Serge Chaloff • Boots Mussulli - George Wein Presents

 

This album proves conclusively the lack of relationship of ability to popularity. Each selection in these six was chosen and arranged solely by Serge. Only a master musician could write so excellently for the strange voicing of two such horns as the alto and baritone saxophones. 

As for his playing, I believe that not even at the height of his pollwinning days did Serge play as warmly or with such imagination as he does here. Especially to be noted is his solo on "You Brought A New Kind Of Love To Me". 

I mentioned that each tune was "arranged solely by Serge". I must correct myself. The ending of the original "Zdot" was written by a wonderful pianist and teacher, Margaret Chaloff, Serge’s mother. 

While Serge may be considered the guiding genius behind this session, other points are proved here. One is the emergence of Boots Mussulli as one of the more important alto men. What Boots lacks in originality of style, he more than makes up in the strength and creativeness of ideas in his playing as well as by his magnificent musicianship. To watch a jazz man of Boots' caliber sight-read Serge's difficult arrangements was an experience for me. 

Another fallacy is this foolish idea of schools of jazz. I am referring to the imaginary differences between the West Coast School as opposed to the New York or more generally, the East Coast School of jazz. Russ Freeman, for whose presence on Storyville Records we are deeply indebted to Dick Bock of Pacific Jazz Records, has a conception of swing so like that of Serge and Boots that the session came off as if the group had been working together for many months.

The remainder of the rhythm section is composed of Jimmy Woode on bass and Buzzy Drootin on drums. They swing in the same manner here with these giants of "modern" jazz. 

And so our last and perhaps most important point is proved. Jazz is a music of the individual. The artist has complete freedom, harmonically and stylewise. In only one way is he restricted. He must have that indefinable but easily recognizable thing called swing. *George Wein (Liner notes)*

Serge Chaloff stands with Leo Parker, Cecil Payne, Sahib Shihab and Numa Pee Wee Moore in the hallowed pantheon of bebop's best baritone saxophonists (tenor man Charlie Ventura, who doubled marvelously on the big horn from time to time, could also be included in this lineup). A famous exponent of Woody Herman's Herd, Chaloff set the stage for the early maturity of Gerry Mulligan and the emergence of Pepper Adams. Serge Chaloff and Boots Mussulli paired Chaloff with alto saxophonist Boots Mussulli in front of pianist Russ Freeman, bassist Jimmy Woode and drummer Buzzy Drootin. Recorded in Boston on June 9, 1954, this is a pleasant album of five creatively interpreted standards and one Chaloff original: "Zdot" was almost certainly named for Chaloff's section mate in the Woody Herman Orchestra, tenor saxophonist and Lester Young devotee Zoot Sims. *arwulf arwulf*

Side 1

01 - You Brought A New Kind Of Love To Me

(Fain, Kahal, Norman)

02 - Zdot

(Chaloff)

03 - Oh Baby

(Murphy)

Side 2

04 - Love Is Just Around The Corner

(Robin, Gensler)

05 - Easy Street

(Allen Rankin Jones)

06 - All I Do Is Dream Of You

(Brown, Freed)

Serge Chaloff (baritone sax), Boots Mussulli (alto sax), Russ Freeman (piano), Jimmy Woode (bass), Buzzy Drootin (drums).

Recorded in Boston, June 9, 1954.

Herb Geller - Quartet & Sextette

Herb Geller

Herb Geller Plays

Young Mr. Geller is a Californian who's played his modern alto in such bands as the Thornhill, May, Wald and Millinder. Here he fronts a combo wich, in addition to himself, includes his wife Lorraine, on piano; Lawrence Marable on drums and Courtis Counce on bass. The result is a fluid and fluent jazz concert of standards and originals. All the musicians are facile, and Geller demonstrates a warm tone which is rarely heard from jazz altoists. The modernists will go for this.

*Billboard, February 12, 1955*

Herb Geller is definitely one of the greatest alto players in the West-Coast era: He left gems of leader sessions on EmArcy and Jubilee labels in the 1950s. Of course he continued to play and recorded many of fine plays after he left to Europe (and after his wife / a piano player Lorraine Geller's death), but many may agree that he climbed to the artistic peak in his 1950s.

This album, his very first first leader session on EmArcy, presents us his smooth, imaginative and beautiful alto play backed up with a piano trio. A-1, althouth too famous popular tune, he re-arranged into an agressive and speedy bop tune with a modulation to another... Great! *microgroove.jp*

Side 1

1. Sleigh Ride

(Leroy Anderson)

2. Silver Rain

(Herb Geller)

3. Alone Together

(Dietz, Schwartz)

4. Happy Go Lucky

(Loesser, McHugh)

Side 2

5. Breaking Through The Sound Barrier

(Herb Geller)

6. Kahagon

(Herb Geller)

7. You Stepped Out Of A Dream

(Conn, Nacio Herb Brown)

8. A Room With A View

(Coward)

Herb Geller (alto sax), Lorraine Geller (piano), Curtis Counce (bass), Lawrence Marable (drums).

Recorded in Los Angeles, California, August 6 (#4, #5, #6, #7) and August 9 (#1, #2, #3, #8), 1954.

⁂

Herb Geller

Sextette

The best showcase so far for Geller's Parker-inspired alto sax. Also acceptable-to-good solos by Conte Candoli on trumpet, Ziggy Vines on tenor and Mrs. Geller on piano. Fine bass work by both Leroy Vinnegar and Red Mitchell. Geller's fluid, relaxed alto in the thing, however, and a good example is "Rockin' Chair". There are two more standards and five originals, mostly in the Parker-Gillespie lineage. *Billboard, January 21, 1956*

Herb Geller is definitely one of the greatest Alto players in the West-Coast era: He left gems of leader sessions on EmArcy and Jubilee labels in the 1950s. Of course he continued to play and recorded many of fine plays after he left to Europe (and after his wife / a piano player Lorraine Geller's death), but many may agree that he climbed to the artistic peak in his 1950s.

This album, his 2nd 12-inch LP release (3rd LP in recorded order), captures his finest plays in this era. His improvisations are delicate, fluent and beautiful, but in the same time have power of persuasion. Lorraine Geller also plays finest solos throughout.

Both sides are inevitable, but especially Side-B is great: steady and solid ensemble on "Vone Mae", relaxed and comfortable swing on "Rockin' Chair", straightahead improvisation with sharpened rhythm section on "Owl Eyes", an unique arrangements of famous song on "You'd Be So Nice To Come Home To" ... yes I love them all. *microgroove.jp*

Side 1

1 - Outpost Incident

(Herb Geller)

2 - Crazy He Calls Me

(Russell, Sigman)

3 - Gin For Fuguelhorns

(Herb Geller)

4 - Tardi At Zardi's

(Herb Geller)

Side 2

5 - Vone Mae

(Bruz Freeman)

6 - Rockin' Chair

(Hoagy Carmichael)

7 - Owl Eyes

(Herb Geller)

8 - You'd Be So Nice To Come Home To

(Cole Porter)

#1, #2, #6, #8:

Herb Geller (alto sax), Conte Candoli (trumpet), Ziggy Vines (tenor sax), Lorraine Geller (piano), Keith Mitchell [a.k.a Red Mitchell] (bass), Eldridge "Bruz" Freeman (drums).

Recorded in Los Angeles, California, August 19, 1955.

#3, #4, #5, #7:

Herb Geller (alto sax), Conte Candoli (trumpet), Ziggy Vines (tenor sax), Lorraine Geller (piano), Leroy Vinnegar (bass), Eldridge "Bruz" Freeman (drums).

Recorded in Los Angeles, California, August 22, 1955.

Brew Moore - Quartet & Quintet

"My main idea is to get back to simplicity", says Brew Moore of his work these days. "I like a small group —such as the quintet we have on this album— where there is no other front line and I can let myself go. The biggest kick to me in playing is swinging — freedom and movement. And with a small group, I can do this more easily". 

"Music must be a personal expression of one’s own world and way of life. When everything else gets to be a drag there is music for forgetfulness and also for memory and for a reminder that there is more good than bad in most things. The idea of playing for me is to compose a different, not always better I’m afraid, melody on the tune and basis of the original song, rather than construct a series of chord progressions around the original chords. I feel that in several spots in this group of tunes we attain the rapport necessary for good jazz. I hope so". 

And when you listen to these numbers, you will agree that Brew has done what he set out to do. These all swing and even Brew, who is most critical of his own work ("I guess I never have been happy with anything I did") had to say of this album, "It swings. You can say that". 

For this album, Brew assembled the kind of group he is most at home with. It was by and large the same group with which he worked off and on during most of 1955 and ’56 in San Francisco. 

This is an informal album, relaxed and easy as Brew wanted it. The tunes are the sort of things he plays at night in the various clubs where he works — ballads, the blues, original tunes. On all of them, one aspect or another of Brew’s musical character gets a chance to show itself. 

One of the numbers, "Fools Rush In", was cut at a concert at the University of California in August of 1955. I am particularly fond of the way Brew plays Johnny Mercer’s lovely ballad. Brew is a swinger, true; but when he plays a beautiful tune like this, his tone and his concept are as big and as warm as anyone could want. 

Brew has two absolutely golden gifts. He swings like mad and he has soul. These are things you cannot learn by woodshedding, or in any conservatory. You have to be born with them or learn them by living. Brew had them and he also has a priceless gift for phrasing. *Ralph J. Gleason (Liner notes)*

Lesterian tenor saxophonist Brew Moore (1924-1973) spent much of his career like an archetypal Fifties counterculture icon, always on the move, turning up in New York, or San Francisco, Copenhagen or Stockholm for a year or so, playing beautifully and then disappearing. Unsurprisingly, he left very few recordings, particularly of his early US career, which makes this collection, recorded on the West Coast, particularly valuable.

The three dates included on this set were all cut in San Francisco with local (and now obscure) musicians: trumpeter Dick Mills, pianist John Marabuto, bassist Max Hartstein, drummer Gus Gustofson and guitarist Eddie Duran. Marabuto contributed three originals; Mills wrote "Rotation", and the other four songs are familiar standards. Moore plays well (despite a hectic lifestyle, he was pretty consistent on records) and the music is relaxed and swinging. *Jordi Pujol*

 

Side 1

01 - I Can't Believe That You're In Love With Me

(McHugh)

02 - Fools Rush In

(Mercer)

03 - Rotation

(Mills)

04 - I Want A Little Girl

(Mencher, Moll)

05 - Five Planets In Leo

(Marabuto)

Side 2

06 - Them There Eyes

(Pinkard)

07 - Them Old Blues

(Marabuto)

08 - Tea For Two

(Youmans)

09 - Rose

(Marabuto)

#1, #2, #5, #6, #8:

Brew Moore (tenor sax), John Marabuto (piano), Eddie Duran (guitar #2), Max Hartstein (bass), Gus Gustafson (drums).

Recorded at University of California, San Francisco, August 1955 (#2) and Marines Memorial Hall, San Francisco, January 15, 1956 (#1, #5, #6, #8).

#3, #4, #7, #9:

Brew Moore (tenor sax), Dick Mills (trumpet), John Marabuto (piano), Max Hartstein (bass), Gus Gustafson (drums).

Recorded at Marines Memorial Hall, San Francisco, February 22, 1956. 

Gene Ammons - Blue Gene

While adept in the aspects of bebop, in particular its love of harmonic substitutions, Gene Ammons more than Lester Young, Ben Webster or Charlie Parker, stayed in touch with the commercial blues and R&B of his day.

Also known as "The Boss", Gene was a jazz tenor saxophonist and the son of boogie-woogie pianist Albert Ammons. Gene Ammons began to gain recognition when he went on the road with trumpeter King Kolax's band in 1943 at the age of 18. He originally came to fame as a key soloist with Billy Eckstine's orchestra during 1944-1947, trading off with Dexter Gordon on the famous Eckstine record Blowing the Blues Away. Other than a notable stint with Woody Herman's Third Herd in 1949 and an attempt at co-leading a two tenor group in the early '50s with Sonny Stitt, Ammons worked as a single throughout his career, recording frequently (most notably for Prestige) in settings ranging from quartets and organ combos to all-star jam sessions.

The final of his series of jam sessions for Prestige features an excellent septet (the leader on tenor, trumpeter Idrees Sulieman, baritonist Pepper Adams, pianist Mal Waldron, bassist Doug Watkins, drummer Art Taylor and Ray Barretto on congas) stretching out on three original blues and the ballad "Hip Tip"; all four pieces were written by Waldron. Few surprises occur but everyone plays up to their usual high level. *Scott Yanow*

Way more than just an album with Gene Ammons as a leader —and instead, a set that truly earns the "all stars" listed on the cover — thanks to a great array of supporting players, and a very loose, open-ended jam session style that lets everyone get in plenty of solo space! Ammons' tenor is tremendous, but he's also a great collaborator here, too —working with Idrees Suliman on trumpet, Pepper Adams on baritone, Mal Waldron on piano, Art Taylor on drums, Doug Watkins on bass, and Ray Barretto on conga— in a mode that's maybe slightly tighter than some of the blowing sessions Prestige was doing at the time, but which still has that key longform creative energy that made the hardbop generation so great. Titles include "Blue Gene", "Scamperin", "Blue Greens 'N Beans", and "Hip Tip" — band all tracks are long, with plenty of focus on solos! *dustygroove.com*

Side 1

1 - Blue GeneMal Waldron

2 - Scamperin'

Side 2

3 - Blue Greens 'N Beans

4 - Hip Tip

(All compositions by Mal Waldron)

Gene Ammons (tenor sax), Idrees Suliman (trumpet), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), Arthur Taylor (drums), Ray Barretto (conga).

Recorded at Van Gelder Studio, Hackensack, New Jersey, May 2, 1958.

Ralph Gari Quartet - Gari

Exciting, exotic, experimental —these are among the many adjectives that are bound to be applied to the work of the Ralph Gari Quartet, one of the most unusual instrumental combinations of recent years, which makes its record debut with this collection of eleven performances— five original compositions and six standard tunes, all played in a style that clearly owes nothing to any accepted traditional or modern jazz form, and demonstrating the originality and resourcefulness of the unit’s amazing young leader.

Ralph Gari (born Garofalo) is a native son of New Castle, Pennsylvania, where he was born July 15, 1927. Beginning his musical tuition in his home town on September 10, 1936 (he recalls the exact date), he continued his studies in Pittsburgh and New York. His tutors included Max Adkins, Joe Allard and Vic Goldring.

Ralph was a musical prodigy from an early age. Beginning in 1929, when he was just twelve, he played solo clarinet with an Italian concert band in the Pittsburgh area for four years, encouraged by the enthusiastic predictions of the musical conductor, Victorio Gasper.

In New York Ralph undertook a series of jobs that passed the time away and earned him a steady salary, but were scarcely conducive to any great inspiration. With the Eddie Rogers orchestra he played for an ice show in 1945. He worked with such bands as those of Vincent Lopez, Reggie Childs and Frankie Carle, joining the last named in 1949. At one time, too, he performed under the direction of Paul Whiteman, and since 1950 he has worked extensively in both concert and jazz ensembles, mostly in Las Vegas, where he settled down in June, 1950. 

Though Ralph’s talents are numerous, as you will clearly hear, on an aural examination of this LP, the quartet owes not a little of its success to the manner in which his teammates cooperate to display his unique talents to the fullest advantage.

There are many, many fascinating features to look for in these sides, along with the changes of instrument and switches in tempo and mood that make each performance a beautifully conceived, well integrated miniature. Among the features you should find particularly attractive are the highly punctuated theme, and the way the alto and the piano move together in "Happy Daze"; the variety of tone colours and effects achieved by Ralph on clarinet, oboe, flute and alto in the aptly titled "Transition"; and the passage in "Fine and Dandy" where the bass, at one point, has the melody line against the oboe interpolation. 

Perhaps the most interesting of all the performances, and incidentally the longest, running to almost six minutes, is "The Way You Look Tonight", in which Ralph’s fast-fingered ad lib alto work in the second chorus is a particularly impressive feature. 

But rathe: than select isolated items or particular passages, we would recommend that you seek them out for yourself and observe how successfully the Ralph Gari Quartet has arrived at its objective of achieving an album of music that defies pigeon-holing. Whatever its relationship to jazz, the end product of the quartet can certainly qualify for the all important definition of good music, and music that is different. *(Liner notes)*

Side 1

1 - Happy Daze

(Bill Reddie)

2 - Kali

(Earl Zindars)

3 - Fourth Dimension

(Bill Reddie)

4 - Nocturne

(Bill Reddie)

5 - Transition

(Bill Reddie)

6 - Fine And Dandy

(Swift)

Side 2

7 - Dancing In The Dark

(Schwartz, Dietz)

8 - The Way You Look Tonight

(Kern, Fields)

9 - I've Got You Under My Skin

(Cole Porter)

10 - That Old Black Magic

(Arlen, Mercer)

11 - Thou Swell

(Rodgers, Hart)

Ralph Gari (alto sax, clarinet, flute, piccolo, oboe), Clarence Shank (piano), Daniel Sherrett (bass), Edward Julian (drums).

Recorded in New York City,  April 19 (#1 to #4) and 20 (#5 to #11), 1955.

Terry Gibbs • Sal Nestico - It's Time We Met

Terry Gibbs plays a series of original blues riffs on this sextet session from 1963. The focus is primarily on the vibraphonist and tenor saxophonist Sal Nistico, with Benny Goodman veteran Turk Van Lake on guitar and Nat Pierce (organ), bassist Charlie Andrus and drummer Jake Hanna on loan from the then-current edition of Woody Herman's band. Gibbs and Nistico deliver consistently strong solos, especially in the uptempo cooker "The Tweaker". The substitution of organ for the usual piano in Gibbs' rhythm section adds to the bluesy flavor of the date and while the music is enjoyable, none of the songs is particularly memorable. Reissued by Mainstream as It's Time We Met a few years after the demise of Time, either pressing of this long unavailable album should be considered somewhat difficult to acquire. *Ken Dryden*

As one would expect from looking at the lineup (vibraphonist Terry Gibbs, tenor saxophonist Sal Nistico, guitarist Turk Lake, bassist Charlie Andrus, drummer Jake Hanna and pianist Nat Pierce), swing is the thing on this Time release. The odd part is that Pierce mostly plays organ (whose idea was that?), which weighs down the group a bit since his is very much a pianistic style. The nine tunes are all Terry Gibbs originals, and Gibbs, although a masterful vibraphonist, has never been a major composer. However, the enthusiastic solos of the co-leaders keep the music colorful and swinging. *Scott Yanow*

Great work from Terry Gibbs —an album of all original material, recorded for Mainstream and not nearly as well-known as some of his bigger dates from the old days! The lineup here is a bit unusual— with Nat Pierce playing organ, Sal Nistico on tenor, and Turk Van Lake on guitar —all working with Gibbs in a groove that's a fair bit grittier than most of his other work, almost a soul jazz approach to the vibes at times! The original tracks are all appreciated too— nicely fresh numbers that bring in plenty of tenor and organ grooving. *dustygroove.com*

Side 1

1 - We Three

2 - Bathtub Eyes

3 - 7 F

4 - Settling Down Slow

5 - The Tweaker

Side 2

6 - Baby Blues

7 - Big Lips

8 - No Chops

9 - Movin' In

(All compositions by Terry Gibbs)

Terry Gibbs (vibraphone), Sal Nestico (tenor sax), Nat Pierce (organ), Turk Van Lake (guitar), Charlie Andrus (bass), Jake Hanna (drums).

Recorded at the Nola Penthouse Sound Studios, New York City, 1963.

Sonny Stitt - Playing Arrangements From The Pen Of Johnny Richards

Here are eight new Sonny Stitt sides guaranteed to please the most discreet jazz audience. If you like jazz, then this album will be one of your favorites because it is one of Sonny's swingin'est. 

At a time when "devices" are affecting the entire musical world, with echo chambers in the pop field and the odd combinations of instruments to create a "new" sound in the jazz field, it is refreshing to hear simplicity. 

In this album, you’ll hear the arrangements of Johnny Richards, considered one of the most outstanding contemporary composers of modern music. Formerly the arranger of the Boyd Raeburn Band, he also wrote for Paramount Studios. In the past year, most of his composition activity has centered with the Stan Kenton Band and at present he is free-lancing. 

This album is great for three reasons — the fine arranging of Johnny Richards, the musical prowess of the Sidemen appearing here, and the ever great saxophone of Sonny Stitt. If there be a third dimension in the musical world, it would be Stitt whose baritone, tenor and alto saxophone talent are such that he is acclaimed throughout the jazz world. *Shirley Hoskins (Liner notes)*

One of the most important Sonny Stitts albums. Backing his superb work on alto and tenor are a band conducted by Johnny Richards, one of the finest jazz arrangers. Two sessions from 1953, where Richards provides interestingly harmonized ensemble colours, and though Stitt gets most of the solo space, Kai Winding, Don Elliott, and the rhythm section also deliver some of the sets most memorable moments.

With the power of his playing, the irresistible impact of his emotion, and the implacable certainty of his beat, Stitt proved to be the best of all those who blew directly in the Parker idiom. *Jordi Pujol*

Sonny blowing clean and soulfully, over larger arrangements by Johnny Richards – in a format that's quite different than any of his other records! The Richards touch is wonderful here – mellow and warm, with some Kentonite styles, but cleaner and leaner, in a way that works perfectly with Stitt's horn. Titles include "Hooke's Tours", "Loose Walk", "Pink Satin", "Opus 202", "Sweet And Lovely", and "Sancho Panza".  Stitt's in top form, and solos with creativity and imagination that show him at the top of his talents!  *dustygroove.com*

Side 1

1 - Sancho Panza

(J. Richards)

2 - Sweet And Lovely

(Amheim, Daniels, Tobias)

3 - Hooke's Tours

(Stitt, Richards)

4 - If I Could Be With You (One Hour Tonight)

(Creamer, Johnson)

Side 2

5 - Loose Walk

(Stitt, Richards)

6 - Pink Satin

(Stitt, Richards)

7 - Shine On Harvest Moon

(Bayes-Norworth)

8 - Opus 202

(Stitt, Richards)

Johnny Richards (arrangements, conductor)

#1 to #4:

Sonny Stitt (alto and tenor saxes), Don Elliott (mellophone), Kai Winding (trombone), Sid Cooper (tenor sax, piccolo), George Berg (baritone sax), Horace Silver (piano), Charles Mingus (bass), Don Lamond (drums).

Recorded at Coastal Recording, New York City, March 18, 1953.

#5 to #8:

Sonny Stitt (alto and tenor saxes), Don Elliott (mellophone), Kai Winding (trombone), Jerry Sanfino (tenor sax, piccolo), George Berg (baritone sax), Al Williams (piano), Charles Mingus (bass), Jo Jones (drums), Santos Miranda (conga).

Recorded at Fulton Studios, New York City, November 16, 1953.

The Four Brothers - Together Again!

What does the term "Four Brothers"? mean to you? If you are under twenty-one, its significance may be a little vague, though you must be aware that the phrase has some magic connotation as a part of jazz history. If you are in your late twenties or over, you can hardly be unaware of the particular style of saxophone voicing that earned this nickname in the Woody Herman band of the late 1940s. 

In either event, there are some facts about the "Four Brothers" style that have been buried with the rapid evolution of jazz — facts that nobody bothered to point out at the time because the value of this style to jazz could not then be clearly projected. 

In their first incarnation, the brothers were Herbie Steward, Zoot Sims, Jimmy Giuffre and Stan Getz, all playing tenor saxophones.

The idea of reuniting the four original Brothers, of recreating the much imitated sound in its original form, arose in a conversation between Elliot Lawrence and Vik’s Bob Rolontz. Zoot and Al were in town; Herbie was flown in from the West Coast to make the session and Serge, still in a wheel chair after a serious operation, took a plane from Boston. For the rhythm section, Elliot’s piano was flanked by the Brothers’ original Herman Herd colleague, Don Lamond, and by the fine bass of Burgher (Buddy) Jones from Hope, Arkansas, an associate of Elliot’s for several years.

The date began at three in the afternoon on February 11, and except for a two-hour dinner break, continued until one A. M. the same night. 

The Four Brothers - Together Again! perhaps more than any of these remembrances of things past, offers swinging testimony that nostalgia, sometimes a merely narcissistic emotion, can indeed be a wonderfully vital factor in the creation and preservation of great music. *Leonard Feather (Liner notes)*

The original "Four Brothers" as heard in the 1947-48 Woody Herman Orchestra were tenors Stan Getz, Zoot Sims and Herbie Steward and baritonist Serge Chaloff. In 1948 Al Cohn replaced Steward. In 1957 for this "reunion" session Getz was not available so instead Sims, Steward, Cohn and Chaloff were contacted. Accompanied by a rhythm section that includes pianist Elliott Lawrence, they naturally revived "Four Brothers" but otherwise mostly played newer songs by Gerry Mulligan, Manny Albam (who provided the date's arrangements), Lawrence, Cohn and Sims. Due to his bad health, Chaloff did not play many of the ensemble passages (Charlie O' Kane filled in) but he did take all of the solos; this would be his final recording. The music overall is quite enjoyable and Sims, Cohn and Steward show how much they had grown during the previous decade. *Scott Yanow*

Side 1

1 - Four And One Moore

(Gerry Mulligan)

2 - So Blue

(Al Cohn)

3 - The Swinging Door

(Zoot Sims, Gerry Mulligan)

4 - Four In Hand

(Manny Albam)

5 - A Quick One

(Al Cohn)

Side 2

6 - Four Brothers

(Jimmy Giuffre)

7 - Ten Years Later

(Al Cohn)

8 - The Pretty One

(Elliot Lawrence)

9 - Aged In Wood

(Al Cohn)

10 - Here We Go Again

(Manny Albam)

Zoot Sims, Al Cohn, Herbie Steward (tenor saxes); Serge Chaloff, Charlie O' Kane (baritone saxes); Elliott Lawrence (piano); Burgher Jones (bass); Don Lamond (drums).

Recorded in New York City, February 11, 1957.

Virgil Gonsalves- Two Sextets

Virgil Gonsalves

Jazz In Hollywood Series

Jazz fans in the San Francisco Bay Area have been becoming increasingly aware of young baritonist-leader Virgil Gonsalves who has, between stints as a sideman with Alvino Rey and Tex Beneke, been presenting in concerts and club dates a cleverly — arranged sextet comprised of the top jazz men of the area. Johnny Adams, prominent Bay Area DJ, very impressed by the Gonsalves group, contacted Nocturne and after several ensuing meetings, this album resulted. 

Two of the outstanding soloists from the big bands of the late forties, ex-Krupa tenor saxist Buddy Wise and Second Herdsman pianist Lou Levy, are once again, after much too long an interval, presented on records. With the additional freedom offered in this small group, each displays a warmth of jazz feeling heard only from them in person heretofore. *(Liner notes)*

Side 1

1 - Bounce

(Searle)

2 - Out Of Nowhere

(Green)

3 - Too Marvelous For Words

(Whiting, Mercer)

Side 2

4 - It Might As Well Be Spring

(Rodgers, Hammerstein)

5 - Yesterdays

(Kern, Harbach)

6 - Love Me Or Leave Me

(Kahn, Donaldson)

Virgil Gonsalves (baritone sax), Bob Enevoldsen (valve trombone), Buddy Wise (tenor sax), Lou Levy (piano), Harry Babasin (bass), Larry Bunker (drums).

Recorded at Western Recorders, Hollywood, September 29, 1954.

⁂

Virgil Gonsalves

Jazz • San Francisco Style

Music has played an integral role in the development of San Francisco as the cultural outpost of the West. Her Opera House is of world renown; her symphony orchestra and museums are rated with the nation’s finest. However, until recently, San Francisco’s contributions to the jazz scene were limited to Lu Watters’ Yerba Buena Jazz Band, a driving crew of Dixielanders; Kid Ory’s Creole Band; and the usual assortment of unorganized groups who played mostly for their own pleasure (and little remuneration) at the city’s many night spots. 

In 1950, however, the City by the Golden Gate rose to national jazz prominence on the steely fingertips of Dave Brubeck, a pianist with an immense classical background, who gave the nation the first new sound in a decade. His fertile, imaginative application of polytonality in jazz started a whole new trend in music... one that could really be called Jazz — San Francisco Style. 

Thus began the renaissance of jazz in San Francisco. Many groups with varying sounds began to make their mark in the Bay area. 

Perhaps of all these, the group led by Virgil Gonsalves is the one following closest in Brubeck’s footsteps. 

Gonsalves’ cool articulation on the baritone sax has jazz critics hailing him as the hottest star on this instrument since the heyday of Gerry Mulligan. 

Jazz • San Francisco Style  is a Swinging album! The vibrant solo efforts are indicative of the uninhibited jazz feel that Virgil and his group generate. The spirit and drive shown in this LP give us the feeling that Virgil Gonsalves will soon emerge as one of the nation’s leading jazz figures. *(Liner notes)*

Side 1

1 - Whitewash

(Cournoyer)

2 - Our Love Is Here To Stay

(Gershwin)

3 - Lost World

(Cournoyer)

4 - I'll Take Romance

(Oakland, Hammerstein)

5 - Searle's Corner

(Searle)

6 - Viva Zapata

(Shorty Rogers)

Side 2

7 - Half Mine

(Searle)

8 - Goody-Goody

(Mercer, Malneck)

9 - Gar-Din

(Marabuto)

10 - My Heart Stood Still

(Rodgers, Hart)

11 - Fascinatin' Rhythm

(Gershwin)

12 - Bags' Groove

(Gonsalves)

Virgil Gonsalves (baritone sax); Bob Badgley (valve trombone); Dan Patiris (tenor sax); Clyde Pound (piano); Ron Crotty, Max Hartstein [#2, #3, #12] (basses); Gus Gustafson (drums).

Recorded at Capitol Records, Hollywood, November 1955.

Buddy Bregman - Swinging Kicks

Buddy Bregman is one of the most ubiquitously industrious arrangers in the music industry. He has scored several major TV series and spectaculars, and is in musical charge of the new Eddie Fisher program on NBC-TV. He has written film scores, including Jerry Lewis’ Delicate Delinquent, and he also has charted the music for Jerry Lewis’ stands at the Palace and in Las Vegas. For Verve, he has written for Ella Fitzgerald, Bing Crosby and a sizable number of other artists of demandingly varying styles and idioms. 

This set is a special project for Buddy, because "it’s the first album I’ve had under my own name that I think is good jazz. It’s as good jazz as I can write".

Buddy conducted the date in addition to doing the writing. Some of the tracks are short and episodic because this is, after all, a score for a quickly moving film, but connecting all the episodes emotionally is a guttiness and an almost graphic skein of the neon-shapes and fears and hard hopes that begin to circulate in any big city after about nine o’clock at night. *Nat Hentoff (Liner notes)*

Best known as an arranger for singers and for commercial sessions, Buddy Bregman led one full-fledged jazz instrumental date, Swinging Kicks. Because many of the selections are brief (seven are under two minutes) and due to the intriguing titles, this seems a bit like a soundtrack to a film that was never made. However, few of the tracks seem truncated and there are some excellent solos along the way, particularly from Ben Webster, Conte Candoli, Herb Geller, Bud Shank, and Paul Smith. The personnel changes from cut to cut, ranging from a 19-piece big band with screaming trumpet playing from Maynard Ferguson and Conrad Gozzo to various combos, a Ben Webster/André Previn duet on "Kicks Is in Love", and a rapid workout for Paul Smith on "Go Kicks". Bregman uses some of the top West Coast jazz players and various musicians who were on Verve at the time, with Stan Getz making a guest appearance on "Honey Chile". Recommended. *Scott Yanow*

Side 1

1 - Wild Party

2 - Melody Room

3 - Bada Blues

4 - Kicks Swings

5 - Melody Lane

6 - Lost Keys

7 - Go Kicks

8 - Gage Flips

Side 2

9 - Derek's Blues

10 - Mulliganville

11 - Terror Ride

12 - The Flight

13 - Tom's Idea

14 - Melodyville

15 - Honey Chile

16 - End Of Party

17 - Kicks Is In Love

(All compositions by Buddy Bregman)

Buddy Bregman (arrangements and conductor).

#1, #3, #6, #8, #9, #11, #12, #13, #16:

Maynard Ferguson, Conrad Gozzo, Ray Linn, Pete Candoli (trumpets); Lloyd Ulyate, Frank Rosolino, Milt Bernhardt, George Roberts (trombones); Ben Webster, Bob Cooper, Georgie Auld (tenor saxes); Bud Shank, Herb Geller (alto saxes); Jimmy Giuffre (baritone sax); Al Hendrickson (guitar); Joe Mondragon (bass); Paul Smith (piano); Alvin Stoller (drums).

Recorded at Capitol Studios, Hollywood, December 20, 1956

#2, #4, #5, #7, #10, #14, #15:

Conte Candoli (trumpet); Frank Rosolino (trombone), Bud Shank (alto sax), Stan Getz [#15] (tenor sax), Jimmy Giuffre (baritone sax), Al Hendrickson (guitar), Joe Mondragon (bass), Paul Smith (piano); Stan Levey (drums).

Recorded at Capitol Studios, Hollywood, December 18, 1956.

#17:

Andre Previn (piano), Ben Webster (tenor sax).

Recorded at Capitol Studios, Hollywood, December 20, 1956.

Clark Terry - What Makes Sammy Swing!

This is an exceedingly attractive record. Why? Because it presents a group of fine jazz men who have settled into some deep swinging grooves, and because the music they’re playing is fresh, exciting and yet very much non-run-of-the-mill.

Jazz records often supply just one or the other of these attributes — either some very good musicians blowing some very uninspired numbers or else some interesting pieces attacked by a group of men whose ambitions tend to exceed their musicianship.

But here we have a record in which the writing is on a par with the playing. The musicians, all of them former jazz group standouts whose all-around musical ability permits them to work in the recording and television studios, obviously enjoy blowing the clever Pat Williams arrangements of Ervin Drake’s score. Throughout they transmit not only good jazz passages but also a most refreshing and contagious joie-de-vivre. They are led by Clark Terry, the former Duke Ellington trumpeter, one of the most satisfying and exciting of today’s jazz musicians, whose grasp of modern jazz combined with a healthy respect for the art’s tradition set the mood and style of the entire septet. I think you might enjoy playing this record a goodly number of times. It certainly will give anyone who likes tasty, relaxed jazz a great deal of highly enjoyable listening! *George T. Simon (Liner notes)*

This obscure 1963 studio session led by Clark Terry features the music from Ervin Drake's Broadway show "What Makes Sammy Run", with arrangements by Pat Williams, but the real attraction to it is the cast of musicians. In addition to the always enjoyable trumpeter, Phil Woods, Urbie Green, Seldon Powell, Dave McKenna, George Duvivier, and Mel Lewis are present. "The Friendliest Thing" is a rare opportunity to hear Woods on flute, joining Terry's muted horn for this easygoing reworking of the chord changes to "Tea for Two". The swinging "Humble" showcases the leader on open horn, while Woods' matchless alto sax is center stage in the bossa nova "Maybe Some Other Time". While the music on this disc may be unfamiliar to the vast majority of jazz fans, the strong melodies and outstanding efforts of the players make this long out of print record worth acquiring. *Ken Dryden*

What Makes Sammy Swing features an All-Star Septet with such outstanding figures as Phil Woods (playing both clarinet and flute in addition to alto sax!), Urbie Green and Dave McKenna.

First published in 1941, "What Makes Sammy Run?" was originally a novel by Budd Schulberg. It is a rags to riches story chronicling the rise and fall of Sammy Glick, a Jewish boy born in New York's Lower East Side who makes up his mind early in life to escape the ghetto and climb the ladder of success. It was later made into a successful Broadway show with music by Ervin Drake and in 1963, Clark Terry and an all-star group of musicians were called to make a record with jazz versions of some of the musical’s songs, with arrangements by Pat Williams.

As Terry himself was quoted on the original liner notes, none of the musicians had the least knowledge about the music or the arrangements before entering the studio. The results, however, are highly interesting as they present a distinguished septet reacting to unfamiliar music. Clark Terry, as usual, alternates between trumpet and flugelhorn, while Seldon Powell switches between tenor sax, baritone sax and bass clarinet.

The most unusual element of these recordings, however, is hearing Phil Woods soloing on clarinet and flute. *Jordi Pujol*

Side 1

1 - A Room Without Windows

2 - You're No Good

3 - My Hometown

4 - A New Pair Of Shoes

5 - The Friendliest

Side 2

6 - Humble

7 - Maybe Some Other Time

8 - Something To Live For

9 - Bachelor Gal

10 - Somedays Everything Goes Wrong

(All compositions by Ervin Drake)

Clark Terry (trumpet, flugelhorn), Phil Woods (alto sax, clarinet, flute), Seldon Powell (tenor sax, baritone sax, bass clarinet), Urbie Green (trombone), Dave McKenna (piano), George Duvivier (bass), Mel Lewis (drums).

Recorded in New York, August 1963.

Chet Baker - Comin' On

 

Baker’s period in Europe should probably be forgotten by everyone. The lurid stories of his addiction problems and incarcerations were splashed through the second rate girlie magazines with great frequency. The endless recitation of ugly stories was not heartening to the jazz fan.

His return to New York has been well chronicled by Ira Gitler (...) Suffice to say, that Baker’s playing retained the extraordinary lyricism he has always possessed but, by this time, there was more assurance, more guts in his playing. For me, he sounds more like Fats Navarro at this time. 

This is third in the series of five albums which Baker recorded under the auspices of Richard Carpenter who has served as Baker’s manager and has worked in a similar capacity for Gene Ammons. Carpenter has supplied most of the originals in the series and is represented here by the title track, "Comin’ On" and a vintage tune from the 1950's, "Chabootie", recorded many years ago by Ammons. Jimmy Mundy wrote No Fair Lady but perhaps the outstanding composition here is Tadd Dameron’s seldom heard "Choose Now". 

If one is surprised that Baker would tackle a vehicle of Gene Ammons, it should be no shock that he also could get into Tadd. Baker has expressed a great deal of admiration for Dameron both as a composer and pianist. Dameron is the premier composer of modern jazz and the graceful, swinging lines have, in Baker, one of the most sensitive jazz interpreters. 

Individually, the sidemen on this date are outstanding jazzmen. Collectively they give Baker the support and inspiration which may have been lacking in earlier efforts. Chet Baker is an unusual musician in that his early work was conservative compared to his more adventuresome playing here. Normally, a musician will have more fire and daring when he is young before settling into a comfortable bag as he grows older. Chet Baker has proved in these recordings that he has the fire. Let us hope that there will be more fire in the future. It would be a heavy blow to jazz should he be removed from the scene. *Bob Porter (Liner notes)* 

Side 1

01 - Comin' On

(Carpenter, Bruce)

02 - Stairway To The Stars

(Malneck, Parrish, Signorelli)

03 - No Fair Lady

(Mundy)

04 - When You're Gone

(Bruce, Johnson)

Side 2

05 - Choose Now

(Dameron)

06 - Chabootie

(Carpenter)

07 - Carpsie's Groove

(Carpenter, Stitt)

Chet Baker (flugelhorn), George Coleman (tenor sax), Kirk Lightsey (piano), Herman Wright (bass), Roy Brooks (drums).

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, August 23, 25 and 29, 1965.

Best Coast Jazz

Jazz has been through many stylistic evolutions in winding its tortuous upward course through history. It has been noted by some observers that the names for the various local and regional deviations have outnumbered the styles themselves. There have been New Orleans jazz and Dixieland jazz (and if anyone can distinguish between these two we should appreciate his calling us collect), Chicago jazz, Kansas City Jazz, swing, bop, boogie-woogie, and, of course, in recent years, cool jazz and West Coast jazz. 

Maybe you agree that too much pigeonholing does no good for the music and that jazz is better enjoyed subjectively without regard to classifications of this nature. That’s why Best Coast Jazz is such fitting title for this set of performances. The term is intended to have absolutely no significance beyond the fact that the sides were recorded within a stone’s throw of the Pacific Ocean, and that they contain some of the best improvised solos recorded in that general area in recent years. 

The personnel on this date represented an amalgamation, for the first time, of a pair of important EmArcy attractions, both of whom have made individual reputations through various LPs on which they have appeared either as leaders or as sidemen on this label during the past year. They are Herb Geller and that two-headed combo-leading team of Clifford Brown and Max Roach.

These two king sized performances —the jumping riff blues tune "Coronado" and "You Go To My Head"— were recorded in Los Angeles on August 10, 1954. Since more than a quarter of an hour is devoted to each tune, it will come as no surprise to you that every member of this wonderful group is given ample opportunity to express his ad lib feelings with no holds barred and no restrictions of any kind. We feel that the results certainly justify the appropriate description of these sides as "Best Coast Jazz". *(Liner notes)*

On this out-of-print EmArcy LP features an all-star group with trumpeter Brown, the altos of Herb Geller and Joe Maini, Walter Benton on tenor, pianist Kenny Drew, bassist Curtis Counce and drummer Max Roach. They perform two lengthy numbers, a medium-tempo blues "Coronado" and the ballad "You Go to My Head". "Coronado" is climaxed by an exciting tradeoff by the four horns that gets down to two beats apiece! "You Go to My Head" has fine solos all around but Brownie's closing statement cuts everyone. *Scott Yanow*

Side 1

1 - Coronado

(Coles)

Side 2

2 - You Go To My Head

(Cocks, Gillespie)

Clifford Brown (trumpet); Walter Benton (tenor sax); Joe Maini, Jr., Herb Geller (alto saxes); Kenny Drew (piano); Curtis Counce (bass); Max Roach (drums).

Recorded at Capitol Studios, Hollywood, California, August 10, 1954.

Stan Getz - West Coast Jazz

In 1955 the difference between East/West Coast jazz was a hot topic, with critics and fans capable of taking zealous musical alliances with one or the other. The title of this disc, West Coast Jazz, was conceived as a joke, considering all musicians involved were originally from the East Coast and did not play exclusively in the laid-back, commercially profitable, cool style, as pigeonholed by some. Stan Getz was in California for his part in the film the Benny Goodman Story, where he picked up a week long gig at Zardi's in Hollywood. The pickup band that greeted him featured a great rhythm section: Lou Levy (piano), Leroy Vinnegar (bass), and Shelly Manne (drums), along with Conte Candoli (trumpet). These musicians connected with Getz immediately, having crossed paths previously. Impressed with this lineup, he took them into the studio to record West Coast Jazz. Generally unlike West Coast jazz of the time, the rapid group interplay with energized bop solos, still stand out particularly on "Shine" and Dizzy Gillespie's "A Night in Tunisia". *Al Campbell*

Name power, talent and display-worthy cover tag this as a leader. Getz and Manne are the big names, of course, tho Candoli too has a following. The new star, comparatively, is Levy, whose remarkable jazz performances should win him first fligt recognition in no time. The stuff is modern, always interesting, and it swings powerfully when it's supposed to. For musicians and for fans, this one is tops. *Billboard, October 15, 1955*

Side 1

1 - East Of The Sun (West Of The Moon)

(Bowman)

2 - Four

(Davis)

3 - Suddenly It's Spring

(Van Heusen, Burke)

Side 2

4 - Night In Tunisia

(Paparelli, Gillespie)

5 - Summertime

(Gershwin, Heyward

6 - Shine

(Dabney, Brown, McPherson)

Stan Getz (tenor sax), Conte Candoli (trumpet), Lou Levy (piano), Leroy Vinnegar (bass), Shelly Manne (drums).

Recorded in Hollywood, August 9 (#2) and 15 (#1, #3, #4, #5, #6), 1955.

Tenors Anyone?

Jazz has become more than just a spontaneous emotional outlet. It has progressed to a major music form, and much of the material from which contemporary composers draw has its origin in jazz. Certainly, jazz is the international musical bond of the 20th century. One of the dominant (if not the most important) instruments in jazz today is the tenor sax.

Perhaps it’s because the tenor so closely approximates the human tone, or possibly its importance can be traced to the instrument’s wide range of tone and expression. At any rate, it enjoys a foremost position in most modern jazz ensembles. 

Tenors Anyone? offers four great jazzmen matching skills, styles and talent. The principles are Stan Getz, the late Wardell Grey, Paul Quinichette and Zoot Sims. Their efforts produce a cross-section of modern tenor techniques, as illuminating as any we have had.

Enough words have been written and enough laudits bestowed on these four giants of the tenor to acquaint one with their respective abilities. And, since this is an invitation, let’s get on to what occurs when the blowing starts. *Howard Cook (liner notes)*

Set can have appeal. The contrasting and distinct styles included in this set by four great tenor stars cover a wide range in jazz tastes. Five groups (with personnel duplicated for the saxes. Try Zoot Sims' run on "Blues For The Month Of May" and the late Wardel Grey's "In A Pinch" as samples. Good sales potential. *Billboard, April 7, 1958*

Side 1

1 - These Foolish Things

(Link, Strachey, Marvell)

2 - Blues For The Month Of May

(Jerome Lloyd)

3 - I Should Care

(Cahn, Weston, Stordahl)

4 - Along About This Time Last Year

(Darwin, Sykes, Lewis)

Side 2

5 - Skull Buster

(Al Haig)

6 - (It's The) Talk Of The Town

(Levinson, Symes, Neiburg)

7 - Ante Room

(Jimmy Raney)

8 - Pennies From Heaven

(Burke, Johnston)

9 - In A Pinch

(Al Haig)

10 - Poop Deck

(Al Haig)

#1, #4:

Paul Quinichette (tenor sax), Gene Roland (trumpet [#4]), Nat Pierce (piano), Freddie Green (guitar), Wendell Marshall (bass), Sonny Payne (drums).

Recorded in New York City, August 12, 1956

#2, #3:

Zoot Sims (tenor sax), Jerry Lloyd (trumpet), John Williams (piano), Nabil Totah (bass [#2]), Bill Anthony (bass [#3]), Gus Johnson (drums).

Recorded in New York City, August 10 [#3], September 4 [#2] 1956. 

#5, #7,#8, #10:

Stan Getz (tenor sax), Al Haig (piano), Jimmy Raney (guitar), Gene Ramey (bass), Charlie Perry (drums), Carlos Vidal (conga)

Recorded in New York City, May 12, 1949.

#6, #9:

Wardell Grey (tenor sax), Al Haig (piano), Jimmy Raney (guitar), Tommy Potter (bass), Charlie Perry (drums).

Recorded in New York City, November 1948 (probably).

Steve White - Jazz Mad

Bucking an age of stultifying conformity, the jazz world has of necessity its generous share of individualists. One otf the most outstanding among these is Steve White. His vigorous, uninhibited playing has identified him on the West Coast these past few years with that rare brand of untrammieled jazz instrumentalists are content to play anywhere just for the sheer joy of blowing jazz. On this, his first LIBERTY album, Steve is allowed absolute freedom. 

Stephen Gaylord White is a jazz musician who exercises his art form passionately in his dedication to complete self-expression. Although he has a background of much big band experience (Butch Stone, Jimmy Dorsey, Alvino Rey), he has never made a name for himself in that area. He has, rather, been content to play in comparative obscurity around the Los Angeles nightspot circuit, winning the admiration of contemporary musicians and a loyal contingent of fans. 

If you enjoy jazz in a modern vein untyped by "school"’ or intellectual classification, then this free-blowing session by "The Unpredictable" Steve White is cut to order for you. *John Tynan (liner notes)*

Well, not exactly 'mad' as in wild, but this is an excellent - albeit pedestrian - jazz platter. White was fine Tenor sax player, equally adept at free-swinging arrangements such as "Liberty In White" and "Stopped - You See", as well as ballads like "I Only Have Eyes For You" and "Lazy Lady Blues". He is supported on this record by en excellent group consisting of Harry Babasin (bass), Boone Stines (drums) an Bob Harrington (piano). All provide excellent support throughout the entire record. This record features one of the more elaborate and aestheticly pleasing album covers of it's day, an excellent, carnival-esque painting by Ed Graves. *Matthew Greenwald*

Side 1

1 - Liberty In White

(White)

2 - Mister Thing

(White, Harrington)

3 - Musin'

(White, Harrington)

4 - I Only Have Eyes For You

(Warren, Dubin)

5 - Rushin' The Blues

(White, Harrington)

6 - Beside A Sea

(White, Harrington)

7 - Stopped - You See

(White)

Side 2

8 - Lazy Lady Blues

(Moore, Feather)

9 - What Makes Me Blue Today

(White)

10 - Paper Moon

(Arlen, Rose, Harburg)

11 - Don't Worry 'Bout Me

(Bloom, Koehler)

12 - April Showers

(Silvers, DeSylva)

Steve White (tenor sax, vocals), Bob Harrington (piano), Harry Babasin (bass), Boone Stines (drums).

Recorded in Los Angeles, California, 1955.

Kai Winding - Kai Winding All Stars

It is particularly fitting that this Kai Winding album should appear at this time. Now that bop, as we knew it, has foundered — has drawn what seems to be its last fresh line, it has become necessary to be extra selective in our listening. From this fresh vantage point, it is now evident that only a handful of individuals contributed freshness and vitality to the most violent revolution which jazz has ever been through. And several of those individuals are herein present.

Kai Winding was one of the first of the young modern musicians to take the trouble and the trombone through the experimental stages that the other horns and instruments were exploring. He lent an enviable technique to jazz, best proof of which existed and exists in the fact that his work on valve or slide trombone is nearly interchangeable to even the trained ear.

But technique and speed are only two facets of the Winding talent. As a balladier or a bellower he is equally effective, most distinctive in the latter because of a strident, snarling, rather than growling, sound.

And Kai is surrounded here, happily, with some outstanding talent. The records which include Gerry Mulligan are Mulligan arrangements, early proof, if any is needed, of the Mulligan sounds and skills, and advance notices of similar ideas applied to the Miles Davis group. Brew Moore lends his tenor to all eight sides. Composer-pianist George Wallington gives distinction to the first four sides, pianist Lou Stein to the last four. Curley Russell and Max Roach swing as well on the first four as Jack Lesberg and Don Lamond do on the last. Instrumentally, then, this is practically an all-star group — the tunes and performances do justice to the roll-call of stars.

Throughout these eight sides is much of the best that modern music had or has to offer. Admirably performed, it’s all for the listener's long playing. *Bill Coss (liner notes)*

Side 1

1 - Wallington's Godchild

(Wallington)

2 - Bop City

(Winding)

3 - Sleepy Bop

(Winding)

4 - Crossing The Channel

(Mulligan)

Side 2

5 - Honey

(Gillespie, Simons, Whiting)

6 - Someone To Watch Over Me

(G. & I. Gershwin)

7 - Harem Buffet

(Winding)

8 - Cheek To Cheek

(Irving Berlin)

#1 to #4:

Kai Winding (trombone), Brew Moore (tenor sax), Gerry Mulligan (baritone sax), George Wallington (piano), Curly Russell (bass), Max Roach (drums).

Recorded in New York City, April 10, 1949.

#5 to #8:

Kai Winding (trombone), Brew Moore (tenor sax), Lou Stein (piano), Jack Lesberg (bass), Don Lamond (drums).

Recorded in New York City, July 13, 1951.

Roy Eldridge • Zoot Sims - Roy And Zoot

Roy and Zoot, two of the foremost names in the field of jazz, are featured on this new Discovery International Series LP. Both are too well known to require any biographical material. Their records of musical accomplishments cover a wide field of jazz.  

One sign of Roy's outstanding talent is his ability to go along with the many changes which are constantly taking place in the world of music. His horn has been heard playing many styles of jazz ranging from the beginning of the swing era right up to the present age of progressive sounds. His versatility is the basis for some of the best jazz releases in the past years.

Zoot, on the other hand, is a comparative newcomer to the field of jazz and confines his musical talents strictly to progressive sounds. Whether working in a trio or featured in Stan Kenton's band, the unmistakable sounds of Zoot's horn is always predominant. Like many other names in the progressive jazz field, Zoot did some of his early playing at the Club Downbeat in New York and was featured with such names as Chuck Wayne, Billy Taylor, Mary Lou Williams and many others. His rapid rise to prominence is the best guide to his ability.

Roy and Zoot met in Paris one Spring and joined up in various sessions with some of the best American and European musicians who were there at the time. These sides are some of the best that were cut and feature many of these men. (Liner notes)

Side 1

1 - King David

(Roy Eldridge)

2 - Wrap Your Troubles In Dreams

(Harris, Kohler, Moll )

3 - The Man I Love

(G. & I. Gershwin)

4 - Easter Parade

(Irving Berlin)

Side 2

5 - Wild Driver

(Roy Eldridge)

6 - Undecided

(Shavers)

7 - The Heat's On

(Roy Eldridge)

8 - Goliath Bounce

(Roy Eldridge)

#1, #3, #6:

Roy Eldridge (trumpet), Zoot Sims (tenor sax), Dick Hyman (piano), Pierre Michelot (bass), Ed Shaughnessy (drums).

#2:

Roy Eldridge (trumpet), Dick Hyman (piano), Pierre Michelot (bass), Ed Shaughnessy (drums).

#4, #5, #8:

Roy Eldridge (trumpet), Jerry Wiggins (piano), Pierre Michelot (bass), Kenny Clarke (drums).

#7:

Roy Eldridge (trumpet), Don Byas (tenor sax), Claude Bolling (piano), Guy DeFatto (bass), Armand Moletti (drums).

Recorded in Paris, June 9 (#1, #2, #3, #6), June 14 (#4, #5, #8) 1950 and March 28 (#7) 1951. 

Cappy Lewis - Get Happy With Cappy

This album is a unique and exciting collection of performance skills from the great trumpeter Carroll "Cappy" Lewis (1917-1992). A veteran of the swing era, Lewis’ playing will conjure up some happy memories for jazz fans who remember his many solo endeavors with Woody Herman and Tommy Dorsey’s bands. Then after a couple of short stints with other name bands, Lewis settled in Hollywood in 1948, where he devoted himself entirely to working in the studio’s main brass sections. In 1960, thanks to David Axelrod, then a producer for the Hi-Fi Jazz Records label, Cappy’s full throated trumpet could finally be heard in a small group context, in which he exhibits his buoyancy and refreshing style over an impeccable rhythm section enhanced by the subtle and always swinging pianist Jimmy Rowles. On this, his only album as a leader, Cappy blows both hot and cool, applying an engaging trumpet approach to a set of oldies and newer songs, that serve as a nearly perfect showcase of his talent. *Jordi Pujol*

Jazz has many faces and it should be noted — not all of them need be determined, hard-set in a pattern of "do or die".

Some of the most pleasant jazz has been done in an off-hand, casual manner which hasn’t set out to prove anything particularly; just simply to play good, swinging music in the most natural and pleasing manner. 

Carroll "Cappy" Lewis, the trumpet player who organized this album, feels that this album fits the casual jazz role to perfection. "I just felt we needed something like this", he says simply, and he went ahead and did it.

It’s taken Cappy Lewis a long time to get around to making his own solo album. Too long, to be frank. It is to be hoped that the success of this one will encourage him to make others. Whatever he does, you can be sure it will be musicianly, professional and laced with those jazz qualities of humor and spirit that have made him one of the best trumpet men of his generation. *Ralph J. Gleason (liner notes)*

Side 1

1 - Charmaine

(Rapee, Pollack)

2 - Rosalie

(Cole Porter)

3 - You Can't Take That Away From Me

(G. & I.Gershwin)

4 - Undecided Now

(Charlie Shavers)

5 - C'est Si Bon

(Henri Betti)

6 - Umbrella Man

(Stock, Cavanaugh, Rose)

Side 2

7 - I Hear Music

(Lane, Loesser)

8 - Swanee

(Gershwin)

9 - Imagination

(Van Heusen)

10 - Running Wild

(Gibbs)

11- Plenty Of Money

(Warren, Dubin, Arlen, Harburg)

12 - Pagan Love Song

(Brown)

Carroll "Cappy" Lewis (trumpet), Jimmy Rowles (piano), Morty Corb (bass), Jack Sperling (drums).

Recorded at Radio Recorders, February 1960.