Cool Blends (VI) - Swedish Panorama

Swedish Cool

And

Modern Jazz

The Golden Years

1949 ~ 1959

One of the wonders of the postwar jazz world has been the sudden rise to dominance in European jazz of Sweden, a country which could scarcely have been found on the jazz map before 1946. *George T. Simon (American Metronome, April 1950)*

 

Outside the United States, the best place in the world to find good jazz is Sweden.

*Leonard Feather (Down Beat, November 1951)*

Between 1949 and 1959, Sweden experienced what has often been called the Golden Age of Swedish Jazz. After World War II, visiting stars such as Dizzy Gillespie, Charlie Parker, Stan Getz, and James Moody discovered a thriving local scene, where musicians such as Arne Domnérus, Rolf Ericson, Lars Gullin, Bengt Hallberg, Putte Wickman, Reinhold Svensson, Carl-Henrik Norin, Rolf Blomquist, Gunnar Svensson, and many others were forging a distinctly Swedish jazz identity.

Rooted in swing but open to the innovations of modern jazz, Swedish musicians especially embraced the cool movement while preserving their own melodic sensibility, often enriched by folk and classical traditions. The scene thrived thanks to clubs like Nalen in Stockholm, forward-looking labels such as Metronome, Artist, Cupol, Sonet, and Gazell, and frequent national radio broadcasts.

Critics internationally known, such as Leonard Feather and George T. Simon, were quick to praise Swedish jazz as the best outside the United States. Recordings from this era, many of them released on American labels such as Prestige and Blue Note, revealed a combination of discipline, lyricism, and creativity that earned Sweden world wide recognition as a true jazz nation.

The present compilation celebrates this remarkable period, gathering timeless performances that testify to Sweden’s unique contribution in the story of modern jazz. *Jordi Pujol*  

The history of jazz in Europe can easily be divided into three overlapping parts. In the 1920s, European musicians did their best to try to learn jazz despite only being able to gain knowledge through the visits of some American jazz artists and a limited access to recordings. With a few exceptions, they sounded like beginners who, particularly rhythmically, were only in the early stage of figuring out the new music. In the 1930s, '40s and '50s the Europeans were much more successful in emulating the Americans and, while few could be considered jazz innovators (with the exception of Django Reinhardt and a handful of others), they were often quite impressive if a bit derivative. In the 1960s and especially the '70s up until the present time, European jazz musicians found their own voices, often blending together modern jazz with influences from their culture.

The four-CD set Swedish Cool And Modern Jazz – 1949:1959: The Golden Years is a particularly strong sampling of the jazz recordings that were made in Sweden during that decade. Sweden was ahead of most other countries during the 1950s in developing some truly great players who, while most did not have an overly original voice, could hold their own with their American counterparts. Among those were trumpeters Rolf Ericson, Bengt-Arne Wallin, and Jan Allan, trombonist Åke Persson, clarinetist Putte Wickman, altoist Arne Domnérus (who doubled on clarinet), tenor-saxophonist Rolf Blomquist, baritonist Lars Gullin, and pianist Bengt Hallberg.

All of those players plus other talents are featured throughout the 92 selections on this superior compilation put together by Jordi Pujol of Fresh Sound Records. One can hear the influence of such West Coast cool jazz-styled Americans as Chet Baker, J.J. Johnson, Stan Getz, Lee Konitz, Lennie Tristano and the writing of Shorty Rogers and Gerry Mulligan in these performances. Many of the originals were contrafacts based on the chord changes of swing standards, the rhythm sections are quietly swinging, and the focus is on the arrangements and the cool toned soloists. The performances selected for this release include many that have not been widely available in years. Possibly the biggest surprise is a version of "Sweet And Lovely" that is performed as an unaccompanied duet by altoist Rolf Billberg and baritonist Lars Gullin.

Fans of West Coast jazz will find Swedish Cool to be a consistent delight and an opportunity to be introduced to many talented cool jazz exponents from Sweden.

*Scott Yanow (Los Angeles Jazz Scene)*

While Sweden is usually noted for fjords and blonds, this 4 disc set from Fresh Sound Records reminds us that there was a hip and swinging jazz scene post WWII in the land of IKEA. Musicians like Rolf Ericson, Åke Persson, Rolf Billberg, Ove Lind, Rolf Blomquist, Gösta Theselius, Lars Gullin, Bengt Hallberg and Bert Dahlander imbibed deeply from the recordings of Miles Davis, Gerry Mulligan, Lester Young, Coleman Hawkins and Bud Powell, creating their own sound of bop and West Coast Cool. What did they call it? "Baltic Cool?"

Anyway, most of these tunes are small group affairs, with Billberg and Arne Domnérus giving their best Charlie Parker inspirations on pieces like "More Than You Know" and "Barit", with Ericson's sweet brass gliding through some sessions arranged by American journalist Leonard Feather on "Swedish Butterfly" and "Meet Me Tonight In Birdland". Rich toned Gullin croons through "Colon" and "Apostrophe" and pianist Svensson sizzles with vibist Bosse Callstrom on "Beat The Clock" . I can guarantee that trumpeter Bengt-Arne Wallin is not on the tip of your tongue yet, but his work with trombonist Ake Persson is a hoot on "Short Wave".

After the first listening, you’re going to ask yourself is these sessions are some unreleased vault recordings from Miles Davis' "Birth of the Cool" period. But the material never sounds imitative, more like inspired capturings of a country, pun intended, miles away. The copious notes in the enclosed booklet are a must for those wondering what the jazz scene looked like in Stockholm. Look for this one! *George W. Harris (jazzweekly.com)*

Volume 1

1949 — 1953

*CD 1*

1 - Diggin' In Minor

(Carl-Henrik Norin)

2 - Conversation

(Gösta Theselius)

3 - More Than You Know

(Youmans, Rose, Eliscu)

4 - The Way You Look Tonight

(Kern, Fields)

5 - Chloe

(Neil Moret)

6 - Sensual (I Can’t Get Started)

(Duke, Gershwin)

7 - Stuffy

(Coleman Hawkins)

8 - Miles Away

(Roffe Ericson)

9 - Conservation

(Gösta Theselius)

10 - Perdido

(Juan Tizol)

11 - The Flower

(Burman, Blomquist)

12 - The Flower Grows Up (Steeplechase)

(Burman, Blomquist)

13 - Lullaby In Rhythm

(Goodman, Sampson, Profit)

14 - Git Straight

(Roffe Ericson)

15 - Strike Up The Band

(G. and I. Gershwin)

16 - Barit

(Lars Gullin)

17 - Swedish Butterfly

(Gösta Theselius)

18 - The Swedish Music (This Side Of Heaven)

(Leonard Feather)

19 - Meet Me Tonight In Birdland

(Williams)

20 - Cream Of The Crop

(Gösta Theselius)

21 - Pick Yourself Up

(Kern, Fields)

22 - Attribution

(Bengt Hallberg)

23 - Beat The Clock

(Reinhold Svensson)

24 - Let's Cool One (The Girl With The Net)

(Lars Gullin)

25 - Any Time For You

(Rolf Blomquist)

26 - Laura

(David Raksin)

#1:

Carl-Henrik Norin Sextet

Sixten Eriksson (trumpet), Carl-Henrik Norin (tenor sax), Fritz Fust (baritone sax),

Gunnar Svensson (piano), Gunnar Johnson (bass), Henry Wallin (drums).

Recorded in Stockholm, June 13, 1949

#2, #3:

Arne Domnérus Favourite Five

Lennart "Leppe" Sundewall (trumpet), Arne Domnérus (alto sax),

Gösta Theselius (piano), Gunnar Almstedt (bass), Jack Noren (drums).

Recorded in Stockholm, August 20, 1949

#4 to #7:

Arne Domnérus Sextet

Lennart "Leppe" Sundewall (trumpet), Arne Domnérus (alto sax),

Ulf Linde (vibes), Bengt Hallberg (piano),

Gunnar Almsted (bass), Anders Burman (drums).

Recorded in Stockholm, March 15, 1950

#8 to #10:

Rolf Ericson with Reinhold Svensson's Orchestra

Rolf "Roffe" Ericson (trumpet), Georg Vernon (trombone), Arne Domnérus (alto sax),

Gösta Theselius (tenor sax), Lars Gullin (baritone sax),

Reinhold Svensson (piano), Simon Brehm (bass), Sven Bollhem (drums).

Recorded in Stockholm, September 19, 1950

#11, #12:

Rolf Blomquist Quintet

Rolf "Roffe" Ericson (trumpet), Rolf Blomquist (tenor sax),

Charles Norman (piano), Gunnar Almstedt (bass), Anders Burman (drums).

Recorded in Stockholm, October 13, 1950

#13 to #15:

Rolf Ericson's Swingin' Swedes

Rolf "Roffe" Ericson (trumpet), Arne Domnérus (alto sax),

Rolf Blomquist (tenor sax), Lars Gullin (baritone sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, January 10 and April 24 (#15), 1951

#16:

Arne Domnérus Septet

Rolf "Roffe" Ericson (trumpet), Arne Domnérus (alto sax),

Rolf Blomquist (tenor sax), Lars Gullin (baritone sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, January 18, 1951

#17:

Leonard Feather's Swingin' Swedes

Rolf "Roffe" Ericson (trumpet), Arne Domnérus (alto sax),

Carl-Henrik Norin (tenor sax), Lars Gullin (baritone sax),

Bengt Hallberg (piano), Simon Brehm (bass), Jack Noren (drums).

Recorded in Stockholm, July 4, 1951

#18:

Leonard Feather's Swingin' Swedes

Åke Persson (trombone), Carl-Henrik Norin (tenor sax), Bengt Hallberg (piano),

Leonard Feather (celesta), Simon Brehm (bass), Jack Noren (drums).

Recorded in Stockholm, July 4, 1951

#19:

Leonard Feather's Swingin' Swedes

Rolf "Roffe" Ericson (trumpet), Arne Domnérus (alto sax),

Lars Gullin (baritone sax), Bengt Hallberg (piano),

Simon Brehm (bass), Jack Noren (drums), Toots Thielemans (harmonica).

Recorded in Stockholm, July 4, 1951

#20, #21:

Gösta Theselius Orchestra

Rolf "Roffe" Ericson (trumpet), Åke Persson (trombone),

Putte Wickman (clarinet), Arne Domnérus (alto sax), Carl-Henrik Norin (tenor sax),

Lars Gullin (baritone sax), Ulf Linde (vibes), Bengt Hallberg (piano),

Sten Carlberg (guitar), Simon Brehm (bass), Jack Noren (drums).

Recorded in Stockholm, September 5, 1951

#22:

Kenneth Fagerlund Quintet

Ingmar Glanzelius (alto sax), Hacke Björksten (tenor sax),

Bengt Hallberg (piano), Gunnar Johnson (bass), Kenneth Fagerlund (drums).

Recorded in Stockholm, November 19, 1951

#23:

Reinhold Svensson Quintet

Bosse Callström (vibes), Reinhold Svensson (piano),

Rolf Berg (guitar), Gunnar Almsted (bass), Anders Burman (drums).

Recorded in Stockholm, November 29, 1951

#24, #25:

Arne Domnérus Four Brothers

Arne Domnérus, Rolf Blomquist, Gosta Theselius, Lars Gullin, tenor saxes;

Ingmar Westberg (piano); Bengt Wittstrom (bass); Sture Kallin (drums).

Recorded in Stockholm, January 11, 1952

#26:

Expressens Elitorkester 1952

Rolf Ericson (trumpet), Åke Persson (trombone), Putte Wickman (clarinet),

Arne Domnérus (alto sax), Rolf Blomquist (tenor sax), Lars Gullin (baritone sax),

Bengt Hallberg (piano), Sten Carlberg (guitar), Simon Brehm (bass), Jack Noren (drums).

Recorded in Stockholm, April 9, 1952

◈

*CD 2*

1 - Cherokee

(Ray Noble)

2 - The Cool Pool

(Bengt Hallberg)

3 - Tickle Toe

(Lester Young)

4 - Giro

(Gullin, Blomquist)

5 - Coast To Coast

(Bengt Hallberg)

6 - Flying Saucer

(Bengt Hallberg)

7 - Smoot Breeze

(Lars Gullin)

8 - Smart Alec

(Lars Gullin)

9 - Apostrophe

(Lars Gullin)

10 - Colon 

(Lars Gullin)

11 - Comma

(Lars Gullin)

12 - Portrait

(Bengt Hallberg)

13 - Duffer-Box

(Bengt Hallberg)

14 - Disc-Major

(Lars Gullin)

15 - Holiday For Piano

(Lars Gullin)

16. Jumping With Queen Anne

(Blomquist, Svensson)

17 - Pops

(Blomquist, Svensson)

18 - Softly As In A Morning Sunrise

(Romberg, Hammerstein II)

19 - It Might As Well Be Spring

(Rodgers, Hammerstein II)

20 - Hershey Bar

(Johnny Mandel)

21 - My Blue Heaven

(Walter Donaldson)

22 - Bugs

(Lars Gullin)

23 - Walking Feet

(Gunnar Svensson)

24 - Subway

(Blomquist, Svensson)

25 - Whiskey Sour

(Bengt Hallberg)

26 - Side Car

(Bengt Hallberg)

#1:

Expressens Elitorkester 1952

Rolf Ericson (trumpet), Åke Persson (trombone), Putte Wickman (clarinet),

Arne Domnérus (alto sax), Rolf Blomquist (tenor sax), Lars Gullin (baritone sax),

Bengt Hallberg (piano), Sten Carlberg (guitar), Simon Brehm (bass), Jack Noren (drums).

Recorded in Stockholm, April 3, 1952

#2, #3:

Rolf Ericson’s Orkester

Rolf Ericson (trumpet), Åke Persson (trombone), Åke Bjorkman (french horn),

Mikkel Flagstad (tenor sax), Lars Gullin (baritone sax)

Bengt Hallberg (piano),Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, May 27, 1952

#4:

Arne Domnérus Octet

Weine Renliden (trumpet), Åke Persson (trombone), Arne Domnérus (alto sax),

Rolf Blomquist (tenor sax), Lars Gullin (baritone sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, September 22, 1952

 #5, #6:

Bengt Hallberg Quartet

Arne Domnérus (alto sax), Bengt Hallberg (piano),

Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, October 27, 1952

 #7, #8:

Lars Gullin Octet

Weine Renliden (trumpet), Åke Persson (trombone), Åke Björkman (french horn),

Arne Domnérus (alto sax), Lars Gullin (baritone sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, October 28, 1952

#9:

Lars Gullin Octet

Weine Renliden (trumpet), Åke Persson (trombone), Åke Björkman (french horn),

Arne Domnérus (alto sax), Lars Gullin (baritone sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, December 12, 1952

#10, #11:

Lars Gullin Sextet

Åke Persson (trombone), Rolf Blomquist (tenor sax), Lars Gullin (baritone sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, December 12, 1952

#12, #13:

Bengt Hallberg Quartet

Arne Domnérus (alto sax), Bengt Hallberg (piano),

Gunnar Johnson (bass), Kenneth Fagerlund (drums).

Recorded in Stockholm, December 15, 1952

#14:

Lars Gullin Quintet

Åke Persson (trombone), Lars Gullin (baritone sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, December 15, 1952

#15:

Lars Gullin Quartet

Åke Persson (trombone), Lars Gullin (baritone sax),

Simon Brehm (bass), Jack Noren (drums).

Recorded in Stockholm, February 12, 1953

#16, #17:

Rolf Blomquist Sextet

Åke Persson (trombone), Arnold Johanson (valve trombone), Rolf Blomquist (tenor sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Noren (drums).

Recorded in Stockholm, February 19, 1953

#18 to #21:

Åke Persson and His Combo

Åke Persson (trombone), Arne Domnérus (alto sax, clarinet),

Bengt Hallberg (piano), Gunnar Johnson (bass), Jack Noren (drums).

Recorded in Stockholm, September 14, 1953

#22:

Lars Gullin Quintet

Carl-Henrik Norin (tenor sax), Lars Gullin (baritone sax),

Rolf Berg (guitar), George Riedel (bass), Alan Dawson (drums).

Recorded in Stockholm, November 5, 1953

#23, #24:

Rolf Blomquist and His Band

Ernie Englund (trumpet); Åke Persson (trombone);

Rolf Blomquist, Carl-Henrik Norin (tenor saxes);

Gunnar Svensson (piano); Yngve Åkerberg (bass); Alan Dawson (drums).

Recorded in Stockholm, November 6, 1953

#25, #26:

Bengt Hallberg and His Swedish All Stars

Åke Persson (trombone), Arne Domnérus (alto sax, clarinet), Lars Gullin (baritone sax),

Bengt Hallberg (piano), Simon Brehm (bass), William Schiopffe (drums).

Recorded in Stockholm, November 9, 1953

◈◈◈

Volume 2

1954 — 1959

*CD 3*

1 - Alto Gether

(Gunnar Svensson)

2 - Penta

(Gunnar Björksten)

3 - Lotus Corniculatus (Cat-In-Clover)

(Lars Gullin)

4 - Walking Feet

(Gunnar Svensson)

5 - Bon Voyage

(Bengt Hallberg)

6 - Shortly

(Rune Öfwerman)

7 - For F.J. Fans Only

(Lars Gullin)

8 - The Lady Is A Tramp

(Rodgers-Hart)

9 - Woodpecker's Groove

(Gunnar Björksten)

10 - Gromek

(Gunnar Björksten)

11 - Straight Talk

(Bengt-Arne Wallin)

12 - Twisted

(Wardell Gray)

13 - In A Little Spanish Town

(Lewis, Young, Wayne)

14 - There Will Never Be Another You

(Warren, Gordon)

15 - Short Wave

(Bengt Hallberg)

16 - Fedja

(Lars Gullin)

17 - After Eight P.M.

(Lars Gullin)

18 - Kreta

(Gösta Theselius)

19 - Brewin'

(Gösta Theselius)

#1:

Cavalcade All Stars

Bengt-Arne Wallin (trumpet), Arne Domnérus (clarinet),

Rolf Blomquist (tenor sax), Gösta Theselius (tenor sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Egil Johansen (drums).

Recorded in Stockholm, February 5, 1954

#2:

The Modern Swedes

Åke Persson (trombone), Gunnar "Hacke" Björksten (tenor sax),

Bengt Hallberg (piano), Gunnar Johnson (bass), Kennett Fagerlund (drums).

Recorded in Stockholm, March 3, 1954

#3:

Lars Gullin Septet

Åke Persson (trombone), Putte Wickman (clarinet), 

Bjarne Nerem (tenor sax), Lars Gullin (baritone sax),

Bengt Hallberg (piano), Georg Riedel (bass), Robert Edman (drums).

Recorded in Stockholm, June 3, 1954

#4:

Arne Domnérus Orchestra

Bengt-Arne Wallin (trumpet), Åke Persson (trombone), Arne Domnérus (alto sax),

Rolf Blomquist (tenor sax), Johnny Elch (baritone sax),

Gunnar Svensson (piano), Niels Foss (bass), Egil Johansen (drums).

Recorded in Stockholm, October 19, 1954

#5:

Putte Wickman Sextet

Putte Wickman (clarinet), Sune Svensson (vibes), Reinhold Svensson (piano),

Rune Gustafsson (guitar), Hasse Burman (bass), Sture Kallin (drums).

Recorded in Stockholm, April 26, 1955

#6:

Carl-Henrik Norin Septet

Jan Allan (trumpet), Bo Magnusson (alto sax), Carl-Henrik Norin (tenor sax),

Rune Falk (baritone sax), Jan Boquist (piano), Lasse Petersson (bass), Gunnar Nyberg (drums).

Recorded in Stockholm, May 25, 1955

#7:

Lars Gullin Sextet

Richard Johansson (trombone), Rolf Billberg (tenor sax),

Lars Gullin (baritone sax, piano), Rolf Berg (guitar),

Georg Riede (bass), William Schiopffe (drums).

Recorded in Stockholm, June 13, 1955

#8:

Rolf Larsson Octet

Bengt-Arne Wallin (trumpet), Åke Persson (trombone), Arne Domnérus (clarinet),

Jan Henning Carlsson (tenor sax), Lennart Jansson (baritone sax),

Rolf Larsson (piano), Yngve Åkerberg (bass), Kurt Falk (drums).

Recorded in Stockholm, November 3, 1955

#9, #10:

Hacke Björksten Quintet

Åke Persson (trombone), Hacke Björksten (tenor sax),

Jan Johansson (piano), Bengt Carlson (bass), Svante Turesson (drums).

Recorded in Stockholm, December 6, 1955

 #11:

Jam Session

Bengt-Arne Wallin (trumpet), Åke Persson (trombone), Carl-Henrik Norin (tenor sax),

Bengt Hallberg (piano), Rune Gustafsson (guitar), Gunnar Johnson (bass), Gunnar Ohlsson (drums).

Recorded in Stockholm, December 7, 1955

#12, #13:

Jam Session

Bengt-Arne Wallin (trumpet), Åke Persson (trombone), 

Arne Domnérus (alto sax), Rolf Blomquist (tenor sax),

Reinhold Svensson (piano), George Riedel (bass), Nils-Bert Dahlander (drums).

Recorded in Stockholm, April 10, 1956

#14:

Kenneth Fagerlund Quartet

Willy Lund (alto sax), Jan Johansson (piano),

Georg Riedel (bass), Kenneth Fagerlund (drums).

Recorded in Stockholm, April 13, 1956

#15:

Bengt Hallberg All Stars

Bengt-Arne Wallin (trumpet), Åke Persson (trombone),

Ove Lind (clarinet), Lennart Jansson (baritone sax),

Bengt Hallberg (piano), Gunnar Johnson (bass), Andrew Burman (drums).

Recorded in Stockholm, April 20, 1956

#16:

Lars Gullin Octet

George Vernon (trombone); Arne Domnérus (alto sax);

Carl-Henrik Norin (tenor sax); Lars Gullin, Rune Falk (baritone saxes);

Rune Öfwerman (piano); Georg Riedel (bass); Nils-Bertil Dahlander (drums).

Recorded in Stockholm, April 23, 1956

#17:

Lars Gullin Sextet

Åke Persson (trombone), Arne Domnérus (alto sax), Lars Gullin (baritone sax),

Rune Öfwerman (piano), Georg Riedel (bass), Nils-Bertil Dahlander (drums).

Recorded in Stockholm, April 26, 1956

#18:

Gösta Theselius All Stars

Bengt-Arne Wallin (trumpet), Rolf Blomquist (flute), Lars Gullin (baritone sax),

Bengt Hallberg (piano), George Riedel (bass), Egil Johanssen (drums).

Recorded in Stockholm, April 27, 1956

#19:

Gösta Theselius All Stars

Bengt-Arne Wallin (trumpet), Rolf Blomquist (tenor sax),

Bjarne Nerem (tenor sax [solo]), Lennart Jansson (baritone sax),

Bengt Hallberg (piano), George Riedel (bass), Egil Johanssen (drums).

Recorded in Stockholm, April 27, 1956

◈

*CD 4*

1 - Just Like That

(Ted Sommer)

2 - Bugs

(Lars Gullin)

3 - The Swingin' Thirds

(Walter Yost)

4 - Cool And Cosy

(Michel Legrand)

5 - Chips

(Frank Engelen)

6 - Love Is Here To Stay

(G. and I. Gershwin)

7 - Curly Curt

(Rolf Billberg)

8 - Maid In Sweden

(Erik Norström)

9 - So Long Blues

(Bengt Hallberg)

10 - Go Home Swanson

(Gunnar Björksten)

11 - Blues For Lange

(Jan Johansson)

12 - The Flight

(Lars Gullin)

13 - Aesthetic Lady

(Lars Gullin)

14 - Icarus On The Moon

(Lars Gullin)

15 - The Knob

(Lars Gullin)

16 - Mumin

(Lasse Bagge)

17 - I Could Write A Book

(Rodgers, Hart)

18 - Sweet And Lovely

(Arnheim, Tobias, Lemore)

19 - Fine Together

(Lars Gullin)

20 - Merlin

(Lars Gullin)

21 - The Black Rose

(Lars Gullin)

#1:

Gösta Theselius All Stars

Bengt-Arne Wallin (trumpet), Åke Persson (trombone),

Rolf Blomquist (flute), Lennart Jansson (baritone sax),

Bengt Hallberg (piano), George Riedel (bass), Egil Johanssen (drums).

Recorded in Stockholm, April 27, 1956

#2:

Gösta Theselius All Stars

Bengt-Arne Wallin (trumpet), Rolf Blomquist (tenor sax), Lars Gullin (baritone sax),

Gösta Theselius (piano), George Riedel (bass), Egil Johanssen (drums).

Recorded in Stockholm, April 28, 1956

#3:

Gösta Theselius All Stars

Arne Domnérus (clarinet), Rolf Blomquist (flute), Lars Gullin (baritone sax),

Gösta Theselius (piano), George Riedel (bass), Egil Johanssen (drums).

Recorded in Stockholm, April 28, 1956

#4:

Gösta Theselius All Stars

Arne Domnérus (alto sax), Bjarne Nerem (tenor sax), Rolf Blomquist (flute, tenor sax),

Lars Gullin (baritone sax [1st solo]), Lennart Jansson (baritone sax [2nd solo]),

Gösta Theselius (piano), George Riedel (bass), Egil Johanssen (drums).

Recorded in Stockholm, April 28, 1956

#5:

Gösta Theselius All Stars

Bengt-Arne Wallin (trumpet), Arne Domnérus (alto sax),

Bengt Hallberg (piano), George Riedel (bass), Egil Johanssen (drums).

Recorded in Stockholm, April 28, 1956

#6:

Eje Thelin Quintet

Eje Thelin (trombone), Lalle Svensson (valve trombone),

Göran Lindberg (piano), Conny Lundin (bass), Björn Borell (drums).

Recorded in Stockholm, September 20, 1956

#7:

Rolf Billberg Quintet

Kurt Järnberg (valve trombone), Rolf Billberg (tenor sax),

Lasse Bagge (piano), Urban Moberg (bass), William Schiöpffe (drums).

Recorded in Copenhaguen, September 18, 1956

#8:

Gunnar Johnson Quintet

Erik Norström (tenor sax), Curt Severö (baritone sax),

Jan Johansson (piano), Gunnar Johnson (bass), Ingvar Callmer (drums).

Recorded in Stockholm, October 14, 1956

#9:

Bengt Hallberg Trio

Bengt Hallberg (piano); Gunnar Johnson (bass), Anders Burman (drums).

Recorded in Stockholm, January 24, 1957

#10:

Hacke Björksten All Star Sextet

Åke Persson (trombone), Hacke Björksten (tenor sax), Rune Öfwerman (piano),

Rune Gustafsson (guitar), Stefan Landoff (bass), Svante Thuresson (drums).

Recorded in Kopenhamn, April 12, 1957

#11:

Gunnar Johnson Quintet

Erik Norström (tenor sax), Curt Severö (baritone sax),

Jan Johansson (piano), Gunnar Johnson (bass), Ingvar Callmer (drums).

Recorded in Stockholm, January 13, 1958

#12:

Lars Gullin Quintet

Arnold Johansson (valve trombone), Rolf Billberg (alto sax), Lars Gullin (baritone sax), 

Lasse Bagge (piano), Lars Peterson (bass), Sune Spangberg (drums).

Recorded in Stockholm, March 26, 1958

#13:

Lars Gullin Orkester

Jan Allan (trumpet); Arnold Johansson (valve trombone);

Rolf Billberg (alto sax); Lars Gullin, Rune Falk (baritone saxes);

Lasse Bagge (piano); Lars Peterson (bass); Sune Spangberg (drums).

Recorded in Stockholm, March 26, 1958

#14, #15:

Lars Gullin Quintet

Jan Allan (trumpet), Lars Gullin (baritone sax),

Rune Gustafsson (guitar), Claes Lindroth (bass), Sune Spangberg (drums).

Recorded in Stockholm, April 11 (#14) and 16 (#15), 1958

#16:

Carl-Henrik Norin Septet

Jan Allan (trumpet), Rolf Billberg (alto sax),

Carl-Henrik Norin (tenor sax), Torsten Wennberg (baritone sax),

Lasse Bagge (piano), Lasse Pettersson (bass), Sture Kallin (drums).

Recorded in Stockholm, April 2, 1958

#17:

Jan Allan Quartet

Jan Allan (trumpet), Rune Öfwerman (piano), Sture Nordin (bass), Sture Kallin (drums).

Recorded in Stockholm, March 20, 1958

#18:

Lars Gullin • Rolf Billberg Duo

Rolf Billberg (alto sax), Lars Gullin (baritone sax).

Recorded in Stockholm, May 22, 1958

#19 to #21:

Lars Gullin Octet

Bengt-Arne Wallin (trumpet), George Vernon (trombone),

Rolf Billberg (alto sax), Harry Bäcklund (tenor sax), Lars Gullin (baritone sax),

Lasse Bagge (piano), Lars Petterson (bass), Sture Kallin (drums).

Recorded in Stockholm, January 28, 1959

◈◈◈

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