Cool Blends (II) ★ French Panorama

West Coast Jazz

À La Française

1954 — 1956

In the early 1950s, West Coast jazz took shape in California through the cool, luminous sound of figures such as Shorty Rogers, Gerry Mulligan, and Chet Baker. Defined by clear textures, contrapuntal arrangements, and a relaxed pulse, the style quickly became a benchmark of modern jazz. Yet, despite its originality, it made little immediate impact in France and was even disparaged at the time. French audiences largely favored mainstream recordings alongside the freer, more forceful improvisations of East Coast hard bop and Midwestern jazz, finding the formal compositional devices of the West Coast somewhat distant from their tastes.

A striking exception to this cold reception was Chet Baker. His visits to Paris and other French cities between late 1955 and early 1956 were met with great acclaim, as his clear, lyrical trumpet tone and understated approach captivated local listeners and built a devoted following.

This paradox extended to the French discography of the decade, which yielded only a modest amount of West Coast-inspired output. Nevertheless, within that limited repertoire lay exceptional craftsmanship. Several French musicians found in the Californian idiom a fresh, sophisticated, yet lyrical language that resonated deeply with their own artistic sensibilities.

This compilation gathers key figures of the period—including Christian Chevallier, Claude Bolling, Roger Guérin, William Boucaya, Bob Garcia, Raph Schecroun (Erroll Parker), Christian Bellest, Fernand Verstraete, Jean-Louis Chautemps, Jean-Claude Fohrenbach, and Marcel Bianchi—who absorbed and reimagined those American influences. Performing both original compositions and classic standards across varied configurations—from tight quartets and quintets to expansive ensemble settings—their recordings balance faithful homage with genuine personal voice.

Through these sessions, the western winds blow across the French jazz scene: a bracing, vibrant breeze from the Pacific that crossed the Atlantic to mingle seamlessly with the spirit of Paris.

*Jordi Pujol*

Lacking the relaxing expanse of the Pacific Ocean, Los Angeles's golden weather or the speedy excitement of the region's car culture, the short-lived, two-year French interpretation of California's relaxed sound had more bite and push than its original American counterpart.

Between 1954 and 1956, Paris fell in love with the jazz sound of Hollywood. By then, 10-inch West Coast jazz albums had made their way to France along with touring musicians such as Gerry Mulligan, Chet Baker, Bob Brookmeyer, Dave Brubeck, Paul Desmond and Shorty Rogers.

French musicians who picked up the contrapuntal torch included Christian Chevallier, Claude Bolling, Bob Garcia, Raph Schecroun, William Boucaya, Marcel Bianchi and Pierre Gossez-Fernand Verstraete. All are featured on the new set.(...)

Listening to this set multiple times, the music sounds like a new addition to West Coast jazz that many fans will likely be hearing for the first time. If the tracks were played for you in a "blindfold" test, you'd probably be naming a dozen American players before begging the tester to reveal the artists' names.

Further proof that West Coast jazz wasn't the product of players rooted in a region. Instead, the sound was a state of mind, like bebop or hard bop, and embraced by musicians everywhere, provided they mastered their instruments and the original material. Viva la French cool! *Marc Myers*

1 -  Show Me A Rose

(Thomas Hilliard)

2 - Chet

(Pierre Michelot)

3 - Out Of Nowhere

(Green, Heyman)

4 - Trinette

(Toots Thielemans)

5 - Too Marvelous For Words

(Whiting, Mercer)

6 - Golden Sky

(Christian Chevallier)

7 - Vline

(Christian Chevallier)

8 - Star Eyes

(Raye, DePaul)

9 - The Jockey

(Steve Kirk)

10 - Confucius

(Christian Chevallier)

11 - Gee Lee

(Ted Sommer)

12 - Lover Man

(Davis, Sherman, Ramírez)

13 - Pre's Wiggins

(Christian Chevallier)

14 - Mythe

(Pierre Michelot)

15 - All The Things You Are

(Kern, Hammerstein II)

16 - Ménilmontant

(Charles Trenet)

17 - Buggy And Soul

(Christian Chevallier)

18 - I Remember You

(Schertzinger, Mercer)

19 - The Most

(Billy Mure)

20 - Rêve

(Hubert Rostaing)

21 - Broadway

(Byrd, McRae, Woods)

22 - À La Mulligan

(Marcel Bianchi)

#1

Pierre Gossez • Fernand Verstraete Quartet

Fernand Verstraete (trumpet), Pierre Gossez (baritone sax),

Alphonse Masselier (bass), Arthur Motta (drums).

Recorded in Paris, May 29, 1956

 #2, #7, #14, #17

Christian Chevallier Quartet

Roger Guérin (trumpet), Christian Chevallier (piano),

Pierre Michelot (bass), Christian Garros (drums).

Recorded in Paris, November 13, 1956

#3, #8, #21

Raph Schecroun Quintet

Jean-Louis Chautemps, Jean-Claude Fohrenbach (tenor saxes);

Raph Schecroun (piano); Jean-Marie Ingrand (bass); Jacques David (drums).

Recorded in Paris, 1955

#4, #9, #19

Claude Bolling and His All-Stars

Roger Guérin (trumpet); Claude Fohrenbach, Pierre Gossez (tenor saxes); 

Martial Solal (piano); Victor Apicella (Masselier) (guitar);

Pierre Michelot (bass); Christian Garros (drums); Claude Bolling (arranger).

Recorded in Paris, May 28, 1956

#5, #12, #15, #18

Bob Garcia Quartet

Bob Garcia (tenor sax), Maurice Vander (piano),

Benoit Quersin (bass), Andre "Mac Kac" Reilles (drums).

Recorded in Paris, February 8, 1956

#6, #10, #13, #20

William Boucaya and his "New Sound" Quartet

Christian Bellest (trumpet), Georges Barboteu (french horn), William Boucaya (baritone sax),

Pierre Michelot (bass), Arthur Motta (drums), Ben Ahmed Zoubir (conga).

Recorded in Paris, May 28, 1956

#11

Pierre Gossez Quartet

Christian Bellest (trumpet), Pierre Gossez (baritone sax),

Alphonse Masselier (bass), Arthur Motta (drums).

Recorded in Paris, May 29, 1956

#16

Claude Bolling Quintet

Jean Liese (trumpet), Jean-Louis Chautemps (tenor sax),

Claude Bolling (piano), Jean-Marie Ingrand (bass), Jean-Louis Viale (drums).

Recorded in Paris, May 1954

#22

Marcel Bianchi and His Orchestra

Jean Morales (trumpet), Guy Destanque (trombone),. Gérard Levêque (clarinet, alto sax),

Pierre Gossez (tenor sax), Georges Grenu (baritone sax), Pierre Guyot (piano),

Marcel Bianchi (guitar), Ladislas Czabanick (bass), Armand Molinetti (drums).

Recorded in Paris, February 23, 1954

Cool Blends (I) - A West Coast & Cool Jazz Collection

With this post, a new series begins, bringing together a selection of celebrated compilations from the world of Cool Jazz and West Coast Jazz. These albums, featuring recordings by various artists, offer different perspectives on one of the most distinctive and enduring chapters of modern jazz.

The journey will take us beyond the American scene that gave birth to these styles, reaching compilations issued in different parts of the world — from North America to Sweden, France and Germany — where the sound, spirit and aesthetics of Cool and West Coast Jazz found their own echoes and interpretations.

Much of the music featured here may already be familiar, and some recordings may even appear more than once across different volumes. But that is not really the point. The purpose of this series is to bring together these compilations as objects in their own right — coveted pieces of a collector's world, valued not only for the music they contain, but for the way that music was brought together, presented and preserved. Often elusive today, these records offer a fascinating view of the way Cool Jazz and West Coast Jazz have been rediscovered, celebrated and kept alive through carefully assembled collections issued over the years. 

Jazz West Coast

An Anthology Of California Music

◈ Jazz West Coast: The Pacific Jazz JWC Series ◈

Pacific Jazz was a small but remarkably important jazz label. It recorded many major artists and left behind a large body of music of great significance. Among the musicians who recorded early for Pacific Jazz were Chet Baker, Chico Hamilton, Bill Perkins, Jim Hall, Russ Freeman, Bob Gordon, Richie Kamuca, Joe Pass, and Clare Fischer—an impressive roster. The fact that many of the musicians appearing in the six albums of the Jazz West Coast series, now being issued commercially for the first time, come from this group illustrates the important role the label played in the jazz world.

The company that officially held the label, Pacific Jazz Enterprises, released records under three imprints: Pacific Jazz, World Pacific, and Jazz West Coast. Of these, Jazz West Coast was primarily used for special projects. However, there appears not to have been any strict division regarding which recordings—whether previously unreleased material or selections from the catalog—would appear on which label. That flexible approach is reflected in this Jazz West Coast series as well. Volumes 1 through 3 were produced under the Jazz West Coast imprint, while Volumes 4 and 5 appear under World Pacific.

The history of Pacific Jazz is, to a considerable extent, the history of its founder, Richard Bock. From 1949 to 1951 Bock worked as a promotion assistant at Discovery Records, helping launch early recordings by Mark Murphy and Art Pepper. After leaving Discovery and returning to Los Angeles in 1951 following his military service, his enthusiasm for jazz only grew stronger. During that summer he worked as a publicity assistant at The Haig, a jazz club located on the corner of Wilshire Boulevard and Kenmore Street in Hollywood.

Eventually he persuaded the club's owner, John Bennett, to allow him to produce Monday night jam sessions when the club was otherwise closed. Around that same time Gerry Mulligan arrived from New York. Having just come to the West Coast, Mulligan was asked by Bock to lead the jam sessions while Bock continued working at the club.

Bock borrowed a trailer and a tape recorder from Roy Harte, the owner of the Drum City music shop. On June 10, 1952, he recorded several performances by the early Gerry Mulligan Trio. Mulligan met Chet Baker on June 16 during one of the Monday night jam sessions at The Haig. Mulligan and Baker immediately began playing together, and by July 7 they had already completed their first recording session.

On August 9 Bock again borrowed Harte's trailer and recorded two numbers by the Mulligan Quartet with trumpet at a bungalow Mulligan was renting in the Hollywood Hills. These performances were released in the fall as Pacific Jazz's forty-fifth single release, marking the label's first step into the recording business.

The overwhelming success of that single enabled the Mulligan Quartet to secure a regular engagement at The Haig, where the group ultimately performed six nights a week for half a year. Bock happened to be in the right place at the right time, but his success was not simply a matter of luck. Even before the music had been labeled "West Coast Jazz", he sensed that it represented something distinctive. He possessed the insight, imagination, and entrepreneurial energy necessary to recognize and capture the essence of this new style.

Together with Roy Harte, who ran the Drum City instrument shop, Bock established a temporary office in September 1952 inside the store at 6124 Santa Monica Boulevard in Hollywood. Soon afterward, after receiving advance payment from the first shipment of Mulligan records, he hired Don Woodford as his assistant in February 1953.

The shop occupied the first floor, and the offices of the new record company were set up on the second. In 1954, when street work was completed in front of the building, the editorial offices of Metronome magazine—located directly across the street—moved to 7614 Melrose Avenue.

Meanwhile, the second Mulligan group began recording for Pacific Jazz. After playing for a year with Mulligan's group, Chet Baker formed his own quartet with Russ Freeman on piano. The Baker group's first recording session took place on July 15, and that record also proved highly successful.

In August 1956 Dick Bock, Richard Bock's younger brother, joined Pacific Jazz as vice president. Previously he had operated a record store called Rare Records and had worked as an editor for jazz magazines such as Jazz Review and Tempo, while also producing local jazz concerts.

Recordings by both the Mulligan Quartet and the Chet Baker Quartet continued to sell well, and the emergence of long-playing LP records further boosted the company's growth. In 1956 Pacific Jazz moved its offices to 8258 Sunset Boulevard. In 1959 it relocated again to 8715 West Third Street, which became its final office location. In 1966 the company was sold to Liberty Records, and both Richard and Dick Bock moved there along with the label.

The Jazz West Coast series, an anthology of recordings from that era, was originally planned as a special set intended to introduce the outstanding artists associated with Pacific Jazz. Rather than restricting itself solely to the label's own musicians, however, the series also included performances by artists from other companies.

One difficulty arose with Volume 1, which contained alternate takes and material that had not previously been released. For listeners who purchased the anthology to play at home, it was often difficult to determine which performances were previously issued and which were not.

To avoid confusion among collectors and discographers—for example, a solo from one take being mistaken for another take—it was ultimately decided that the series should not include previously unreleased material.

Volume 1 of Jazz West Coast carries the subtitle Anthology of California Music, accompanied by an explanatory note stating:

"The music collected here represents the true essence of the jazz being created on the West Coast. By presenting representative performances by each artist, the album aims to offer both devoted jazz fans and general listeners a varied program that conveys the best of contemporary jazz".

The album could also be enjoyed as background music for the photographic book Jazz West Coast, published in 1955 by Lear Publications, an affiliate of Pacific Jazz, which featured some of William Claxton’s finest photographs.

The book included ten photographs in a portfolio measuring approximately 10.5 by 13.5 inches (27 by 34 centimeters). By sending two dollars directly to Pacific Jazz, listeners could obtain a copy.

However, the cost of printing Claxton's photographs turned out to be higher than expected, and Pacific Jazz neglected to include postage in the price. As a result, the project ended up producing a considerable financial loss.

Another innovative sales strategy introduced by Pacific Jazz was the "World Pacific 3 for 1" plan. Inside World Pacific's 12-inch albums there was a coupon printed on the inner sleeve. By collecting three coupons and sending them in along with one dollar to cover packaging and postage, listeners could receive one of twelve specially prepared albums from the label.

Thanks to this sales plan, many records that were otherwise difficult to obtain unexpectedly found their way into the hands of jazz fans, and the program was very well received.

The author of these notes also obtained several Pacific Jazz, World Pacific, and Jazz West Coast albums through this method—including the third volume of Jazz West Coast, which contained famous performances of "Old Devil Moon" and "Little Girl" that at the time were nearly impossible to find.

Thus this complete Jazz West Coast collection, offering a panoramic view of the Los Angeles jazz scene from 1953 to 1959 from the perspective of Pacific Jazz, is a set that will surely provide new pleasures and discoveries even for the most knowledgeable jazz fans.

Please enjoy listening to it. *Todd Selbert (from the Japanese liner notes)*

Jazz West Coast

Volume 1

(Pacific Jazz JWC-500)

The music enclosed here gathers together a sampling of the cream of the West Coast crop, presenting them in selections that typify their finest efforts, and offering the jazz follower—dedicated or casual—a varied program of current jazz at its best. This anthology of West Coast jazz was compiled both as a companion piece for the book of photographs called JAZZ WEST COAST and as a progress report on California jazz activity as it stands in 1955.

Jazz on the West Coast in the first half of the 'fifties has enjoyed a status it has seldom experienced in any time or any city. It's probably unnecessary to enlighten most non-coastal residents as to this boom, but for those few still foggy about what has been happening on the western front, reference is made to the introduction of the picture book JAZZ WEST COAST which outlines at greater length the causes and characteristics of this internationally recognized movement. (Portions of that introduction were adapted for use here).

Very nearly every key figure in West Coast jazz (and JAZZ WEST COAST, the book) is represented here. While it is interesting to speculate as to whether these musicians can be grouped into a musical school of thought, that is not one of the limitations placed on selection. The chances are, history will reveal that there is a West Coast School; a group of musicians playing calmer, gentler jazz, placing at least as much emphasis on writing as on soloing. But the task of definitive summation is left to later years or less biased observers. It is hoped that by disclaiming any restrictions of School we may by-pass much of the clamor about presumptuous inclusion of musicians commonly associated with other areas. Easterners will spot many of their old stand-bys; the fact remains that this music was recorded in Los Angeles by musicians in residence here, and to that extent the label "Jazz West Coast" is meaningful.

Wherever possible—happily, in every case but one—new performances were used to represent the groups. In many instances of course, the arrangements themselves have been offered before, but as even the newest jazz listener knows, the essence of jazz is in the soloing, and where material does overlap that simply adds a bonus opportunity for comparison of soloist approach.

Wherever possible—happily, in every case but one—new performances were used to represent the groups. In many instances of course, the arrangements themselves have been offered before, but as even the newest jazz listener knows, the essence of jazz is in the soloing, and where material does overlap that simply adds a bonus opportunity for comparison of soloist approach.

*Will MacFarland (from the liner notes)*

1 - Bockhanal

(Jack Montrose)

Chet Baker Ensemble

Chet Baker (trumpet), Herb Geller (alto sax),

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

Russ Freeman (piano), Joe Mondragon (bass), Shelly Manne (drums).

Recorded on December 14, 1953

2 - Soft Shoe

(Gerry Mulligan)

Gerry Mulligan Quartet

Jon Eardley (trumpet), Gerry Mulligan (baritone sax),

Red Mitchell (bass), Chico Hamilton (drums).

Recorded on November 12, 1954

3 - Tiny Capers

(Clifford Brown)

Clifford Brown Ensemble

Clifford Brown (trumpet), Stu Williamson (valve trombone),

Zoot Sims (tenor sax), Bob Gordon (baritone sax),

Russ Freeman (piano), Carson Smith (bass), Shelly Manne (drums).

Recorded on August 13, 1954

4 - I'll Remember April

(Gene DePaul, Don Raye, Patricia Johnson)

Zoot Sims Quartet

Zoot Sims (tenor sax), Bob Brookmeyer (piano),

Red Mitchell (bass), Larry Bunker (drums).

Recorded on December 14, 1954

5 - Wailing Vessel

(Bob Cooper)

Bud Shank And 3 Trombones

Bob Enevoldsen (valve trombone), Maynard Ferguson (valve trombone),

Stu Williamson (valve trombone), Bud Shank (alto sax),

Claude Williamson (piano), Joe Mondragon (bass), Shelly Manne (drums).

Recorded on June 22, 1954

6 - Happy Little Sunbeam

(Russ Freeman)

Chet Baker Quartet

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

Carson Smith (bass), Larry Bunker (drums).

Recorded in July 1953

7 - It Had To Be You

(Isham Jones, Gus Kahn)

Bill Perkins And Bud Shank

Bill Perkins (tenor sax), Bud Shank (tenor sax),

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

Recorded on May 2, 1955

8 - Low Life

(Johnny Mandel)

Bud Shank And Bob Brookmeyer

Bob Brookmeyer (valve trombone), Bud Shank (alto sax),

Claude Williamson (piano), Buddy Clarke (bass), Larry Bunker (drums).

[and strings]

Recorded on January 7, 1955

9 - There Will Never Be Another You

(Harry Warren, Mack Gordon)

Chet Baker Quintet

Chet Baker (trumpet), Jimmy Giuffre (clarinet),

Russ Freeman (piano), Carson Smith (bass), Bob Neel (drums).

Recorded on February 15, 1954

10 - Lotus Bud

(Shorty Rogers)

Bud Shank And Shorty Rogers

Shorty Rogers ( flugelhorn), Bud Shank (flute),

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

Recorded in March 1954

11 - Darn That Dream

(James Van Heusen, Eddie De Lange)

Gerry Mulligan Quartet

Chet Baker (trumpet), Gerry Mulligan (baritone sax),

Carson Smith (bass), Larry Bunker (drums).

Recorded in April 1953

12 - Speak Low

(Ogden Nash, Kurt Weil)

Laurindo Almeida Quartet

Bud Shank (alto sax), Laurindo Almeida (guitar),

Harry Babasin (bass), Roy Harte (drums).

Recorded on April 22, 1954

13 - Two Can Play

(Jack Montrose)

Bob Gordon And Jack Montrose

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

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

Recorded on May 27, 1954

14 - Oh, Lady Be Good

(George and Ira Gershwin)

Lee Konitz With Gerry Mulligan Quartet

Chet Baker (trumpet), Lee Konitz (alto sax), Gerry Mulligan (baritone sax),

Joe Mondragon (bass), Larry Bunker (drums).

Recorded on June 10, 1953

◈◈◈

Jazz West Coast

Volume 2

(Pacific Jazz JWC-501)

AT THE BEHEST OF THE INTERNATIONAL JAZZ CUSTOMER, Pacific Jazz puts together another anthology of choice music by its grand stable of recording artists. The album turns out to be something of a windfall, for several reasons:

There's been a growing impatience on the part of collectors generally with over-grown single-artist jazz albums. With twice twelve inches to fill, the charms of even the most versatile jazzman tend to pall. Right off the bat this album, being an anthology, eliminates >that< problem.

A second advantage is that the collection isn't a "retrospective"; it's the "sampler" type, made up of new music. All the selections are from albums concurrent with this one. In other words, some of the tracks represent albums release just ahead of this one, and for the rest of the tracks, the first airing. So the collection can serve as a sort of treasure map to some worthwhile issues which might otherwise give you the slip, what with the present market's glut.

Then too, the general high quality of the sides bespeaks an admirable depth-on-the-bench that the company has built up when it comes to well-recorded, high-spirited performances. The album emerges—in the last analysis, and source-book qualities aside—as a highly absorbing and useful amalgam of good music by some of the cleverest of today's jazzmen.

*Will MacFarland (from the liner notes)*

1 - Bag Of Blues

(Bob Cooper)

Bud Shank Quartet

Bud Shank (alto sax), Claude Williamson (piano),

Don Prell (bass), Chuck Flores (drums).

Recorded on January 25, 1956

2 - Summertime

(George Gershwin, D. B. Heyward)

Chet Baker Quartet

Chet Baker (trumpet), Gerard Gustin (piano),

Jimmy Bond (bass), Bert Dale (drums).

Recorded on November 24, 1956

3 - Topsy

(E. Durham, E. Battle)

Chico Hamilton Quintet

Buddy Collette (tenor sax), Jim Hall (guitar),

Carson Smith (bass), Fred Katz (cello), Chico Hamilton (drums).

Recorded on February 13, 1956

4 - Easy Living

(L. Robin, R. Rainger)

Bill Perkins Quintet

Bill Perkins (tenor sax), John Lewis (piano),

Jim Hall (guitar), Percy Heath (bass), Chico Hamilton (drums).

Recorded on February 10, 1956

5 - Line For Lyons

(Gerry Mulligan)

Gerry Mulligan Quartet

Bob Brookmeyer (valve trombone), Gerry Mulligan (baritone sax),

Red Mitchell (bass), Frank Isola (drums).

Recorded on June 1, 1954

6 - Song Of The Islands

(Charles King)

Bill Perkins Octet

Stu Williamson (trumpet), Carl Fontana (trombone), Bud Shank (alto sax),

Bill Perkins (tenor sax), Jack Nimitz (baritone sax),

Russ Freeman (piano), Red Mitchell (bass), Mel Lewis (drums).

Recorded on February 9, 1956

7 - I Hear Music

(Frank Loesser, B. Lane)

Hampton Hawes Trio

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

Recorded on May 2, 1955

8 - Bojangles Of Harlem

(Jerome Kern, Dorothy Fields)

Russ Freeman Quartet

Bud Shank (alto sax), Russ Freeman (piano),

Carson Smith (bass), Shelly Manne (drums).

Recorded on February 19, 1956

9 - Contour

(Kenny Drew)

Jack Sheldon Quintet

Jack Sheldon (trumpet), Joe Maini (alto sax), Kenny Drew (piano),

Leroy Vinnegar (bass), Lawrence Marable (drums).

Recorded on November 18, 1955

10 - It's Sand'Man

(E. Lewis)

Cy Touff Quintet

Cy Touff (trumpet), Richie Kamuca (tenor sax),

Pete Jolly (piano), Leroy Vinnegar (bass), Chuck Flores (drums).

 Recorded on December 5, 1955

◈◈◈

Jazz West Coast

Volume 3

(Pacific Jazz JWC-507)

The term "West Coast Jazz" began (and no one at this point seems willing to assume credit) rather surreptitiously several years ago as a somewhat confusing means of identifying a group of jazz musicians whose base of operations was, more often than not, the Los Angeles area. It took but a slight twist to make this "Jazz West Coast", and at the same time the name of a record label. The purpose was less to exploit jazz from Hollywood than to exploit the already overexploited term. Or to put it more directly, "West Coast Jazz" (or Jazz West Coast if you prefer) had been bandied about to the degree that it had become a familiar, and therefore useful, phrase. Useful, I might add, in expanding favor for contemporary jazz in general. If you are occasionally bewildered to find a musician from Cleveland or Chicago performing in the company of some "west coast" musicians, and worse still, under the banner of a record label that further substantiates your suspicions, be not dismayed — it's simply the spirit of American Free Enterprise manifesting itself.

But seriously, by far the most important consideration in all cases is the quality of the performances regardless under what or whose banner they appear. The play's the thing! With this in mind and pigeon holes temporarily plugged, JAZZ WEST COAST VOLUME THREE brings the music fan another collection of hand picked performances, each one a favorite of ours held in reserve until now. Aside from that, they appear here because of a special satisfying quality they have in common. These ten performances were not, as is generally the case, recorded for this album specifically. Instead they are the highlights from an assortment of record dates that were produced during the past year, performances that in retrospect have held their luster when viewed from the distance of many months.

It would be misleading and altogether dictatorial to firmly announce that these are the best we have to offer, the most challenging, or the most likely to succeed. One man's meat is still another man's poison, as the saying goes. But the antidote here is repeated and careful listening. They are among the most difficult to forget — and this, after all, may very well be the real test of good music. *Woody Woodward (from the liner notes)*

1 - There Will Never Be Another You

(Gordon, Warren)

Gerry Mulligan Sextet

Jon Eardley (trumpet), Bob Brookmeyer (valve trombone), Zoot Sims (tenor sax),

Gerry Mulligan (piano), Red Mitchell (bass), Larry Bunker (drums).

Recorded on December 14, 1954

2 - Mr. Smith Goes To Town

(Carson Smith)

Chico Hamilton Quintet

Paul Horn (clarinet), John Pisano (guitar),

Fred Katz (cello), Carson Smith (bass), Chico Hamilton (drums).

Recorded in October 1956

3 - Polka Dots And Moonbeams

(Burke, Van Heusen)

Bud Shank Quartet

Bud Shank (flute), Claude Williamson (piano, celeste),

Don Prell (bass), Chuck Flores (drums).

Recorded in November 1956

4 - Old Croix

(Art Pepper)

Art Pepper Quartet

Art Pepper (alto sax), Pete Jolly (piano),

Leroy Vinnegar (bass), Stan Levey (drums).

Recorded on July 28, 1956

5 - Little Girl

(Henry, Hyde)

Chet Baker Sextet

Chet Baker (trumpet), Art Pepper (alto sax), Richie Kamuca (tenor sax),

Pete Jolly (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded on July 28, 1956

6 - Love Nest

(Hirsch, Harback)

Russ Freeman • Chet Baker Quartet

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

Leroy Vinnegar (bass), Shelly Manne (drums).

Recorded on November 6, 1956

7 - Sweet Georgia Brown

(Bernie, Casey, Pinkard)

Bud Shank • Bob Brookmeyer Quintet

Bud Shank (flute), Bob Cooper (oboe),

Howard Roberts (guitar), Don Prell (bass), Chuck Flores (drums).

Recorded on November 29, 1956

8 - Things Ain't What They Used To Be

(Mercer, Ellington)

Jim Hall Trio

Carl Perkins (piano), Jim Hall (guitar), Red Mitchell (bass).

Recorded in January 1957

9 -Too Marvelous For Words

(Whiting, Mercer)

 Phil Urso • Bob Burgess Quintet

Phil Urso (alto sax), Bob Burgess (trombone),

Bobby Timmons (piano), James Bond (bass), Peter Littman (drums).

Recorded on October 18, 1956

10 - Brother Can You Spare A Dime

(Harburg, Gorney)

Russ Freeman • Bill Perkins Quintet

Bud Shank (alto sax), Bill Perkins (tenor sax),

Russ Freeman (piano), Carson Smith (bass), Shelly Manne (drums).

Recorded on February 15, 1956

◈◈◈

Jazz West Coast

Volume 4

(Pacific Jazz JWC-510)

Another admirable anthology of the best from the West. Nine tracks led by Art Pepper, Chet Baker, Chico Hamilton, Bud Shank, Bill Perkins et al. Though it's often alleged tha some of the Californians' sounds and souls have shriveled and shrunk under the Pacific sun, many retain a commendable vigor. Best tracks are Five Minutes More featuring F. Gambrell's piano; Jersey Bounce by the Mulligan Quartet; and a cut-down version, from his Street Swingers album, of Bob Brookmeyer's Musicale Du Jour, recorded in that fabulous West Coast city, New York. No liner notes an adequate tabulation of data. *Leonard Feather (Hi-Fi Music At Home, January 1959)*

Anthologies of this sort are difficult to appraise and rate, primarily because of the disparate approaches involved. The rating indicates the over-all level of artistic merit present, in terms of the high and low points among the 10 tracks.

The opener, Shorty Rogers' Popo by Art Pepper's Nine is generally light and pleasant, with solos of value from Pepper, Holman, and Freeman. The Baker quintet performs Urso's attractive Extra Mild in appealing fashion; Urso and Timmons contribute effective solos. The Perkins quartet is perfunctory in its approach to Dime. The Mulligan quartet, with Baker, offers an inconsistent Bounce. The Mariano-Dodgion Till We Meet Again is poor.

Cooper and Shank present a superficial Romantic Guy. The Brookmeyer track, a Street Swingers performance, is excellent, containing wit and meaning. On the Hamilton trio track, Gambrell manifests considerable potential, although he appears hampered by a rhythm background that is not consistently compatible. Shank, on tenor, offers a lovely interpretation of Rainbow. The Mastersounds conclude the set with a pulsating Paradise, which includes several pointed solos.

The Pepper, Baker, Brookmeyer, Gambrell, and Mastersounds tracks are worth hearing. And Jimmy Rowles does much to enhance the value of the tracks on which he appears; I’d like to hear a solo album by him. In general, this is an adequate sampling of contemporary jazz, manifesting the flaws and virtues inherent in it, regardless of coastal location.

*Don Gold (Down Beat, November 13, 1958)*

1 - Popo

(Shorty Rogers)

The Art Peppet Nine

Don Fagerquist (trumpet), Stu Williamson (valve trombone),

Art Pepper (alto sax), Bill Holman (tenor sax),

Bud Shank (baritone sax), Red Callendar (tuba),

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

Recorded on August 12, 1957

2 - Extra Mild

(Phil Urso)

The Chet Baker Quintet

Chet Baker (trumpet), Phil Urso (tenor sax),

Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums).

Recorded on July 25, 1956

3 - Ain't Got A Dime To My Name

(Burke, Van Heusen)

The Bill Perkins Quartet

Bill Perkins (tenor sax), Jimmy Rowles (piano),

Leroy Vinnegar (bass), Mel Lewis (drums).

Recorded in May 1958 

4 - Jersey Bounce

(Fayne, Plater, Johnson)

The Gerry Mulligan Quartet

Chet Baker (trumpet), Gerry Mulligan (baritone sax),

Henry Grimes (bass), Dave Bailey (drums).

Recorded in December 1957

5 - Till We Meet Again

(Egan, Whiting)

The Mariano • Dodgion Sextet

Charlie Mariano (alto sax), Jerry Dodgion (alto sax), Jimmy Rowles (piano),

Victor Feldman (vibes), Monty Budwig (bass), Shelly Manne (drums).

Recorded in December 1957

6 - A Romantic Guy, I

(Frank Stanton)

Bud Shank • Bob Cooper Quintet

Bud Shank (alto sax, flute), Bob Cooper (tenor sax, oboe),

Claude Williamson (piano), Don Prell (bass), Chuck Flores (drums).

Recorded on February 19, 1958

7 - Musicale Du Jour

(Bob Brookmeyer)

Bob Brookmeyer Quintet

Bob Brookmeyer (valve trombone, piano), Jim Hall (guitar),

Jimmy Raney (guitar), Bili Crow (bass), Osie Johnson (drums).

Recorded in December 1957

8 - Five Minutes More

(Cahn, Styne)

The Chico Hamilton Trio

Freddie Gambrell (piano), Ben Tucker (bass), Chico Hamilton (drums).

Recorded in March 1958

9 - Over The Raibow

(Arlen, Harburg)

 The Bud Shank Quartet

Bud Shank (tenor sax), Claude Williamson (piano),

Don Prell (bass), Chuck Flores (drums).

Recorded in November 1957

10 - Stranger In Paradise

(Wright, Forrest)

The Mastersounds

Riche Crabtree (piano), Buddy Montgomery (vibes), Wes Montgomery (guitar),

Monk Montgomery (Fender electric bass), Benny Barth (drums).

Recorded on April 22, 1958

◈◈◈

Jazz West Coast

Volume 5

(Pacific Jazz JWC-511)

The "Jazz West Coast" series has, since the summer of 1955, served as a sort of annual report of jazz activities in America’s western-most extremity. This is the fifth in that series and while no one record company can presume to represent every artist and every aspect of regional activity, we do believe that this series is successful in supplying a kind of musical thumb-nail-sketch of the recent trends and development on the West Coast.

Not all (few in fact) of the artists here represented are native to California. Just as jazz is a migratory occupation, so too are most of its practitioners migratory. The artists heard here have come from all over the United States (one, Annie Ross was born in Surrey, England—another, Laurindo Almeida, is from Brazil). Regardless of their birth place or their present state allegiance, all have contributed recently to the California jazz scene and therefore qualify to be included here.

If the variety of performance and styles seem broader than before, it is because "West Coast Jazz" has lost some of its more stylized aspects and gained in individuality. It is more difficult to pigeon-hole "West Coast Jazz" now that it involves a large number of performers than when it represented a half-dozen or so. The size of the groups range from the quartets of The Mastersounds, Freddie Gambrell, Bud Shank, Paul Horn and Russ Freeman to the sixteen piece Buddy Bregman band. The styles span the gamut from the familiar Shorty Rogers' arrangement (Art Pepper Nine) and the Chico Hamilton Quintet sound to the fresh and invigorating words-set-to-jazz phenomenon that is Jon Hendricks, Dave Lambert and Annie Ross. Their "Airegin" closes the album leaving the listener with the distinct suspicion that jazz is best when it is fun.

If any broad generality can be made, it is that jazz from the West Coast is hardly ever humorless—even when it’s performed by Easterners. Maybe it's the smog.

*Woody Woodward (from the liner notes)*

1 - Power Duff

(Shorty Rogers)

The Art Pepper Nine

Don Fagerquist (trumpet), Stu Williamson (valve trombone),

Art Pepper (alto sax), Bill Holman (tenor sax),

Bud Shank (baritone sax), Red Callendar (tuba),

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

Recorded on August 12, 1957

2 - You're Driving Me Crazy

(Walter Donaldson)

The Zoot Sims • Russ Freeman Quintet

Zoot Sims (tenor sax), Russ Freeman (piano),

Billy Bean (guitar), Monte Budwig (bass), Mel Lewis (drums).

Recorded in March 1959

3 - Stompin' At The Savoy

(Goodman, Webb, Sampson)

The Mastersounds

Richie Crabtree (piano), Buddy Montgomery (vibes),

Monk Montgomery (Fender electric bass), Benny Barth (drums).

Recorded on April 11, 1959

4 - Hot Toddy

(Benny Carter)

The Freddie Gambrell Quartet

Freddie Gambrell (piano), Ben Tucker (bass),

Ray Mosca (drums), Armando Peraza (conga drums).

Recorded in 1959

5 - It's All Right With Me

(Cole Porter)

The Buddy Bregman Band

Buddy Bregman (arranger, leader), Al Porcino (trumpet), Ray Triscari (trumpet),

Stu Williamson (trumpet), Conti Candoli (trumpet), Frank Rosolino (trombone),

Joe Howard (trombone), George Roberts (trombone), Lloyd Ulate (trombone),

Bob Cooper (alto sax), Richie Kamuca (tenor sax), Bill Holman (tenoir sax),

Bill Perkins (baritone sax), Russ Freeman (piano), Jim Hall (guitar),

Monte Budwig (bass), Mel Lewis (drums).

Recorded in 1959

6 - 'Round About Midnight

(Monk, Hanighen, Williams)

The Bud Shank Quartet

Bud Shank (flute), Laurindo Almeida (guitar),

Garry Peacock (bass), Chuck Flores (drums).

Recorded in March 1958 

7 - Joe's Tune

(Joe Narren)

The Paul Horn Four

Paul Horn (flute), Gene Estes (vibes),

John Pisano (guitar), Lyle Ritz (bass).

Recorded in 1959 

8 - Invitation To The Blues

(Roberts, Fisher, Gershwin)

The Russ Freeman Quartet

Russ Freeman (piano), Billy Bean (guitar),

Monte Budwig (bass), Mel Lewis (drums).

Recorded in March 1959 

9 - "A" Train & Perdido

(Strayhorn, Tizol, Drake, Lengsfelder)

The Chico Hamilton Quintet

Paul Horn (alto sax), Buddy Collette (tenor sax), Jim Hall (guitar),

Fred Katz (cello), Carson Smith (bass), Chico Hamilton (drums).

Recorded in January 1959

10 - Airegin

(Hendricks, Rollins)

Lambert, Hendricks And Ross 

Jon Hendricks, Dave Lambert, Annie Ross (vocals);

Zoot Sims (tenor sax); Russ Freeman (piano);

Freddie Green (guitar); Ed Jones (bass); Sonny Payne (drums).

Recorded in March 1959 

◈◈◈

Jazz For The Screen & Five-Star Collection ★ Sonny Rollins

Sonny Rollins

Original Music From The Score

Alfie

About the film:

Alfie tells the story of an egocentric womanizer in 1960s London who lives entirely devoted to hedonism and emotional detachment. Starring Michael Caine in his iconic, star-making role, the film features a notable supporting cast including Shelley Winters, Millicent Martin, Jane Asher, and Julia Foster. Speaking directly to the camera and breaking the fourth wall, Caine's character endlessly justifies his promiscuous lifestyle and his utilitarian approach toward women.

However, after a series of unforeseen events—including an unacknowledged fatherhood, an illness, and the painful impact of his actions on those around him—his façade of carefree indifference unravels, confronting him with a profound crisis of loneliness and existential emptiness. Interestingly, the role was turned down by several leading British actors of the era—including Terence Stamp and Anthony Newley—who hesitated to play a character involved in taboo subjects like illegal abortion. Caine stepped in, delivering a performance that earned him his first Academy Award nomination for Best Actor and cemented the film as a cultural touchstone of Swinging London.

About the music:

The Score... Movie vs. Impulse! album

The story behind the music of Alfie is a fascinating tale of spontaneous creation and two distinctly different recordings. It all began when director Lewis Gilbert commissioned Sonny Rollins to compose the score. In October 1965, Rollins gathered at London's Twickenham Studios with a stellar group of British jazz musicians, including Tubby Hayes, Ronnie Scott, Keith Christie, Phil Seaman, and pianist Stan Tracey—who is credited with composing the track "Little Malcolm Loves His Dad". As bassist Rick Laird later recalled, there were no written charts for these sessions; the musicians played blind, improvising live to the scenes projected on the studio screen based on a few core themes provided by Rollins. These original cues, which amounted to a mere 11 minutes of music in the final film cut, were never officially released on record.

Three months later, in January 1966, Rollins decided to expand upon that initial experiment and craft a standalone work. He entered Rudy Van Gelder's studio in New Jersey alongside producer Bob Thiele and a formidable American nonet featuring Phil Woods, J.J. Johnson, and Kenny Burrell. Enhanced by Oliver Nelson's sleek orchestral arrangements, Rollins transformed those London sketches into a half-hour suite, giving life to the acclaimed album released on Impulse! that ultimately defined the music of the film.

◈◈◈

This is Sonny Rollins' first score for a motion picture, and as you'll hear, there are bound to be many more because Sonny's acutely relevant sense of the dramatic—always evident in his improvising—has been transferred to the challenge of film scoring with commanding ease and warmth. 

In January, 1965, while appearing at Ronnie Scott's club in London, Sonny was approached to write the music for Alfie, a picture starring Michael Caine (of The Ipcress File) and featuring Shelley Winters. The idea intrigued him. He had always wanted to try a film score, and the picture itself was provocative. 

"It's the story", says Sonny, "of a playboy sort of guy who has no respect for conventional married life and that sort of thing. As he grows older, however, his girl friends begin to leave him for younger men, and at the end of the picture, he's no longer nearly so sure that his is as fulfilling a way of life as he had thought". In a sense, Alfie is about the involuntary education of a hipster. 

Sonny worked closely with producer-director Lewis Gilbert, a man he describes as having "a very good understanding of music without knowing all the technical aspects of it. If the score is a success, he deserves a large share of the credit". For the soundtrack, Sonny arranged his music for a nine-piece group and he too is heard throughout the picture. Oliver Nelson's arrangements for this recording of the score are based on Sonny's original charts. 

"Oliver", says Sonny, "kept pretty close to those, adding a little here and there and editing. But this is basically the sound we got in the picture. Working with Oliver, incidentally, is enlightening. He's not only thoroughly qualified musically, but personally he is so easy to work with that he got the best out of all of us". (...) 

The film, Alfie, has been chosen, Sonny relates with pleasure, as England's entry in the Cannes Film Festival. Whether Sonny's score for it wins any official prizes in any competition, I expect that it will attract other movie producers who are weary of conventional lush music backgrounds or of the more recent but already hackneyed melodramatically pounding scores. As films themselves become increasingly scoured of superfluity and rhetoric (both visual and written), the music for them will be more accurately reflective of the rhythms and textures of life as it is now lived. And, as has been evident to jazz listeners for a long time, jazz does indeed tell where it's at, where we're at. 

"I hope to compose for more films", says Sonny, "because I've been wanting to work in explicitly dramatic areas for a long time. Not only motion pictures, but the theatre too. After all, it's all part of the same thing—finding and expressing yourself through music and finding links to yourself in the experiences of others".

Finally, it seems to me that unlike most albums of film scores, this one will not fade into limbo after the picture has had its run. The reason is that although Sonny was faithful to the spirit and thematic patterns of the picture, he was also faithful to himself. And therefore this music can—and does—stand on its own. *Nat Hentoff (from the liner notes)*

Sonny Rollins is a genius!

He squeezes every last drop out of a melody. There is nothing left to be done with it when he is through. He can turn it around this way and that way and turn it upside down and stretch it out. He is endlessly inventive. I could listen to him forever.

When he splits notes or honks, he doesn't sound as if he's trying to prove something philosophically or socially or racially. It is only artistic, a part of him—like a sneeze.

He wrote the score to this picture, and it is beautiful, although nobody else could play it—it is scored for a solo Sonnyphone.

There is nothing wrong with what he does, and he does everything: hard, sweet, loud, soft, fast, slow. A complete experience.

The film Alfie received only mediocre reviews, but the score is so much better than mediocre that I suspect any director hip enough to use it would have to make a product a lot superior to mediocre.

Frankie Dunlop is an underestimated drummer, and it would be difficult to overestimate his swing on this. Walter Booker too. Phil Woods' lead alto is impeccable. There is nothing peccable on Impulse 9111. *Michael Zwerin (Down Beat, November 3, 1966 [5 stars])*

Side 1

1 - Alfie's Theme

2 - He's Younger Than You

Side 2

3 - Street Runner With Child

4 - Transition Theme For Minor Blues Or Little Malcolm Loves His Dad

5 - On Impulse

6 - Alfie's Theme Differently

(All compositions by Sonny Rollins)

Sonny Rollins (tenor sax); J.J. Johnson [#1, #2], Jimmy Cleveland [#3 to #6] (trombones);

Phil Woods (alto sax); Robert Ashton (tenor sax); Danny Bank (baritone sax);

Roger Kellaway (piano); Kenny Burrell (guitar); Walter Booker (bass);

Frankie Dunlop (drums); Oliver Nelson (arranger, conductor).

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, January 26, 1966

Jazz For The Screen ★ Earle Hagen

Earle Hagen 

The New Interns

Following up on our previous post featuring the soundtrack to The Interns, it is only fitting to turn our attention to its direct 1964 continuation, The New Interns.

This film revisits the high-stakes, ensemble medical drama format within the halls of the fictional New North Hospital. Rather than a standard linear sequel, it acts as a thematic extension of the original—exploring the intense training year of a fresh cohort of residents as they navigate medical emergencies alongside complex personal lives. The film also maintains a direct bridge to the 1962 installment by bringing back key figures, most notably Michael Callan reprising his role, to seamlessly connect both generations of interns.

About the music:

Released in 1964 by Colpix Records (CP-473), the original soundtrack album for The New Interns stands as a fascinating testament to the intersection between Hollywood cinematic melodrama and the instrumental refinement of Los Angeles recording studios of the era. 

To musically frame this web of urban drama and youth dances, the production turned to the baton of Earle Hagen, one of the defining figures in shaping music for mid-century American film and television. Formed during the Golden Age of Swing as a trombonist and arranger for big bands, as well as the composer of the classic jazz standard "Harlem Nocturne", Hagen was already defining the sound of American television. His signature mark lay in an exceptional ability to blend dramatic classical orchestration with incisive horn sections rooted in West Coast Jazz and emerging urban rhythms.

Although the commercial LP sleeve credits the music broadly to Earle Hagen and His Orchestra, the reality behind the microphones at Columbia Pictures in all likelihood involved the most coveted collective of session musicians in Los Angeles: The Wrecking Crew. Following standard recording practices coordinated by the AFM Local 47, Hagen likely recruited members of the West Coast's instrumental elite for these sessions. While uncredited on the album jacket, the lineup—based on the customary session workflows of the era—most likely included the driving drums of Hal Blaine, the bass work of Carol Kaye or Lyle Ritz, the refined guitar lines of Howard Roberts and Tommy Tedesco, the keyboards of Leon Russell, and the solo saxophone presence of Plas Johnson.

The result is an orchestral and cool jazz suite that transitions seamlessly between high-tension narrative passages and rhythmic cues tailored to 1964 youth culture, such as the twist and the watusi. It remains a record that transcends mere incidental film music to stand as a vital document of Hollywood's studio golden era.

About the film:

John Rich's drama sequel in which young doctors (Michael Callan and Dean Jones) confuse love with their jobs in a huge-city hospital. With Telly Savalas, Stefanie Powers and Barbara Eden.

The story concerns playboy Alec Considine (Michael Callan) who goes back to New North Hospital for another year's internship after experiencing a mental breakdown throughout his first effort at internship.

Among the fresh interns he guides around the hospital are the unpredictable Tony Parelli (George Segal), a previous slum boy who finds himself disagreeing with Dr. Riccio (Telly Savalas); and Phil Osterman, who traffics his bride into the intern's quarters to live.

Tony falls for Nancy Terman (Inger Stevens), a social worker who goes to pieces after something awful happens to her by delinquents whom Tony knew from the slums. 

Newly wedded resident Dr. Lew Worship (Dean Jones) discovers that he is sterile, and the news almost destroys his marriage, but he and his wife, Gloria (Stefanie Powers), solve their solution by choosing to adopt kids.

Michael Callan and Stefanie Powers both give good performances reprising their respective parts from the first film, while Dean Jones as Gloria’s husband, and George Segal as the crazy character are both decent.

George won a Golden Globe for Most Promising Male Newcomer. 

Elsewhere, Telly Savalas as the head of the hospital, Inger Stevens as the social employee and Barbara Eden as Nurse Laura Rogers are all respectable. 

The direction from Rich is good because he allows a mixed atmosphere throughout, while also keeping a mainly light tone happening as well and the script is written to a decent standard by the director and Wilton Schiller as he makes the movie good to follow.

The camera stands out best in terms of the technical aspects, because it makes good use of the locations and also captures the tense and occasional funny moments well, which get the edge-of-the-seat status.

Overall, it is not outstanding, but this sequel is a fine medical drama, due to the good performances, direction, script, mixed atmosphere, mainly light tone, tense moments and some humour.  *Luke Thorne (from letterboxd.com)*

◈◈◈

Only rarely does the sequel to a film surpass the appeal, excitement and quality of the original. "The NEW Interns" is one of those rare instances in motion picture history. "The Interns" was one of the most popular films in 1962. "The NEW Interns" is even bigger, bolder and more exciting with more comedy, realism and suspense.

The characters from Richard Frede's novel come alive again in producer Robert Cohn's excellent, new Columbia Pictures' release. Besides a star-studded cast, "The NEW Interns" boasts an excellent musical score by Earle Hagen that sets the scene for every entertaining sequence.

Here is all the vivid and stirring music from the original sound track packed into an LP that will rank as one of your favorite and most-played albums. *(from the original liner notes)*

Side 1

1 - Main Title

2 - A Matter Of Time

3 - Nancy's Theme

4 - A Slight Case Of Rape

5 - Considine And Laura

6 - Split

7 - Needle Stickin' Blues

8 - Turnakit

Side 2

9 - Tibia Buster

10 - Sutura Self

11 - New Interns Watusi

12 - Freddy

13 - Goodbye To Nancy

14 - It's All Over For Now

15 - End Title

(All compositions by Earle Hagen)

Earle Hagen (leader, arranger, conductor)

Personnel unidentified.

Probably:

Studio Orchestra with The Wrecking Crew

Recorded at Columbia Pictures Studios, Hollywood, California, spring 1964.

Jazz For The Screen ★ Leith Stevens (III)

Leith Stevens

"Jazz in the Movies" Collection

The Interns

Hell To Eternity

Late in the 1950s and early in the 1960s, jazz ceased to be merely background music in movie theaters and became the dramatic pulse of urban, wartime, and psychologically charged narratives.

For this new chapter of Jazz For The Screen, we once again turn to the music of the distinguished film and television composer Leith Stevens, a child prodigy who was already performing professionally at the age of 11, accompanying vocalists in the Kansas City area, and who made his debut as an orchestra leader at 16.

For this third installment, we delve into a compilation that brings together on a single disc two original soundtracks from the early 1960s: The Interns (1962) and Hell To Eternity (1960).

The great appeal of this album lies not only in the compositions, but also in its extraordinary roster of performers. The sessions brought together some of Hollywood's finest studio musicians and West Coast jazz luminaries, including Pete Candoli, Milt Bernhart, Bob Enevoldsen, Ted Nash, Lou Levy, Barney Kessel, Joe Mondragon, and Shelly Manne, among others. The result is a work that moves between exuberant swing, sophisticated cool jazz, and passages of high dramatic tension, demonstrating how a first-rate roster of jazz musicians could elevate any motion picture production.

The Interns follows the professional and personal lives of a group of young medical interns at a busy urban hospital during their first year of training. Throughout the year, the interns must face complex ethical dilemmas, personal anguish, furtive romances, and the extreme pressures of the medical profession. The soundtrack perfectly reflects this emotional roller coaster, alternating festive moments and urban jazz with tense passages accompanying emergencies in the operating room.

Hell To Eternity tells the remarkable true story of Guy Gabaldon, a young American of Hispanic descent who was adopted, before World War II, by a family of Japanese immigrants in Los Angeles. When war breaks out in the Pacific, Gabaldon enlists in the Marines and is sent to the bloody Battle of Saipan. Drawing on his command of the Japanese language and his understanding of Japanese culture, he accomplishes a legendary feat: persuading more than a thousand Japanese soldiers and civilians to surrender, thereby preventing a massacre. Leith Stevens' score uses jazz and martial orchestration to underscore the tension of combat, the clash of cultures, and the protagonist's psychological drama.

The Interns

Music by Leith Stevens and Stu Phillips

(Originally issued on Colpix SCP-427)

1 - Plasma, Scotch And?

 (Leith Stevens)

2 - Toss Me A Scalpel

(Leith Stevens)

3 - I'm Inhibited

(Leith Stevens)

4 - Lovely Lora

(Leith Stevens)

5 - Doctor, Doctor!

(Stu Phillips)

6 - Sugar Bush Cha Cha

(Leith Stevens)

7 - Wild Party

(Stu Phillips)

8 - Yah, Yah, Yah

(Leith Stevens)

9 - Intern Fever

(Stu Phillips)

10 - Pitcher Of Martinis

(Leith Stevens)

11 - Intern Bash

(Stu Phillips)

12 - Happy New Year

(Leith Stevens)

Leith Stevens and his Orchestra including jazz soloists:

Conrad Gozzo, Pete Candoli (rumpets); Milt Bernhart (trombone);

Bob Enevoldsen (valve trombone);

Ted Nash (alto sax); Ronny Lang (flute, alto sax);

Gene Cipriano (tenor sax); Barney Kessel (guitar). 

Organ, piano, vibes, bass and drums (unidentified).

Recorded in Hollywood, California, 1962

Hell To Eternity

Music by Leith Stevens

(Originally issued on Warwick W 2030)

13 - Iron Petticoat

14 - Bright Boot

15 - Last Leave

16 - Hey, Honey, Go! Go! Go!

17 - Here, Chick Chick Chick

18 - Two Down And One To Go

19 - Three Quarts

20 - On the Double

21 - This Is The Place

22 - Famika

23 - Petes Theme

24 - Little Girl

(All compositions by Leith Stevens)

Orchestra conducted by Leith Stevens, including jazz soloists: 

Conrad Gozzo, Cappy Lewis, Pete Candoli (trumpets); Milt Bernhart (trombone);

Ted Nash (alto sax); Heinie Beau (clarinet, alto sax); Plas Johnson (tenor sax);

Lou Levy (piano); Joe Mondragon (bass); Shelly Manne (drums).

String ensemble (unidentified).

Recorded in Hollywood, California, 1960