads without losing his pulsative sureness.

Rather than pick out personal favorites, I'd recommend your choosing your own particular delights from this buoyant collection. These records bear a lot of study by both musicians and lay listeners. That Lewis is an undeniably major figure in contemporary jazz is shown by the fact that deceptive simplicity of this quality is the hardest achievement of all to come by in any form of communication. *Nat Hentoff (Down Beat, November 4, 1953 [5 stars])*

Side 1

1 - All The Things You Are

(Hammerstein, Kern)

2 - La Ronde

(John Lewis)

3 - Vendome

(John Lewis)

4 - Rose Of The Rio Grande

(Leslie, Warren, Gorman)

Side 2

5 - The Queen's Fancy

(John Lewis)

6 - Delaunay's Dilemma

(John Lewis)

7 - Autumn In New York

(Vernon Duke)

8 - But Not For Me

(George and Ira Gershwin)

Milt Jackson (vibes), John Lewis (piano), Percy Heath (bass), Kenny Clarke (drums).

Recorded in New York City, December 22, 1952 (#1 to #4) and June 25, 1953 (#5 to #8)