Cool Blends (V) ★ British Panorama (I)

Soho After Dark

London's '50s Modern Jazz Scene

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

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

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

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

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

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

*CD 1*

1 - Second Eleven

(Dankworth)

Johnny Dankworth Club XI Quartet

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

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

London, April 27, 1949

2 - 52nd Street Theme

(Monk)

Ronnie Scott Club XI Boptet

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

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

London, April 9, 1949

 

3 - Mango Walk

(Graham)

Kenny Graham's Afro-Cubists

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

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

London, February 10, 1951

4 - Festival Hall

(Hall)

Tito Burns and His Sextet

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

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

London, July 12, 1951

5 - The Slider

(Wise, Raeburn, Temple)

Johnny Dankworth Seven

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

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

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

London, July 12, 1951

6 - Catherine Wheel

(Parnell)

Jack Parnell and His Orchestra

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

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

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

London, October, 1952

7 - The Champ

(Gillespie)

The Ronnie Scott Jazz Group

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

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

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

London, December 1, 1952

8 - Hi-Ya Mr Jackson

(Jackson)

Tony Hall's Hall Stars

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

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

London, January, 1954

9 - Mambo Macoco

(Puente)

The Kirchin Band

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

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

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

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

London, September, 1954

10 - Swinghouse

(Mulligan)

Vic Lewis and His Orchestra

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

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

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

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

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

London, January 9, 1955

11 - 'Bang!'

(Reece)

Dizzy Reece Quintet

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

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

London, May 16, 1955

12 - Cool Sparks

(Rendell)

Don Rendell Quintet

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

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

London, May 16, 1955

13 - Kings Cross Climax

(Graham)

Ted Heath and His Music

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

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

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

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

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

London, February 14, 1955

14 - Cottontail

(Ellington)

Keith Christie Quartet

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

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

London, July 26, 1955

15 - 'Early Morning'

(Le Sage)

Vic Ash Quartet

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

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

London, February 18, 1956

16 - Fascinating Rhythm

(Gershwin)

Tony Kinsey Trio with Joe Harriott

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

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

London, December 9, 1954

17 - It Don't Mean A Thing

(Ellington)

Tony Kinsey Trio with Joe Harriott

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

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

London, May 17, 1955

18 - Brawl For All

(Feldman)

Victor Feldman Septet

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

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

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

London, August 18, 1955

19 - Ten Bar Gait

(Whittle)

Tommy Whittle Quintet

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

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

London, March 22, 1955

20 - Message To The Messengers

(South)

Tubby Hayes Quintet

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

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

London, July 17, 1956

✳✳✳

*CD 2*

1 - African Waltz

(MacFarland)

Johnny Dankworth Orchestra

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

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

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

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

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

London, July 2, 1960

2 - Cheek To Cheek

(Berlin)

The Jazz Couriers

Ronnie Scott, Tubby Hayes (tenor saxes);

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

London, February 16, 1958

3 - Some Of My Best Friends Are Blues

(Scott)

The Jazz Couriers

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

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

London, February 16, 1958

4 - Mirage

(Hayes)

The Jazz Couriers

Ronnie Scott, Tubby Hayes (tenor saxes);

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

London, November, 1958

5 - The Little Giant ║ Orient Line

(South)

Tubby Hayes and His Orchestra

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

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

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

London, February 18, 1956

6 - Minore

(Crombie)

Victor Feldman Modern Jazz Quartet

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

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

London, September 12, 1955

7 - L'il O'l Pontsville

(Tracey)

Tony Crombie Jazz Inc. Orchestra

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

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

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

London, January 5, 1960

8 - Little Klunk

(Tracey)

Stan Tracey Trio

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

London, May 22, 1959

9 - Free

(Tracey)

Stan Tracey Trio

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

London, May 22, 1959

10 - Shepherd's Serenade

(Reece)

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

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

London, August 24, 1958

11 - Wilton's Mood

(Gaynair)

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

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

London, August 26, 1959

12 - Messin' About In Boats

(Moule)

Ken Moule's Music

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

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

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

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

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

London, January 28, 1958

13 - Maenya

(Reece)

Victor Feldman Big Band

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

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

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

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

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

London, September 21, 1955

14 - Just Goofin'

(Harriott)

Tony Kinsey Quintet

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

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

London, May 16, 1957

15 - The Colonel's Tune

(Dankworth)

Johnny Dankworth Orchestra

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

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

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

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

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

London, June 20, 1958

✳✳✳

Cool Blends (IV) ★ Californian Panorama (I)

California Cool

Presenting 

The Hip Jazz Sounds Of The West Coast

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

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

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

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

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

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

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

1- This Could Be The Start Of Something New

(Allen)

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

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

Los Angeles, May 28,1959

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

(E. Bernstein, Fine)

Billy May and his Orchestra:

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

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

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

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

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

Los Angeles, January 31, 1956

3 - Black Nightgown

(J. Mandel)

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

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

Los Angeles, May 24, 1958

4- The Squimp

(Katz)

The Chico Hamilton Quintet:

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

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

Los Angeles, February 10, 1956

5 - But Not For Me

(G. and I. Gershwin)

Chet Baker Quartet:

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

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

Los Angeles, February 15, 1954

6 - Iranic

(J. Giuffre)

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

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

Los Angeles, January 31, 1955

7 - I Hear Music

(F. Loesser, B. Lane)

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

Los Angeles, May 2, 1955

8 - Loverman

(Davis, Sherman)

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

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

Los Angeles, January 23, 1953

9 - Hey, Bellboy!

(Candoli, Mack)

Gloria Wood with Pete Candoli And His Orchestra:

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

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

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

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

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

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

Los Angeles, November 11, 1953

10 - Diablo's Dance

(Rogers)

Art Pepper with Shorty Rogers Nine:

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

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

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

Los Angeles, August 12, 1957

11 - Our Love Is Here To Stay

(G. and I. Gershwin)

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

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

Los Angeles, August 1959

12 - Route 66

(Troup)

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

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

Los Angeles, November 7, 1956

13 - Two Can Play

(Gurvitz, Lironi)

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

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

Los Angeles, May 27, 1954

14 - Take Five

(Desmond)

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

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

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

Los Angeles, December 1966

15 - Jimmy's Theme

(Stevens)

Chet Baker with Bud Shank Orchestra:

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

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

Bill Holman, Richie Kamuca (tenor saxes);

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

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

Los Angeles, November 8, 1956

16 - Something Cool

(Barnes)

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

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

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

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

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

Los Angeles,  August 14, 1954

17 - Mambo De La Pinta

(Art Pepper)

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

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

Los Angeles, August 1956

18 - Do I Love You?

(Cole Porter)

Peggy Lee With George Shearing:

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

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

Miami, April 28, 1959

19 - Katanga

(Ike Turner)

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

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

Los Angeles, March 1963

20 - A Handful Of Stars

(Lawrence, Shapiro)

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

Los Angeles, March 14, 1956

21 - West Coast Blues

(Sonny Criss)

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

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

Los Angeles, February 24, 1956

Five-Star Collection... The Modern Jazz Quartet

The Modern Jazz Quartet

Prestige (PRLP 160)

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

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

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

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

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

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

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

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

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

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

Side 1

1 - All The Things You Are

(Hammerstein, Kern)

2 - La Ronde

(John Lewis)

3 - Vendome

(John Lewis)

4 - Rose Of The Rio Grande

(Leslie, Warren, Gorman)

Side 2

5 - The Queen's Fancy

(John Lewis)

6 - Delaunay's Dilemma

(John Lewis)

7 - Autumn In New York

(Vernon Duke)

8 - But Not For Me

(George and Ira Gershwin)

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

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

Jazz For The Screen ★ Pete Rugolo

Pete Rugolo

The Music From Richard Diamond

The character of Richard Diamond originated in 1949 as a radio drama created by writer and director Blake Edwards and starring Hollywood actor Dick Powell. On the radio, Diamond was a charismatic New York private investigator, a former police officer who had the unique quirk of playing the piano and singing to his girlfriend, Helen, at the end of each episode.  In 1957, Four Star Television (co-founded by Powell himself) adapted the formula for television, casting a young David Janssen in the lead role. While the show retained the core of the film noir hardboiled detective—cynical yet charming—the TV adaptation dropped the character's singing trait and evolved toward a more stylized tone tailored to the late-1950s crime drama aesthetic.

During its first two seasons on CBS, the series featured traditional background music scored by Frank De Vol. However, for its third season in 1959, the show underwent a major overhaul: it moved to NBC, relocated Diamond from New York to Los Angeles, and embraced a distinct West Coast atmosphere. Capitalizing on the commercial success Henry Mancini had achieved a year earlier with Peter Gunn, TV networks recognized that modern jazz provided the perfect sonic vehicle for private eye stories.

To lead this musical shift, the producers hired Pete Rugolo. Rugolo, renowned for his work with the Stan Kenton Orchestra and a key figure in West Coast jazz, assembled a top-tier group of Los Angeles session musicians in Hollywood recording studios. The resulting soundtrack featured biting brass arrangements, driving hard bop rhythms, and improvisations charged with dramatic tension. The LP released by Mercury Records in 1959 was not merely a collection of short background cues taken from the TV audio tracks. Instead, it offered expanded arrangements, specifically re-recorded with high-fidelity production for the commercial record market, ultimately becoming a classic of the crime jazz subgenre. 

Back in the early '30s, in Pittsburgh, I played trumpet, clarinet, and saxophone and led my own band. I've never lost my enthusiasm and enjoyment for jazz and I've followed, with undiminished interest, the development of modern American music and its creators.

When we at Four Star Films Inc. were planning the current Richard Diamond television series I insisted on live background jazz and I insisted on the best. We got the best. We got Pete Rugolo. Rugolo gained international acclaim with his compelling compositions for Stan Kenton. And for the last decade Rugolo has been the leader in his field. His distinctive scoring has been heard in every medium.

Pete's imaginative and stimulating music for the Richard Diamond television programs is both intensely expressive and exciting. The whole music world has such high respect for Rugolo's inventive scores. The music in this album represents some of his best work. 

*Dick Powell (from the liner notes)*

Side 1

1 - Richard Diamond Theme

2 - Diamond On The Move

3 - Fancy Meeting Karen (Love Theme From Richard Diamond)

4 - I'm Always Chasing Butterflies

5 - Who's Sam?

6 - All Star

Side 2

7 - The Teaser

8 - Ye Olde Curiosity Shape

9 - Teen Age Rock

10 - The Sleeve Job

11 - Does Mama Know You're Out?

12 - Richard Diamond's Blues

(All compositions by Pete Rugolo)

Pete Rugolo (arranger, conductor);

Pete Candoli [#1, #3, #5, #6, #9, #10, #12], Buddy Childers [#2, #4 to #8, #10, #11],

Don Fagerquist [#5, #6, #8, #10], Ray Linn [#2, #4, #7, #11], Mickey Mangano [#2, #4, #7, #11],

Ollie Mitchell [#1, #3, #9, #12], Jimmy Salko [#2, #4, #7, #11],

Joe Triscari [#1, #3, #5, #6, #9, #10, #12], Stu Williamson [#1, #3, #9, #12] (trumpets);

Frank Rosolino, Milt Bernhart [#1, #3, #5, #6, #9, #10, #12],

Francis "Joe" Howard [#1 to #4, #7, #9, #11, #12], (trombones); 

George Roberts  (bass trombone);

Vincent DeRosa [#5, #6, #8, #10], Claude Sherry [#2, #4, #7, #11] (french horns);

Paul Horn, Bud Shank (piccolo, flute, alto sax);

Buddy Collette (tenor saxophone, clarinet, flute [#2, #4, #7, #11]);

Bob Cooper (tenor saxophone, bass clarinet, flute);

Chuck Gentry [#1, #3, #9, #12], Dale Issenhuth [#2, #4 to #8, #10, #11] (baritone saxes);

Larry Bunker (vibes, percussion, bongos, xylophone [#2, #4 to #8, #10, #11]);

Bernie Mattison - vibes, percussion [#1, #3, #9, #12]); Jimmy Rowles (piano);

Al Viola (guitar); Edgar Lustgarten (cello);

Rollie Bundock [#2, #4, #7, #11], Red Mitchell [#1, #3, #5, #6, #9, #10, #12],

Phil Stephens [#2, #4 to #8, #10, #11] (basses);

Irving Kluger [#2, #4, #7, #11], Shelly Manne [#1, #3, #5, #6, #8 to #10, #12] (drums).

Recorded at United Recording Studios, Hollywood, California, March 10, 1959 (#1, #3, #9, #12), 

March 31, 1959 (#5, #6, #8, #10) and April 9, 1959 (tracks #2, #4, #7, #11)

[other source gives: March 12, 1959 (#1, #3, #9, #12), March 19, 1959 (#5, #6, #8, #10)

and March 20, 1959 (tracks #2, #4, #7, #11)]

Cool Blends (III) ★ European Panorama

Cool Europa

European Progressive Jazz in Germany 1959-63

A good record is not just an album, it is a story, and few people understand this better than Ekkehart Fleischhammer, who runs Sonorama. The label specializes in reissues and discoveries of lost jazz classics, library music, funk and soul. Every release is a labor of love and the albums in the following batch all include photography and liner notes (...)

Karlhanns Berger, who is now known as Karl Berger, also shows up on a nice compilation of modern jazz that marks the 100th release on Sonorama. The album portrays the golden age of the German jazz scene in the period 1959-1963 and includes unreleased cuts by Sonorama regulars like saxophonist Barney Wilen, guitarist Attila Zollar, clarinet "bird" Rolf Kühn and others. The playing time is generous (almost seventy minutes) and spans the big sound of Francy Boland's Ensemble, Rolf Ericson Quintet's interpretation of Thelonious Monk's "Straight No Chaser" and the tight trio sound of pianist Roland Kovac.

What is thought-provoking about this compilation is how the musicians walk the tight line between mainstream accessibility and progressive experiments. Nothing here will scare listeners away, but, at the same time, the by now established musical conventions of hard bop, cool jazz and modal jazz sound fresh and full of possibilities. *Jakob Baekgaard (allaboutjazz.com)*

Fourteen previously unknown tracks recorded 1959-63 in West-Germany by some of the best European jazz artists of the time, featuring Barney Wilen, Francy Boland, Rolf Kühn, Joki Freund, Attila Zoller, Fats Sadi, Roland Kovac, Rolf Ericson, Michael Naura and countless others. All tunes picked from collectors' archives, carefully mastered for 2LP-Gatefold and Longplay Digipack-CD with new sleeve notes and artist photos by Susanne Schapowalow and Hans Harzheim.

This music celebrates the 100th release of Sonorama, an independent record label from Berlin. Its founder Ekkehart Fleischhammer started in June 2004 with a 7-inch single that features an unreleased track by Swiss piano player Elsie Bianchi. A new cottage industry was born, bringing hidden treasures of modern jazz to international music lovers. Today the focus of Sonorama Records is on unavailable European jazz and American musicians playing in Europe.

The criteria Fleischhammer is looking for always is the quality of music, the condition of the source recording, if it is a rarity and the belief that people need to hear that music. "European Progressive Jazz in Germany 1959-1963" is the subtitle of this anniversary compilation and mainly features a selection of musicians from the Sonorama roster. Most of the tracks presented here are previously unreleased, a few others have appeared on hard to find EPs only. Some of the tunes are live takes, others hail from unreleased studio tapes, all recorded in former West-Germany by some of the best European jazz artists of the time and finally discovered in archives or in the vaults of collectors and musicians.

1959-1963 was the most prosperous period in the development of European modern and progressive jazz. Post-war Europe saw an influx of American jazz artists who felt more appreciated on the old continent. These expatriates brought with them a fresh influence, and European jazz musicians revered their American stage mates. American greats such as Stan Kenton and Lionel Hampton gave their premiere European concerts, creating a jazz-boom. By the late 1950s a new sound emerged as European players gained confidence and started to play and compose in their own style. The fervor for modern jazz was especially apparent in the many crowded jazz clubs which appeared across post-war Germany.

The cover of this album Cool Europa comes from the archive of German photographer Susanne Schapowalow. She loved jazz and followed musicians with her camera whenever she could. Trumpet player Fred Bunge was a member of the Joe Wick Orchestra and later played in the Edelhagen orchestra. Schapowalow met Bunge in Hamburg at the Heiligengeistfeld in 1949: "I don't remember if it was his or my idea to pose up there in the ruins. I was worried because it was slightly dangerous for him, but he looked great playing the trumpet. The two young boys came by on their wooden carriage and stopped to listen. The whole situation was improvised". After the end of the second world war, this picture seems optimistic. The two boys symbolize the post-war generation and Fred Bunge was very much into progressive jazz, but he missed the blossom of that period. He died in a car crash in 1960, only 36 years old. Another German photographer, Hans Harzheim contributes several portraits here. Harzheim has produced an impressive body of work and captured many jazz greats.

Sonorama Records has unearthed some excellent unpublished tracks here that will satisfy the serious connoisseur. Fleischhammer explained in an interview for the website "All About Jazz" what Sonorama is looking for: "It must always touch me in a spiritual sense, and be of historical importance regarding the repertoire of the artist. Even better if it can close a gap in certain fields of music that people, or especially the record industry forgot about". These rediscovered recordings are perfect to celebrate the 100th release of Sonorama. *(from the liner notes)*

1 - Blues For Koebes

(Francy Boland)

Francy Boland Ensemble:

Francy Boland (piano), Dusko Goykovich (trumpet),

Karl Drewo (tenoir sax), Derek Humble (alto sax),

Bubi Aderhold (baritone sax), Heinz Kretzschmar (bass clarinet),

Jean Warland (bass), Kenny Clarke (drums).

Cologne, Germany,February 14, 1961

2 -  Gigi's Pad

(Fats Sadi, Francis Coppieters)

Fats Sadi Quintet:

Fats Sadi (vibes), Jimmy Deuchar (trumpet),

Roland Ronchaud (piano), Maurice Salvat (bass), Stuff Combe (drums).

Cologne, Germany, May 22, 1959

3 - Straight No Chaser

(Thelonious Monk)

Rolf Ericson Quintet:

Rolf Ericson (trumpet), Rolf Kühn (clarinet).

[rhythm section unknown]

Hamburg, Germany, July 3, 1962

4 - Inspiration In 6/8

(Dieter Reith)

Hermann Mutschler Trio:

Dieter Reith (piano), Werner Schultze (bass), Hermann Mutschler (drums).

Frankfurt, Germany, June 3, 1962

5 - Tempus Fugit

(Bud Powell)

Barney Wilen Quartet:

Barney Wilen (tenor sax), Joel Vandroogenbroeck (piano),

Karl Theodor Geier (bass), Peter Baumeister (drums).

Frankfurt, Germany, August 1, 1962

6 - You Stepped Out Of A Dream

(Nacio Herb Brown)

Attila Zoller Trio:

Attila Zoller (guiytar), George Joyner (bass), Buster Smith (drums).

Berlin, Germany, August 30, 1961

7 - Marihuana

(Wolfgang Dauner)

Götz Wendland Quintet:

Lothar Behr (tenor sax), Jürgen Schmidt-Oehm (bass trumpet), 

Wolfgang Dauner (piano), Götz Wendland (bass), Sigi Knispel (drums).

Frankfurt, Germany, June 2, 1962

8 - Ginger

(Jack Sels)

Jack Sels  Ensemble:

Jack Sels (tenor sax), Lucky Thompson (soprano sax), Ado Broodboom (trumpet),

Jack Fanis (piano), Fats Sadi (vibes), Benoit Quersin (bass), Ghana M'Bow (drums).

Cologne, Germany, February 7, 1959

9 - Warm Up

(Helmut Brandt)

Helmut Brandt Combo:

Helmut Brandt (baritone sax), Harry Samp (trumpet),

Siegfried Schmidt (valve trombone), Hajo Lange (bass), Heinz Niemeyer (drums).

Rheda, Germany, October 13, 1962

10 - Prof. Wotasnozzle

(Karlhanns Berger)

Karlhanns Berger Quartet:

Karlhanns Berger (piano), Bent Jaedig (flute),

Joop Christoffer (bass), Bob Petrin (drums).

Bremen, Germany, July 3, 1963

 

11 - Bag's Groove

(Milt Jackson)

Rolf Kühn Sextet:

Rolf Kühn (clarinet), Wolfgang Schlüter (vibes).

[sax and rhythm section unknown]

Hamburg, Germany, May 10, 1962

12 - Psychophysis

(Roland Kovac)

Roland Kovac Trio:

Roland Kovac (piano), Jonny Fischer (bass), Rudi Sehring (drums).

Munich, Germany, October 24, 1962.

13 - Futurity

(Gigi Gryce)

Michael Naura Quintet:

Michael Naura (piano), Wolfgang Schlüter (vibesb),

Klaus Marmulla (alto sax), Hajo Lange (bass), Heinz von Moisy (drums).

Hamburg, Germany, February 24, 1959

14 - Olé Coltrane

(Joki Freund)

Joki Freund Sextet:

Joki Freund (soprano sax), Emil Mangelsdorff (flute),

Bernhard Kirchgärtner (guitar), Karl Theodor Geier (bass),

Günter Lenz (bass), Peter Baumeister (drums).

Frankfurt, Germany, June 2, 1962

Five-Star Collection... Herb Pomeroy

Herb Pomeroy

Jazz In A Stable

This was the Boston school of jazz in more ways than one. The Stable was a Jazz Workshop where most of the important developments in New England's mid-50s jazz scene were made. The men who played regularly there invited Bostons serious young jazzmen to sit in; there were no cutting sessions; newcomers were not given a rough time in a sink or swim situation. These men were performing a service to jazz and made Boston an important center for developing jazz talent. Its epitomised by the key band of Herb Pomeroy and His Stablemates.

A well-integrated ensemble packed with quality musicians, the quintet served up a fine brand of bop-derived contemporary swing, hard blowing, fast thinking, to a full house in the small room, and always with the essential emotional elements that all good jazz must comunícate. *Jordi Pujol*

A brief history of The Stable:

Established in April of 1954, The Stable was a basement bar-turned-jazz club at 20 Huntington Avenue in the Back Bay neighborhood of Boston. The Stable was also once the site of the Jazz Workshop, where locally famous Jazz musicians Ray Santisi and Varty Haroutunian once taught. While The Stable was not as big a name as some of the other area clubs, it was a staple of the local Boston jazz community, and many touring musicians frequently visited The Stable and performed for their warm audience. The club's friendly rivalry with the neighboring Storyville Jazz Club drew over the latter's performers during their performance breaks. Although the club itself did not attract many big-name performers, many of its house musicians would go on to perform with top acts, including major stars like Tony Bennett and Frank D'Rone.

Over time The Stable's local audience grew from jazz-savvy locals in the neighborhood expanding to students at local colleges like Harvard and Boston University and beyond to Boston's other neighborhoods and the surrounding cities, including Roxbury, Roslindale, and Newton. The Stable's local focus kept prices financially accessible for working-class patrons and attracted young musicians looking to gain new audiences. The interior of the space was described as "a pine-paneled room (ninety-seat capacity) filled with small, sturdy tables, red-padded kitchen-type chairs, a rumpus room-sized bar with some half-dozen stools, and a tiny bandstand".

Members of the club's most notable band, The Stablemates (who would eventually tour the country as the Herb Pomeroy Orchestra), would go on to become influential faculty at the world-acclaimed Berklee School of Music. As Berklee is known for jazz, the members had a significant impact on the education of the next jazz generation. In many ways, The Stable was the "unsung hero" of refining, mixing, and modernizing jazz's sound in the 1950s.

Despite this influence, the club dwindled in popularity as local jazz musicians migrated to new competing cities like New York and local music tastes evolved towards folk, rock, and rhythm and blues. While the house band The Stablemates were able to able to gain ownership of the club after the owner Harold Buchhalter left for a new club on Boylston Street in 1959, the club would eventually close in 1962, and later be demolished in 1963 for the building of an onramp for the Massachusetts Turnpike, ironically leading drivers to New York. Today, the on-ramp sits between The Westin Copley Place and Trinity Place Condominiums.

*(All quotations in quotation marks are taken from the book The Boston Jazz Chronicles: Faces, Places and Nightlife by Richard Vacca)*

A brief profile of Herb Pomeroy:

In 1951 Herb was playing occasionally with a group that included Dean Haskins on tenor, Larry Eanet, piano; Joe McGovern, drums; and Jack Lawlor on bass. Eanet and Haskins graduated from Harvard and went into med school and the Navy respectively, but Herb left the Harvard music department (which is about as fundamentalist as a hardshell Baptist Church so far as musical experimenting is concerned) and found new outlets for his improvisational and compositional talents.

Herb sounded much like Miles Davis and even played a lot of Miles tunes along with the compositions of Lennie Tristano. However, the evolution of his distinctive trumpet style had already begun so that the only Milesian elements now remaining in Pomeroys' playing are his cool, vibratoless intonation and sharply punctuated phrasing. Constant application to the study of his horn have given Herb control and technical security that few modern trumpeters can match. A long stint in Lionel Hamptons band gave his extemporizations drive and depth and maturity by placing him in a quasi-traditional jazz environment where the ability to swing hard is requisite to success on the bandstand. There in the midst of Hamp's wailers a new vigorous, virile Pomeroy sound was born. With Stan Kenton Herb probably increased his reading skill and gained much notoriety while sharing the solo spotlight with Stu Williamson. It is a shame indeed that Pomeroy's own Boston Band was never commercially recorded. That group was a wonderful showcase for the arranging and composing talents of the young man from Gloucester. *Tom Wilson (from the liner notes)*

This is the first LP issued by the new and valuable Transition label of Cambridge, Mass., and is also the first in its Boston Panorama project. Other series will include sets of jazz from Detroit, Tennessee, and Alabama. The Stable in the title is a night club which has been the welcome home of Boston's Jazz Workshop for the last couple of years.

The album was recorded in the regular course of an evening at the club, and there were no retakes. The musicians are Herb Pomeroy, trumpet; Varty Haroutunian, tenor; Jimmy Zitano, drums; John Neves, bass, and Ray Santisi (spelled Santici here), piano. Good biographical notes by Tom Wilson. Arranging credits, however, would have been helpful. First original, Honey Bunny is by the talented Boston pianist, Jackie Byard, and Pomeroy did Porta Desks.

The musicianship is of a very high level. Pomeroy indicates again that he is one of the best young trumpeters in the country. Haroutunian blows with a full sound, flowing ideas, and guts.

Santisi has never sounded as consistently and richly inventive before on records. While Neves has a big sound, his solos here lack imaginative range and flexibility. Zitano lays down a steady beat.

Collectively, the unit swings and has good ensemble integration. Above all, this is warm music. These men are thinking musicians, but they haven't forgotten the essential emotional elements that all good jazz must communicate. The set is thoroughly recommended.

*Nat Hentoff (Down Beat, December 28, 1955 [5 stars])*

Side 1

1 - It Might As Well Be Spring

(Rodgers, Hart)

2 - Honey Bunny

(Jackie Byard)

3 - Moten Swing

(Moten, Moten)

4 - Porta Desks And Tuxedos

(Herb Pomeroy)

5 - One Bass Hit

(Brown, Fuller, Gillespie)

Side 2

6 - Off Minor

(Thelonious Monk)

7 - Sweet And Lovely

(Arnheim, Tobias, Lemare)

8 - Ray's Idea

(Brown, Fuller)

9 - Dear Old Stockholm

(Swedish Traditional)

Herb Pomeroy (trumpet), Varty Haroutunian (tenor sax),

Ray Santisi [as Ray Santici] (piano), John Neves (bass), Jimmy Zitano (drums).

Recorded live at the Stable, Boston, Massachusetts, March 13, 1955

Jazz For The Screen ★ André Previn

André Previn

Performing Music From

The Subterraneans

The Subterraneans was originally a novel by American writer Jack Kerouac (1922-1969) which, besides being in many ways autobiographical, attempted to portray an element of the new generation called the "beat" movement. Many of the characters in the novel had real life counterparts, much to the chagrin of the affected parties. In fact, Kerouac's publisher convinced him to change the novel's setting from New York (where the real autobiographical facts had taken place) to San Francisco, in order to avoid future legal actions. The Subterraneans is considered to be the first book about the "beat generation", but it was not the only one, and there was a kind of race between Kerouac and his friend John Clellon Holmes to see whose novel would be published first. (Holmes had written his own book about the beat movement, titled Go, in which Kerouac plays a fundamental part and is credited as the inventor of the term "beat".) It must be said, however, that the term "beat generation" was copyrighted by movie producer Albert Zugsmith even before Kerouac tried to do it, and was used in the infamous motion picture "The Beat Generation", in which, ironically, jazz also takes part, as Louis Armstrong and his All Stars play a few numbers surrounded by numerous pop musicians of the period.

Kerouac's response to such an insult was the production of a movie based on his own book, in which the writer himself assumed an acting role. Although the film was made by a top studio and counted many major names in the cast, the result was hardly comparable to the original book. This was largely due to the extreme level of censorship which dominated Hollywood at the time. Many important things in the book had to be changed in order to make it "acceptable". For instance, an interracial relationship had to be omitted and the female African American character was changed to a French white woman played by Leslie Caron. Censorship lasted during most of the beatnik movement's existence, and when it finally disappeared, the beats had been replaced by the hippies. The original beats, and particularly writer and poet Allen Ginsberg, have always denounced the movie because of its obvious concessions to Hollywood's conservative moral standards. However, it was good for Jack Kerouac, who received 15.000 dollars for the rights to his book. He used the money to buy a house in Long Island, the first one he ever owned.

The plot narrated the experiences of a depressed writer (George Peppard), who "goes down" to explore the "subterranean world" of San Francisco's North Beach district in the late fifties, with the hope of finding some kind of soulmate, and falls in love with a French girl (Leslie Caron) who is part of the beatnik movement. Other than the eventual use of beat terms derived from Kerouac's book, little is left from the original novel. Some characters are slightly disguised representations of real people (Frank Carmody is based on William Burroughs, Adam Moorad on Allen Ginsberg, Ariel Lavalerra on Gore Vidal). The dramatic change of the main female character from African American (in the book) to French white (in the movie) has always been the main source of debate. However, not even Kerouac's original literary representation of black culture satisfied African Americans, who felt that it portrayed them in a very superficial manner, without delving into their real culture and social position of that time.

Jazz is central to the novel and, thus, to the movie. The beat movement usually moved around jazz clubs, and its literary grammar owes a lot to jazz's improvisatory language, which is presented as "spontaneous prose". All this grammar is, obviously, absent from the movie, but it survives in the splendid musical soundtrack, which was prepared solely by jazz musicians. Some of them, like Gerry Mulligan, Art Pepper and Carmen McRae, also play colorful characters in the movie.

In conclusion, even if we can say The Subterraneans film is today nothing more than a historical curiosity, with little artistic value, the same cannot be said about its music. What we have here is the complete original soundtrack from the film, carefully composed by pianist André Previn, and performed by some of the most important musicians of its time. In addition to the aforementioned Mulligan, Previn, Pepper and McRae, also Bill Perkins, Jack Sheldon, Art Farmer, Russ Freeman, Bob Enevoldsen, Red Mitchell, Buddy Clark, Shelly Manne and Dave Bailey are heard on this amazing score. *Jordan Stewart*

Side 1

1 - Why Are We Afraid?

 (André Previn, Dory Langdon)

2 - Guido's Blackhawk

(André Previn)

3 - Two By Two

(André Previn)

4 - Bread And Wine

(André Previn)

5 - Coffee Time

(Harry Warren, Arthur Freed)

6 - A Rose And The End

(André Previn)

Side 2

7 - Should I

(Nacio Herb Brown, Arthur Freed)

8 - Look Ma, No Clothes

(André Previn)

9 - Things Are Looking Down

(André Previn)

10 - Analyst

(André Previn)

11 - Like Blue

(André Previn)

12 - Raising Caen

(André Previn)

#1, #3, #6, #8, #10

André Previn (piano, arranger, conductor),Gerry Mulligan (baritone sax),

Jack Sheldon (trumpet), Bob Enevoldsen (valve trombone #1), Art Pepper (alto sax),

Bill Perkins (tenor sax), Red Mitchell (bass), Shelly Manne (drums).

[Unidentified string section, clarinet and oboe]

#4, #9

Art Farmer (trumpet), Bob Enevoldsen (valve trombone), Art Pepper (alto sax),

Gerry Mulligan (baritone sax), Russ Freeman (piano), Buddy Clark (bass), Dave Bailey (drums). 

#2, #5, #7, #11

André Previn (piano), Red Mitchell (bass), Shelly Manne (drums), Carmen McRae (vocals #5).

#12

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

Russ Freeman (piano), Red Mitchell (bass), Shelly Manne (drums).

Recorded at MGM Studios, Culver City, California,

September 2, 1959 (#2), January 11, 1960 (#5, #7, #8, #9, #11), 

January12, 1960 (#1, #3, #4, #6,#10), and February 3, 1960 (#12)

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