Chet Baker - Big Band

It would be pleasant to be able to write that Rickard Bock, the chief panjandrum of  Pacific Jazz Enterprizes, heard Chet Baker playing with a big band years ago and thereupon resolved to some day record him in this context —as he has done so felicitiously in the present album. The fact is, however, that when Chet was part of the big band scene not a single recording company was setting up mikes and tape machines to impound his blowing for posterity. This is understandable when you consider that the groups with which the young hornman was associated were such as a junior high school orchestra and U.S. Army military bands.

Chet, who got his start in Yale (Oklahoma, that is) on December 23, 1929, became a Californian in 1940 when his family moved to the Los Angeles area. He began playing in junior high and within only a few years came to national attention of sorts. That was when the draft board pulled his number from the barrel. This stroke of good fortune eventually landed Baker in Berlin with the 298th Army Band. He is reputed to have been better than adequate as a member of the brass ensemble on "Stars and Stripes Forever" and "When the Caissons Go Rolling Along". And his solo work on that rousing selection, "Reveille", was so respected by those who heard it that literally hundreds rose to their feet.

In September, 1955 Chet began a European tour which was scheduled for four months but which was stretched to eight, so responsive was Baker's reception.  During this tour, the longest yet made by an American jazzman, Chet made some radio appearances with Kurt Edelhagan's Orchestra. Several air checks of these performances subsequently came to the attention of Bock and Woody Woodward, general manager of Pacific Jazz Enterprises. Both immediately noted that Chet was playing in a much more aggressive manner than they ever had heard him employ. Out of this came the idea of recording Chet with groups which, while relatively small, still would produce a big band sound and provide a suitable showcase for Baker’s lustier blowing. 

Herewith you have the result, and I believe you will find it one of the most intriguing albums Chet yet has made. Three of the tracks are done by an eleven-piece group. On the five other sides Chet leads a nontet.

The arrangements not only capture the big band sound which was sought but, even more importantly, provide a variety of tonal textures, rhythmic patterns and tempos, along with ample solo space, which the top jazz artists who made this date exploit to the fullest.

Adding everything up, there’s only one answer: a most listenable album. *Russ Wilson (liner notes)*

These tracks — essentially by two different sized groups, one of nine and one of 11 musicians — presented Chet to an American record-buying public in an unfamiliar setting, given that hitherto his producer Richard Bock had unstintingly promoted Baker's small group persona. But Chet's lengthy 1955-56 stint in Europe had teamed him up with Kurt Edelhagen's orchestra and more tellingly with a Parisian octet for Barclay Records. Hearing these discs, and realising he had missed a trick, Bock celebrated the trumpeter's return to the West Coast with this pair of sessions, that put his uncharacteristically aggressive trumpet at the head of these larger ensembles. Some of the charts are by Baker's regular small group colleague Phil Urso, some by Jimmy Heath, and some —the least conventional— by the French bassist Pierre Michelot, who had played on the Barclay sessions.

Not surprisingly, Michelot's composition "Chet" makes much of Bond's skilled bass playing, but there are also fine moments crafted to show off Bob Burgess's trombone in this and Michelot's other piece, "Mythe". *Alyn Shipton*

Releasing an entire album under the moniker Chet Baker Big Band is a bit of a misnomer, as only the first four sides actually incorporate an 11-person configuration. The remaining tracks from the long-player feature a slightly smaller nonet configuration. Among the luminaries joining Baker (trumpet) and participating in the big-band arrangements are Art Pepper (alto sax), Bud Shank (alto sax), Phil Urso (tenor sax), and Bobby Timmons (piano). The critical argument proposing that Baker's style is more akin to bop —and the residual post-bop— than the West Coast cool that he is often connected with gets tremendous validation throughout not only the four big-band tracks, but also the remainder of the album. The band bops with tremendous verve behind Baker's unmistakable leads. Jimmy Heath's ultrahip arrangements —especially of "Tenderly" and "A Foggy Day"— allow the soloists to improvise fluidly from within the context of the larger unit. The Pierre Michelot composition "Mythe" is notable for some outstanding soloing from Baker and Timmons. It is a shame that poor master tape editing —a motif that haunts many Dick Bock productions— mars the overall aesthetic. Of the nonet sides, the band really jumps and responds best to the original compositions such as Phil Urso's "Phil's Blues" and "V-Line". The horn blend on these recordings is likewise striking. *Lindsay Planer*

Side 1

1 - A Foggy Day

(George and  Ira Gershwin)

2 - Mythe

(C. H. Chevallier)

3 - Worrying The Life Out Of Me

(Mole, Signorelli, Russell)

4 - Chet

(Pierre Michelot)

5 - Not Too Slow

(C. H. Chevallier)

Side 2

6 - Phil's Blues

(Phil Urso)

7 - Darn That Dream

(DeLange, Van Heusen)

8 - Dinah

(Lewis, Young, Akst)

9 - V-Line

(C. H. Chevallier)

10 - Tenderly

(Gross, Lawrence)

#2, #4, #5, #6, #8, #9:

Chet Baker (trumpet), Bob Burgess (trombone), Phil Urso (alto and tenor saxes), Bob Graf (tenor sax), Fred Waters (alto sax), Bill Hood (baritone sax), Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums).

Recorded in Los Angeles, California, October 18, 1956.

#3:

Chet Baker (trumpet), Bob Burgess (trombone), Phil Urso (alto and tenor saxes), Bob Graf (tenor sax), Fred Waters (alto sax), Bill Hood (baritone sax), Bobby Timmons (piano), Jimmy Bond (bass), James McKean (drums).

Recorded in Los Angeles, California, October 19, 1956.

#1, #7, #10:

Chet Baker, Conte Candoli, Norman Faye (trumpets); Frank Rosolino (trombone); Art Pepper, Bud Shank (alto saxes); Bill Perkins, Phil Urso (tenor saxes); Bobby Timmons (piano); Jimmy Bond (bass); Lawrence Marable (drums).

Recorded in Los Angeles, California, October 26, 1956.

Cannonball Adderley - In The Land Of Hi-Fi

Julian "Cannonball" Adderley fired his first shot, a salvo heard throughout the entire world of jazz, when his initial album (MG 36043) was released less than a year ago. Soon after, he was featured in a quintet session under the leadership of his brother, Nat , on the Wing label; more recently, "Cannonball" was featured with a string ensemble, arranged and conducted by Richard Hayman, in an impressive set of performances on standard tunes, (MG 36063). These albums, further implemented by guest appearances with Sarah Vaughan and other visitors to the Land of Hi Fi, succeeded in their objective of establishing "Cannonball' as a major new jazz talent.

With the present excursion of the Adderley brothers and their cohorts to the Land of Hi Fi, "Cannonball" returns approximately to the same format and setting featured on his first album. Ernie Wilkins served as conductor and arranger. Like Quincy Jones, who was the musical director on the first Adderley session, Ernie recently returned from a tour of the Middle East, during which he played in the all-star band sponsored by the State Department and led by Dizzy Gillespie. On returning home, he put down the saxophone, picked up the pen and went promptly to work on this album, recorded in June, 1956 with the following participants: Nat Adderley, cornet; Ernie Royal, trumpet; "Cannonball" Adderley, alto sax; Jerome Richardson, tenor sax and flute; Danny Bank, baritone Sax; Jimmy Cleveland and Bobby Byrne, trombones; Junior Mance, piano; Charlie "Specs" Wright, drums; Keeter Betts, bass.

Most of the tunes heard on these sides had never been recorded before.

To sum up, this is a lively, swinging session of unpretentious modern jazz that will serve further to consolidate "Cannonball's" reputation as one of the big guns in contemporary music. *(Liner notes)*

He's got a whole freakin' orchestra in this one sounds like. It is a pretty big ensemble compared to most hard bop artists. But it sounds damn good. He's got some sweet hard bop swinging sounds. There's one original tune here and the rest are penned by some other famous jazz and standard writers. I highly recommend this release. ✤ Stylistically, somewhere between Miles Davis' "Birth of the Cool" recordings and Doc Severinsen. The arrangements are mostly fairly restrained, and then Cannonball jumps in and tears the place apart. Around this time, Miles noticed Cannonball and recruited him into his group shortly thereafter. ✤ A set of short but VERY potent swinging songs that Cannonball just has a blast improvisiing over. The overall style tends more towards the West Coast style of jazz but still has plenty of fire, with very colorful and bright-hued arrangements. The major departure from this style occurs on the gruff bluesy "I Don't Care", which features the snide, growling sarcastic flute of one Jerome Richardson, one of my favorite tracks actually. Very recommended. *rateyourmusic reviews*

The title's a bit of a mouthful, but a good description of the way Cannonball was presented in the years before his soul jazz groove firmly kicked in! The "hi fi" is a bit overstated -- as the album's pretty much of a straight jazz record, featuring Cannon blowing lead solos in a large group arranged and directed by Ernie Wilkins. Bother Nat's on cornet, and other players include Jerome Richardson, Junior Mance, and Jimmy Cleveland. Titles include "Junior's Tune", "Blues For Bohemia", "Dog My Cats", "T's Tune", and "Casa De Marcel".  *dustygroove.com*

Side 1

1 - Dog My Cats

(Ernie Wilkins)

2 - I'm Glad There Is You

(Madeira, Dorsey)

3 - Blues For Bohemia

(Julian and Nat Adderley)

4 - Junior's Tune

(Junior Mance)

5 - Between The Devil And The Deep Blue Sea

(Koehler, Arlen)

Side 2

6 - Casa De Marcel

(Marcel Daniels)

7 - Little Girl Blue

(Rodgers, Hart)

8 - T's Tune

(Thomas Turrentine)

9 - Broadway At Basin Street

(Wayne, Frisch)

10 - Just Norman

(Wright)

11 - I Don't Care

(Ray Bryant)

Julian "Cannonball" Adderley (alto sax); Nat Adderley (cornet); Danny Bank (baritone sax); Jerome Richardson (tenor sax, flute); Ernie Royal (trumpet); Jimmy Cleveland, Bobby Byrne (trombones); Junior Mance (piano); Keeter Betts (bass); Charlie "Specs" Wright (drums), Ernie Wilkins (conductor and arranger).

Recorded at Capitol Studios, New York City, June 8 (#5, #7, #9, #10), June 16 (#1, #2, #4, #6) and June 18 (#3, #8, #11), 1956.

Jack Millman And His All-Stars

Trumpet and flugelhorn player Jack Millman was just 17 when he "sat in" with Lionel Hampton and was then invited by Hamp to join the band for a 6-week stint at the Paramount Theatre in Los Angeles. Just before he was drafted in the Army he joined the Stan Kenton Orchestra for a West Coast Road Tour. When he completed his service he came out to form and manage his own jazz groups throughout the 50's that played the West Coast scene extensively. Presented here is Millman's classic 1955 recordings featuring some of the greatest West Coast jazz players of all time.

A rare session as a leader by trumpeter Jack Millman – one that's based around his own compositions, and which a large group of west coast players alongside some lesser-known 50s talents! Players include Fred Aguirre, Lin Halliday, Artie Anto, Mike Pacheco, Curtis Counce, Herb Geller, Jimmy Giuffre, Howard Roberts, and Don Friedman – playing arrangements of Millman tunes by Shorty Rogers, Jimmy Giuffre, Jack Montrose, and Pete Rugolo. Tracks are short, but have wonderfully constructed horn passages – as well as some very nice use of Latin percussion – and titles include "Tom & Jerry", "Bolero De Mendez", "Groove Juice", "Pink Lady", "The Turk", and "Bambi".  *dustygroove.com*

A stimulating presentation of the modern jazz compositions of an outstanding writer, Jack Millman. The wide range of his written work is amply outlined here, and given tremendous interest since each of the 12 compositions included in this album is arranged by different man. Shorty Rogers, Jimmy Giuffre, Jack Montrose and Pete Rugolo are some of the prominent names. The instrumentalists also vary from item to item, but are taken from the ranks of the West Coast's finest musicians. Most of the music is light and listenable, written with a delicate balance of construction and careful selection of instrumentation. The stature of the arrangers and participating musicians will automatically garner good initial sales. *Billboard, November 19, 1955*

Jack Millman

And His All-Stars

1 - Groove Juice

2 - Pink Lady

3 - Too Much

4 - Ballade For Jeannie

5 - The Turk

6 - When You're Near

7 - Tom And Jerry

8 - So Goes My Love

9 - Bolero De Mendez

10 - Just a Pretty Tune

11 - Cathy Goes South

12 - Bambi

(All compositions by Jack Millman)

#1:

Jack Millman (flugelhorn), Bob Enevoldsen (valve trombone), Herb Geller (alto sax), Jimmy Giuffre (tenor sax), Bob Gordon (baritone sax), Claude Williamson (piano), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Jimmy Giuffre

Recorded in Los Angeles, June 1, 1955

#2:

Jack Millman (flugelhorn), Buddy Collette (flute), Bob Gordon (bass clarinet), Claude Williamson (piano), Howard Roberts (guitar), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Shorty Rogers

Recorded in Los Angeles, June 1, 1955

#3:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Ray Vázquez (baritone sax), Don Friedman (piano), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Jack Montrose

Recorded in Los Angeles, May 25, 1955

#4:

Jack Millman (trumpet), Maynard Ferguson (valve trombone), Buddy Collette (alto sax), Jack Montrose (tenor sax), Bob Gordon (baritone sax), Gerald Wiggins (piano), Curtis Counce (bass), Chico Hamilton (drums).

Arrangements by Lyle Murphy

Recorded in Los Angeles, May 18, 1955

 #5:

Jack Millman, Conte Candoli (trumpets); Gerald Wiggins (piano); Frank Flynn (vibes); Curtis Counce (bass); Chico Hamilton (drums); Mike Pacheco, Artie Anton, Fred Aguirre (percussion).

Arrangements by Jack Millman

Recorded in Los Angeles, May 18, 1955

#6:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Don Anderson (vibes), Don Overberg (guitar), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Chico Álvarez

Recorded in Los Angeles, May 25, 1955

#7:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Don Friedman (piano), Don Anderson (vibes), Don Overberg (guitar), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Gerald Wiggins

Recorded in Los Angeles, May 25, 1955

#8:

Jack Millman (flugelhorn), Ray Vázquez (baritone sax), Don Friedman (piano), Don Anderson (vibes), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Bill Holman

Recorded in Los Angeles, May 25, 1955

#9:

Jack Millman (flugelhorn); Buddy Collette (flute); Herb Geller (alto sax); Jimmy Giuffre (clarinet); Bob Gordon (baritone sax); Howard Roberts (guitar); Red Mitchell (bass); Shelly Manne (drums); Mike Pacheco, Jack Costanzo, Bob Enevoldsen (percussion).

Arrangements by Pete Rugolo

Recorded in Los Angeles, June 1, 1955

#10:

Jack Millman (trumpet), Bob Enevoldsen (valve trombone), Buddy Collette (flute), Jimmy Giuffre (tenor sax), Bob Gordon (baritone sax), Claude Williamson (piano), Red Norvo (vibes), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Frank Erickson

Recorded in Los Angeles, June 1, 1955

#11:

Jack Millman (trumpet); Buddy Collette (flute, alto sax); Jack Montrose (tenor sax, clarinet); Bob Gordon (baritone sax); Frank Flynn (vibes); Curtis Counce (bass); Chico Hamilton (drums); Mike Pacheco, Artie Anton, Fred Aguirre, Maynard Ferguson (percussion).

Arrangements by Johnny Mandel

Recorded in Los Angeles, May 18, 1955

#12:

Jack Millman (trumpet), Maynard Ferguson (valve trombone), Buddy Collette (alto sax), Jack Montrose (tenor saxs), Barney Kessel (guitar), Frank Flynn (vibes), Chico Hamilton (drums).

Arrangements by Gene Roland

Recorded in Los Angeles, May 18, 1955

All sessions recorded at Decca Studios and United Western Recorders

Jon Eardley - From Hollywood To New York

You can add Jon Eardley to that voluminous list of talented jazz musicians who came to prominence in the 50s but could never make it in the States, so they eventually took off for Europe. Fortunately the trumpeter was preserved in some great company before he left. This OJC reissue features two Prestige/New Jazz 10"s combined on to one LP length CD. The first, Jon Eardley In Hollywood is a nice Christmas day 1954 quartet session with pianist Pete Jolly, bassist Red Mitchell and drummer Larry Bunker. Next stop is Rudy Van Gelder's Hackensack studio on March 14, 1955 for the star of the show, Hey There, Jon Eardley! Here we get to hear the trumpeter paired off with tenor saxophonist J.R. Monterose, another brilliant player who never really got his due. An excellent rhythm trio of George Syran on piano, Teddy Kotick on bass and Nick Stabulas on drums provides a solid foundation, as they do on  Seven. This is forward-thinking modern jazz performed excellently, making From Hollywood to New York a thoroughly enjoyable trip. *Brad Richman (amazon.com)*

Trumpeter Jon Eardley's first two sessions as a leader (he would only lead two others during the next 20 years) are combined on this reissue CD. A fine boppish player who mostly stuck to the middle register of his horn, Eardley would soon be joining Gerry Mulligan's group. He is heard on four selections heading a quartet with pianist Pete Jolly (who was just starting his career), bassist Red Mitchell, and drummer Larry Bunker, and on four other numbers with tenor saxophonist J.R. Monterose, pianist George Syran, bassist Teddy Kotick, and drummer Nick Stabulas. The music (five originals and three standards) is essentially cool-toned bop and was quite modern for the period. *Scott Yanow*

Great early work from trumpeter Jon Eardley — captured here at a point when he was a budding young modernist in the 50s! The album features 2 early 10" LPs — Jon Eardley in Hollywood and Hey There Jon Eardley — both recorded for Prestige within a few months in the mid 50s. The first date features Eardley's trumpet right out front in the mix — hard, spare, and a bit angular — with backing from the piano of Pete Jolly, as well as Red Mitchell on bass and Larry Bunker on drums. Titles include "Late Leader", "Indian Spring", "Black", and "Gloss". The second session is even more interesting, as it features Eardley's horn in tandem with tenor saxophonist J. R. Monterose, brimming with new ideas at this point in his career, and adding a real edge to the tracks. The remaining players include George Syran on piano, Teddy Kotick on bass, and Nick Stabulas on drums — and titles include "Hey There", "Sid's Delight", "Demanton", and "If You Could See Me Now". *dustygroove.com*

1 - Late Leader

(Jon Eardley)

2 - Indian Spring

(Jon Eardley)

3 - Black

(Jon Eardley)

4 - Gloss

(Jon Eardley)

5 - Hey There

(Adler, Ross)

6 - Demanton

(Jon Eardley)

7 - Sid’s Delight

(Tadd Dameron)

8 - If You Could See Me Now

(Dameron, Sigman)

#1 to #4:

Jon Eardley Quartet (from Jon Eardley In Hollywood)

Jon Eardley (trumpet), Pete Jolly [as Pete Cera] (piano), Red Mitchell (bass), Larry Bunker (drums).

Recorded at Radio Recorders, Hollywood, December 15, 1954.

#5 to #8:

Jon Eardley Quintet (from Hey There, Jon Eardley!)

Jon Eardley (trumpet), J. R. Monterose (tenor sax), George Syran (piano), Teddy Kotick (bass), Nick Stabulas (drums).

Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, March 14, 1955.

The Jon Eardley Seven

When Jon Eardley first joined Gerry Mulligan's Quartet many people immediately closeted him with Chet Baker for the simple reason that he was playing with Gerry Mulligan. It is true that Jon was exercising a certain restraint in fitting his personality to the quartet but he never sounded like Baker. However, it took his own recordings and those with Phil Woods to establish clearly that his was a harmonically richer and more virile style.

Here it is a septet for which he has penned some arresting lines which never lack an inner swing and are well developed by the integration of trumpet-alto against trombone-tenor. For the personnel of the septet, Jon has drawn on past and present associates and chosen wisely and well. The very sound that they get points up the kindred spirit that existed on the date. For conclusive proof listen to the exchange between Zoot and Phil in "On The Minute" or the four way conversation on "Ladders". 

As I said before this is really Jon's personal expression. Aside from the ballad "There's No You" and George Syran's "For Leap Year", the rest of the compositions are by him. And there is his muscular and melodic horn which shows further maturity and added lustre. This is Eard's word and you can take him at it, for he knows whereof he speaks... straight from the shoulder.

*Ira Gitler (liner notes)*

This recording was done at a time when Jon Eardley and Zoot Sims were members of Gerry Mulligan's sextet. Jon, the young trumpeter from Altoona, Pennsylvania, was first visible at the legendary Open Door sessions in Greenwich Village during the mid-Fifties. Then he and Phil Woods recorded together in their New Jazz Quintet and Jon did his own quartet and quintet dates for Prestige. This septet shows off not only his playing and composing but his arranging talent as well. With Sims and Woods aboard, solo power was guaranteed. Milt Gold was not as well known but his highly articulate trombone fits in perfectly. In the Sixties Eardley left the United States for Europe to work in Belgium and Germany. He became a valuable member of the WDR Radio Big Band in Cologne, Germany, where his trumpet and flugelhorn continued to champion lyricism and swing until his death in 1991. *concord.com*

Side 1

1 - Leap Year

(Syran)

2 - There's No You

(Hopper)

3 - On The Minute

(Eardley)

Side 2

4 - Ladders

(Eardley)

5 - Koo Koo

(Eardley)

6 - Eard's Word

(Woods)

Jon Eardley (trumpet), Zoot Sims (tenor sax), Phil Woods (alto sax), Milt Gold (trombone), George Syran (piano), Teddy Kotick (bass), Nick Stabulas (drums).

Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, January 13, 1956.

Gigi Gryce And The Jazz Lab Quintet

There is, in a group like this, solid reason for optimism about the future of jazz. For here are five musicians, all young but all well-seasoned by experience, proving by their own example that there is an almost limitless quantity of valid, moving, enjoyable music to be derived from the (more or less) standard materials of current jazz. 

It is, admittedly, rather deceptive and unfair to refer to "standard materials". For what is going on here is really altogether cut of the ordinary. On the one hand, these are not innovators and experimenters in any wild, far-out sense of those words. (They are actually a bit concerned that the name chosen for the group might give an inaccurate impression that they are trying to be a "laboratory" of arbitrary and artificial 'new sounds for the sake of newness') If you are the sort who insists on labels for music, you can safely place these men in the post-bop school of jazz. But you have to go on from there. For what is taking place in this Jazz Lab really is experimentation — of a non-esoteric, but nonetheless extremely unusual and valuable kind. It is, you can say, an attempt to push the boundaries of the kind of jazz these men love best as far forward as possible, but without making any drastic alterations of its shape or form. 

Jazz forms, no matter how radical they may have been when first introduced, inevitably tend to grow stale and cliche-ridden if they continue to be approached in the same way and from the same direction year after year. The most obvious solution to this problem is to throw the old form away, or to keep the merest shell of it, and strike out in all sorts of new directions. This is what quite a few jazz artists have been doing in the past few years, with widely varying degrees of success. But the approach that Gigi Gryce has been taking, in his writing and playing, and now in his work as the guiding hand of this quintet, is both simpler and less obvious, perhaps more difficult and surely every bit as valid. As demonstrated on this LP, it involves enriching and re-invigorating the basic bop formula, rather than abandoning it — adding fresh, rhythmic and melodic ideas, and effectively combining full-bodied arrangements with the freshness and enthusiasm of gifted young musicians who are themselves not the slightest bit stale or cliched. *Orrin Keepnews (liner notes)*

The late alto saxophonist Gigi Gryce was at his best when teamed with trumpeter–he had worked productively with Clifford Brown and Art Farmer before establishing a partnership with Donald Byrd in 1957. As the Jazz Lab Quintet, Gryce and Byrd recorded five and a half albums for five different labels within a mere six months. This was the Lab’s first session and one of its best, with the spotlight on Gryce originals including the classic "Minority" and explosive "Wake Up!" (Lee Sears, a nom de disque, is borrowed from Gryce’s wife). *concord.com*

Hard to find Riverside LP of this group led by Gigi Gryce running down nice hard bop numbers. There's no dry academic performances here, not that you'd guess that from the line-up, but the title kind of leads you in that direction. Donald Byrd and Gryce are playing nice and hard up front, with Wade Legge on piano, Wendell Marshall on bass and Art Taylor on drums cooking nicely in the rhythm section. The tracks include Legge's "Geraldine" and Gryce's "Minority" plus "Love For Sale", "Zing Went The Strings Of My Heart" and "Wake Up!". *dustygroove.com*

Side 1

1 - Love For Sale

(Cole Porter)

2 - Minority

(Gigi Gryce)

Side 2

3 - Geraldine

(Wade Legge)

4 - Zing! Went The Strings Of My Heart

(J. Hanley)

5 - Wake Up!

(Lee Sears)

Gigi Gryce (alto sax), Donald Byrd (trumpet), Wade Legge (piano), Wendell Marshall (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, February 27 (#1, #2, #3) and March 7 (#4, #5), 1957.

Russ Garcia - Four Horns And A Lush Life

The name of Russell Garcia always comes to mind when we try to describe the orchestral sounds emerged from West Coast jazz scene during the second half of the Fifties. His works are regarded with great respect for the special, distinctive touch there is in all of his arrangements that helped to enrich the language of both orchestra and combo-size jazz ensembles.

On this LP Russ conducts a band featuring four trombones with support from a rhythm section and a baritone sax that validates the experimentalists cause. Herbie Harper, Tommy Pederson and Frank Rosolino play slide trombones, while Maynard Ferguson romps through the proceedings on valve trombone. Each member of this quartet is a distinguished artist in brass and their blended talent has produced a trombone choir that is unexcelled. *Jordi Pujol*

There are great jazz albums and then there are tasty great jazz albums. This is the latter Russ Garcia's Four Horns and a Lush Life (Bethlehem). Recorded in Hollywood in November 1955, the band featured four gorgeous trombonists: Frank Rosolino, Herb Harper, Maynard Ferguson and Tommy Pederson (tb) backed by Dick Houlgate (bs), Marty Paich (p), Red Mitchell (b), Stan Levey (d) and Russ Garcia (arr, conductor).

In 2008, I asked Russ about the album during a JazzWax interview:

Marc Myers: Four Horns and a Lush Life featured your original four-trombone concept. Who came up with the song title, I'll Never Forget What's Her Name?

Russ Garcia: (laughs) Oh, that was trombonist Frank Rosolino. The tune actually was "Fine and Dandy", but there wasn't much left of that. I just took the chord structure and wrote an original. I said, "What do I call this?" Frank was a funny, funny guy. He shot out, how about "I'll Never Forget What's Her Name." It was too good to pass up.

Marc Myers: What is it about writing for the trombone that you love so much?

Russ Garcia: The instrument can be strong and gutsy and swinging, or it can be soft and beautiful, like a French horn. And it's in a tenor range, which is always very pleasant. I just kind of enjoy the instrument. I played a wee bit of trombone. After that Four Horns album, I wound up writing a number of trombone-oriented albums in the 50s for Frances Faye and Anita O'Day.

Also note the juicy piano solos taken by Marty Paich and how soft and brief his left was in the bass clef. *Marc Myers*

Russ Garcia was a popular arranger in the mid-'50s, often working with some of the best jazz artists of the day. On this session for Bethlehem, he conducts an octet with four trombonists (including Maynard Ferguson, Frank Rosolino, Herbie Harper and Tommy Pederson), plus baritone saxophonist Dick Houlgate, pianist Marty Paich, bassist Red Mitchell and drummer Stan Levey. Most of Garcia's cool arrangements are of standards, while his "I'll Never Forget What's Her Name (The Lo-est)" is a barely disguised reworking of the chord changes to "Fine and Dandy". Obviously, the trombonists are the primary focus of the solos, though Paich, Houlgate and Mitchell get a chance to get in a few licks of their own. Garcia's use of a trombone choir is very effective in the warm treatment of "Lush Life" and a cooking "What Is This Thing Called Love?". *Ken Dryden*

Side 1

1 - I'll Never Forget What's Her Name

(Garcia)

2 - But Beautiful

(Burke, Van Heusen)

3 - Dancing On The Ceiling

(Rodgers, Hart)

4 - The Boy Next Door

(Martin, Blane)

5 - Just One Of Those Things

(Porter)

6 - Zigeuner

(Coward)

Side 2

7 - Limehouse Blues

(Braham, Furber)

8 - Lush Life

(Strayhorn)

9 - Lover, Come Back To Me

(Romberg, Hammerstein)

10 - Ramona

(Wayne, Gilbert)

11 - Someone To Watch Over Me

(G. and I. Gershwin)

12 - What Is This Thing Called Love?

(Porter)

Frank Rosolino, Herbie Harper, Maynard Ferguson, Tommy Pederson (trombones); Dick Houlgate (baritone sax); Marty Paich (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded in Holywood, California, November 14, 1955.

Arranged and conducted by Russ Garcia

Herbie Harper - Jazz In Hollywood Series

Herbie Harper played for Charlie Barnet, Gene Krupa, and Benny Goodman in the last years of the Swing Era and established himself as a superior trombonist. In 1947, with bands dwindling, he found employement in the film, broadcasting, and recording studios of Holywood. Harper continued his involvement with jazz not only as a player but as an organizer and inspirational force. By 1953, when Los Angeles was becoming the  focal point of so-called West Coast Jazz, Harper was in the thick of it. His recordings for the small Nocturne label featured some of the bright stars of the period. They included the remarkable baritone saxophonist Bob Gordon, pianist Jimmy Rowles, and Bud Shank, heard here on tenor and baritone saxes rather than his customary alto and flute. Harper's horn, by turns quicksilver and blowsy, sets the pace.

Herbie Harper

Nocturne Records • Jazz In Hollywood Series

Although somewhat forgotten today, Herbie Harper was one of jazz's top trombonists of the 1950s. Even with the time he spent doing studio work, Harper was closely involved in the West Coast jazz movement in Los Angeles. This CD has Harper's two Nocturne dates, including the earliest session cut by the label. Harper is heard on a delightfully swinging set with baritonist Bob Gordon, pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte, and on two other sessions with Babasin, Harte and sometimes Bud Shank (on tenor and baritone rather than alto and flute), guitarist Al Hendrickson and/or pianist Marty Paich. The music includes cool renditions of swing-era songs, a few newer originals, and some offbeat material. Recommended. *Scott Yanow*

A great little package that features two rare 10" albums by trombonist Herbie Harper -- both issued by the short-lived Nocturne label in the 50s! Harper's sound here is totally great -- a tightly-crafted approach to his instrument that rivals that of some of his more famous contemporaries on the LA scene, but which is also served up with a bit of grit in the solos -- a slightly earthy feel at times that's a nice contrast to some of the more modern tendencies of the records. The first half of the CD features Harper in a quintet with Bob Gordon on baritone sax, Jimmy Rowles on piano, Harry Babasin on bass, and Roy Harte on drums -- and the Babasin/Harte team return on the second half, which features quartet and quintet sides with Al Hendrickson on guitar, Bud Shank on tenor, and Marty Paich on piano. Titles include "Patty", "Herbstone", "Five Brothers", "The New York City Ghost", "Julie Is Her Name", "Sanguine", "Now Playing", "6/4 Mambo", and "Bananera".  *dustygroove.com*

1 - Jeepers Deepers

(McDougall)

2 - Dinah

(Lewis, Young, Akst)

3 - Five Brothers

(Mulligan)

4 - Herbstone

(Harper)

5 - Summertime

(Gershwin, Gershwin, Heyward)

6 - Jive At Five

(Edison, Basie)

7 - Patty

(Hendrickson, Graas)

8 - The New York City Ghost

(Young, Lee)

9 - Julie Is Her Name

(Troup)

10 - Sanguine

(Paich)

11 - Now Playing

(Hefti)

12 - 6/4 Mambo

(Graas)

13 - Bananera

(Riddle)

14 - Indian Summer

(Herbert)

15 - The Happy Clown

(Paich)

#1 to #6:

Herbie Harper (trombone), Bob Gordon (baritone sax), Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drum).

United Western Recorders, Los Angeles, California, February 27, 1954.

#8, #10, #11, #15:

Herbie Harper (trombone), Bud Shank (tenor and baritone sax), Marty Paich (piano), Harry Babasin (bass), Roy Harte (drums).

United Western Recorders, Los Angeles, California, September 16, 1954.

#7, #9, #12, #13, #14:

Herbie Harper (trombone), Al Hendrickson (guitar), Harry Babasin (bass), Roy Harte (drums).

United Western Recorders, Los Angeles, California, September 27, 1954.

Richie Kamuca - Jazz Erotica

Jazz Erotica is a title conjured from Eros, Greek goddess of Love. If you're a lover of jazz, Jazz Erotica is a MUST for you. If you're just a lover, try looking at the cover illustration as you play this album – you'll get the message. 

The group reads like the roster of Who's Who in modern jazz! Richie Kamuca gets from his saxophone the sounds which are rapidly bringing him to the top. Conte Candoli and Ed Leddy play a pair of faultless trumpets. Frank Rosolino's trombone is the most. Vince Guaraldi's precision piano is at the right place at the right time. Monte Budwig's bass solos frequently, and the drum beat of Stan Levey is urgent, exciting. 

Bill Holman does the arrangements and his antics on baritone are almost unbelievable. Two interesting originals by Bill Holman are "Blue Jazz" and "'Way Down Under". They have the Holman touch, a large credit in itself. Bill's compositions and arrangements are each studied, carefully planned successes; no ad lib, nothing happens by chance. Not too far out, but a long'ways from being square, Bill's arrangements and the polish of this group of top jazz All Stars will send the true lover of jazz, and pique the interest of the jazz novice.

As you play this album, your room will become alive with brass sounds that ARE brassy; drum and brush sounds that seem to be right there; and the full bass beat that is so important. *(Liner notes)*

Richie Kamuca recorded less than a dozen dates as a leader prior to his death (one day shy of his 47th birthday) in 1977, and this long out of print LP release by HiFi in 1959 may be the hardest one to find. The tenor saxophonist leads a strong octet, with trombonist Frank Rosolino, trumpeters Conte Candoli and Ed Leddy, pianist Vince Guaraldi, bassist Monte Budwig, drummer Stan Levey, and baritone saxophonist Bill Holman, who wrote the arrangements, too. The charts are good examples of cool jazz and feature rich ensembles behind the soloists, especially on standards like "Angel Eyes" and "Indiana". "Blue Jazz" (oddly credited to the leader on the label but Holman in the liner notes) and a brisk "Stella By Starlight" feature Kamuca in a stripped-down setting with the rhythm section. Expect to pay a premium price for this LP. *Ken Dryden*

1 - 'Way Down Under

(Bill Holman)

2 - Blue Jazz

(Bill Holman)

3 - Angel Eyes

(Matt Dennis, Earl Brunt)

4 - Stella By Starlight

(Victor Young, Ned Washington)

5 - Star Eyes

(Don Raye, Gene DePaul)

6 - I Hadn't Anyone Till You

(Ray Noble)

7 - Linger Awhile

(Vincent Rose, Harry Owens)

8 - The Things We Did Last Summer

(Jule Styne, Sammy Cahn)

9 - If You Were No One

(Bill Holman)

10 - Indiana

(James Hanley, Ballard MacDonald)

#2, #4, #7, #9:

Richie Kamuca Quartet

Richie Kamuca (tenor sax), Vince Guaraldi (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded at Vista de Oro Studio, Los Angeles, California, May 26, 1957.

#1, #3, #5, #6, #8, #10:

Richie Kamuca Octet

Richie Kamuca (tenor sax); Conte Candoli, Ed Leddy (trumpets); Frank Rosolino (trombone); Bill Holman (baritone sax); Vince Guaraldi (piano); Monty Budwig (bass); Stan Levey (drums).

Recorded at Vista de Oro Studio, Los Angeles, California, May 27, 1957.

Arranged and conducted by Bill Holman 

Chet Baker & Art Pepper - The real birth of "Playboys"

Chet Baker & Art Pepper

The Route

Dick Bock, owner and producer of Pacific Jazz Records, had some strange habits. Among them were switching takes when a tune went from 10" lp to 12" lp. Often he would gather together anthologies of unreleased material from various artists and various sessions. On the occasion of this Baker-Pepper sextet date, which actually has its players working in a variety of combinations, an album was never realized. Instead, various tracks would emerge on various anthologies in the late fifties. Releasing these performances in such scattered form over time gave the session a status of almost non-existence. To make matters worse, some tunes kept reappearing on new anthologies in shorter and shorter forms through editing.

Just three months after this session, Bock brought Baker and Pepper together again in a sextet format. The rest of the personnel was different. The repertoire consisted of re-recordings of Pepper's "Tynan Time" and "Minor Yours" and four compositions written and arranged by Jimmy Heath. That date, released in its entirety as PLAYBOYS, was carefully planned and structured to be an album. Baker and Pepper were at the top of their creative powers and the results were superb. The session at hand is no less brilliant, but when you look at the totality of the work, there is no unifying thread, just fabulous music.

Perhaps at the time, the varied contents of this session dictated its fate of scattered release. But it is not a fate that it deserved. Having that day reconstructed on one disc is not only a tribute to the brilliance and range of its participants, but also to jazz itself. *Michael Cuscuna (liner notes)*

This 1989 CD issue compiles all known sides cut during a July 26, 1956, session led by Chet Baker (trumpet) and Art Pepper (alto sax). Keen-eyed enthusiasts will note that this particular date occurred during a remarkable week -- July 23 through July 31 -- of sessions held at the behest of Pacific Jazz label owner and session producer Dick Bock at the Forum Theater in Los Angeles. The recordings made during this week not only inform The Route, but three other long-players as well: Lets Get Lost (The Best of Chet Baker Sings), Chet Baker and Crew, and Chet Baker Quintet at the Forum Theatre. Likewise, these were the first sides cut by Baker since returning from his triumphant and extended stay in Europe. The Route compiles all 11 tracks by the sextet featuring Richie Kamuca (tenor sax), Pete Jolly (piano), Leroy Vinnegar (bass), and Stan Levey (drums) in support of Baker and Pepper. Bock had no immediate plans to use these recordings for any one album; that is to say he incorporated the tracks throughout various compilations released on Pacific Jazz. Three months later, however, Baker and Pepper did record with completely different personnel for the expressed purpose of issuing what would become known as Playboys and alternately Picture of Heath. Perhaps encouraged by the swinging interaction on Pepper's "Tynan Time" and "Minor Yours", both tracks were featured at this session as well as during the Picture of Heath collaboration. There are a few unexpected moments of sheer brilliance spread throughout, such as the Baker-penned title track, which contains supple and nicely contrasting solos from Kamuca and Vinnegar -- whose solid pendulum accuracy swings all through this collection. The Route is recommended for completists as well as curious consumers wishing to expand their knowledge of the light and airy rhythms that typify the cool West Coast jazz scene of the mid-'50s. *Lindsay Planer*

1 - Tynan Time

(Pepper)

2 - The Route

(Baker)

3 - Sonny Boy

(Jolson, De Sylva, Brown, Henderson)

4 - Minor Yours

(Pepper)

5 - Little Girl

(Henry, Hyde)

6 - Ol' Croix

(Pepper)

7 - I Can't Give You Anything But Love

(McHugh, Fields)

8 - The Great Lie

(Gibbon, Calloway)

9 - Sweet Lorraine

(Burwell, Parrish)

10 - If I Should Love You

(Robin, Rainger)

11 - Younger Than Springtime

(Rodgers, Hammerstein)

Chet Baker (trumpet), Art Pepper (alto sax), Richie Kamuca (tenor sax), Pete Jolly (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded at Forum Theatre, Los Angeles, California, July 26, 1956.

Chet Baker & Art Pepper - Playboys

The music of Chet Baker and Art Pepper has been heard and appreciated all over the world, thanks to three elements which probably have meant more to the musical history of the Twentieth Century than is yet fully realized. I am thinking of radio, the phonograph and the faster means of communication available. There have been many form of music, but none other than jazz has experienced such a rapid growth and in so little time has seen the birth of so many different schools and contrasting styles. Jazz is by its very nature a typical Twentieth Century phenomenon; it gives the individual musician and the listener an emotional outlet and an esthetic experience, while they are at the same time a stable part of a group of people. The collective spirit and teamwork which is so typical of good jazz rhythm section, the complete collaboration between human beings who still can retain their identity, is one of the happiest examples of thought and theory which have been with us last hundred years.

Of course, it is impossible for everybody to be completely different from everyone else in all aspects, and everyone has to belong to a certain time, enviroment, and style of living, talking and playing. The true artist take advantage of these facts, not necessarily consciously, and uses them to accentuate his own personality while expressing himself in the style which is most fitting for what he wants to say.

The combination of a trumpeter and an altoist always seems to be stimulting, teams like Dizzy Gillespie-Charlie Parker or Parker-Miles Davis, Clifford Brown-Lou Donaldson or Art Farmer-Gigi Gryce having produced some of the most worthwhile jazz ever recorded. This album is the first recorded example of Chet Baker and Art Pepper playing together, and their collaboration is indeed a fruitful one. The consistency of playing and the never-failing inspiration on these sides is a joy to hear. *Lars Werner (LP's liner notes)*

In the relatively short history of jazz on record, many an album has been produced with the thinking that, if one star soloist can make great music, two can make greater music. This thinking is logical but frequently the music produced by such starry affairs does not ignite. Either one musician has no positive feeling for the other's playing or their styles are incompatible. But occasionally the pairing of two stars produces music of a higher order — music sparked by mutual inspiration and rapport. Such was the case with Chet Baker - Art Pepper PLAYBOYS session for Pacific Jazz.

At the time, October 31, 1956, both Baker and Pepper were at their peaks, which is to say that each was playing as much or more on his instrument than anyone in jazz. But their playing alone is not what elevates this recording; they were also inspired by and, in turn, inspired the other members of the sextet — Phil Urso, Carl perkins, Curtis Counce, and Lawrence Marable. Everything clicked this day.

Here is an all-star session that succeeds on all levels. This particular combination of great musicians and excellent material served to produce visceral playing and lasting music. Sometimes it works. *Todd Selbert (CD's liner notes)*

These 1956 Pacific Jazz sides appeared in 1961 under the title Playboys. Myth and rumor persist that, under legal advice from the publisher of a similarly named magazine, the collection would have to be retitled. It was renamed Picture of Heath, as more than half of the tracks are Jimmy Heath compositions. Regardless, the music is the absolute same. These are the third sessions to feature the dynamic duo of Art Pepper (alto sax) and Chet Baker (trumpet). Their other two meetings had produced unequivocal successes. The first was during a brief July 1956 session at the Forum Theater in L.A. Baker joined forces with Pepper's sextet, ultimately netting material for the Route LP. Exactly three months to the day later, Pepper and Baker reconvened to record tracks for the Chet Baker Big Band album. The quartet supporting Baker and Pepper on Playboys includes Curtis Counce (bass), Phil Urso (tenor sax), Carl Perkins (piano), and Larance Marable (drums). Baker and Pepper have an instinctual rapport that yields outstanding interplay. The harmony constant throughout the practically inseparable lines that Baker weaves with Pepper drives the bop throughout the slinky "For Minors Only". The soloists take subtle cues directly from each other, with considerable contributions from Perkins, Counce, and Marable. With the notorious track record both Baker and Pepper had regarding other decidedly less successful duets, it is unfortunate that more recordings do not exist that captured their special bond. These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.

*Lindsay Planer*

1 - For Minors Only

(Jimmy Heath)

2 - Minor – Yours

(Art Pepper)

3 - Resonant Emotions

(Jimmy Heath)

4 - Tynan Tyme

(Art Pepper)

5 - Picture Of Heath

(Jimmy Heath)

6 - For Miles And Miles

(Jimmy Heath)

7 - C.T.A.

(Jimmy Heath)

Chet Baker (trumpet), Art Pepper (alto sax), Phil Urso (tenor sax), Carl Perkins (piano), Curtis Counce (bass), Larance Marable (drums).

Recorded at Radio Recorders, Hollywood, California, October 31, 1956.

Billy Ver Planck Orchestra - Jazz For Playgirls

Billy Ver Planck is a highly respected arranger, composer and trombonist, husband of the brilliant singer Marlene Ver Planck (Marlene Paula Pampinella), surely one of the most underrated vocalists of the last three decades. This is one of the three or four albums he did for Savoy in the 1950s using a big-sounding nine-piece band containing such notable soloists as trombonist Bill Harris, also saxist Phil Woods, trumpeter Joe Wilder and Eddie Costa doubling vibraphone and piano. The writing is excellent for it inspires the soloists and allows them space to deploy themselves. This was a particularly productive period for Woods, who takes off like a rocket on a number of tracks and is fea tured throughout "Whoo-ee!". The unique sound that was Bill Harris is still a joy, and when Ver Planck takes over the solo trombone role on one track it is obvious who he admires. The playing time could be better, but the work of Ver Planck and his colleagues is above reproach.

A nine man ball! Yes, that’s the best way to describe the exciting occurence in jazz captured in the enclosed album. Billy Ver Planck, versatile young trombonist-writer, has composed and arranged seven superb essays for jazz nonet that are sure to capture the vote of every jazz fan! Featuring the brilliant Bill Harris and Phil Woods, Seldon Powell, Eddie Costa, Joe Wilder and "a cast of thousands" as the ads say! Ver Planck and Ozzie Cadena, SAVOY A&R chief, have collaborated and individually contributed tunes, that Billy has given a wide range of interpretation. *H. Alan Stein (liner notes)*

A good straight ahead 1957 nonet album arranged and conducted by little known Billy Ver Planck featuring the alto sax of Phil Woods and the trombone of ex Woody Herman trombonist Bill Harris. One or the other, or both, solo on every track with occasional trumpet or tenor sax solo as well. 

The sequencing here is perfect beginning with the most popular tune first, although Horace Silver had just recorded it the previous year. Billy raises the tempo perhaps hoping to get some radio airplay too and the down tempo tunes are well placed. My only minor objection is the vibraphone playing of Eddie Costa on the longest track, comping behind Harris's playing and then taking a Lionel Hampton like solo of his own detracting a bit from the straight ahead nature of the album. Costa plays piano on the rest album. Keep a ear out for Phil Wood's cool but brief clarinet solo on "Winds". *John M. (Amazon customer)*

Arranger Billy Ver Planck leads a nones on some hard-swinging numbers; all but Horace Silver's "Señor Blues" were composed either by Ver Planck or producer Ozzie Cadena. Starring on these spirited sides are trombonist Bill Harris (who is heard at his most exciting on "Play Girl Stroll"), altoist Phil Woods (doubling on clarinet), Eddie Costa (doubling on vibes and piano) and trumpeter Joe Wilder. Ver Planck's arrangements make the group sound twice as big as it was yet have the feel of a small combo. A highly recommended disc. *Scott Yanow*

Side 1

1 - Señor Blues

(Horace Silver)

2 - Play Girl Stroll

(Ozzie Cadena)

3 - Aw, C'mon Sugah!

(Ozzie Cadena)

Side 2

4 - Whoo-ee!

(Ozzie Cadena)

5 - Miss Spring Blues

(Billy Ver Plank)

6 - Winds

(Billy Ver Plank)

7 - Du-udah-udah

(Billy Ver Plank)

#1 and #3 to #7:

Clyde Reasinger, Joe Wilder (trumpets); Bill Harris [#1 to #5], Billy Ver Planck [#6] (trombones); Phil Woods (alto sax); Seldon Powell (tenor sax); Gene Allen (baritone sax); Eddie Costa (vibes, piano); George Duvivier (bass); Bobby Donaldson (drums). 

Recorded at Van Gelder Studio, Hackensack, New Jersey, November 17, 1957

#2

Bernie Glow, Phil Sunkel (trumpets), Bill Harris (trombone); Phil Woods (alto sax); Seldon Powell (tenor sax); Sol Schlinger (baritone sax); Eddie Costa (vibes, piano); Wendell Marshall (bass); Gus Johnson (drums). 

Recorded at Van Gelder Studio, Hackensack, New Jersey, July 30, 1957

Billy Ver Planck (Arranger and conductor) 

The Jack Marshall Sextette - 18th Century Jazz

Let’s come right to the point. What is this eighteenth-century jazz?

Basically it’s an engaging concoction of sparkling music, best defined as our kind of jazz played on their kind of instruments. Put it this way. If, in the 1700’s, one of maestro Jack Marshall’s ancestors —call him Sir Jonathan Marshall— had known how to swing and did make records, these are the kind of numbers he would have produced: swinging, happy jazz in the best melodic fashion. But, unfortunately, Sir Jonathan never swung, and the task was left to one of his descendants, our Jack.

And Marshall has created arrangements for this album that are fresh and fun all the way. A typical invention on one of these twelve beautiful tunes starts out with thoughtful noodlings by first chairman Marshall. Next a swinging beat —possibly that of the. gavotte— is added to the melody, which is then shared by gentlemen of the "front line" —the flautist, 'cellist, and harpsichordist. Then, at a nod from the maestro, the group launches into a polite restatement of the theme, possibly in the form of a petite waltz, a haughty polonaise, or a slightly latin divertissement.

Putting together all the elements present —the best in musicians, twelve favorite tunes, and the last word in eighteenth-century instruments— Marshall pops up with music to stagger the imagination, jazz to soothe the savage beast in us all — a swinging sound that would be top drawer in an century. *(Liner notes)*

This out of print vinyl record contains 12 jazz standards recorded with musical instruments of the 18th Century -hence the title of the work. Each musician plays both with virtuosity and creativity and every piece swings. The slow pieces such as "Invitation", have a haunting, fantastic magical atmosphere. 

Must be one of the first jazz recordings using classical guitar. This is quite a good album and it is clear that Marshall is an excellent guitarist. *Dan S. Tong*

Side 1

1 - Have You Met Miss Jones?

(Richard Rodgers, Lorenz Hart)

2 - I Didn't Know What Time It Was

(Richard Rodgers, Lorenz Hart)

3 - Star Eyes

(Don Raye, Gene Paul)

4 - It Might As Well Be Spring

(Richard Rodgers, Oscar Hammerstein II)

5 - I've Told Ev'ry Little Star

(Richard Rodgers, Oscar Hammerstein II)

6 - Jeepers Creepers

(Harry Warren, Johnny Mercer)

Side 2

7 - My Heart Belongs To Daddy

(Cole Porter)

8 - S'posin'

(Paul Denniker, Andy Razaf)

9 - Like Someone In Love

(James Van Heusen, Johnny Burke)

10 - Isn't It Romantic?

(Richard Rodgers, Lorenz Hart)

11 - Invitation

(Bronislau Kaper, Paul Francis Webster)

12 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

Jack Marshall (classical guitar, lute), Harry Klee (flute, bass flute), Edgar Lustgarten (cello), Milt Raskin (harpsichord), Red Mitchell (bass), Shelly Manne (drums).

Recorded in Los Angeles, California, circa summer/autumn 1958. 

• The Fourmost Guitars •

Jimmy Raney • Chuck Wayne • Joe Puma • Dick Garcia 

The Fourmost Guitars

The Fourmost Guitars, was a 1956, 12-inch release from ABC-Paramount that featured four different top jazz guitarists of the period.

At first glance, I thought it was akin to one of those Savoy samplers featuring a range of different artists who recorded for the label. But on closer inspection and a bit of research, it seems to be a more sophisticated package. Here's how I believe this album came to be:

In 1956, when producer Creed Taylor left Bethlehem to join ABC-Paramount as head producer of the jazz division, he must have been given tape from recording sessions held the previous year. In all likelihood they were recordings from initial sessions to be held over multiple days but never completed. Perhaps they were done for singles or 10-inch LPs just as the record industry was switching to the 12-inch format.

Somewhat puzzling is the timing. Several of these sessions were held prior to ABC-Paramount forming in September 1955. Either way, the material was shelved or put on hold until the artists could be rounded up again to finish what was started.

I'm guessing that when Creed gave a listen, he realized many were quite good. Included in the stack of tape reels were three different sessions led by different guitarists — Jimmy Raney, Chuck Wayne, and Dick Garcia and Joe Puma.

As he listened, Creed probably leaned back in his chair and concluded there were two ways to go. Bring in the different artists to complete enough tracks for three different 12-inch albums, which wouldn't be easy given the schedule of musicians at this level back then. Or simply take the tracks that existed and create a guitar album. Creed chose the latter. The result was The Fourmost Guitars.

The cover featured an image of four guitars ablaze at night on a sandy beach, an eye-catching allegory signaling to the buyer that the guitarists playing inside were red hot. The back cover is telling. For one, while Creed was given credit in the bottom right-hand corner as the album's producer, his famed oversized signature hadn't yet begun to be used.

Also interesting is that the cover design was credited to Fran Scott, who was Tony Scott's wife at the time. She was an ABC-Paramount art director and would work closely with Creed on the covers at the label until 1960, when he founded the Impulse label for ABC.

As for the music, what we have here are fascinating examples of superb mid-1950s jazz guitarists backed by different instrumental configurations.

The swinging guitarists' tasteful chords and lines are impossibly great. I'm always astonished at how many terrific jazz guitarists there were on both coasts in the 1950s. Clearly there was plenty of work to go around. On this album, we have the roundness and lyrical wanderings of Wayne, the plucky determination of Raney and the low-register togetherness of Garcia and Puma, especially on "Time Was". *Marc Myers*

Since approximately the end of World War II, the guitar has increasingly come into its own as a solo instrument of stature in the world of jazz. The late Charlie Christian is credited with opening the way during the Thirties and early 'Forties. The tradition has since been carried on by such people as Billy Bauer, Jimmy Raney, Bill DeArrango, Chuck Wayne, Barney Kessel, and more recently, Tal Farlow, Joe Puma, Sal Salvadore, Herb Ellis, Dick Garcia, etc. Toward this álbum.

The Fourmost Guitars, four of the best practitioners of guitar jazz have contributed.

Jimmy Raney is one of the most widely known and influential of the modern jazz guitarists. Jimmy has played under such leaders as Woody Herman, Artie Shaw, Terry Gibbs, Buddy De Franco, Stan Getz and Red Norvo. For the past year or so he has been a member of Jimmy Lyon’s Blue Angel house trio. His guitar can be heard on numerous recordings.

Although he has been employed for the past couple of years as accompanist to singer Tony Bennett, Chuck Wayne can be remembered from the Fifty-Second Street days following World War II. Chuck has played with numerous jazz groups in addition to his own. He is an alumnus of the early George Shearing Quintet and the great Woody Herman band of the late Forties which recorded the "Sequence In Jazz" album.

Joe Puma is thirty years old and a native of The Bronx. A family man (Joe has a wife and two daughters), he has stayed as close to New York as possible. His experience includes tenures with Joe Roland, Artie Shaw, Louis Bellson, Don Elliott and Herbie Mann, among others. In the past couple of years Joe has done considerable recording work and has moved steadily toward wider recognition. 

Dick Garcia is the youngest of the four guitarists in age (he is twenty-five), but by no means the youngest as far as talent is concerned. Dick has played with George Shearing, Tony Scott, Joe Roland, and is currently touring with Ray McKinley’s band. He is a prolific composer and has broad tastes in music (and a particular fondness for Spanish folk music). *Tom Stewart (liner notes)*

The Fourmost Guitars is actually a compilation of three separate groups recorded especially for this Paramount LP from the mid-'50s. The first guitarist, Jimmy Raney, is heard on four tracks with trumpeter John Wilson, pianist Hall Overton, bassist Teddy Kotick, and drummer Nick Stabulas. Raney composed two originals, including the snappy bop vehicles "Two Drams of Soma" and "Scholar's Mate" (the latter referring to being checkmated in chess in just four moves), along with intricate arrangements of the standards "Gone with the Wind" and "Yesterdays". Guitarists Dick Garcia and Joe Puma play together on four tracks with bassist Dante Martucci and drummer Al Levitt. Without a pianist or horn, their collaboration is a more easygoing affair, though no less enjoyable. Finally, Chuck Wayne is accompanied by pianist Dave McKenna, bassist Oscar Pettiford, altoist Dave Schildkraut, and drummer Sonny Igoe on three songs. The interplay between Wayne and Schildkraut is delightful in the uptempo setting of "If I Ever Love Again". Like many Paramount albums, this LP has long been a collectible and seems to be an unlikely candidate for reissue.

*Ken Dryden*

Side 1

1 - Two Dreams Of Soma

(Raney)

2 - I'm Old Fashioned

(Kern, Mercer)

3 - You Stepped Out Of A Dream

(Brown, Kahn)

4 - Time Was

(Prado, Luna)

5 - Scholar's Mate

(Raney)

6 - Easy Living

(Robin, Rainger)

Side 2

7 - Ain't Misbehavin'

(Waller, Brooks)

8 - Gone With The Wind

(Ahlert, Young)

9 - Li'l Basses

(Garcia)

10 - If I Love You Again

(Oakland, Murray)

11 - Yesterdays

(Kern, Harbach)

#1, #5, #8, #11: 

Jimmy Raney Quintet

Jimmy Raney (guitar), John Wilson (trumpet), Hall Overton (piano), Teddy Kotick (bass), Nick Stabulas, drums. 

Recorded in New york City, February 23, 1956.

#2, #4, #7, #9:

Joe Puma - Dick Garcia Quartet

Joe Puma, Dick Garcia (guitars), Dante Martucci (bass), Al Levitt (drums).

Recorded in New York City, December 18, 1955.

#3, #6, #10:

Chuck Wayne Quintet

Chuck Wayne (guitar), Dave Shildkraut (alto sax), Dave McKenna (piano), Oscar Pettiford (bass), Sonny Igoe (drums).

Recorded in New York City, February 17, 1956. 

Pete Rugolo - Rugolo Plays Kenton

In this period of the development of music, when many know how to orchestrate but few are gifted with the ability to also compose, Pete Rugolo stands as one of the rare. 

His thorough training in the technique of creating music has given him the knowledge to build music of rich harmonic content. The years spent in close association with Pete have been some of the most rewarding in my career. As well as contributing to my orchestra to a tremendous extent, in being able to work with him in collaboration, he also became my teacher. 

Today the Rugolo influence on music is heard everywhere. His voicings, phrasings, harmonic progressions, and technique in general are copied by all of us. 

In spite of all he has done, I feel his greatest is yet to come. I'm grateful and flattered that Pete Rugolo felt enough for some of my music to devote this album to it. *Stan Kenton (liner notes)*

Most of these fine 1958 recordings are re-creations of some of the great instrumentals made famous by the Stan Kenton orchestra of the Forties, with all writing done by Stans former chief arranger, Pete Rugolo. Describing Petes musical talents, Kenton declared: His thorough training in the technique of creating music has given him the knowledge to build music of rich harmonic content. The years spent in close association with Pete have been some of the most rewarding in my career. As well as contributing to my orchestra to a tremendous extent, in being able to work with him in collaboration, he also became my teacher. Its no surprise that The Pete Rugolo Orchestra plays compositions introduced by Stan Kenton is a challenging and stimulating album. *Jordi Pujol*

Since Pete Rugolo came to fame for his many arrangements for the Stan Kenton Orchestra and this was one of his last important jazz albums before he became largely a full-time writer for the studios, it seems only proper that the date finds Rugolo paying tribute to his former boss. Rugolo rearranged a dozen numbers originally recorded by Stan Kenton, including four —"Minor Riff", "Theme to the West", "Artistry in Boogie", and "Capitol Punishment"— he had co-written with Kenton. Using a big band that includes such Kenton alumni as trumpeter Buddy Childers, trombonists Milt Bernhart and Frank Rosolino, altoist Bud Shank, tenor saxophonist Bob Cooper, and drummer Shelly Manne, Rugolo does not merely re-create the past but instead comes up with fresh variations to such songs as "Eager Beaver", "Concerto to End All Concertos", "Artistry in Rhythm" and "Southern Scandal". *Scott Yanow* 

Side 1

1 - Eager Beaver

(Stan Kenton)

2 - Painted Rhythm

(Stan Kenton)

3 - Minor Riff

(Stan Kenton, Pete Rugolo)

4 - Concerto For Doghouse

(Stan Kenton)

5 - Sunset Tower

(Stan Kenton)

6 - Concerto To End All Concertos

(Stan Kenton)

Side 2

7 - Artistry In Rhythm

(Stan Kenton)

8 - Southern Scandal

(Stan Kenton)

9 - Opus In Pastels

(Stan Kenton)

10 - Theme To The West

(Stan Kenton, Pete Rugolo)

11 - Artistry In Boogie

(Stan Kenton, Pete Rugolo)

12 - Capitol Punishment

(Stan Kenton, Pete Rugolo)

#1, #7, #12:

Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist (trumpets); Milt Bernhart, Frank Rosolino, Harry Betts (trombones); Kenny Shroyer (bass trombone); Bud Shank, Harry Klee (flute, alto sax); Bob Cooper, Dave Pell (tenor saxes); Chuck Gentry (baritone sax); Claude Williamson (piano); Howard Roberts (guitar); Don Bagley (bass); Red Callender (tuba); Shelly Manne (drums).

Recorded at Capitol Studios, October 25, 1958.

#2 to #6 and #8 to #11:

Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist (trumpets); Milt Bernhart, Frank Rosolino, Dick Nash (trombones); Kenny Shroyer (bass trombone); Bud Shank, Harry Klee (flute, alto sax); Bob Cooper, Dave Pell (tenor saxes); Chuck Gentry (baritone sax); Claude Williamson (piano); Howard Roberts (guitar); Don Bagley (bass); Red Callender (tuba); Shelly Manne (drums).

Recorded at Capitol Studios, October 26, 1958.

Arranged and directed by Pete Rugolo