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.