Quincy Jones - Go West, Man!

In Southern California the evenings are cool, as many an Easterner has found out to his discomfort. But periodically the sequence of chilly dusks is broken by a hot, dry, sometimes rather nervous wind, that sweeps from the interior and changes the entire atmosphere of the area. Then you see the retired Idaho farmers sitting on their verandahs rocking back and forth and watching the traffic. 

They call this wind a Santa Ana. This album is NOT called a Santa Ana, but it does bring a warm, almost hot breeze to Southern California, or West Coast, jazz which shows that it need not always be cool. 

And it’s time some real effort was made to demonstrate to the world that everything recorded in the Hollywood studios is not more Brooks Brothers tan Madison Avenue and not more emotionally restrained than a London native in a room full of Americans. As Betty Roche wroje to Jimmy Lyons, whose nightly KNBC, San Francisco eee has been a breath of warmth in what has sometimes seemed a wilderness of cool sounds, "it's good to hear the swingers". 

Quincy Jones, who produced this album, selected the personnel, picked the instrumentation and arrangers, is a West Coast product himself — he’s from Chicago originally but settled in Seattle when he was 10 and was raised there. For that matter, most of the so-called West Coast musicians are originally from the East, or at least not the West, and they don't always play in that tight little style that has become known as West Coast. They can get pretty funky, especially, as Shelly Manne says, "if they’ve eaten enough in those all-night hamburger joints". 

In ten years of writing on jazz for Down Beat and in the San Francisco Chronicle, I have never known what "West Coast" was, really, except in terms of individuals and only then for a specific time and a specific performance. This album will do considerable good if it makes people realize, as I hope it does, that all winds do not blow cool on the Pacific Coast. Sometimes they blow hot, too. *Ralph J. Gleason (liner notes)*

There is a bit of mis-information surrounding this album, and I’ve seen more than one inaccurate review, so to clear up a few things first, Go West Man! is not a big band album and the arrangements on here are not by Quincy Jones. Although there is some good music on here, in some ways, this second album in Quincy Jones’ young career is somewhat of a disappointment. Jones’ first album was a great success and revealed a young big band arranger with some fresh new sounds, so I would imagine his new fans were disappointed to find out that Jones only served as a conductor and producer, not arranger, on his follow-up LP. There are three different mid-sized groups that Jones works with on here, including two groups led by saxophone summits and one group led by a trumpet quartet. All three groups have a piano, bass and drums rhythm section. Each of the three groups is given three songs which leads to nine songs total on the album if you are keeping score at home.

All three of these groups are very talented, but possible top honors goes to an all-star sax five-some that includes Art Pepper and Charlie Mariano. The west coast sax players are known for their silky smooth ensemble work, and this group is a good example. The liner notes claim the other sax group is made up of three tenors, but there is quite clearly a fourth man on baritone, and one of the supposed tenors sounds suspiciously high. The arrangements for the nine tracks were provided by Jimmy Giuffre, Lennie Niehaus and Charlie Mariano. “London Derriere”, with its striking sounds made up of trumpets with Harmon mutes, is the arrangement that sounds the most like Quincy. This album is recommended for fans of west coast jazz, there so much great saxophone playing on here, both in ensemble and in solos, but Quincy Jones fans may be disappointed by the somewhat misleading presentation and slap together nature of this album. *jazzmusicarchives.com*

Quincy turns his soul jazz arranging style to a band filled with West Coast players, and he gets them to groove a lot more than you'd expect! Players include Herb Geller, Art Pepper, Charlie Mariano, Bill Perkins, and Walter Benton. The tracks are short, with tight solo space, and most of them were written and arranged by West Coasters like Jimmy Giuffre, Lennie Niehaus, and Johnny Mandel. Titles include "Be My Guest", "London Derriere", "Kings Road Blues", "The Oom Is Blues", and "Bright Moon".  *dustygroove.com*

1 - Dancin' Pants

(Jimmy Giuffre)

2 - Blues Day

(Jimmy Giuffre)

3. Bright Moon

(Jimmy Giuffre)

4 - No Bones At All

(Johnny Mandell)

5 - The Oom Is Blues

(Charlie Mariano)

6. Be My Guest

(Lennie Niehaus)

7 - Medley: 

•What's New?

(Haggart, Burke)

•We'll Be Together Again 

(Fischer, Laine)

•Time On My Hands

(Adamson, Youmans, Gordon)

•You Go To My Head

(Coots, Gillespie)

•Laura

(Mercer, Raksin)

8 - London Derriere

(Johnny Mandel)

9 - Kings Road Blues

(Lennie Niehaus)

Conte Candoli, Pete Candoli, Harry "Sweets" Edison, Jack Sheldon (trumpets [#2, #4, #8]); Benny Carter, Herb Geller, Charlie Mariano, Art Pepper (alto saxes [#1, #6, #9]); Pepper Adams (baritone sax [#3, #5, #7]); Walter Benton, Buddy Collette, Bill Perkins (tenor saxes [#3, #5, #7]); Lou Levy [#1, #6, #9], Carl Perkins [#2 to #5, #7, #8] (pianos); Red Mitchell [#1, #6, #9], Leroy Vinnegar [#2 to #5, #7, #8] (basses); Shelly Manne [#1, #3, #5, #6, #7, #9], Mel Lewis [#2, #4, #8] (drums).

Jimmy Giuffre, Johnny Mandel, Charlie Mariano, Lennie Niehaus (arrangements); Quincy Jones (conductor).

Recorded in Los Angeles, California, February 25, 1957.

Harry Lookofsky - Stringsville

Harry Lookofsky was born in Paducah, Kentucky in 1913 and studied classical violin in St. Louis where he joined the St. Louis Symphony Orchestra in the mid-1930s. An early admirer of Joe Venuti, Lookofsky eventually became recognized as one of the earliest accomplished bebop jazz violinists. His technique became particularly recognized on his album Stringsville. Lookofsky was one of many early jazz violinists who occasionally played tenor violin, an instrument he cited for its similar tonal qualities to the tenor saxophone. Another relatively unknown unique characteristic about Lookofsky's playing is that the bebop solos on Stringsville were completely written out and arranged as opposed to improvised as most jazz musicians do. An accomplished studio musician, Lookofsky also experimented heavily with multitrack recording in order to produce a unique sound with several overlaid violin tracks meant to imitate the sound of a horn section in a big band orchestra.

Following his departure from St. Louis in 1938, Lookofsky joined the NBC Symphony Orchestra under Arturo Toscanini for a time while continuing to play jazz on the side. He continued his career as a classical symphony violinist later as concertmaster at ABC following Toscanini's retirement in 1954.

Stringsville was Lookofsky's one major feature release. Aside from his classical and studio recording work, he was more often a contributing artist and/or arranger on other's albums. Over the years, his many jazz collaborators included Quincy Jones, Jaco Pastorius, Sarah Vaughan, George Benson, and Freddie Hubbard. *wikipedia.org*

The violin as a solo instrument has been jazz's forgotten child. In the swing period there were a few violinists (Joe Venuti, Ray Nance, Eddie South and Stéphane Grappelly, for instance) who made significant contributions to the jazz scene, but one looks for it in modern jazz in vain. Many people seemed to feel that the violin did not "belong" — and the violinist often tried to justify himself in the jazz context by using his instrument for comic effect rather than for serious music-making. 

Harry Lookofsky's Stringsville is a bold and brilliantly successful attempt to blend strings with a modern jazz ensemble as if they were just so many horns. He has 

proved for once and for all that the violin can swing. Being the versatile musician that he is, he proves that the viola and tenor violin can swing, too! By means of multiple tracking, he keeps as many as a dozen string lines going at once. From the way Bob Brookmeyer and the other musicians on this date were playing you can tell that they were excited with the sounds Harry was producing. This was no dull academic experiment; it was lively communication, it was jazz. 

*Gary Kramer (liner notes)*

Stringsville challenges the essential rules and definitions of bebop like few records before or since — not only does Harry Lookofsky wield as his weapons violins and violas, but his music hinges as much on technological innovation as it does on technical prowess. Lookofsky transcends contemporaries like Stuff Smith and Stéphane Grappelli for sheer artistry, conjuring remarkably athletic solos rooted in the traditions of classical music but with the creative phrasing and rhythmic intensity of bop -- his performances boast a dark, dramatic edge that pushes the violin into a bold new dimension. No less revelatory is Lookofsky's mastery of tape manipulation: for each track he contributes multiple layers of accompaniment that further establish Stringsville as a truly singular proposition. But it's an approach that by definition runs counter to jazz's improvisational ethos, posing myriad questions about the nature of music and the merits of a critical hierarchy that favors following the rules over breaking them. *Jason Ankeny*

Side 1

1 - 'Round Midnight

(Hanighen, Williams, Monk)

2 - Moose The Mooche

(Charlie Parker)

3 - I Let A Song Go Out Of My Heart

(Ellington, Mills, Redmond, Nemo)

4 - Little Willie Leaps

(Miles Davis)

Side 2

5 - Move

(Denzil Best)

6 - Champagne Blues

(Bob Brookmeyer)

7 - Give Me The Simple Life

(Bloom, Ruby)

8 - Dancing On The Grave

(Bob Brookmeyer)

Harry Lookofsky (violins, violas and tenor violins) with

#2, #4, #6, #7, #8:

Bob Brookmeyer (valve trombone [#2, #4, #6, #8]), Hank Jones (piano), Paul Chambers (bass), Elvin Jones (drums).

Recorded in New York City, January 20, 1959.

#1, #3, #5:

Hank Jones (piano), Milt Hinton (bass), Elvin Jones (drums). 

Recorded in New York City, June 22, 1959.

Hank Jones - Relaxin' At Camarillo

Much credit has been given recently to Hank Jones. One of the most foremost pianists on the jazz scene of the '50s, Hank is slowly losing his tag of "under-rated star" and coming into his own. A much in-demand and much-recorded man, he has appeared on more dates, with more groups, to match even Erroll Garner's record of recorded performances. Savoy is infinitely proud of having Hank Jones as one of its featured stars, and chief of their classic "Trio" rhythm section (along with Wendell Marshall and Kenny Clarke). Savoy is doubly proud of having the exclusive right to Hank's services as a lider. Utilizing his many talents in several award-winning instrumental combinations previously, we therefore present now THE HANK JONES QUARTET. The set balancees two new jazz stars with two established masters for a new high in creative sound: Bobby Jaspar, the Belgian-born tenor sax and flute star who won the Jazz Critic's award as New Star this year, and Paul Chambers, another Detroit contribution to the local scene, is the veritable dynamo on this usually cumbersome instrument.

A well-rounded set of tunes from a well-rounded set of a fine jazz musicians.

*Ozzie Cadena (liner notes, 1956)*

Pianist Hank Jones recorded fairly extensively for Savoy during 1955-56, and most of the music was reissued on LPs in the late '70s and early '80s, although the performances have only partially appeared thus far on CD. For his final Savoy session, Jones is teamed with Bobby Jaspar (an excellent tenor player who here sticks exclusively to his fluent flute), bassist Paul Chambers and drummer Kenny Clarke. The music is quiet, but often swings hard. Jones is well featured on three underrated standards ("Moonlight Becomes You", and Cannonball Adderley's "Spontaneous Combustion" and a 12-minute rendition of "Relaxin' at Camarillo"), the obscure ballad "Sunday in Savannah" and his own "Minor Contention". This combination of musicians works together quite well. *Scott Yanow*

Hank Jones has made many memorable albums over his long career, but this 1956 session with Belgian flutist Bobby Jaspar is one that could easily get overlooked. Jaspar's melodious flute adds some magic to an already memorable arrangement of "Moonlight Becomes You". He also keeps up nicely with Jones in Charlie Parker's tricky blues line "Relaxin' at Camarillo". "Minor Conception" is a slightly exotic number by Jones, while Cannonball Adderley's "Spontaneous Combustion" wraps up the session with a flourish. Jones delivers his usual superb performance, while Paul Chambers has several fine solos, and drummer Kenny Clarke propels the date with his crisp brushwork. At just over 36 minutes, this music is well-worth acquiring. *Ken Dryden*

Early Hank Jones session for Savoy... A quartet session with Paul Chambers on bass, Kenny Clarke on drums, and Bobby Jaspar on flute. With a lineup like that, you can imagine how well the session stands up, and the added flute makes it groove in a way that stretches past the usual trio session from the time. Plus, the tracks are nice and long, which lets Jones show off his strong talent for warm lyrical soloing, especially on the tracks "Minor Contention" and "Spontaneous Combustion".  *dustygroove.com*

Side 1

1 - Moonlight Becomes You

(Johnny Burke, Jimmy Van Heusen)

2 - Relaxin' At Camarillo

(Charlie Parker)

Side 2

3 - Minor Contention

(Hank Jones)

4 - Sunday In Savannah

(Hugh McKay)

5 - Spontaneous Combustion

(Julian "Cannonball" Adderley)

Hank Jones (piano), Bobby Jaspar (flute), Paul Chambers (bass), Kenny Clarke (drums).

Recorded at Van Gelder Recording Studio, Hackensack, New Jersey, August 21, 1956.

The Oscar Peterson Quartet (Album#1, Album#2 and one more...)

Heretofore, one of the disadvantages of making jazz records has been the restrictions of the ten inch 78 r.p.m. record, because all that you could do was three and one-half minutes of music, and your musicians had to produce their best in that short period. As a result, many musicians felt inhibited, and the excitement that comes from improvisation and from building to a climax has pretty generally been lost in this type of recording. 

I thought it a good idea to utilize the Long-Play record with Peterson, and I told him to play as long as he chose, (up to fifteen minutes), and forget the time. "Just play the way you feel". 

I'm sure you'll agree that "The Astaire Blues"’ is some of the most exciting jazz of any type put on record, and certainly nothing like it has been done before with the piano. And, try to restrain your foot from tapping to "Stompin' At The Savoy". Impossible! the beat is just too much!! 

Oscar is complemented by Barney Kessel, his analogue on guitar, and both are assisted by Ray Brown, probably one of the two or three greatest bassists in the country, and Alvin Stoller, a drummer with a thorough background in jazz from Tommy Dorsey's big band to Oscar Peterson's Quartet. If you own a phonograph that plays good records, then this is a must for your collection. *Norman Granz (liner notes)*

Oscar Peterson

The Oscar Peterson Quartet

This 1952 studio session is one of a few recordings made during guitarist Barney Kessel's brief tenure working with Oscar Peterson and Ray Brown. Expanded to a quartet for this session by the addition of drummer Alvin Stoller, the group's extended workouts allow for a lot of showmanship, starting with Peterson's rapid-fire "The Astaire Blues", where the pianist's volcanic technique never fails to dazzle. The leader gives Kessel a bit more space in the subdued but swinging renditions of "Stompin' at the Savoy" and "Body and Soul." Brown provides his usual strong pulse, while Stoller's rather light touch is welcome. Although reissued as a Book-of-the-Month Club LP during the '70s, this enjoyable session has been strangely overlooked for reissue on CD. *Ken Dryden*

1 - The Astaire Blues

(Peterson)

2 - Stompin' At The Savoy

(Sampson, Webb, Razaf, Goodman)

3 - Body And Soul

(Green, Heyman, Sour, Eyton)

4 - Oh, Lady Be Good!

(G. and I. Gershwin)

5 - Tea For Two

(Youmans, Caesar)

Oscar Peterson (piano), Barney Kessel (guitar), Ray Brown (bass), Alvin Stoller (drums).

Recorded in Los Angeles, California, February 26, 1952.

The Duke Plays Ellington

For those who appreciate Duke and his genius, the only notes necessary for this package are a few lines indicating that these are selections composed by Ellington himself down through the years. Wendell Marshall, on bass, and Butch Ballard at the drums accompany Duke's solo pianistics unobtrusively. The results are pleasantly out of the ordinary, for those who have followed his career are aware that Duke has always shunned piano solos. These were recorded long after midnight at Capitol's Melrose Avenue .Studios in Hollywood without any sort of rehearsal or plan. They just happened. 

"Reflections in D", "Who Knows?", "B. Sharp Blues" and "Janet" are spontaneous, ad libbed compositions by Ellington, created in the privacy of the dimly lighted studio at the time this album was recorded, and a spin of the turntable reveals what a truly remarkable series of improvisations they are. All Ellington followers know the others; they rank among Duke's best efforts as a composer and it is significant that the Duke himself selected them from a repertoire of more than five hundred of his own works. *from The Duke Plays Ellington (liner notes)*

Only a few albums focused on Duke Ellington's abilities as a pianist. This is one of the best.

A veritable giant in the history of jazz and the early years of popular music, Duke Ellington is rightly revered for his abilities as a composer and bandleader, but the fact that he was also a dexterous and talented pianist with a unique style is often overlooked. Among the myriad albums released under his name during his long career, only a handful focused on his abilities as a pianist. One of the best was The Duke Plays Ellington (later renamed Piano Reflections).

The album was recorded on Monday, April 13, 1953, when the Washington, DC-born jazz aristocrat, then a few weeks shy of his 54th birthday, went into Hollywood's Capitol studios with just a bassist (Wendell Marshall) and a drummer (Butch Ballard) to lay down eight tracks.

It was an intimate, low-key session that began with one of Ellington's signature tunes, "In A Sentimental Mood", which began life as a big-band instrumental in 1935 before becoming a vocal track after acquiring lyrics written by Manny Kurtz. Here, Ellington's elegant, crystalline piano floats above a gently swinging backbeat propelled by Butch Ballard's softly swirling brushes. Another Ellington classic to receive a minimalist piano trio makeover back in April 1953 was the urbane "Prelude To A Kiss", a graceful piece first written in 1938 that was influenced by classical music.

Also familiar to Ellington fans was "Things Ain’t What They Used To Be" —revived as a midtempo blues on The Duke Plays Ellington— which was written by the pianist's son, Mercer, in 1942. Elsewhere on the album, though, Ellington served up brand new material specially conceived for the album.

The influence of the blues on Ellington's music is in evidence on the playful "B Sharp Blues", where the pianist/composer uses dissonance to add a piquant quality to the melody. In acute contrast, the lovely "Reflections In D" is a floating ballad where dense patterns of lush chords create a dreamy soundscape. A more exotic mood is conjured by "Passion Flower", a song that Ellington composed with one of his key collaborators, Billy Strayhorn.

As well as being able to create evocative tone poems, Ellington knew how to swing, as the propulsive "Who Knows?" ably demonstrates with its bright, percussive piano lines. The closing song on the original album, "Janet", also hurtles along at a rapid pace, though quickly changes gear and morphs into a meditative ballad with a gentle rhythmic undertow supplied by soft, pulsing brushes, before resuming the skittish character of its original tempo.

The Duke Plays Ellington was first released as a 10" LP on Capitol Records in 1954, but later, in 1958, when the more popular 12" vinyl had become the norm in the music industry, the album was expanded to accommodate four additional tracks which had been recorded on April 14, 1953. They were two haunting ballads, "Melancholia" and "Retrospection" —the latter was more ornate and dramatic in terms of its piano content— plus "All Too Soon", a revamp of a 40s Ellington tune, and the jaunty "Dancers In Love", defined by a descending chromatic line underpinned by a sprightly, stride piano rhythm.

In 1989, 15 years after Ellington's death, The Duke Plays Ellington was finally reissued on CD for the first time, though it was renamed Piano Reflections. It was also bolstered with three previously unissued cuts ("Kinda Dukish", "Montevideo", and "December Blue"), all taken from a December 1953 session at Capitol studios.

More than half a decade on, The Duke Plays Ellington remains a go-to album if you want to hear Ellington's considerable piano skills in full effect. It offers compelling evidence that the man born Edward Kennedy Ellington, in 1899, could have been successful as a jobbing pianist if his career as a bandleader and composer hadn’t taken off so spectacularly. *Charles Waring*

***

Duke Ellington

Piano Reflections

These 1953 recordings brought Duke the pianist into clear focus, proving him to be a clever, quirky, thoughtful, and bold improviser — often simultaneously. Ellington wrote 8 of these 15 cuts specifically for this record, while offering new interpretations of classics such as "Prelude to a Kiss", "In a Sentimental Mood", and "All Too Soon" plus Billy Strayhorn's delicate "Passion Flower" and son Mercer's "Things Ain't What They Used to Be". As strong as those readings are, the highlights here are the new pieces. "Reflections in D", "Retrospection", and "Melancholia" are spooky-but-serene tone poems; "Montevideo" and "Kinda Dukish" (actually the introduction to "Rockin' in Rhythm") are jagged and urgent; and "Janet", a two-minute suite in three parts, combines both moods. The lesser-known "Dancers in Love" (from The Perfume Suite) receives a delightful treatment that shows just how much can be said with one title and two minutes. *Marc Greilsamer*

At the time of its release this was a true rarity, a full album of Duke Ellington featured with a trio sans his orchestra. Although his talents at the piano sometimes have been overshadowed by his many accomplishments as a composer, arranger, and bandleader, Ellington was actually one of the very few stride pianists (along with Mary Lou Williams) to effectively make the transition into more modern styles of jazz without losing his own musical personality; in fact Duke was an early influence on both Thelonious Monk and Cecil Taylor. Throughout this CD (which contains one previously unissued track), Ellington sounds modern (especially rhythmically and in his chord voicings) and shows that he could have made a viable career out of just being a pianist. *Scott Yanow*

1 - Who Knows?

(Duke Ellington)

2 - Retrospection

(Duke Ellington)

3 - B. Sharp Blues

(Duke Ellington)

4 - Passion Flower

(Billy Strayhorn)

5 - Dancers In Love

(Duke Ellington)

6 - Reflections In D

(Duke Ellington)

7 - Melancholia

(Duke Ellington)

8 - Prelude To A Kiss

(Duke Ellington)

9 - In A Sentimental Mood

(Duke Ellington)

10 - Things Ain't What They Used To Be

(Mercer Ellington, Ted Persons)

11 - All Too Soon

(Duke Ellington, Carl Sigman)

12 - Janet

(Duke Ellington)

13 - Kinda Dukish

(Duke Ellington)

14 - Montevideo (a.k.a. Night Time)

(Duke Ellington)

15 - December Blue

(Duke Ellington)

#1 to #12: 

Duke Ellington (piano), Wendell Marshall (bass), Butch Ballard (drums).

Recorded in Los Angeles, California, April 13 (#1 to #5) and April 14 (#6 to #12), 1953.

#13 to #15:

Duke Ellington (piano), Wendell Marshall (bass), Dave Black (drums), Ralph Colier (conga [#14])

Recorded in New York City, December 3, 1953.

Les Strand Plays Duke Ellington

Les Strand, an obscure organist and piano player, born Leslie Strandt in Chicago, Illinois, September 15, 1924. Inspired by his father who was a theater organist. Started to play piano at an early age, also playing the organ as well. Through a friend he met Art Tatum when he was 18 and the latter left a great impression on Les. At 20 he started to learn theory first at Baldwin-Wallace Conservatory in Ohio and later at Augustana College in Rock Island, Illinois. Came into contact with the bop movement and was a great admirer of Charlie Parker and Dizzy Gillespie. Their playing inspired Les to add modern phrasings into his own playing. Mostly played around Chicago and recorded three albums for Fantasy. *Walter Bruyninckx*

Les Strand' father (George Friedrick Heinrich Strandt) spent most of his career as a musician playing in shows on the theatre circuit in Chicago, taught himself to play the Hammond at the age of fourteen. He began playing in a funeral home before hitting the lounge circuit, and was probably the purest bebop organist who ever played the instrument. His obscurity results from a combination of factors: an inappropriate record label (Fantasy, which had nothing in their catalogue remotely like Strand's jazz organ, and which refused to give much promotion to him), a non-traditional organ (he recorded mostly on the Baldwin, which is not a "bluesy" instrument), and technique, which was so complex that the basic jazz-blues oriented organ trio setting would simply not have worked well with his Tatum-Tristano influenced style. Strand rarely traveled out of the Chicago area, and never appeared in a large East Coast city. He was considered a pioneer and Jimmy Smith referred to him as "the Art Tatum of the organ". In 1971 won Yamaha International Organ contest.

He is rare among jazz organists in that his first instrument was the organ itself (he started with the Hammond at age 14), and his total recorded output consists of three albums on Fantasy, two of which feature the Baldwin organ, and a promotional album for Yamaha. Interestingly, neither Leonard Feather, who produced his Yamaha record, nor Chicago jazz radio programmer Dick Buckley, who wrote the liner notes for one of his records, knew Strand's whereabouts, and small wonder: he retired from active playing at the young age of 40 to pursue a teaching career in 1964, has since retired from teaching and moved to Kansas City. Les died in 2002. *afana.org/jazzorgan*

Les Strand

Plays Duke Ellington

(On The Hammond Organ)

"I wouldn't recommend playing jazz on an electric organ to anyone! I just play and hope for the best". 

This was Les Strand talking, long distance from Milwaukee to Chicago, in response to my call for some words of wisdom and quotable quotes from the artist himself.

During the conversation, I mentioned that jazz on the electric organ was one of my pet peeves... but before I could add, "Until I heard these tapes of yours", Les jumped in with the above statement.

Name all the electric organists you can think of and I can add the following faults: Monotony of the single line, the roar and shriek of the block chords, the addition of string bass to make up for lack of ability with the pedals, everything played at one stop setting, infatuation with weird sounds which the instrument will produce, the staccato sound because of the fast key action, the shock waves that assault the ear from full tremolo, not to forget the ones who hack at a piano with the right hand while clawing the organ with the left.

In fact, now that I set it all down on paper, it's no wonder I couldn't stand organs till now. I guess it's the mastery of the faults of others that makes Les Strand's style acceptable to me. Having played the instrument all his life, Les knows the mechanics of the Hammond electric organ, with the shadings and tonal colors adapted to his own style... just as he adapts Duke Ellington's compositions to his own mode of expression.

Playing Ellington is nothing new for Les. In fact, he has the distinction of having played Duke Ellington for Duke Ellington! He spent one entire night with Duke at Chicago's old Universal Studios cutting Ellington tunes on the Hammond for release on the Mercer Label. Only trouble was that the label folded before any of the sides could be released. "I started the session by copying record arrangements, but Duke stopped me and said he didn't want to hear his arrangements. He wanted my interpretation".

Thus almost 10 years ago, the idea was born that is carried out in this album... the unique conception of treating Ellingtonia just as he'd interpret the works of any other composer...a base on which to build for himself.

"The idea for the album was Fantasy's", said Les. "But for me it was a natural. A labor of love. They left the choice of material up to me, so I got together with a couple of Chicago's best known Ellington collectors, listened to hours and hours of recordings, and came up with the 13 tunes included here".

The drummer is Max Mariash of the Art Van Damme Quintet, and his adaptability, feeling, taste and ear is more apparent when you realize that these sides were cut in one session, most of them first takes.

From the sounds put on tape early in the morning of October 11, 1957, you have hours and hours of listening enjoyment, whether you're a Les Strand fan, an Ellington fan, a jazz fan, or just the casual type listener who likes pretty sounds for a background to your activities.

*Dick Buckley (liner notes)*

Side 1

1 - I Got It Bad And That Ain't Good

(Ellington, Webster)

2 - A Little Posey

(Ellington)

3 - Prelude To A Kiss

(Ellington, Gordon, Mills)

4 - Cottontail

(Ellington)

5 - Black Butterfly

(Ellington, Carruthers, Mills)

6 - Morning Glory

(Ellington)

Side 2

7 - I'm Beginning To See The Light

(Ellington, James, Hodges, George)

8 - Mood Indigo

(Ellington, Mills, Bigard)

9 - I Let A Song Go Out Of My Heart

(Ellington, Nemo, Mills, Redmond)

10 - Carnegie Blues

(Ellington)

11 - Caravan

(Ellington, Tizol, Mills)

12 - T. T. On Toast

(Ellington, Mills)

13 - Just A-Sittin' And A-Rockin'

(Ellington, Strayhorn, Gaines)

Les Strand (organ Hammond B3), Max Mariash (drums).

Recorded in Chicago, Illinois, October 10 (#3, #4, #5, #6, #7, #9, #11, #12, #13), and 11 (#1, #2, #8, #10), 1957.

The Jimmy Neeley Trio - Misirlou

James "Jimmy" Neely was one of the greatest unsung talents in soul jazz piano, a player who was quite respected amongst his peers, but who rarely got the chance to record. He led a local jazz quintet in the late 1940s, which included guitarist Mickey Baker in 1947/48. From the early 1950s he worked in New York City with Charlie Singleton (with whom his first recordings were made in 1951), also with the rhythm and blues singer H-Bomb Ferguson, as well as with Red Prysock and Roy Eldridge. In 1960 he released his debut album Misirlou (Tru-Sound Records), recorded in a trio with Michel Mulia (bass) and Rudy Lawless (drums). His next recording, in 1963, was the album The Now! Sound of Jimmy Neeley (Ali Records). In the 1960s he performed with his own trio in New York clubs and he also worked, among other things, on recordings by Betty Roche, Willis "Gator" Jackson and Etta Jones. The last recordings were made around 1969, when Neely recorded the album Pure Simplicity with string accompaniment. In the field of jazz, he was involved in eleven recording sessions from 1951 to 1969. *wikipedia.org*

The musicians who debut on this album call themselves The Jimmy Neeley Trio, and they mean exactly what they say. Very often, what passes for a trio is actually a series of piano solos with bass and drum accompaniment. But these three men are a co-operative unit, in both business and musical matiers. It is that way because Jimmy Neeley wants it that way, and it took him a long time and a good deal of work to get what he wanted. 

Neeley is thirty-two, but he has been working professionally for fifteen years. He has never considered being anything other than a musician, and has directed himself toward that goal for as far back as he can remember. His studies include time spent at Juilliard, Deau, the Chicago Conservatory of Music, and the Metropolitan School of Music. But, although, he is a pianist, he studied piano at none of those institutions. What he did study made him a thoroughly well-rounded and well-grounded musician: theory, harmony, composition, arranging, and also instrumental classes in flute and cello. All this time, he was studying piano privately. 

The obvious question is, what is the concept involved? Although all three men have enormous experience and technical resources (Mulia, for instance, has studied with one of the great bass virtuosos of all time, Charles Mingus) there is no dazzling display of technical brilliance to be heard on these songs. It is, rather, the mark of excellent musicians that ihey don’t feel the need to flaunt their virtuosity. And, it would not be accurate to call all of the music played here jazz. As a matter of fact, Jimmy Neeley himself insists that the music he plays is not completely jazz. He prefers the term "modern music", feeling among other things, that the jazz audience is too limited. for what he hopes to do. The music on this album is a fair sampling of the trio's current repertoire.

*Sidney Falco (liner notes)*

Side 1

1 - Misirlou

(Nicholas Roubanis)

2 - Gettin' A Taste

(James Neeley)

3 - Lament For The Lonely

(Esmond Edwards)

4 - Witchcraft

(Leigh, Coleman)

5 - Love Is A Many Splendored Thing

(Fain, Webster)

Side 2

6 - My One And Only Love

(Mellin, Wood)

7 - The Chase

(Tadd Dameron)

8 - Time After Time

(Cahn, Styne)

9 - Gone With The Wind

(Magidson, Wrubel)

Jimmy Neeley (piano), Michel Mulia (bass), Rudy Lawless (drums).

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, December 16, 1960.

Norman Simmons And Richard Evans - Two Obscure Jazz Trio Albums

A superb craftsman and an accomplished soloist, arranger, composer and educator, pianist Norman Simmons was born in Chicago in 1929. By 1954 he was leading a popular trio in his home town, where it became the group of choice for such visiting greats as Lester Young, Wardell Gray, Charlie Parker, Ben Webster, and Dexter Gordon.

Simmons made his recording debut with his trio on this 1956 Argo album, sensitively accompanied by bassist Victor Sproles and drummer Vernell Fournier, his impeccable swing, taste, judgment and technique — and a trio approach redolent of pianist Billy Taylors — are evident throughout a varied programme of originals and standards. The ballads, "Moonlight in Vermont" and "My Funny Valentine", in particular show an exquisite feel for the form.

Bassist Richard Evans, born in Birmingham, Alabama in 1932 but raised in Chicago, had an enviably multifaceted CV by the time he made his leader debut on record with Richards Almanac in 1959, also for Argo. Experience with the Sun Ra Arkestra, Lionel Hampton, Maynard Ferguson and as one of singer Dinah Washingtons accompanists, ensured he knew how to deliver. Leading a trio enhanced by the excellent work of pianist Jack Wilson and drummer Robert Barry, he offers a mobile fulcrum for an engagingly varied programme of standards and originals, deft, accessible and always swinging. *Jordi Pujol*

Norman Simmons Trio

Plus

Richard Evans Trio

About Norman Simmons Trio:

If this first album is a sample of things to come, a new talent has arrived. The group is similar in styling and technique to Billy Taylor's. The trio hails from Chicago, where theyare quite popular, and interest ois a national level should develop in time. The Norman Simmons Trio is definitely one to watch. *Billboard, May 6, 1957*

About Richard Evans Trio:

A rare early trio session from bassist Richard Evans — known much more famously for his late 60s soul and jazz arrangements at Chess! The set's not only unique for it's exposure of Evans as a jazz artist, but it also marks one of the first appearances of pianist Jack Wilson — still a part of the Chicago scene at the time of this album, but already playing with the fluid lyricism we love so much from his 60s LA recordings! Wilson's piano is a really key part of the record, and he works a groove that's simply sublime — filled with lots of flowing, gliding touches on the top of the keys, but also coming across with enough of a bottom to give the record plenty of soul! The drummer in the group is Robert Barry, another noteworthy south sider at the time — and titles include "Consu", "The Preacher", "Trees", "Vera", "Should I", and "Daybreak". Nice cover, too, with a young Evans sitting in front of a globe! *dustygroove.com*

1 - Capacity In Blues

(Norman Simmons)

2 - Stella By Starlight

(Young, Washington)

3 - Jan

(Norman Simmons)

4 - My Funny Valentine

(Rodgers, Hart)

5 - Peppe

(Norman Simmons)

6 - Chili Bowl

(Norman Simmons)

7 - Moonlight In Vermont

(Suessdorf, Blackburn)

8 - You Do Something To Me

(Cole Porter)

9 - Love Is Eternal

(Norman Simmons)

10 - They Cant Take That Away From Me

(G. and I. Gershwin)

11 - Tranquility

(Norman Simmons)

12 - Trees

(Rasbach, Kilmer)

13 - Vera

(Bill Evans)

14 - Im Glad There Is You

(Madeira, Dorsey)

15 - The Preacher

(Horace Silver)

16 - Crazy Rhythm

(Meyer, Kahn)

17 - Bye Bye, Blackbird

(Henderson, Dixon)

18 - Daybreak

(Adamson, Grofe)

19 - Consu

(Jack Wilson)

20 - Should I?

(Brown, Freed)

21 - Jeepers Creepers

(Warren, Mercer)

#1 to #11: The Norman Simmons Trio 

from the album Norman Simmons Trio (Argo LP 607)

Norman Simmons (piano), Victor Sproles (bass), Vernell Fournier (drums).

Recorded at Universal Studios, Chicago, Illinois, October 1956.

#12 to #21: The Richard Evans Trio

from the album Richard's Almanac (Argo LP 658)

Jack Wilson (piano), Richard Evans (bass), Robert Barry (drums).

Recorded at Ter-Mar Studios, Chicago, Illinois, July 21, 22 and 23, 1959.

Bob Prince And... Saxes, Inc.

Thirteen of the country's top sax men in a musicians' —and listeners'— holiday.

This album is a tribute to many things; the saxophone itself, the great musicians of its brief history, some of the repertoire which has been associated with this peculiary jazz-suited instrument, the specific musicians who made these recordings, and most of all to the arranger whose interpretation of this unique idea is an extraordinary example of the creativity and technique that consistently mark his work. Bob Prince faced a difficult challenge in accepting the assignment of a "Saxophones, Inc." album, and made it still more challenging by resolving to use a great deal of material which has been associated with the instrument and its past masters. His conception of what and how to write for a saxophone ensemble has been brilliantly executed.

Prince did not start work until he had set the personnel for each session. He drew his primary inspiration from the virtuosity of each member of the ensemble; he wrote specifically for the individuals who made this recording. *George Avakian (liner notes)*

Saxes Inc. — a unique sax-heavy session done by Warner Brothers, and a blaring batch of tracks played by an all-star all-sax group that includes Herb Geller, Phil Woods, Gene Quill, Al Cohn, Zoot Sims, Seldon Powell, Hal McKusick, and Georgie Auld! Bob Prince arranged and conducted, and the approach is surprisingly modernist, with the saxes carrying the bulk of the rhythm and melody, as well as the solos —a really great approach that makes for plenty of unique moments— all handled with a sound that's a lot more fluid than you might expect! Titles include "Four Brothers" (of course!), "The Gypsy", "Night In Tunisia", "Jumpin With Symphony Sid", and "Axmobile".

*Jordi Pujol*

1 - Fugue For Tinhorns

(Frank Loesser)

2 - Broadway

(Woode, McRae, Bird)

3 - The Gypsy

(Billy Reid)

4 - Night In Tunisia

(Gillespie, Paparelli)

5 - Four Brothers

(Jimmy Giuffre)

6 - Sometimes I'm Happy

(Caesar, Youmans)

7 - Tickle-Toe

(Lester Young)

8 - Sweet And Lovely

(Arnheim, Tobias, Lemare)

9 - Jumpin' With Symphony Sid

(Lester Young)

10 - Early Autumn

(Mercer, Burns, Herman)

11 - Axmobile

(Robert Prince)

Al Cohn, Coleman Hawkins, Georgie Auld, Morty Lewis, Seldon Powell, Zoot Sims (tenor saxes); Gene Quill, Herb Geller, Phil Woods (alto saxes); Al Epstein, Gene Allen, Sol Schlinger (baritone saxes); Hal McKusick (soprano sax); Shelly Gold (bass sax); Dick Katz (piano); George Duvivier (bass); Osie Johnson (drums). 

Arranged and directed by Bob Prince.

Recorded in New York City, July and August, 1959.

Nat Adderley And The Big Sax Section - That's Right!

This unusual and richly inventive album should do much to emphasize the important fact that NAT ADDERLEY is swiftly and steadily rising towards a position in he very front ranks of today's jazz artists. 

This rise can largely be credited to such basic factors as a sharp and continuing maturing of Nat's talents, to an ever-increasing fulfillment of the Young star's vast promise, and to a heightened awareness by the jazz public of just how much Nat has to offer. The younger Adderley brother’s playing contains a most uncommon egree of wit, warmth, imagination and power; and he has also a thorough command of his instrument — which, by choice, has always been the slightly sharper-pitched Cornet rather than the trumpet — over an awesomely wide range. 

It is worth noting in particular that Nat's stature grew with startling speed during the year preceding the recording of this album. For this was the first year (starting in the Fall of 1959) of the new and phenomenally successful Cannonball Adderly Quintet, in which Nat is featured alongside his brother; thus it was a year in which, night after night, Nat was able to play the kind of music he most enjoys and in the best of company. 

In other words, a happy year for Nat: and his work (on this album and elsewhere) strikingly demonstrates the excellent results of that happiness. *Orrin Keepnews (liner notes)*

A mong Nat Adderley's half-dozen Riverside and Jazzland albums of the late 1950s and early 60s, That’s Right! occupies a special place. Because of Adderley's energy, musicality, and leadership, the all-star makeup of the truly Big Sax Section, a dream rhythm section, some of Jimmy Heath's best arrangements, and perhaps most of all because the studio chemistry for these sessions was perfect, the music's freshness and warmth is undiminished. In addition to Nat's variety, pungency, and emotional range on cornet, there are outstanding solos by Heath, Charlie Rouse, Yusef Lateef, Cannonball Adderley, and Wynton Kelly. *concord.com*

One of cornetist Nat Adderley's best early albums, That's Right! has eight selections (seven of which were arranged by Jimmy Heath) that feature Nat with five saxophonists (altoist Cannonball Adderley, baritonist Tate Houston, and the tenors of Yusef Lateef, Jimmy Heath, and Charlie Rouse), and a rhythm section led by pianist Wynton Kelly. Despite Cannonball's presence, this is very much Nat's date (the altoist has just one solo), although there is some ample solo space for the three tenors. Highlights include Nat's memorable original "The Old Country", a touching version of "The Folks Who Live on the Hill", and "You Leave Me Breathless". Recommended. *Scott Yanow*

1 - The Old Country

(Nat Adderley)

2 - Chordnation

(Jimmy Heath)

3 - The Folks Who Live On The Hill

(Kern, Hammerstein)

4 - Tadd

(Barry Harris)

5 - You Leave Me Breathless

(Hollander, Freed)

6 - Night After Night

(Joe Bailey)

7 - E.S.P.

(Barry Harris)

8 - That's Right!

(Nat  Adderley)

Nat Adderley (cornet); Julian "Cannonball" Adderley (alto sax); Jimmy Heath, Charlie Rouse (tenor saxes); Yusef Lateef (tenor sax, flute [#1, #3], oboe [#6]); Tate Houston (baritone sax); Wynton Kelly (piano); Jim Hall [#2, #3, #5], Les Spann [#1, #4, #6, #7, #8] (guitars); Sam Jones (bass); Jimmy Cobb (drums). 

Arrangements by Jimmy Heath, Jimmy Jones and Norman Simmons.

Recorded at Plaza Sound Studios, New York City, August 9 (#2, #3, #5) and  September 15 (#1, #4, #6, #7, #8), 1960.

Coleman Hawkins And The Big Sax Section

For much of Coleman Hawkins' post-1940 career, the tenor saxophonist fronted quartets, quintets and other small groups. When he did play with full-size orchestras, Hawk was typically the featured soloist, not a sit-down, chart-reading member of the reed section. So unfortunately you don't often get to hear how the flavor of a superb reed section might change with Hawk's mighty tenor as part of the mix.

Hawk also didn't play much with Count Basie's band. Which makes perfect sense, since Hawk and Lester Young, Basie's star tenor saxophonist, were intense rivals. Hawk recorded with Basie on only a few occasions — in January 1941 as poll-winning members of the Metronome All Stars; with Basie's big band in April 1941 (Young was fronting his own band and working with Billie Holiday at the time); and in December 1957 for CBS' The Sound of Jazz, the noir TV jam session.

Long curious to know how Hawk's confident, cutting tone would sound within Basie's bluesy sax section, Savoy Records' producer Ozzie Cadena proposed a recording summit in early 1958. Hawk agreed, and Basie gave his blessing. So on April 24, right after Basie's band returned from a Canadian tour and just before Hawk left for Europe with Jazz at the Philharmonic, nine musicians converged on Rudy Van Gelder's recording studio in New Jersey. Cadena oversaw the session for World Wide Records.

For the date, Marshall Royal and Frank Wess were on alto saxes; Frank Foster and Hawk were on tenors; and Charlie Fowlkes was on baritone sax. The only reed player missing was Billy Mitchell, who had just joined Basie months earlier on tenor and was the sax player dropped to make room for Hawk. The rhythm section featured guitarist Freddie Green and bassist Eddie Jones, both Basie-ites, and Bobby Donaldson on drums and Nat Pierce on piano.

To ensure that the session went off without a scoring hitch, Cadena turned to rock-solid Billy Ver Planck for the swinging arrangements. Ver Planck, a trombonist, had written for the Jimmy Dorsey and Claude Thornhill bands, and in 1958 was recording for Savoy.

The result was Coleman Hawkins Meets the Saxophone Section, which was first released on World Wide to show off the label's newfound stereo capability. Recorded only in stereo (rather than mono and stereo), many jazz listeners passed on the LP, since the more expensive stereo format was relatively new technology and most people had only mono equipment. Ultimately, the recording also was released on Savoy as Coleman Hawkins Meets the Big Sax Section.

The five tracks recorded that day included three blues and two show tunes —"I've Grown Accustomed to Her Face" and "There Is Nothing Like a Dame". The first track on the album, "Ooga Dooga", is particularly fascinating given that Hawk does not solo. Instead, you get to hear how the section sounds with Hawk as one of two tenors reading down Ver Planck's charts. The standards also are stunning swingers, with Hawk tearing in and out of Frederick Lowe's loping Face and Richard Rodgers' charging "Dame".

For my money, Coleman Hawkins Meets the Saxophone Section may be one of the best and most robust reed-themed albums ever recorded. Every track lives up to the album's title, and you get everything you expect, from the sauciest blues to street-smart standards. There isn't a bad note on the album. It's just a shame that another five tracks weren't captured that day. *Marc Myers*

This studio session for Savoy finds the great Hawkins playing as part of a five-piece sax section. Actually the other saxophonists and part of the rhythm section were taken from the Count Basie Orchestra and outfitted with arrangements by Billy Ver Planck. They play a variety of little-known but swinging material; the logical charts and high-quality solos make this LP well worth acquiring. *Scott Yanow*

A thoroughly swinging and wonderfully arranged session. There is the essence of swinging the blues all through the set. The Basie sax and rhythm section (with Nat Pierce siting in for Basie) are absolutely wonderful! A must have performance! *David M. Robinson*

1 - Ooga Dooga

(Coleman Hawkins)

2 - I've Grown Accustomed To Your Face

 (Frederick Loewe, Alan Jay Lerner)

3 - Thanks For The Misery (master take)

 (Billy Ver Planck)

4 - An Evening At Papa Joe's

 (Frank Foster)

5 - There Is Nothin' Like A Dame

(Richard Rodgers, Oscar Hammerstein II)

6 - Thanks For The Misery

(Billy Ver Planck)

Coleman Hawkins, Frank Foster (tenor saxes); Frank Wess, Marshall Royal (alto saxes); Charlie Fowlkes (baritone sax); Nat Pierce (piano); Freddie Greene (guitar); Eddie Jones (bass); Bobby Donaldson (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, April 24, 1958.

Al Cohn And The Sax Section

If one had to define the most striking quality of the sax section in the dance or jazz orchestra, it would be variety of sound. Though saxophones have a relatively small range and uniform tone, the woodwinds (piccolo, flute, oboe, bassoon, clarinet, bass clarinet and English horn) have more extensive ranges and are used in varying ways to make the reed section the flexible unit it is... The numerous instrumental combinations that are possible give this section wide scope. Challenging arrangements permit full exploitation of the sound spectrum. 

The evolution of the sax section is the result of the various changes in conception of dance and jazz music, and the maturation of arranging procedures.

In this period of temporary stability before the next possible big change in the sax section, Epic thought the time ripe to record a contemporary sax section. In order to fully exploit its many possibilities an arranger was selected who was completely oriented in jazz and dance music and nationally recognized for his unique scoring talent... Al Cohn. 

Because he was scoring merely for reeds and rhythm, Al felt it necessary to take special care in making the arrangements for this LP. Without the brass instruments to enhance or balance things, the saxes —woodwinds had to be utilized in a most stimulating fashion— rhythmically and harmonically to hold interest. Even a section as colorful as the reeds will suffer from the limitation of sameness, if not provocatively scored for. Al Cohn's handling of the section leaves little to be desired. *Burt Korall (liner notes)*

Al Cohn's writing for small groups is always appealing, and this set is no exception. Leading three separate groups consisting of various reeds (and no brass) plus a rhythm section, Cohn obtains marvelous results from his groups of all-stars and veteran session musicians. The first session concentrates on saxophones, including Cohn and Eddie Wasserman on tenor saxes, Sam Marowitz and Gene Quill on alto saxes, with Sol Schlinger on the baritone sax. Cohn's swinging "Shazam" brings the swing era to mind, while "Tears by Me Out the Heart" is a warm ballad. The second meeting is more of a mixed bag, with Boomie Richman, Peanuts Hucko, Romeo Penque, Phil Bodner, Charlie O'Kane, and the leader switching out between various reed instruments from one track to the next. Particularly effective is Cohn's exotic arrangement of "While My Lady Sleeps," featuring two flutes in the lead, backed by oboe, clarinet, and bass clarinet. The final date matches three tenor saxophonists (Zoot Sims and Eddie Wasserman joining the leader) and Sol Schlinger again on baritone. The feeling throughout these tracks touches on the work of the big bands of Duke Ellington, Count Basie, and Woody Herman, always swinging, with plenty of hot solos and tight ensembles. This long-unavailable record is worth acquiring. *Ken Dryden* 

This CD contains sides made by three different groupings of reedmen and rhythm section. The usual big band section, as featured in group one, gets a fine sound and offers Al Cohn and Gene Quill a framework for some excellent soloing. John Williams is heard from, too, with his solidly swinging piano style. 

The second grouping, with a woodwind instrumentation lends a different coloration to the section. Peanuts Hucko is featured on clarinet, Phil Bodner plays good flute, and Boomie Richman sounds great on bass clarinet.

The third set has three tenors and a baritone. A "Four Brothers" sound with Al and Zoot soloing and Hank Jones playing really lovely piano —tasty, clean, and swinging— behind them and on his own solos. As an experiment in the various shapes a sax section can be drawn in, this was a very successful project. *Jordi Pujol* 

1 - Shazam

(Al Cohn)

2 - The Mellow Side

(Al Cohn)

3 - Shutout

(Al Cohn)

4 - Double Fracture

(Al Cohn)

5 - While My Lady Sleeps

(Kahn, Kaper)

6 - Shorty George

(Gibson, Basie)

7 - The Return Of The Redhead

(Al Cohn)

8 - Villa Rowboats

(Al Cohn)

9 - Solsville

(Al Cohn)

10 - Don’t Worry ‘Bout Me

(Koehler, Bloom)

11 - Blues for the High Brow

(Al Cohn)

12 - Tears By Me Out The Heart

(Al Cohn)

#1, #4, #9, #12:

Sam Marowitz, Gene Quill (alto saxes); Al Cohn, Eddie Wasserman (tenor saxes); Sol Schlinger (baritone sax); Johnny Williams (piano); Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, May 24, 1956.

#3, #5, #8, #10:

Romeo Penque (clarinet, alto sax, oboe, English horn), Phil Bodner (flute, clarinet), Peanuts Hucko (clarinet), Boomie Richman (bass clarinet), Charlie O’Kane (flute, bass clarinet), Johnny Williams (piano), Milt Hinton (bass), Don Lamond (drums).

Recorded in New York City, June 5, 1956.

#2, #6, #7, #11:

Al Cohn, Eddie Wasserman, Zoot Sims (tenor saxes); Sol Schlinger (baritone sax); Hank Jones (piano); Milt Hinton (bass); Don Lamond (drums).

Recorded in New York City, June 28, 1956. 

Bud Shank And The Sax Section

The history of the saxophone family is inextricably interwoven with the history of jazz as is that of no other instrument. Indeed, the sound of a saxophone outside jazz in other forms of serious music is so minor as to be approximately comparable to that of, let us say, the harpsichord in jazz. Perhaps one of the most successfully productive devices in the creation of the excitement of the jazz sound, especially in big band forms, is the saxophone ensemble, utilizing various combinations of sax types in orchestral voicings ranging from unison to complex harmonics. Arrangers long ago discovered the varied richness that the blending of alto, tenor, baritone, and even soprano, bass and contra-bass saxophones can produce. In addition, the marvelous flexibility of phrasing inherent in the saxophone design and the consummate facility of literally hundreds of jazz reed instrumentalists assured the premier status of this family of instruments in jazz. 

Many have remarked upon the closeness of the middle-range (alto and tenor) saxophone sounds to that of the human voice, lusty and vivid with the cry and moan of jazz and the blues. But for all the success of saxophones in ensembles, in big bands and as distinctive solo voices in the hands of dozens of small band virtuosos, there has been remarkably little success in the numerous attempts to accomplish what has been so eminently accomplished in the present long-play recording.

Past failures have shown that it is not so easy as it might first appear to remove the saxophone ensemble from the band, place it in front of a good rhythm section, add a generous supply of solo space and come up with the best of all possible saxophonic worlds. Many sax players that seemed to be fine soloists with the brass bellying up beneath them and an urging crowd before them, become painfully weak in merely a section with rhythm setting. Many arrangements that seemed to scintillate in orchestral form felt strangely naked and impotent when stripped of all but the sax section.

The trick to success is here. "The idea for this recording", observed altoist-leader, BUD SHANK, "has been in my mind for nearly two years. The final production was delayed for a variety of reasons, some financial, some artistic, and during that time the details of concept only slowly took form. Three different arrangers were. considered at one time or another, as well as various combinations of individuals for the sax section and the rhythm. We went through periods where the thing did not seem commercially wise even for a jazz record, times when personnel problems seemed difficult, and the choice of material to be performed was puzzling". There have been some famous sax ensemble sounds, such as those in the bands of Basie, Lunceford, Ellington, Goodman, Herman (the Four Brothers sound) and Kenton, which have resulted in a project, such as the present one, with a great temptation to pay tribute in recording to one or another of those sounds.

That temptation has been valiantly resisted here by Shank and his most successful choice for arranging chores, BOB FLORENCE. 

The whole project sits on a rhythm section that just kills me and I've thus never felt so confident in recommending a recording to prospective listeners and buyers. Every living, breathing second of it makes up for every stupid, insipid, foolish piece of pseudomusical nonsense I've heard in the last few months. I feel warm all over. *John William Hardy (liner notes)*

During an era when altoist Bud Shank was recording an extensive series of fairly commercial albums for World Pacific, this LP was better than most. Teamed with a saxophone section that included altoist Bill Perkins, both Rick Hardaway and Bob Cooper on tenors and baritonists Jack Nimitz and John Lowe plus guitarist Dennis Budimir, bassist Ray Brown and drummer Larry Bunker, Shank and his sidemen play rather concise versions of a dozen songs arranged by Bob Florence. One wishes that the saxes could have stretched out more on such tunes as "The Sidewinder", "On A Clear Day", "Take Five" and "Senor Blues", since none of the performances exceed 3 1/2 minutes, but overall, the music on this out-of-print LP is reasonably enjoyable within its limitations. *Scott Yanow*

A great showcase for the amazing reed talents of Bud Shank — great in a small combo during the early years of his career, and equally at home in larger groups like this during the 60s! As you'd guess from the title, Bud heads up a fuller section of saxophonists — players who include Bill Perkins, Bob Cooper, and Jack Nimitz — working with Bud in a style that's a more modern extension of modes first explored by the Four Brothers/Herman group in the late 40s – but with much groovier 60s styles here! Bob Florence handles the arrangements, and he brings a great sense of color and tone — and a nice ear for a groove – on titles that include "Take Five", "The Sidewinder", "Summer Samba", "On A Clear Day", "Summertime", "Reza", and "Senor Blues".  *dustygroove.com*

Side 1

1 - Summer Samba (So Nice)

(Marcos Valle, Paulo Sérgio Valle, Norman Gimbel)

2 - On A Clear Day (You Can See Forever)

(Alan Jay Lerner, Burton Lane)

3 - Sidewinder

(Lee Morgan)

4 - Summertime

(George Gershwin, DuBose Heyward)

5 - And I Love Her

(John Lennon, Paul McCartney)

6 - The Grass Is Greener

(Howlett Smith, Spence Maxwell)

Side 2

7 - The Work Song

(Nat Adderley)

8 - Reza

(Edu Lobo, Ruy Guerra)

9 - Take Five

(Paul Desmond)

10 - Here's That Rainy Day

(Jimmy Van Heusen, Johnny Burke)

11 - A Time For Love

(Johnny Mandel, Paul Francis Webster)

12 - Señor Blues

(Horace Silver)

Bud Shank (alto sax, soprano sax); Bill Perkins (alto sax); Bob Cooper, Bob Hardaway (tenor saxes); John Lowe, Jack Nimitz (baritone saxes); Dennis Budimir (gutar); Ray Brown (bass); Larry Bunker (drums). Arranged and conducted by Bob Florence.

Recorded in Capitol Studios, Hollywood, California, December 1966.