Dick Marx - Marx Makes Broadway

In recent years, a young Chicago pianist —without ever leaving his native city— has become a subject for musicians’ backstage conversation from coast-to-coast.

His name is Dick Marx and "you ought to hear Dick" is almost a cliche now. But Marx cannot be enjoined to go out on a road trip. It was an unusual thing for him to accept Omega’s invitation to come to Los Angeles and make this stereo recording.

Dick Marx is a serious, studious musician (not that his personality or music lacks humor; it’s just that music is his life and he’s serious about it) who has developed a naturally flexible piano technique into one of the most formidable piano styles of modern jazz. Pianist Billy Taylor, one of the top musicians in modern Jazz, has said, "Marx uses modern harmonic devices exceptionally well and because of excellent technical facility can execute many interesting polyphonic ideas... his touch is firm and sure and he can toss off a bravura passage with the ease that comes only from a solid pianistic background". 

Dick Marx began playing the piano at 5, and at 13 was accompanist to a dancing class. He studied music at DePaul University, and since 1948 has worked steadily in the Chicago area at such swank supper clubs as the Streamliner, the Pump Room and Mr. Kelly’s. He has arranged for a variety of singers, including Eydie Gorme, Eartha Kitt and Lurlean Hunter, and for numerous radio and TV shows. He has recorded several LPs for Coral and Brunswick with his bass-playing sidekick, John Frigo. He’s also heard as accompanist for Jeri Southern and for Johnny Desmond on recent LPs. In between night club and recording chores, he doubles as a vocal coach and piano teacher in Chicago, where he is much in demand. Dick is heard either in trio or with a quartet of the best jazz men in Hollywood. It required a particularly deft jazz musician to handle the gossamer melodies of the best Broadway show tunes to retain their intrinsic beauty without losing the jazz feeling. On this date Dick’s friends are Buddy Collette, flute; Carson Smith, bass; Frankie Capp, drums; and Irving Ashby, guitar. On the five numbers you'll hear Red Mitchell on bass, and on three Howard Roberts replaces Ashby on guitar. *Ralph J. Gleason (liner notes)*

This LP is one of the more obscure sessions reissued by V.S.O.P. and was originally cut for the Omega label. Dick Marx was a Chicago-based bop-oriented pianist brought to Los Angeles for these sessions. He gives a variety of show tunes melodic yet swinging treatment with the assistance of flutist Buddy Collette, either Howard Roberts or Irving Ashby on guitar, Red Mitchell or Carson Smith on bass and drummer Frank Capp. All ten of the tunes (which include "All of You", "Too Close for Comfort", "If I Were a Bell" and "Just in Time") are still remembered; it is a pity that this program (at 34 minutes) is so brief and that little has been heard of Dick Marx since. *Scott Yanow*

Side 1

1 - Joey, Joey

(Loesser)

2 - Why Can't You Behave

(Cole Porter)

3 - All Of You

(Cole Porter)

4 - Cool

(Leonard Bernstein)

5 - Too Close For Comfort

(Holofocner, Weiss)

Side 2

6 - If I Were A Bell

(Loesser)

7 - Baubles, Bangles And Beads

(Forrest, Wright)

8 - A Sleepin' Bee

(Loesser)

9 - Guys And Dolls

(Loesser)

10 - Just In Time

(Comden, Green, Styne)

Dick Marx (piano); Buddy Collette (flute); Howard Roberts, Irving Ashby (guitars); Carson Smith, Red Mitchell (basses); Frank Capp (drums).

Recorded in Los Angeles, California, 1958.