Michel Hausser - Mr. Vibes

The vibraphone was still a relative novelty in the jazz scene of the 1950s, particularly in Europe. Its leading proponents in the modern jazz field were Belgian Sadi and French Geo Daly during the first half of the decade. It wouldn’t be until 1955 that another vibes player from France irrupted on the scene: his name, Michel Hausser, and his main influence the art of "Bags" Milt Jackson, his imposing skill, and the role it had in the success of the Modern Jazz Quartet.

It was at the end of 1956 that Michel’s trio had the opportunity to open "Le Chat qui Pêche", a new jazz club that would soon become one of the most popular in Paris. His exciting performances were the talk of the town and paired with the exposure that Hausser received recording with Lucky Thompson and such bandleaders as Christian Chevallier and Quincy Jones, they earned him first place in the 1958 Jazz-Hot poll awards, the first of many in his career.

Although the blues-oriented improvisations and emotional content of Jackson’s approach were evident in Michel’s playing, at the core, his style had a more outgoing flair. In this double CD we can listen to Michel Hausser’s recordings from his prolific Parisian years. Although he has never stopped playing, his name seems to vanish from jazz magazines in 1969, when he returned to his native Alsace, but even so, Michel Hausser will forever remain a referent for jazz vibraphonists everywhere. *Jordi Pujol*

Just like bebop clarinet players, the niche of European vibes players is pretty much an uncharted map. Frenchman Michel Hausser cornered the market back in the bop era of 1958-1960, with this two disc collection showing that he could hold his own against contemporaries Milt Jackson and Teddy Charles.

His sound is confident and relaxed, sometimes with a marimba-like timbre as displayed on his studio and concert recordings from France 1958. The team of Hausser with famed bopper pianist Henri Renard, bassist Ricardo Galeazzi and drummer Dante Agostini sound relaxed and warm on "Isn’t It Romantic" while comparing studio and gig takes of "Rue Dauphine" and "Blues Pour Le Chat" show that the team could kick up the juice in concert format. Ex-pat Bobby Jaspar loans his flute for a crisp "Moaning" and warm "I Remember Clifford" , and is joined by bebop drummer Kenny Clarke and bongo man Humberto Canto for a sleek "Cliff Cliff" and a beatnick'd take of "Mysterioso".

A horn section of Roger Guerin, Luis Fuentes, Dominique Canson and Bob Garcia round out an octet on a 1960 session in Germany hat includes an echoey "These Foolish Things" and MJQ-ish "Up In Hamburg" with some jabbing horns on "Opus De Funk". A year later, a similar conglomerate bops through "Made In Switzerland" while a jam session from 1958 includes boppers Donald Byrd, Zoot Sims, Doug Watkins, Art Taylor and Bobby Jaspar for a sizzling take of "Wee Dot" that has Taylor driving on all 8 cylinders. Sublime chimes. *George W. Harris*

*CD 1*

1 - Blues Pour Le chat

(Michel Hausser)

2 - Isn't It Romantic

(Rodgers, Hart)

3 - Rue Dauphine

(Michel Hausser)

4 - Everything Happens To Me

(Dennis, Adair)

5 - Now’s The Time

(Charlie Parker)

6 - H.E.C Blues

(Michel Hausser)

7 - Rue Dauphine

(Michel Hausser)

8 - Michel Hausser introduces the musicians

9 - These Foolish Things

(Strachey, Link, Marvell)

10 - Blues Pour Le Chat

(Michel Hausser)

11 - Moanin'

(Bobby Timmons)

12 - I Remember Clifford

(Benny Golson)

13 - H.E.C Blues

(Michel Hausser)

14 - Monsieur De...

(René Urtreger)

15 - It's The Talk Of Town

(Livingston, Symes, Neiburg)

16 - Made In Switzerland

(Michel Hausser)

17 - Willow Weep For Me

(Ann Ronell)

18 - Who, You?

(Michel Hausser)

19 - 4 R

(Michel Hausser)

20 - Taking A Chance On Love

(Vernon Duke)

*CD 2*

1 - Cliff Cliff

(Jacques Hess)

2 - Phenil Isopropil Amine

(Bobby Jaspar)

3 - Mysterioso

(Thelonious Monk)

4 - Lullaby Of The Leaves

(Petkere, Young)

5 - Waiting For Irene

(Bobby Jaspar)

6 - Chasing The Bird

(Charlie Parker)

7 - Speak Low

(Kurt Weill)

8 - Up In Hamburg

(Michel Hausser)

9 - Opus De Funk

(Horace Silver)

10 - These Foolish Things

(Strachey, Link, Marvell)

11 - Tadd’s Delight

(Tadd Dameron)

12 - Jive At Five

(Harry Edison)

13 - Blues A San Pauli

(Michel Hausser)

14 - Darn That Dream

(Van Heusen, DeLange)

15 - Tune Up

(Miles Davis)

16 - These Foolish Things

(Strachey, Link, Marvell)

17 - Made In Switzerland

(Michel Hausser)

18 - Wee Dot

(J.J. Johnson)

*CD 1*

#1 to #4:

from the 7" EP Au Chat qui Pêche Vol. 1 (Columbia ESDF 1224)

Micher Hausser (vibes), Henri Renaud (piano), Ricardo Galeazzi (bass), Dante Agostini (drums).

Recorded in Paris, April 23, 1958.

 #5 to #10:

Micher Hausser (vibes), Henri Renaud (piano), Ricardo Galeazzi (bass), Dante Agostini (drums).

Recorded live at Festival de Jazz de Cannes, July 11, 1958.

#11 to #16:

from the album Vibes + Flute (Columbia FPX 173)

Bobby Jaspar (flute #11 to #14), Michel Hausser (vibes), René Urtreger (piano #11 to #14), Paul Rovère (bass), Daniel Humair (drums).

Recorded in Paris, December 16, 1958 [#11 to #14] and February 9, 1959 [#15 and #16].

#17 to #20:

from the 7" EP Michel Hausser Quartet Vol.2 (Columbia ESDF 1254)

Michel Hausser (vibes), René Urtreger (piano), Paul Rovère (bass), Daniel Humair (drums).

Recorded in Paris, November 9 and 10, 1959.

*CD 2*

#1 to #7:

from the album Bobby Jaspar Quartet Featuring Michel Hausser (Barclay 84.063)

Bobby Jaspar (flute), Michel Hausser (vibes, xylophone), Paul Rovère (bass), Kenny Clarke (drums), Humberto Canto (bongos #1, #3, #5 and #6).

Recorded in Paris, December 19, 1958.

#8 to #15:

from the album Michel Hausser Octet -Up in Hamburg (Columbia FPX 189)

Roger Guérin (trumpet), Luis Fuentes (trombone), Dominique Chanson (flute, alto sax), Bob Garcia (tenor sax), Michel Hausser (vibes, piano #13), René Urtreger (piano out on #13), Michel Gaudry (bass), Daniel Humair (drums).

Recorded in Hamburg, March 1960.

#16 and # 17: Michel Hausser All Stars

Michel Hausser (vibes), Roger Guérin (trumpet #17), Bob Garcia (tenor sax #17), Georges Arvanitas (piano), Michel Gaudry (bass), Charles Bellonzi (drums).

Recorded live at Festival de Jazz d’Antibes Juan-les-Pins, July 18, 1961.

#18: Jam Session with the Donald Byrd Quintet

Donald Byrd (trumpet); Bobby Jaspar, Zoot Sims (tenor saxes); Michel Hausser (vibes); Walter Davis (piano); Doug Watkins (bass); Art Taylor (drums).

Recorded live at Festival de Jazz de Cannes, July, 11, 1958.

Fats Sadi - Sadi's Vibes

The Belgian Fats Sadi (1927-2009), due to his technique and modern approach, was the quintessential European vibraphonist of the 50s. In his beginnings, his style was indebted to Lionel Hampton, but as he assimilated the irresistible and evolving influence of Milt Jackson, his music became a true reflection of himself, generous and overflowing with swing.

Upon his arrival in Paris in 1951, Sadi had a hard time finding gigs as a jazzman. There were too many musicians chasing too few jobs and at first he had to work in all kinds of orchestras. From 1953 he joined forces with Bobby Jaspar and grew musically, playing and recording alongside him as a sideman and as a leader while surrounded by the best musicians on the Parisian scene. In 1954, he put together an eight-piece combo that recorded an album of wellcrafted arrangements firmly rooted in the West Coast sound performed with a precision rarely heard in mainland jazz groups at the time.

As the years passed, Sadi continued to develop his style and conception, establishing himself as an impressive and forceful soloist who was capable of sustaining the mood of the tunes with depth and freshness in both wailers and ballads. In the late 50s and early 60s, he was working and recording in Germany and Belgium and he was chosen to integrate the European All-Stars of 1961. On the bonus track "Hittin' the Road", Sadi blows along with another of his compatriots, the great guitarist René Thomas, who unleashes a memorable solo in a particularly graphic aural definition of swing.

In this retrospective we can hear Sadi playing in very different and exciting settings with a fierce flow of ideas and dedication. All in all, this set is an impressive showcase for an almost forgotten and often underrated vibes player. *Jordi Pujol*

Like trumpeter Harry James, Fats Sadi began his musical career in the company of clowns. The Belgian jazz musician played the xylophone in a touring circus before World War II. After the war, he took up the vibraphone and recorded as a sideman and as a leader. He could play swing and bop, and his earliest recordings in 1946 were with fellow Belgian standout, saxophonist and flutist Bobby Jaspar.

In 1950, Sadi moved to Paris in search of work and began playing at the many jazz clubs there in combos and recording as a sideman with Henri Renaud and Django Reinhardt.

Sadi reunited with Jaspar in May 1953 on a three-song session that is part of a recently released album Fats Sadi: Sadi's Vibes, a Retrospective 1953-1961. The album features Sadi on vibes across a range of small groups.

Sadi's leadership sessions start with the Fats Sardi's Combo, recorded in May 1954. In October of that year and in 1958, he was back with Jaspar before recording with trumpeter Jimmy Deuchar in 1959. The album closes out in Brussels in 1961. These are scattered tracks but ones that prominently feature Sadi's firm vibes and cool, tender attack with West Coast jazz overtones. There's a guitar-like quality to his playing, and this album serves as a perfect introduction to a tasty player with plenty of swing and moxie. Fresh Sound features many other Sadi recordings. Have a look. *Marc Myers*

If you're a fan of the vibes, your probable references were the swing era gents of Lionel Hampton or Red Norvo, bebop with Terry Gibbs and Milt Jackson, and that's about it until modern jazz with Bobby Hutcherson. Well, here's a new gent for you to dig, but he's not a "new" guy, but an obscure Belgian stationed in Paris and hitting the vibes with fervermallet with a bunch of impressive locals like Henri Renaud, Maurice Vander, Pierre Michelot, Francy Boland, Jimmy Gourley, Rene Thomas, Genoir Quersin as well as some American ringers like Kenny Clarke, Jymie Merritt, Walter Bishop and Bobby Jaspar.

This single disc contains Sadi in sessions as both leader and sideman swinging from a '53 Jaspar led recording to Sadis' own quartets. With Jaspar, there's a "Nonette" with a hot horn section for "Honky Tonky", a bopping smaller ensemble for "le JAMF" and a lovely "I Only Have Eyes For You". Sadi's sense of swing is palpable, with a tone somewhere between Hampton and Jackson, tearing up "Ridin' High", glowing on "Dear Old Lady" and snapping with "Laguna Leap". The sound quality is excellent, and the vibes, well, vibrate!

As with all reissues from Fresh Sound, there's a great booklet with session listings as well as some great background on this obscure mallet man. This is a real fun one! *George W. Harris*

1 - Strike up the Band

(G. and I.Gershwin)

2 - I Only Have Eyes For You

(Warren, Dubin)

3 - Struttin' With Some Barbecue

(Lili Hardin Armstrong)

4 - Ad Libitum

(Francy Boland)

5 - Laguna Leap

(Edward Laguna)

6 - Karin

(Jose Bartel)

7 - Big Balcony

(Bobby Jaspar)

8 - Sadisme

(Francy Boland)

9 - Sweet Feeling

(Pierre Michelot)

10 - Ridin' High

(Cole Porter)

11 - Thanks A Million

(Johnston, Kahn)

12 - Early Wake

(Fats Sadi)

13 - Honky Tonky

(Bobby Jaspar)

14 - Jeux de Quartes

(Bobby Jaspar)

15 - Doxology (Memory of Dick)

(Bobby Jaspar)

16 - Le JAMF

(Bobby Jaspar)

17 - Ridin' In

(Sadi, Coppieters)

18 - Don't Blame Me

(McHugh-Fields)

19 - Gigi's Pad

(Sadi, Coppieters)

20 - If I Had You

(Shapiro, Campbell, Connelly)

21 - Hegor

(Fats Sadi)

22 - Dear Old Lady

(Fats Sadi)

23 - Hittin' The Road

(Fats Sadi)

#1 to #3: Bobby Jaspar Quintet - Featuring Sadi

from the 10"LP  New Sound of Belgium, Vol.4 (Vogue LD 143)

Bobby Jaspar (tenor sax), Fats Sadi (vibes),; Henri Renaud (piano [#2, #3]), Jimmy Gourley (guitar [#1]), Benoît Quersin (bass), Jean-Louis Viale (drums).

Recorded in Paris, May 22, 1953.

#4 to #11: Fats Sadi's Combo

from the 10" LP  Fats Sadis's Combo (Vogue LD 212)

Roger Guérin (trumpet, tuba), Nat Peck (trombone), Jean Aldegon (bass clarinet), Bobby Jaspar (tenor sax), Fats Sadi (vibes), Maurice Vander (piano), Jean-Marie Ingrand (bass), Jean-Louis Viale (drums), Francy Boland (arranger).

Recorded in Paris, May 8, 1954.

#12 to #14: Bobby Jaspar Nonette

from the 10" LP  Bobby Jaspar - New Jazz, Vol.2 (Swing M.33.338)

Buzz Gardner, Roger Guérin (trumpets); Nat Peck (trombone); Jean Aldegon (alto sax, bass clarinet); Bobby Jaspar (tenor sax); Armand Migiani (baritone sax); Fats Sadi (vibes, arranger); Pierre Michelot (bass); Gerard "Dave" Pochonet (drums).

Recorded in Paris, October 14, 1954.

#15 and #16: Bobby Jaspar Quartet

from the 12" LP  Bobby Jaspar Quartet (Barclay 84063)

Bobby Jaspar (flute), Fats Sadi (vibes), Jymie Merritt (bass), Kenny Clarke (drums).

Recorded in Paris, December 20, 1958.

#17 to #20: Fats Sadi Quartet plus Jimmy Deuchar

from the 7" EP  Sadi's Vibes (Manhattan 66133 C)

Jimmy Deuchar (trumpet), Fats Sadi (vibes), Roland Ronchaud (piano), Maurice Salvat (bass), Stuff Combe (drums).

Recorded in Cologne, May 22, 1959.

#21 and #22: Fats Sadi Quartet

from the 7" EP  Sadi Quartet (Palette EPP 7226)

Fats Sadi (vibes), Roland Ronchaud (piano), Jean Warland (bass), Freddy Rotier (drums).

Recorded in Brussels, 1961.

#23: Fats Sadi Quintet

from the 12" LP  Jack Sels (Best Seller 4C054-97754)

Fats Sadi (vibes), René Thomas (guitar), Francy Boland (piano), Roger Van Haverbecke (bass), Wallace Bishop (drums).

Recorded in Brussels, 1962.

Gene Estes - The Greatest Stereo Vibraphone In Recording History

 Carlton Record Corporation was a label founded by former RCA Victor A&R executive Joe Carlton in October, 1957. The label also introduced a series of instructional LP's under the "Hear How" and "Carlton Impact Sound" series title. The label ceased production around 1964.

A November 14, 1960 Billboard article announces Carlton Records plans for new album series:

An innovation to the Carlton line due to debut around the same time will be the "Carlton Virtuoso Series", which will feature performances by seldom heard and new artists in the pop and jazz fields. George Fields, harmonic soloist, and Gene Estes, a young jazz vibes player from the West Coast, will be the first artists presented.

A curious particularity announced:

The "Virtuoso Series" is being issued for the "sound" market, but will sell at $3,98 (mono) and $4,98 ("provocative" stereo).

The Estes album was loudly titled as "The Greatest Stereo Vibraphone In Recording History". So it would seem foolish to press monaural copies... but that's how it happened.

Although I don't know the stereo version, a specialized Discogs customer reviewed it as follows:

Despite the jacket hype, the stereo separation is not really "provocative", although spread out with the vibes placed noticeably on the left. This is also probably not the "greatest stereo vibraphone in recording history", but it is a pleasant and unassuming jazz set.

This is the monaural "cheap versión":

Estes on vibes is a jazz must. He enjoys a "musicians’ musician" reputation as a leading virtuoso of the vibraphone although with less publicity than the Lionel Hamptons or Red Norvos... or among the modern set, Milt Jackson. Vibe solos by Estes are reproduced in this album with fidelity never attained before this modern stereo age. From low bass to top treble registers, the instrument's sound is perfectly reproduced in this "stereoriented" album. The audiophile will delight in the balanced separation and "presence" while reveling in the composition value. The jazz buff will delight in the subtle Estes line progressions while "digging" the technical stereo-sound quality. *(Liner notes)*

The mallet work of Gene Estes has the backing of guitar, bass, drums, piano and bass clarinet. Estes romps through bouncy arrangements of "Lady Be Good", "Gettin' Sentimental", "Fascinating Rhythm" and "Crazy Rhythm". He also shows he can change feeling with his moody approach to his own original "Califa". There's no doubt that Estes is a powerhouse on the vibes. He's been given excellent sound reproduction, and the result is a good all-around product.

*Billboard, January 30, 1961*

Don't be scared off the ballyhoo of the subtittle "The Greatest Stereo Vibraphone in Recording History".

Estes is a virtuoso who brings taste as well as skill to his own solos and who not only gives his talented sidemen (particulary John Bainbridge on bass clarinet) ample opportunities to shine but also infuses the whole ensemble with a group spirit.

The music itself has exceptionally jaunty chamber-jazz attractives — especially imaginative in Estes own "Califa", "Imitation Silver" and "Wind Up"; dashing yet always lilting in the fast "Fascinating Rhythm" and "Crazy Rhythm". Except for occasional hardness in the too closely miked vibraphone tones, the recording admirably captures both the glitter of these sparkling performances and their stereogenic antiphonies. *R. D. Darrell, High Fidelity Magazine, April, 1961*

Side 1

1 - Lady Be Good

(G. Gershwin)

2 - Give Me The Simple Life

(Bloom, Ruby)

3 - Califa

(G. Estes)

4 - Gettin' Sentimental

(Malneck, Kahn)

5 - Imitation Silver

(G. Estes)

6 - It's Monday Every Day

(S. Robin)

Side 2

7 - Deed I Do

(Rode, Hirsh)

8 - Fascinating Rhythm

(G. and I. Gershwin)

9 - Stompin' At The Savoy

(Sampson, Webb, Goodman, Razaf)

10 - Crazy Rhythm

(Meyer, Kahn, Caesar)

11 - Angel

(Robin, Rogers)

12 - Wind Up

(G. Estes)

Gene Estes (vibes); John Bambridge (bass clarinet); John Pisano (guitar); Joyce Collins (piano); Bob Bertaux, Mel Pollan (basses); Jerry Williams (drums).

Recorded in Los Angeles, California, early 1960.

The Smith-Glamann Quintette - Poinciana

I've never had the distinction of making a "discovery", so naturally, with this introduction to the music world of the Smith-Glamann Quintet I feel that I am on the verge of doing so. About a year and a half ago, Rufus Smith and Betty Glamann, both of them with a wealth of musical background and experience, brought me the results of their first recording session for the A-V Tape Company. 

After I had played a few of the sides, like "Poinciana", "September Song" and "Lotus Land", I was quite impressed and suggested that they audition their tapes for several recording companies. I was very pleased when Bethlehem Records recognized their worth and invited them to their roster. I am a firm believer in music having a substantial sound, rather than a novel or a new sound. Certainly the harp is acknowledged to be one of the oldest instruments in the world and I'm sure the bass is not far behind. Together with the rest of the quintet composed of guitar, drums and accordion, all fairly common ingredients, this group manages to be most refreshing. And furthermore, it comes up with a genuine substantial musical sound. 

Actually, if you were asked to point out a single factor that sets this quintet apart from others, you would be hard pressed to put your finger on it. There's a lightness, an intermingling, a musical thread that is constantly changing in value and mood. Like the flavors in a delicately seasoned dish, there are flavors implied but never imposed. There is sufficient variety in the choice of tunes to display the range of not only their conception, but also the range of their instruments.

*Al "Jazzbo" Collins (liner notes)*

Side 1

1 - Poinciana

(Simon, Bernier)

2 - Liza

(Gershwin, Kahn, Gershwin)

3 - Laura

(Raskin, Mercer)

4 - Harp Capers

(Smith)

5 - Lotus Land

(Scott)

6 - Now Get Out

(Smith)

Side 2

7 - The Boy Next Door

(Martin, Blane)

8 - Stompin' At The Savoy

(Sampson, Webb, Goodman, Razaf)

9 - September Song

(Weill, Anderson)

10 - Ragtime Mambo

(Smith)

11 - That's All

(Brandt, Haymes)

12 - Pulling Strings

(Smith)

Nick Perito (accordion), Betty Glamann (harp), Barry Galbraith (guitar), Rufus Smith (bass), Frank Garisto (drums).

Recorded in New York City, 1955.

Barry Galbraith - Guitar And The Wind

With this album, guitarist Barry Galbraith, an important but relatively unheralded presence on many jazz recordings on this coast, steps out of his usual role of the supporting, contributing player, and becomes the principal speaker. Equipped to be just that, Galbraith, naturally and with definable grace, makes his instrument sing and swing, issue forth a full yet engagingly personal voice.

Playing an instrument that has a wealth of tradition both in and out of the jazz area, Galbraith shows an awareness of this in his playing, verbally underlining his position during our conversations concerning this album. 

Galbraith, as a person, is. unintrusive yet decisive; unassuming yet authoritative; and like many jazz musicians, his instrument has proven more than an adjunct to his personality, but THE friendly medium through which the flow of his thoughts find most compatible expression.

As some of his colleagues have noted, Galbraith has a "natural" flare that lends the impression of the "easy and everyday" to the musically valuable or difficult. Whether playing at a social gathering, on a job or recording date, he is "inside his horn", fully concentrated, oblivious to extraneous bother.

Self taught, Barry has proceeded through the hallowed halls of the school of experience, remembering and assembling, pointing up, underlining the important along the way.

This album is shaped to delineate a variety of moods in addition to the softer, romantic feeling that has, by constant association, assumed priority in definition of the word, mood.

*Burt Korall (liner notes)*

Barry Galbraith was one of New York's busiest session jazz guitarists in the 1950s and '60s. Between 1941 and the late 1970s, he was on 620 recording dates, a staggering total. How many albums did he record as a leader under his name? Just one — Guitar and the Wind, for Decca. What a shame that Decca didn't record a few more like this one. Recorded in January 1958 over three days, the album is beautifully arranged, swings tastefully and is a gorgeous example of what made Galbraith special. His chord voicings were seductive and his improvised runs were tasty and unbeatable.

*Marc Myers*

A nicely varied set spotlighting the artist in several approaches — all of them effective. When Galbraith has the melody or is improvising, he shows a fresh, inventive style. In backing other instruments, harmonically or percussively, he also shines. His admirers will find this one of his best efforts. His style can be traced to Charlie Christian and Gerge Van Eps. Small combo and larger group selections are done with equal good taste.

*Billboard, April 21, 1958 [Special Merit Jazz Album]*

1 - Bull Market

(Billy Byers)

2 - A Portrait Of Jennie

(Gordon Burdge, J. Russel, Robinson)

3 - Judy's Jaunt

(Al Gilbert)

4 - Nina Never Knew

(Milton Drake, Louis Alter)

5 - Walking (Down)

(Carpenter)

6 - A Gal In Calico

(Robin, Schwartz)

7 - I Like To Recognize The Tune

(Richard Rodgers, Lorenz Hart)

8 - Any Place I Hang My Hat

(Johnny Mercer, Harold Arlen)

9 - Love Is For The Very Young

(David Raksin)

10 - Holiday

(Al Gilbert)

11 - Ya' Gotta Have Rhythm

(Osie Johnson)

12 - What Am I Here For?

(Duke Ellington)

Barry Galbraith (guiar), with:

#1,#4, #8, #12

Urbie Green, Chauncey Welsch, Frank Rehak (trombones); Dick Hixson (bass trombone); Bobby Jaspar (flute, tenor sax); Eddie Costa (piano, vibes); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 16, 1958.

#2, #6, #7, #10 

Bobby Jaspar (flute, tenor sax), Phil Bodner (flute, clarinet, bass clarinet), Romeo Penque (clarinet, flute, English horn), Spencer Sinatra (clarinet, flute); Eddie Costa (piano, vibes), Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 21, 1958.

#3, #5, #9, #11

Bobby Jaspar (flute), Eddie Costa (piano), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, January 28, 1958.

Miles Davis All Stars - Walkin'

Walkin' (PRLP 7076) is a Miles Davis compilation album released in March 1957 by Prestige Records. The album compiles material previously released on two 10 inch LPs in 1954 (Miles Davis All-Star Sextet and Side One of Miles Davis Quintet, dropping "I'll Remember April" from Side Two (which had been on the 12" LP Blue Haze, released the previous year, itself a collection of tunes from previous 10" LPs) and replacing it with the previously unreleased "Love Me or Leave Me" recorded at the same session. Here credited to the "Miles Davis All-Stars", the songs were recorded on 3 April and 29 April 1954 by two slightly different groups led by Davis. Both sessions were recorded at Rudy Van Gelder's home studio.

The earlier session was a quintet with David Schildkraut on alto saxophone, and produced the three tracks on side two. Schildkraut is the only musician not credited on the cover, and is otherwise almost unknown. Two of these tracks were originally released on the 10" LP Miles Davis Quintet, Prestige PRLP 185. The earlier release also included "I'll Remember April", recorded at the same time, now found on the Prestige album Blue Haze (PRLP 7054). Another tune from this session, "Love Me or Leave Me", was previously unreleased and substituted here for "I'll Remember April".

The second session, which makes up all of side one, was a sextet with J. J. Johnson on trombone and Lucky Thompson on tenor saxophone. The rhythm section was the same as the earlier session. These two tracks were originally issued on the 10" LP Miles Davis All-Star Sextet, Prestige PRLP 182. The album's title track, a staple of Davis's live set for many years, was key to the emerging hard bop approach developed in the mid-1950s, Davis providing it with an anthem. The composition has been attributed by various sources to Jimmy Mundy, Miles Davis, and Gene Ammons. The copyright registration listed the composer as Richard E. Carpenter, a businessman and artist manager who had professional relationships with Mundy and Tadd Dameron, and was not known to be a musician or composer. "Solar" was attributed to Davis and copyrighted in his name in 1963. Evidence revealed in 2012 showed that it is nearly identical to "Sonny", a piece written by guitarist Chuck Wayne in the 1940s, so Wayne is regarded as the composer of "Solar". *wikipedia.org*

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'N' Boogie", adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music - as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'N' Boogie". The improvisation yields some truly memorable solos and exchanges between Davis and Johnson - who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning". "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me", gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort. *Lindsay Planer*

1 - Walkin'

(Richard Carpenter)

2 - Blue 'N' Boogie

(Gillespie, Paparelli)

3 - Solar

(Miles Davis)

4 - You Don't Know What Love Is

(Raye, DePaul)

5 - Love Me Or Leave Me

(Donaldson, Kahn)

Miles Davis (trumpet), J.J. Johnson (trombone [#1, #2]), Lucky Thompson (tenor sax [#1, #2]), David Schildkraut (alto sax [#3, #4, #5]), Horace Silver (piano), Percy Heath (bass), Kenny Clarke (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, April 3 (#3, #4, #5) and April 29 (#1, #2), 1954.

The Al Belletto Sextet - Whisper Not

Once upon a time —back in the second half of the 50s— the Al Belletto Sextet enjoyed great popularity for playing "modern jazz for listening and dancing". Today, though, not many remember them.

Their story began in December 1952, when New Orleans-born Belletto, who was already an accomplished alto saxophonist and clarinet player, decided to form his own quintet. In just two years, and with the enthusiastic support of bandleader Stan Kenton, Belletto’s fine formation was immortalized by Capitol Records in its series "Kenton Presents Jazz", because they played —in Kenton's own words— "as one voice with a seemingly infinite variety of colors and shadows".

Each musician performed skillfully, and except for the drummer, they all doubled on more than one instrument. In addition, although Jimmy Guinn was the group's featured singer, each member also pitched in for some interesting five-way vocals remindful of the Four Freshmen. The group became a sextet early in 1955 with the addition of a bass player. "The bass was swapped too often, and the outfit's driving arrangements required a constant in the rhythm backing", Belletto mentioned. "We tried for the sound of a big band, using a six-piece lineup".

All their versatility, combined with the group's obvious eagerness to succeed and please, sat very well in many music spots over the country, and the charts by Mel Tormé, Nat Pierce, Neal Hefti, Johnny Mandel, and Shorty Rogers, plus some excellent material from band members, paved the way for the commercial success they went on to enjoy. *Jordi Pujol*

Whisper not... rather, shout from the housetops that this is an instrumental and vocal group that continues to justify and expand its critical and popular acclaim. Here, Belletto brings his group's musical personality to its finest point of development in this exciting new collation. There are lively original compositions plus a generous helping of standard favorites showcased in fresh, sparkling surroundings.

Virtually everyone agrees that Al Belletto plays with constantly increasing warmth, charm, and cohesion of musical conception. Al, of course, still leads the pack on alto sax. Jimmy Guinn, trombone; Willie Thomas, trumpet; Fred Crane, piano and baritone sax; and Tom Montgomery on drums remain the hard core of the team. Bassist Kenny O’Brien has been added to the group and his fat, rhythmic drive adds materially to the sextet's swinging sound.

Of the selections in this album, a full half dozen are delightful treatments of well-established pop and jazz favorites. Each one has been placed in a crisp new context. The remaining tracks are Belletto group originals, highlighting the sextet's remarkable ability to develop its own tangents in the area of "cool" jazz, and still retain a mellow, relaxed approach that appeals even to the most casual listener. And in this album, the band is offered an unusual amount of "blowing" room-ample opportunity to develop a complete story on each number. *(Liner notes)*

A very cool album from this overlooked combo on Capitol — a group who have a wonderfully colorful blend of sounds, and work here with more space for strong solos than you might expect! Al Belletto leads the group on alto — and other players include Jimmy Guinn on trombone, Willie Thomas on trumpet, Fred Crane on piano and baritone sax, Tom Montgomery on drums, and Kenny O'Brien on bass. Al's sense of arranging is great — with modern tonal elements, ala Gigi Gryce — and although there's a few harmony vocal numbers, the set's a lot more instrumental than their debut — and really beautiful overall. *dustygroove.com*

Side 1

1 - Falling In Love With Love

(Richard Rodgers, Lorenz Hart)

2 - Whisper Not

(Benny Golson)

3 - Cross Your Heart

(Lewis E. Gennsler)

4 - Lover Man

(Kurt Weill, Maxwell Anderson)

5 - 'Deed I Do

(Fred Rose, Walter Hirsh)

Side 2

6 - All For Blues

(Lennie Sinisgalli)

7 - Sunday

(Miller, Krueger, Conn, Stein)

8 - Rudy Tootie

(Dave Figg)

9 - What's New?

(Bob Haggart, Johnny Burke)

10 - 64

(Nat Pierce)

Al Belletto (alto sax, vocals), Willie Thomas (trumpet, vocals), Jimmy Guinn (trombone, vocals), Fred Crane (piano, baritone sax, vocals), Kenny O’Brien (bass, vocals), Tom Montgomery (drums, vocals).

Recorded in New York, July 16 (#1, #4, #5, #6), 17 (#2, #10), 18 (#3, #7), and 19 (#8, #9), 1957.

Don Randi Trio - Feelin' Like Blues

To the late, great jazz critic, Leonard Feather, pianist Don Randi was an astonishing performer. He is capable of swinging furiously, has a deathdefying technique and manages to combine his frantic excursions with an element of passionate communication that gives them much more than technical value. And, during the last months of 1960 the 23-year old brought these gifts to Hollywoods small club, The Losers, and kept a packed audience in a constant state of musical excitement with his wellintegrated trio. There was an appealingly gutty strength to his playing that everyone could feel, with a basic, strong, honest feeling for the blues, while his originalssuch as "Feelin' Like Blues" or "Blues for Miti" augured well for him as a composer.

Though he soon became one of the busiest keyboard players in the recording business, jazz was notand is notthe only string to his multiskilled bow. After gaining some popularity he also became a bandleader and arranger for Phil Spector; today he is recognized as being one of the original contributors of the famous Phil Spector Wall of Sound effect heard on hits of the 1960s and 70s. Despite a long career in popular music, Randi, as Feathers testimony and these recordings demonstrate, was a formidable jazz talent when he chose to exercise it. *Jordi Pujol*

A longtime fixture in the Los Angeles area, Don Randi is best known as the proprietor of the North Hollywood club Baked Potato and for his longtime leadership of a popular fusion/crossover group, Quest. Raised in the Catskill Mountains of New York, Don Randi had classical music lessons for 13 years. He moved to the Los Angeles area in 1954. He then became a busy studio musician, appearing on and writing for a countless number of motion picture and television soundtracks, commercials, and pop albums. Randi recorded as a leader for World Pacific, Verve, Palomar, Reprise, Capitol, Poppy, Sheffield Lab, and Headfirst. Don Randi has continued to appear at the Baked Potato with Quest on a fairly regular basis, including a May 2010 show marking the club's 40th anniversary. *Scott Yanow*

Recorded when he was a busy and much in-demand jazz pianist, this trio session catch Randi at the top of his game. Solid support from Hemel and Stone suggests this might have been a regular working group. Certainly Randi had a long-running gig at the time at the Losers Club in Hollywood where he played to packed houses every night. He had a natural penchant for the blues and the samples here confirm that; "Feelin' Like Blues", "Ja-Da" and "Blues For Miti" all being good examples. Piano, bass and drums lock in together seamlessly to swing through "Fallout", the notes tumbling out easily from the keyboard as the trio hit a strong groove. Although highly talented as a jazz pianist, composer and bandleader, Randi was always involved in classical music and the more adventurous pop sounds; he was soon working for Phil Spector and a contributor to the Wall of Sound that became so admired in the 1960/70s. "Blues For Miti" mixed hard swing, blues chords and a liberal injection of gospel music. *Derek Ansell*

Side 1

1 - Feelin' Like Blues

(Don Randi)

2 - Summertime

(Gershwin, DeBose)

3 - Ja Da

(Bob Carleton)

4 - Fallout

(Don Randi)

Side 2

5 - Buddaha's Mood

(Hamel, Stone)

6 - Cheek To Cheek

(Irving Berlin)

7 - Blues For Miti

(Don Randi)

Don Randi (piano), Hersh Hamel (bass), Gene Stone (drums).

Recorded at Rex Productions Studio, Los Angeles, California, August 9, 1960.

Phil Woods • Gene Quill Sextet - Phil And Quill

 

In all of the awed recognition of the overwhelming influence that Charlie (Bird) Parker has had on the way jazz has developed during the past decade, it is only occasionally that one comes face to face with the problems that follow in the wake of so pervasive an influence. These problems are most noticeable in the area of Parker's own instrument, the alto saxophone.

If Parker pointed the way for jazz as a whole, he did much more for the alto sax. He set a pattern that has seemed so definitive that every alto man who has come after him, almost without exception, has taken to his pattern as though any deviation would be unthinkable heresy. This, of course, is the natural way for a jazz musician to start—there is always someone who is the inspiration and the guide.

But before Parker, no one —not even Louis Armstrong— had established an approach that was so universally accepted by the contemporary jazz generation.

As a consequence Parker, as a model, has been a trap —an inviting and exciting trap, to be sure— but nonetheless a trap for many young altoists who managed to acquire the surface qualities of Parker but, having done that, found they had no place to go but around and around the same repetitive and uncreative circle.

Neither Phil Woods nor Gene Quill were exceptions to the mode of the times when they started out on alto. Bird was the influence and they took to it with passion.

But, having used this convenient stepping stone to launch themselves in jazz, they both had the individuality and personal creativeness to realize that they had to avoid being suffocated by this influence. Building on the foundation they inherited, they have each moved in directions that are distinctly their own, and as time goes by the sound of their original inspiration has become steadily dimmer as their own musical personalities assert themselves.

Of the two. Woods has possibly developed the most completely individual attack at this point strong, assertive and gustily swinging. But Quill, who burst from the cocoon a Itit later than Woods, has recently been moving with startling and satisfying speed toward his own jazz fate.

The idea of teaming up has been stewing in the two altoists' minds for a couple of years, ever since they met at the apartment of pianist John Williams and started playing together in various groups. They found that they felt comfortable in each other's musical company and that more flexibility and variety were possible in the sound of two altos than in pairings of most other instruments.

The close musical and personal ties that bind Gene and Phil were made even tighter after they launched their own group (two altos and rhythm).

In the sextet heard in these performances, a "bottom" is provided for the two alto saxes by Sol Schlinger's baritone saxophone. The rhythm section is made up of the brilliant, swinging pianist, Dave McKenna; bassist Buddy Jones; and drummer Shadow Wilson, a widely experienced big-band veteran (Hampton, Hines, Basie, Herman).

The arrangements come from the pens of Woods; Neal Hefli and Nat Pierce, both quondam bandleaders; Bill Potts, who made his mark as a writer with Willis Conover's Washington band; and Gene Orloff, a violinist who is in great demand as concertmaster on jazz sessions when strings are used. *John S. Wilson (liner notes)*

The meetings of alto saxophonist Phil Woods and Gene Quill, such as this 1956 sextet date for RCA, are always enjoyable. In addition to baritone saxophonist Sol Schlinger, Woods and Quill are joined by pianist Dave McKenna, bassist Buddy Jones, and drummer Shadow Wilson. The focus is on the two altoists, but there is occasionally blowing room for Schlinger and McKenna, too. Gene Orloff's snappy "Sax Fifth Avenue" and Woods' brisk "Four Flights Up" are the highlights of the date, along with several works by Bill Potts. This is a typically solid effort by Phil Woods and Gene Quill.

*Ken Dryden*

Side 1

1 - Sax Fith Avenue

(Gene Orloff)

2 - Ready Rudy

(Neal Hefti)

3 - Cabeza

(Nat Pierce)

4 - Twin Funkies

(Phil Woods)

5 - Rib Roast

(Nat Pierce)

6 - High Stepping Bizzies

(Bill Potts)

Side 2

7 - Four Flights Up

(Phil Woods)

8 - Dig You P's And Q's

(Nat Pierce)

9 - Dry Chops In The Moonlight

(Bill Potts)

10 - Una Momento

(Phil Woods)

11 - Pottsville, U.S.A.

(Bill Potts)

12 - Frank The Barber

(Bill Potts)

Phil Woods, Gene Quill (alto saxes); Sol Schlinger (baritone sax); Dave McKenna (piano); Buddy Jones (bass); Shadow Wilson (drums).

Recorded in New York City, March 15, 1956.

Max Roach Plus Four - Quiet As It's Kept

Max Roach's post-Clifford Brown ensembles became more experimental down the road, but this 1960 band, with the brothers Tommy and Stanley Turrentine, and Julian Priester, was short-lived, very satisfying, and one of the most memorable combos the drummer led. Continuing to concentrate on hard bop themes, the band is hardly quiet as the title would suggest. It perhaps could be said that this band was a sleeper in not being as recognized as the superior collective talent would indicate. Perhaps the obscure bassist Bob Boswell has something to do with it, or that the front line would find their niches in jazz well past their membership in this fine combo. Of course Roach's drumming is far beyond reproach, but it is his choice of material and their composers that have to strike even the most literate jazz head as quite daring. The bouncy title track written by Bill Lee with its happy counterpoint and unison lines, the fleet Kenny Dorham evergreen "Lotus Blossom" embellished in held or stretched melody lines, and Priester's "Juliano" are all extension of the mid-'50s hard bop that Roach helped to found, the latter tune contrasting Tommy Turrentine's bright trumpet with the trombonist's mushy sound. Brother Stanley Turrentine's tenor sax is featured extensively on this set, proving a quite able bopper in his pre-soul-jazz days. For "The More I See You" his easygoing, restrained tone exudes more in what he doesn't play than what he does. On the original, first recorded version of the eventual standard "As Long as You're Living" in 5/4 time, Boswell's bass leads as the three horns fill in the cracks and accent beautifully. Leon Mitchell's ballad tribute to Billie Holiday, "To Lady," is the feature for Tommy Turrentine's soulful trumpet, the perfect example of the unsung hero and his voicings that were never fully acknowledged. Only one other album (the Enja release Long as You're Living) from this band was issued with some different material, but they stand together as brief monuments from a group unique unto itself, and a transitional band in the history of Roach's long tenure as a leader. *Michael G. Nastos*

Nothing too quiet here – as the album's one of Max Roach's key classics from the Mercury years – recorded with one of the hippest groups he ever led! Players here are all wonderful – Julian Priester on trombone, Stanley Turrentine on tenor, Tommy Turrentine on trumpet, Bob Boswell on bass, and Max on drums – all working together in a very hip groove – no piano at all in the mix, which makes for even more interplay between the horns as they dance around tightly at the heads on each tune, always with sharp modern tones – then break apart beautifully for richly expressive solos! The arrangements are wonderful – proof that Roach was really moving past straight hardbop modes by this point in his career – and titles include "Quiet As It's Kept", "To Lady", "Lotus Blossom", "As Long As You're Living", "Juliano", and "The More I See You". *dustygroove.com*

Side 1

1 - Quiet As It's Kept

(Bill Lee)

2 - To Lady

(Leon Mitchell)

3 - Lotus Blossom

(Kenny Dorham)

Side 2

4 - As Long As You're Living

(Julian Priester, Tommy Turrentine)

5 - The More I See You

(Mack Gordon, Harry Warren)

6 - Juliano

(Julian Priester)

Tommy Turrentine (trumpet), Stanley Turrentine (tenor sax), Julian Priester (trombone), Bob Boswell (bass), Max Roach (drums).

Recorded at Capitol Studios, New York City, July 21, 1959.

Max Roach • Stan Levey - Drummin' The Blues

The art of jazz drumming has come a long way since the day of the bass drum player in the marching bands of ole New Orleans. Today we have come to expect a drummer to be an excellent technician, a well rounded percussionist, capable of improvising as well as any solo instrumentalist in any musical aggregation. It would take a very thick book to discuss the requirements of being a jazz drummer, and even then, it would be necessary to interpret the printed word through skins, sticks, cymbals and mechanical contrivancesin order to express yourself and your feeling for the music.

No doubt about it, drums and drummers are popular subjects; whether you're an avid jazz enthusiast or bandleader, it is always interesting to hear and compare notes on the way different drummers play.

Among my personal favorites are two very good friends — two wonderful guys, each representing the moder idiom in the best possible manner: Max Roach and Stan Levey. When they expressed the desire to do this album, it was may great pleasure to be able to record it. They are the best of friends, great believers in the other's playing, they both display what every good jazz musician strives for — his own distinct musical personality. Care to compare? *Howard Rumsey (liner notes)*

Stan and Max are about as unlikely a pair as you could imagine – both jazz drummers, but one with a cooler, more laidback sound (Levy), the other with a harder, more full-on and bop driven approach (Roach). This set features each drummer alternating track to track – supporting a core group with Bill Perkins on tenor, Conte Candoli on trumpet, and Frank Rosolino on trombone. Given that such a setting is more Levy's territory than Roach's, he actually fits in a bit more with the sound – but even on the Roach tracks, the west coast jazz vibe pervades – so don't expect a super-huge change in the style. Titles include "Breadline Blues", "Facts About Max", "Royal Garden Blues", "The Count's Blues", and "Blues In The Night". *dustygroove.com*

1 - Facts About Max

(Marty Paich)

2 - Milano Blues

(Bob Cooper)

3 - Swingin' The Blues

(Count Basie, Eddie Durham)

4 - Breadline Blues

(Dick Shreve)

5 - Bye Bye Blues

(Lown, Gray, Bennett,Hamm)

6 - Blues In The Night

(H. Arlen, J. Mercer)

7 - Royal Garden Blues

(C. Williams, S.Williams)

8 - The "Count's" Blues

(Conte Candoli)

Conte Candoli (trumpet); Bill Perkins [#1, #3, #6, #8], Bob Cooper [#2, #4, #5, #7] (tenor saxes); Frank Rosolino (trombone); Dick Shreve (piano); Howard Rumsey (bass); Max Roach [#1, #3, #6, #8], Stan Levey [#2, #4, #5, #7] (drums).

#1, #3, #6, #8:

Recorded in Los Angeles, California, March, 1957.

#2, #4, #5, #7:

Recorded at "The Lighthouse", Hermosa Beach, California, March 1957.

Stan Levey - ''Grand Stan''

Stan Levey was one of the leading drummers of his generation who was not only involved in the formative years of bebop, but was accepted as one of its most important drummers, alongside greats like Kenny Clarke and Max Roach. Stan was a major influence in what was called "west coast jazz" or the "cool school". His crisp, melodic style continued to have more in common with bop than cool, and he inspired every group he ever played in.

Of the 2000 some recordings Stan was featured on, he surprisingly only appeared as leader on only a handful. The best of those rare sessions was his 1957 Bethlehem Records release Grand Stan cut in the midst of his stint with Howard Rumsey’s Lighthouse All-Stars and featuring accompaniment from Sonny Clark (pianist), Conte Condoli (trumpet), Richie Kamuca (tenor saxophone) and Leroy Vinnegar (bass). 

A beautiful west coast jazz program, Levey leaves the players plenty of room to more than show their stuff throughout especially trombonist Frank Rosolino who manages to consistently steal the show. The formidable 8-song set is  highlighted by "Angel Cake", "Hit That Thing" and "Blues At Sunrise". *ccd.pl review*

Stan Levey was a significant bebop drummer who brought stimulation and innovation to such bands as the Gillespie/Parker Quintet (1945-46), the Stan Kenton Band (1952-54) and the Lighthouse All-Stars ( 1954-60) where he was anchoring the rhythm section at the time of this recording.

In this 1957 outing called Grand Stan were three Stan Kenton Band alumni, trumpeter Conte Candoli, tenor sax stalwart Richie Kamuca, and trombone virtuoso Frank Rosolino. Joining this cohort was the still unheralded pianist Sonny Clark who later participated in a seminal release with Buddy De Franco  and another with guitarist Grant Green. Finally bassist Leroy Vinnegar who was highly sought after on the West Coast for his big toned walking bass style.

Benefiting from arrangements by Marty Paich, Bob Cooper, Bill Holman and Sonny Clark, the band blows up a storm through a collection of popular standards and original compositions from Cooper, Holman and Clark.

Side A opens with "Yesterdays" which was written by Jerome Kern & Otto Harbach in 1933 for the musical Roberta. In an arrangement by Marty Paich that stretches the construct of the original melody, the number becomes a feature for trombonist Frank Rosolino. He powers through his long solo in his well-known staccato style, with Vinnegar’s pulsing bass in noticeable support. 

Another Kern number is "Why Do I Love You" written in conjunction with Oscar Hammerstein II, and it is again arranged by Paich to feature the pianist Sonny Clark. Done at a super fast tempo, Clark demonstrates he can swing with ease and yet stay within the framework of the number. Levey’s drumming is a propulsive boost to the arrangement.

This side closes with the title track "Grand Stan" which was written by Bob Cooper another Kenton alumnus. Designed in a medium tempo, it has a boppish line and chord progressions that give the soloists a chance to offer several easy-going choruses. All the front line jump at the chance to be heard, which they do to perfection.

Side B starts with a Bill Holman original "Hit That Thing". In this up tempo gem, there are sensational opening choruses from Richie Kamuca on tenor sax, Conte Candoli on trumpet, and Rosolino on trombone. However the majority of the time on this track is taken up with a lengthy but well executed drum solo from Stan Levey. Given the fantastic stick work exhibited in his drum solo, it is hard to imagine that Levey was entirely self-taught. Not only that, he played left-handed even though he was naturally right-handed. His first drum influence was Chick Webb, but later Max Roach had the greatest impact on his development.

A 1946 B-movie entitled The Time, The Place and The Girl became recognized for only one thing. That was the Leo Robin/Arthur Schwartz song "A Gal In Calico". The number has found a place in jazz repertoires and the Bill Holman arrangement here will help cement that reputation. Opening with tight voicing of the melody among the front line, the players use that as the jumping off point to deliver a series of choruses that demonstrate some compelling and prolific soloing. All of which is a worthy model of how a simple number can become a jazz showcase.

Bob Cooper’s original number "Tiny’s Tune" closes Side B. In this head arrangement there are a number of lengthy exciting choruses strung together starting with a single note winner from Sonny Clark. This is followed by turns from Kamuca, Candoli and Rosolino each of which shows a fierce drive and a sense of vitality they brought to the recording. *Pierre Giroux*

1 - Yesterdays

(Harbach, Kern)

2 - Angel Cake

(Clark)

3 - Why Do I Love You

(Hammerstein II, Kern)

4 - Grand Stan

(Cooper)

5 - Hit That Thing

(Holman)

6 - Blues At Sunrise

(Clark)

7 - A Gal In Calico

(Schwartz, Robin)

8 - Tiny's Tune

(Cooper)

Conte Candoli (trumpet), Frank Rosolino (trombone), Richie Kamuca (tenor sax), Sonny Clark (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded in Hollywood, California, November 1956.

Bob Cooper - Coop! The Music Of Bob Cooper

Having listened to all of Bob Cooper's jazz appearances on record in recent years in the function of record reviewer, I regret that the fact I am writing these liner notes will preclude my reviewing this, his latest set. It is his best, I feel, to this point; and it is his best partly because it represents a considerable growth in his conception as a writer and player in the direction of spareness, of that "less is more" discovery most artists achieve as they mature and find their own voice. 

Cooper, being as articulate verbally as he is in music, is actually the primary annotator of these proceedings. *Nat Hentoff, September 19, 1957 (liner notes)* 

A tremendous early album from this west coast tenorist – really breaking out here in a smaller group setting than usual! Coop plays tenor, in a group with Victor Feldman on vibes, Loy Levy on piano, Frank Rosolino on tormbone, and Mel Lewis on drums!  (Out of print.) *dustygroove.com*

Cooper was a mainstay of the west coast jazz scene of the '50s.A member of Stan Kenton's band and the Lighthouse All Stars (regulars of the Lighthouse Club in Hermosa Beach,California). He was married to singer June Christy who he met in the Kenton band (Kenton forbid June to have any serious relationships with the guys in the band but could'nt help June and Bob falling for each other). June passed away in 1990 and Cooper was heartbroken, he died a short 3 years later of a heartattack. This album is from happier days in the '50s with his west coast pals the Candoli brothers, Frank Rosolino, Victor Feldman, Lou Levy, and Mel Lewis. The first half is a suite called "Jazz Theme" which includes a bit of big band trumpet blasts within a small group. The other tracks include Charlie Parker's "Confirmation", the standard "Easy Living", and the Gershwin's "Somebody Loves Me". A overall fine album for west coast cool fans and one of the few Cooper cut under his own leadership. *rateyourmusic.com*

Tenor saxophonist Bob Cooper's only Contemporary album (reissued on CD in the Original Jazz Classics series) is a near-classic and one of his finest recordings. Cooper, along with trombonist Frank Rosolino, vibraphonist Victor Feldman, pianist Lou Levy, bassist Max Bennett, and drummer Mel Lewis, performs colorful versions of five standards (best are "Confirmation", "Easy Living", and "Somebody Loves Me") that show off his attractive tone and ability to swing at any tempo. Half of the release consists of his "Jazz Theme and Four Variations", a very interesting work that holds together quite well throughout 23-and-a-half minutes and five movements. Three trumpeters (including Conte Candoli) and one trombone are added to make the ensembles richer. This set is an underrated gem. *Scott Yanow*

Jazz Theme And Four Variations

(Bob Cooper)

1 - Main Theme: Sunday Mood

2 - 1st Varation: A Blue Period

3 - 2nd Varation: Happy Changes

4 - 3rd Varation: Night Stroll

5 - 4th Varation: Saturday Dance

✤

6 - Confirmation

(Charlie Parker)

7 - Easy Living

(Leo Robin, Ralph Rainger)

8 - Frankie & Johnny

(Traditional)

9 - Day Dream

(Duke Ellington, Billy Strayhorn)

10 - Somebody Loves Me

(George Gershwin, Ballard MacDonald, B. G. DeSylva)

Bob Cooper (tenor sax, arranger); Conte Candoli, Pete Candoli, Don Fagerquist (trumpets [#3, #4, #5]); Frank Rosolino, Johnny Halliburton [#3, #4, #5] (trombones); Victor Feldman (vibes); Lou Levy (piano); Max Bennett (bass); Mel Lewis (drums).

Recorded at Contemporary's Studio, Los Angeles, California, August 26 (#1, #2, #6 to #10) and 27 (#3, #4, #5), 1957