Charles Bell - Three albums and more...

Charles Bell was a well-trained classical pianist who graduated from Carnegie Institute of Technology in the early 1950s.  He turned his attention to jazz at around 20 years of age and soon made his mark on the jazz scene with his Charles Bell Contemporary Jazz Ensemble landing a contract with Columbia Records.

Charles was commissioned by the Pittsburgh Symphony to write a three movement jazz symphony called "Concerto in Miniature of Jazz Quartet and Orchestra" that was conducted by Dr. William Steinberg in 1963. The Charles Bell quartet released several recordings on the Columbia and Atlantic labels and toured the world during the 1960s.

Charles lived rather quietly and obscurely in his New York City apartment at the time of his passing. *Dr. Nelson Harrison*

He wasn't an innovator, star or major figure, but pianist Charles Bell made some solid records in the early and mid-'60s. Influenced by the then emerging soul-jazz and funky schools, Bell's playing was vibrant, often exciting and full of blues licks, gospel phrases and inflections, plus some bop tinges. He called his first combo a contemporary jazz quartet, and their menu included vamp numbers, standards and originals. His trio albums were more dense, and emphasized his harmonic abilities. *Ron Wynn*

A very interesting compilation from 3 LPs of this group dating from 1960 thru 65. The DownBeat Record Review in 1961 gave it the full 5 stars and I quote "Bell's music avoids the coldness that condemned the offerings of Tristano. It's intellectual, but it's got heart". A Collectors Rarity on Vinyl brought back to life. *amazon.co.jp*

The Charles Bell Contemporary Jazz Quartet

Formed in 1958, Charles Bells quartet made its recording debut on Columbia with The Charles Bell Contemporary Jazz Quartet after being acclaimed at the 1960 Georgetown University Intercollegiate Jazz Festival. The groupall extremely proficient musicians who knew how exploit the potentialities of their instruments to the fullwas something new in jazz, with an approach to theme, variation and rhythmic pulse that seemed to set it apart.

Charles Bell (1933-2012) was a classically trained pianist of undeniably lush and harmonic abilities. Smith contributed impressively to the singular contrapuntal interplay between piano and guitar, while bassist Traficante, a good soloist, provided a solid rhythmic fulcrum, with Blairman a tasteful and intelligent drummer.

On the second groups album, Another Dimension recorded almost two years later for Atlantic Recordsa young and promising bassist named Ron Carter joined the group. On this set Bells approach is somewhat more eclectic, with the cerebral rather than the emotional more to the fore in a music that shares certain contemporary classical concepts, without forsaking the pulse at its core.

The remaining tunes of this compilation are trio performances recorded live on two different Pittsburgh Jazz Festivals. Bell plays a mix of jazz and popular standards with an individual and relaxed style that proves he was a deep and sensitive pianist of considerable talent. *Jordi Pujol*

*CD 1*

1 - Latin Festival

(Charles Bell)

2 - The Gospel

(Charles Bell)

3 - Stage 13

(Charles Bell)

4 - The Last Sermon

(Charles Bell)

5 - Counterpoint Study #2

(Charles Bell)

6 - Variation 3

(Charles Bell)

7 - Happy Funky

(Charles Bell)

8 - Theme

(Charles Bell)

9 - Bass Line

(Charles Bell)

10 - Satan Said

(Charles Bell)

11 - Portrait Of Aunt Mary

(Charles Bell)

*CD 2*

1 - Oleo

(Sonny Rollins)

2 - Django

(John Lewis)

3 - My Favorite Things

(R. Rodgers, O. Hammerstein II)

4 - Green Dolphin Street

(N. Washington, B. Kaper)

5 - Tommy's Blues

(Tommy Sewell)

6 - Summertime

(G. and I. Gershwn)

7 - Prancing

(Miles Davis)

8 - Work Song

(Brown, Adderley)

9 - Whisper Not

(Benny Golson)

10 - Memories Of Home

(Charles Bell)

11 - Take Five

(Paul Desmond)

12 - Whisper Not

(Benny Golson)

13 - Bluesette

(Toots Thielemans)

#1 to #7 [CD 1]:

from the album The Charles Bell Contemporary Jazz Quartet (Columbia CS8382)

Charles Bell (piano), Bill Smith (guitar), Frank Traficante (bass), Allen Blairman (drum).

Recorded in New York City, July 8, 1960.

#8 to #11 [CD 1] and #1 to #3 [CD 2]:

from the album Another Dimension (Atlantic SD1400)

Charles Bell (piano), Bill Smith (guitar), Ron Carter (bass), Allen Blairman (drums).

Recorded in New York City, March 9 and 10, 1962.

#4 to #11 [CD 2]:

from the album The Charles Bell Trio in Concert (Gateway SLP7012)

Charles Bell (piano), Tommy Sewell (bass), William Harris (drums).

Recorded live at Carnegie Lecture Hall, Pittsburgh, November 9, 1963.

#12 [CD 2]:

from the album The Jazz Piano (RCA-Victor LSP3499)

#13 [CD 2 - not issued on LP]:

Charles Bell (piano), Larry Gales (bass), Ben Riley (drums).

Recorded live at the Jazz Piano Workshop of the Pittsburg Jazz Festival, June 20, 1965.

Buddy Collette And His West Coast Friends

The primary focus of the two albums compiled in this CD set rests on Buddy Collettes talents as a writer and as a multi-reed instrumentalist. Although the sleevenotes didnt say so, Tanganyika was Buddy Collettes album; he is the composer of most of the tunes and is featured throughout. On the second album, Mood For Max, a Max Albrights drummer date, Collette, as a player, is clearly the star of the session, along with trumpeter John Anderson. Both also made considerable contributions as composers and arrangers for the session.

Despite the presence of other great soloists on both dates, among them Jim Hall, Gerald Wiggins, Curtis Counce, Chico Hamilton and William Green, Buddys taste and sensitivity as a player and writer dominates. The writing ranges from the African exoticism that Collette had a penchant for delivering, as well as some Basie-type tunes, standards, and moody and groovy originals. Overall, it is an excellent example of the tight, considered writing that characterizes the best of the West Coast style. *Jordi Pujol*

about Tanganyika:

This set, presented by disc jockey Sleepy Stein but actually led by multireedist Buddy Collette, slightly predates the Chico Hamilton Quintet and hints strongly at that chamber jazz group. Comprised of Collette, drummer Chico Hamilton, trumpeter John Anderson, pianist Gerald Wiggins, guitarist Jimmy Hall and bassist Curtis Counce if one substitutes cellist Fred Katz for Anderson and Wiggins and changes the bassist, the result is the Chico Hamilton Quintet of 1955. The music is mostly group originals (five by Collette) and is an excellent example of cool jazz. *Scott Yanow*

about Mood For Max:

Studio drummer Max Albright's only session as a leader was one of the few releases for the short-lived Motif label. A variety of top L.A.-based musicians (including trumpeter John Anderson, Buddy Collette and William Green on reeds and pianist Gerald Wiggins) are heard from on the octet date. Collette and Anderson split the writing for the six standards evenly and each contributes three originals. This obscure session is melodic, swinging and worth searching for by fans of West Coast jazz. *Scott Yanow*

1 - Jungle Pogo Stick

(Buddy Collette)

2 - Green Dream

(Buddy Collette)

3 - Its You

(Buddy Collette)

4 - A Walk In The Veldt

(Buddy Collette)

5 - How Long Has This Been Going On?

(George Gershwin)

6 - The Blinfold Test

(John Anderson)

7 - Tanganyka

(Buddy Collette)

8 - Wagnervous

(Hamilton, Wiggins)

9 - And So Is Love

(John Anderson)

10 - Coming Back For Me

(Johnny Otis)

11 - Crows Nest

(John Anderson)

12 - Remember

(Irving Berlin)

13 - Sunset Drive

(Buddy Collette)

14 - Some Folks Like The Blues

(John Anderson)

15 - I Hear Bells

(Buddy Collette)

16 - Buzzin Cool

(John Anderson)

17 - One Morning In May

(Carmichael, Parish)

18 - Heat Wave

(Irving Berlin)

19 - Thats All

(Haymes, Brandt)

20 - Youre Devasting Me

(Kern, Harbach)

21 - Top Hat, White Tie And Tails

(Irving Berlin)

22 - Mood For Max

(Buddy Collette)

#1 to #10:

from the album Tanganyika (DIG J-101)

John Anderson (trumpet), Buddy Collette (flute, clarinet, alto and tenor sax), Gerry Wiggings (piano), Jim Hall (guitar), Curtis Counce (bass), Chico Hamilton (drums). 

Recorded at Capitol Studio, Hollywood, California, September 16 and 27 [other source gives October 11], 1956. 

#11 to #22:

from the album Mood For Max (Motif ML-502)

#11 to #18:

John Anderson (trumpet), Dave Wells (bass trumpet, trombone), Buddy Collette (flute, clarinet, alto and tenor sax), Bill Green (flute, clarinet, bass clarinet, alto and tenor sax), Chuck Gentry (baritone sax), Gerry Wiggings (piano), Curtis Counce (bass), Max Albright (drums, vibes, bells [#15]). 

Recorded at Capitol Studio, Hollywood, California, November 8 and 16, 1956. 

#19 to #22:

John Anderson (trumpet), Dave Wells (bass trumpet, trombone), Buddy Collette (flute, clarinet, alto and tenor sax), Bill Green (flute, clarinet, bass clarinet, alto and tenor sax), Gene Cipriano (oboe, English horn, bass clarinet), Gerry Wiggings (piano), Joe Comfort (bass), Max Albright (drums, vibes). 

Recorded at Capitol Studio, Hollywood, California, November 23, 1956.

Roger Guérin - Paris Meetings

At the end of the 1940s, young French jazz musicians started flocking towards the two styles of modern jazz — bebop and cool. Paris was the capital of European jazz, and the talent of the local musicians playing in Parisian clubs was often comparable to that of their American colleagues. In that league, we found mostly French and some Belgian names, such as Bobby Jaspar, Martial Solal, Pierre Michelot, Maurice Vander, Jean-Louis Viale, Benoit Quersin, René Thomas, Barney Wilen, René Urtreger, and several others.

This album is dedicated to one of them in particular: trumpeter Roger Guérin (1926-2010). Despite having very few recordings under his name and spending most of his career as a sideman, Guérin was never underappreciated by jazz fans and critics: after all, he was chosen as the best French jazz trumpeter ten years in a row (1955-65) by the "Jazz-Hot" readers' and critics' poll. In these sessions we find him alongside great American jazzmen like James Moody, Jimmy Raney, Benny Golson and Bobby Timmons, but also in the company of his French comrades, giving his best in every performance.

He was involved in many of the projects that pushed the evolution of modern jazz in France. An arranger of the stature of Billy Byers, who worked in Paris for a while in 1956, described him like this: "There are some very good musicians in France: Roger Guérin is a great jazzman".

*Jordi Pujol* 

Roger Guérin

Le Formidable Roger Guérin

Paris Meetings

Best known for his stint with Quincy Jones' Big Band, Roger Guérin had a formidable career in Paris, being first call to sit in with the likes of Don Byas, Django Reinhardt and James Moody. This collection of sessions from the 50s has him co-leading a hard bop team with Benny Golson, leading his own quartet along with Christian Grros, Pierre Michelot and Martial Solal and fitting in as a sideman for guitarist Jimmy Raney or saxist James Moody.

The sessions with Moody have the Parker disciple  bouncing to "Deep Purple" and swooning on "More Than You Know", and with Raney at the helm the team gets more lithe and open sounding with Guerin and Raney doing winders with "Too Marvelous For Words" and luminescent on "What’s New". Golson's band sounds a lot like an Art Blakey session with Bobby Timmons at the piano, and the quintet does material from the drummer's songbook with muscular reads of "Blues March", "I Remember Clifford" and a hot "Moanin'". Guerin mixes the lyricism of Miles Davis with the gentleness of Chet Baker. You’re gonna like this cat! *George W. Harris*

1 - Deep Purple

(Peter De Rose)

2 - Bootsie

(James Moody)

3 - More Than You Know

(Youmans, Rose, Eliscu)

4 - Too Marvelous For Words

(Whiting, Mercer)

5 - Night And Day

(Cole Porter)

6 - Dinah

(Akst, Lewis, Young)

7 - What's New

(Haggart, Burke)

8 - Night In Tunisia

(Gillespie, Pappareli)

9 - Sweet Feeling

(Pierre Michelot)

10 - Ça Tourne

(Roger Guérin)

11 - Buggy And Soul

(Christian Chevallier)

12 - Vline

(Christian Chevallier)

13 - Chet

(Pierre Michelot)

14 - Mythe

(Pierre Michelot)

15 - Blues March

(Benny Golson)

16 - I Remember Clifford

(Benny Golson)

17 - Stablemates

(Benny Golson)

18 - Moanin'

(Bobby Timmons)

19 - Not Serious

(Roger Guérin)

#1 to #3:

originally issued as part of the album James Moody Quintet (Vogue LD 036)

Roger Guérin (trumpet), James Moody (alto sax), Raymond Fol (piano), Pierre Michelot (bass), Pierre Lemarchand (drums).

Recorded in Paris, July 27, 1951.

#4 to #7:

originally issued as part of the album Jimmy Raney Visits Paris (Dawn DLP-1120)

Roger Guérin (trumpet), Jimmy Raney (guitar), Maurice Vander (piano), Jean-Marie Ingrand (bass), Jean-Louis Viale (drums).

Recorded in Paris, February 10, 1954.

#8 to #10:

from the álbum Roger Guérin Quartet (Versailles 90 S 128)

Roger Guérin (trumpet), Martial Solal (piano), Pierre Michelot (bass), Christian Garros (drums), Dave Rivera (conga [#8, #10]).

Recorded in Paris, July 1956.

#11 to #14:

from the album Christian Chevallier Jazz Quartet (Columbia ESDF 1139)

Roger Guérin (trumpet), Christian Chevallier (piano), Pierre Michelot (bass), Christian Garros (drums).

Recorded in Paris, November 13, 1956.

#15 to #19:

from the album Roger Guérin-Benny Golson with Bobby Timmons (Columbia FP 1117)

#15 to #18:

Roger Guérin (trumpet), Benny Golson (tenor sax), Bobby Timmons (piano), Pierre Michelot (bass), Christian Garros (drums).

Recorded in Paris, December 12, 1958.

#19:

Roger Guérin (trumpet), Michel Hausser (vibes), Martial Solal (piano), Pierre Michelot (bass), Christian Garros (drums).

Recorded in Paris, December 18, 1958.

Bobby Jaspar And His Modern Jazz

When he moved to Paris in spring, 1950, Bobby Jaspar hs no trouble finding work. Born in Liège in 1926, he had left Belgium to find adventure — the real kind: the jazz kind. Open to all experiences and clearly ahead of his time, he quickly charmed his fellow musicians and played eith Henri Renaud and Jimmy Gourley at the Tabou, and with Roger Guérin and Bernard Peiffer at The Club Saint-Germain. His models on the tenor were Stan Getz, whose sound he sampled, and Warne Marsh, for his phrase construction. Bobby, in combining the two, came up with his own style of playing: lyrical, sensual, and consistently smooth. He was captivated by Lee Konitz and Lennie Tristano and also admired André Hodeir, who would soon borrow Jaspar's own musicians to form his Jazz Group of Paris.

At the time, in January, 1954, his recording of "Bobby Jaspar and His Modern Jazz" for the Swing label surprised everybody. It was actually an experimental session. Having listened to Birth of the Cool and "Boplicity" in particular, Bobby Jaspar had realized the importance of form. The instrumentation — trumpet, trombone, two tenors, piano, bass, and drums — allowed him to rethink classical writing to find a sound quality that lint itself well to jazz, to re-examine the relationship between the written and the improvised. Solos echoed written passages, which were often played in unison or arose through counterpoint. The clever arrangements sometimes left to Francy Boland, still left room for freedom. Bobby composed "Blossom" and "Awèvalet" ("yeah man" in Belgian French) and blew delicate sax parts with great feeling. He also asked Hodeir to compose a twelve-tone piece, Paradox 1, an avant-garde addition to this collection.

A second and third session were organized for October 12 and 14. Though the instrumentation was expanded, it remained true to the swing sound invented on the West Coast by Gerry Mulligan and Shorty Rogers. *Pierre de Chocqueuse (liner notes)*

Bobby Jaspar's New Jazz is the classic jazz album by Belgian saxophonist, flautist and composer Bobby Jaspar. This pivots around which french modern jazz of the 1950's revolves, the album is an excellent testimony to this. Being long out of original print it is now available on a single CD reissue. ★ Edgy early mid 50's Disques Vogues recordings border on sublime. Sony has delivered top notch transfers of these seminal recordings. *amazon.com*

Bobby Jaspar And His Modern Jazz

Bobby Jaspar's New Jazz

(Volume 1 and Volume 2)

1 - A Foggy Day In London Town

(G. and I. Gerswin)

2 - Coraline

(F. Boland)

3 - Blossom

(B. Jaspar)

4 - Paradoxe

(A. Hodeir)

5 - Mad About The Boys

(Smith)

6 - Kabasoutra

(F. Boland)

7 - Sweet And Lovely

(G. Arnheim, H. Tobias)

8 - Awèvalet

(B. Jaspar)

9 - You Took Advantage Of Me

(R. Rogers, L. Hart)

10 - Easy To Love

(C. Porter)

11 - Sanguine

(H. Crolla)

12 - Jeux De Quartes

(B. Jaspar)

13 - Hornpipe

(B. Jaspar)

14 - More Than You Know

(B. Rose, E. Eliscu, V. Youmans)

15 - Early Wake

(F. Sadi)

16 - Honky Tonky

(B. Jaspar)

#1 to #8: 

from the album Bobby Jaspar's New Jazz, Vol.1 (Swing M 33.333)

Roger Guérin (trumpet, tuba); Nat Peck (trombone); Bib Monville, Bobby Jaspar (tenor saxes); Maurice Vander (piano); Pierre Michelot (bass); Jean-Louis Viale (drums).

Recorded in Paris, January 12, 1954.

#9 to #16:

from the album Bobby Jaspar's New Jazz, Vol.2 (Swing M 33.338)

#9, #10:

Buzz Gardner, Roger Guérin (trumpets); Nat Peck (trombone); Jean Aldegon (alto sax, bass clarinet); Bobby Jaspar (tenor sax); Armand Migiani (baritone sax); Pierre Michelot (bass); Andre Jourdan (drums).

Recorded in Paris, October 12, 1954.

#11 to #16:

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 [#12, #15]); Pierre Michelot (bass); Gerard Pochonet (drums).

Recorded in Paris, October 14, 1954.

André Hodeir And Le Jazz Groupe De Paris

André Hodeir (1921-2011) was one of the world's most literate composers and working critics in the world of jazz. He began his career as a violin player, a path he abandoned three years after joining the Paris Conservatoire in 1942, to concentrate on his work as an arranger and writer.
For Hodeir, who had classic training but felt drawn to the aesthetic of jazz, the problem was how to transcend the frame of his technique and recreate it in jazz terms. So to figure it out, in 1949 he went into a long period of silence that would last until 1954, when he made his first recording with the Jazz Groupe de Paris. This opportunity gave him a chance to crystallize the concepts he had been working on for five years. "At the time of the creation of the Jazz Groupe de Paris, there was nothing set in stone in my writing, it was all sketches I needed to try out. That’s also the reason I gave the title Essais to the pieces resulting from this project".
Hodeir wrote his most avant-garde work for the Jazz Groupe, among whose members were some of the best soloists in Paris. Their collective effort led them to become one of the most sought-after jazz units in Europe, and Hodeir’s recordings with them earned him a world following that led to his American debut for the Savoy label. 
In 1957, John Lewis best described Hodeir's musical attitude in a Down Beat article, when he said: "He's giving people ideas and directions and things to do. His work itself is of value, but he’s also showing others by his work what can be done in many areas". *Jordi Pujol*

Le Jazz Groupe De Paris

"Essais" D'André Hodeir

This record brings together some pieces from the beginning of my career and my first accomplishment as a jazz composer. It includes some of the finest French, Belgian, and American musicians linving in Paris between 1949 and 1954.

I remember one sunny afternoon when I went to visit Charles Delaunay I was in his office at Jazz Hot magazine, along with Jean Bouchéty, who played bass with Bernard Peiffer's trio, when in walked a tall thin, hawk-nosed gentleman. It was Jaques-Yves Cousteau, whose first underwater film I had greatly admired. He was finishing work on a short fil called Autour d'un Récif (Around a Reef), which he described as a "ballet of fish" and he wanted jazz music for ot: not Knowing which composer to contact, he had come to ask Delaunay's advice. We lent them an indiscret ear and gor hired.

Since Cousteau was not one to skimp on quantity or quality, we decide to go with Tony Proteau's orchestra which guaranteed the participation of Kenny Clarke, in addition to five saxes and eight horns and four widely respected soloists: Don Byas, Hubert Rostaing, Geo Daly and Bernard Peiffer. Only the latter was allowed to improvise the others played written solos. When I showed Don Byas his tenor part, he threw up his hands and said "This is written for piccolo!" Thus began a kind of reflection that stayed with me throughout my career.

In 1949, I had been a bebop convert and real admirer of Charlie Parker for about three years. But in listening to Récif it is clear that this influence did not show up in my compositions: the style is more Ellington than Gillespie.

It was Boris Vian who advised Paul Paviot to let me do the music for his short film Saint-Tropez (1953). I based a suite for orchestra on this score, which is predominantly influenced by the jazz "cool" of Miles Davis, Gil Evans and Gerry Mulligan. The suite was never performed in public, but was recorded with the participation of among others Nat Peck and Bobby Jaspar, who was considered to be the best of the European soloists at the time.

Along with Armand Migiani, Pierre Michelot and myself Bobby and Nat founded the Jazz Groupe de Paris whose sporadic career seems more productive in restrospect three albums and appearances in around ten films and several international festivals began composing for the Jazz Groupe de Paris in the fall of 1954, and werecorded our first six "tests" on the day before Christmas. Working as a cooperative, we divided the costs of the recording and enlisted the help of the great sound engineer Michel Philippot. At my request Philippot did a "chamber music" sound recording which I really like.

These Essais regarded by some (not inaccurately) as the opus 1 of my catalog, all point in the same direction a broadening of the forms that were common in jazz at the time. *André Hodeir (1999)*

Essais Par Le Jazz Groupe De Paris  is the classic jazz album from musician and theoretician, André Hodeir. He signs these two albums who importance has not been denied. "Essays" constitutes a real challenge to the main data of orchestral jazz. Being long out of original print it is now available on a single CD reissue. *amazon.com*

1 - Cross Criss

2 - Paraphrase Sur Saint-Tropez

3 - On A Standard

4 - Esquisse I

5 - Paradoxe II

6 - On A Blues

7 - Autour D'Un Récif (part 1)

8 - Autour D'Un Récif (part 2)

9 - Saint-Tropez

(All compositions by André Hodeir)

#1 to #6: Le Jazz Groupe De Paris

from the album Essais d’André Hodeir (Swing M 33353)

Jean Liesse, Buzz Gardner (trumpets); Nat Peck (trombone); Jean Aldegon (alto sax); Bobby Jaspar (tenor sax); Armand Migiani (baritone sax); Fats Sadi (vibes); Pierre Michelot (bass); Jacques David (drums); André Hodeir (arranger, director).

Recorded in Paris, December 13, 1954.

#7 to #9: 

from the album Musique de Films par André Hodeir (Swing M 33343)

#7 and #8: Tony Proteau Orchestra

Joe Boyer (trumpet), Hubert Rostaing (clarinet, alto sax), Don Byas (tenor sax), Bernard Pfeiffer (piano), Jean Bouchéty (bass), Kenny Clarke (drums), André Hodeir (arranger, director).

Recorded in Paris, 1949.

#9: Le Jazz Groupe De Paris

Christian Bellest (trumpet), Nat Peck (trombone), Robert Guisnath (clarinet, alto sax); Bobby Jaspar (tenor sax), William Boucaya (baritone sax), Bernard Pfeiffer (piano), Raymond Le Sénéchal (vibes), Pierre Michelot (bass), Pierre Lemarchand (drums), André Hodeir (arranger, director).

Recorded in Paris, 1953.

***

Le Jazz Groupe De Paris

Joue André Hodeir

[Originally Joue André Hodeir - (Vega LP 30572)]

A classic slice of the jazz scene in 50s Paris — as Andre Hodier, the famous French jazz critic, leads a group of some of Paris' best 50's boppers through a set of his own compositions, plus newly arranged bop classics. The band includes standout European players like Pierre Michelot, Fats Sadi, Nat Peck, and Roger Guerin — and Hodier's work is a great mix of boppish ideals with more modernist touches, slightly fragmented, but still with a nice sense of swing at their core. Sadi's vibes are especially nice on the set, and the record ranks as one of the few from the time in which he really takes a strong lead. *dustygroove.com*

Joue André Hodeir is the second recording by le Jazz Groupe de Paris, a piano-less nonet originally formed by André Hodeir, with the help of Bobby Jaspar, and dedicated to his music and arrangements — Hodeir, who used to be a proficient violinist, only conducts. By the time this session was recorded Jaspar had already left for the United States and was replaced by Georges Grenu. In addition to six originals, the program is rounded out with tunes by Bud Powell, Duke Jordan, Thelonious Monk, and John Lewis. Hodeir's compositions are not as tuneful and memorable as the covers, but this is irrelevant since his musical concerns deal almost exclusively with textures and colors. In line with the leader's esthetics, the soloists do not indulge into virtuosic runs. Instead, Hodeir's draws from his musicians complex soundscapes rich in tonalities. Overall, Hodeir favors slow and midpaced tempos, which provide a better ground for his intricate voicings. His original ideas are more obviously displayed on "Paradoxe I" ,which features a pulsating cymbal in the foreground, or "On a Scale", whose theme is not restated at the end. Despite the knowledge his theories require to be fully grasped, Hodeir's music is utterly enjoyable and this album provides a fine introduction to his universe. *Alain Drouot*

1 - Jordu

(Duke Jordan)

2 - Evanescene

(André Hodeir)

3 - Criss Cross

(Thelonious Monk)

4 - Tension Détente

(André Hodeir)

5 - Milano

(John Lewis)

6 - On A Scale

(André Hodeir)

7 - Bicinum

(André Hodeir)

8 - Parisian Thoroughfare

(Bud Powell)

9 - Paradoxe I

(André Hodeir)

10 - Triads

(André Hodeir)

Jean Liesse, Roger Guérin (trumpets), Nat Peck (trombone [except #3, #9]); Jean Algedon (alto sax [except #3, #9]); Georges Grenu (tenor sax); Armand Migiani (piano); Fats Sadi (vibes [except #5, #10]); Pierre Michelot (bass); Christian Garros (drums); André Hodeir (arranger, director).

Recorded in Paris, June 26 (#2, #6 to #8), June 27 (#1, #3, #4, #9) and July 2 (#5, #10), 1956.

Kenny Clarke - Four Rare And Obscure Jazz Albums

Recorded during 1956-1960, the initial years of drummer Kenny Clarke's permanently settling in Europe, these four sessions display his versatility and consistently commanding musicianship over richly varied settings, some graced, among others, by the stellar presence of US tenor giants Lucky Thompson and Don Byas.

They show, too, the superior quality of some European players and composerarrangers who were to be outstanding names in continental jazz -primarily French and Belgian, but also including the great Algerian pianist, Martial Solal.

Solal and trombonist Billy Byers are featured on the opening session of André Hodeir's excellently conceived arrangements of originals by himself, Ellington, Monk, Mulligan, Dameron and others. On the Kenny Clarke Plays Pierre Michelot session, Michelot reveals his considerable gifts as composer and arranger, influenced by the Miles Davis Nonet, with Clarke and Thompson at their best. The Bill Holman-influenced composer-arranger Christian Chevallier’s good writing animates the next session. Both sessions benefit from a rhythm section which includes the arrestingly brilliant piano of Maurice Vandair.

The final session, from 1960, showcases Francy Boland's writing, presaging his long collaboration with Clarke. Apart from Clarke and Byas, the musicians are Belgian, with vibist Fats Sadi the most original soloist among them and Clarke, as always, an inspiring presence. *Jordi Pujol*

Paris in the 1950s was awash with ex-pat American jazzers, and a bulwark of the scene was drummer Kenny Clarke, who, unlike many of his fellow countrymen, believed in wholehearted integration with local players, while also deploying visitors from across the pond. In this series of recordings, Clarke also displayed his faith in the talented arrangers then active in Paris, notably Andre Hodeir and Christian Chevalier, also providing an opportunity for the orchestrations of bassist Pierre Michelot to be aired. Michelot and Clarke would, of course, become a super, long-standing rhythmic partnership. The charts are uniformly excellent, and Hodeir's material unquestionably quite challenging.

Nor is there any shortage of interesting soloists, given the presence of the likes of Martial Solal, Lucky Thompson, Billy Byers, Tony Scott and Roger Guérin. The various groups, ranging from sextet to full big band, seem like a logical prelude to the Kenny CIarke/Francy Boland band. Indeed, the closing three tracks mark one of the pair's earliest collaborations, pre-dating their first sides for a US label. In this instance the great Don Byas was on hand for the Cologne session and in top form. His imperious presence inspired everyone; his reading of "More Than You Know" is a gem of ballad playing.

Kenny Clarke's encouragement and support of French musicians made him something of an icon. He also showed his organisational ability in all these recordings, while faultlessly providing the irresistible pulse to spark ensembles and soloists. The man was a giant of the percussive arts.

*Mark Gardner*

Kenny Clarke - Plays The Arrangements

Of André Hodeir • Pierre Michelot

Christian Chevallier and Francy Boland

In the 1950s several American jazz musicians began emigrating to France, both to avoid racial intolerance and in the hope of finding more steady work. One of these was drummer Kenny Clarke, who moved to Paris in 1956. This collection illustrates how he immediately found a good deal of work. The compilation contains recordings made between 1956 and 1960 by a variety of artists under Kenny Clarkes leadership, spotlighting the arrangements of four different musicians.

The first dozen tracks feature arrangements by André Hodeir, He was well respected not only for his musical writing but also for his rigorous scholarship, evidenced in such works as his famous Jazz: Its Evolution and Essence. In fact Hodeir supplies some revealing sleeve-notes. Some of the dozen arrangements here reveal the influence of the Birth of the Cool musicians, who explored new cool voicings and styles. Chords are often varied by movement within the lines of the contributing instruments.

These qualities are present in the opening "Bemsha Swing", which reflects Thelonious Monks style in the jagged changes in the final chorus. Martial Solals piano solo here and on other tracks is radiantly clear. In fact André Hodeir seems to prefer piano solos in most tunes. Hodeirs classical background is present in "'Round Midnight", where the theme only emerges at the end of a long semi-classical build-up. "When Lights are Low" is deprived of its charm by being performed at too fast a tempo. But Hodeir skilfully uses counterpoint to provide a frisson in the harmonies. René Urtréger plays an airy solo. Hodeirs arrangements may be rather academic but their intriguing ensembles coupled with some splendid solos make these twelve tracks well worth hearing.

Bassist Pierre Michelot arranged the next four tracks, which might have come from the pen of a West Coast jazzer such as Shorty Rogers. "Love Me or Leave Me" gives Kenny Clarke the opportunity for a long drum solo. Like his other solos on this album, they are tight and disciplined. Michelot himself takes the limelight in Fantasy for Bass.

The Christian Chevallier arrangements are possibly the most conventional in this collection, but none the worse for that. They bear the influence of Bill Holman and swing along fluidly, including excellent solos from the likes of pianist Maurice Vandair and (in "Black Knight") Kenny Clarke.

The personnel in the final three tracks are predominantly Belgian, like the arranger - Francy Boland - who later formed a marvellous big band with Kenny Clarke. Don Byas contributes a beautifully flowing solo to "More Than You Know".

This compilation proves that France had musicians the equal of the Americans and that Kenny Clarke could fit into any kind of setting. *Tony Augarde*

1 - Bemsha Swing

(D. Best, T. Monk)

2 - Oblique

(André Hodeir)

3 - Blue Serge

(Duke Ellington)

4 - Swing Spring

(Miles Davis)

5 - On A Riff

(André Hodeir)

6 - Jeru

(Gerry Mulligan)

7 - The Squirrel

(Tadd Dameron)

8 - Eronel

(Thelonious Monk)

9 - 'Round Midnight

(Thelonious Monk)

10 - When Lights Are Low

(Benny Carter)

11 - Cadenze

(André Hodeir)

12 - Tahiti

(Milt Jackson)

13 - Love Me Or Leave Me

(Kahn, Donaldson)

14 - Fun For Four

(Pierre Michelot)

15 - Fantasy For Bass

(Pierre Michelot)

16 - Jackie, My Little Cat

(Pierre Michelot)

17 - Dream Time

(Christian Chevallier)

18 - Gold Fish

(Christian Chevallier)

19 - Black Knight

(Christian Chevallier)

20 - Jean-Paul

(Christian Chevallier)

21 - Bell Hop

(Francy Boland)

22 - More Than You Know

(Youmans, Elescu, Rose)

23 - Tampico

(Francy Boland)

#1 to #12:

from the LP Kenny Clarke Plays Andre Hodeir (Epic LN 3376)

#5, #9, #10:

Roger Guérin (trumpet); Billy Byers, Nat Peck (trombones); René Urtréger, Martial Solal (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, October 26, 1956.

#2, #6, #8, #12:

Billy Byers (trombone); Hubert Rostaing [as Robert Guismath] (alto sax); Armand Migiani (baritone sax); Martial Solal (piano); Jean Warland (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, November 21, 1956.

#1, #3, #4, #7, #11:

Roger Guérin (trumpet); Billy Byers (trombone); Armand Migiani (baritone sax); Martial Solal (piano); Jean Warland (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, November 30, 1956.

#13 to #16:

from EP Kenny Clarke Plays Pierre Michelot (Columbia ESDF1176)

Ack van Rooyen, Bernard Hulin (trumpets); Billy Byers, Nat Peck, (trombones); Hubert Fol (alto sax); Lucky Thompson, Pierre Gossez, (tenor saxes); Armand Migiani (baritone sax); Maurice Vandair (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, September 23, 1957.

#17 to #20:

from the EP Kenny Clarke Plays Christian Chevallier (Columbia ESDF1222)

#17, #18:

Roger Guérin (trumpet); Benny Vasseur (trombone); Pierre Gossez, René "Mickey" Nicholas (alto saxes); Georges Grenu (tenor sax); Armand Migiani (baritone sax); Maurice Vandair (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, November 12, 1957.

#19, #20:

Ack van Rooyen, Jean Liesse (trumpets); Nat Peck (trombone); Hubert Fol, Jean Aldegon (alto saxes); Georges Grenu (tenor sax); Tony Scott (clarinet, tenor sax); Armand Migiani (baritone sax); Maurice Vandair, Raymond Fol (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, November 12, 1957.

#21 to #23:

from the EP Don Wails With Kenny (Columbia C41226)

Christian Kellens (trombone); Eddie Busnello (alto sax); Don Byas (tenor sax); Fats Sadi (vibes); Francy Boland (piano & arrangements; Jean Warland (bass); Kenny Clarke (drums). 

Recorded at EMI Electrola Studios, Cologne, February 25, 1960.

Miles Davis - Collectors' Items

Collectors' Items is a 1956 studio album by Miles Davis. There are two sessions collected on the album with largely different musicians. The first 1953 session is "Compulsion", "The Serpent's Tooth" (two takes) and "'Round About Midnight". The second 1956 session is "In Your Own Sweet Way", "Vierd Blues" and "No Line". The personnel for the first session were Davis, Sonny Rollins and Charlie Parker (credited under the pseudonym "Charlie Chan" due to contractual obligations) on tenor sax, Walter Bishop on piano, Percy Heath on bass and Philly Joe Jones on drums. For the second session, the tenor sax was Rollins alone, the piano was Tommy Flanagan, the bass Paul Chambers and Art Taylor on drums.

According to Ira Gitler's liner notes, the 1953 session was only the second time Parker had recorded on tenor saxophone. The CD edition's liner notes indicate the session was the only time Parker and Rollins recorded together.

Davis describes the session with Parker in his autobiography as having been very chaotic. It was Davis' first session of 1953 and his heroin habit had become very bad. Parker had quit his own heroin habit following the arrest of his trumpet player Red Rodney, instead drinking enormous quantities of alcohol. He consumed a quart of vodka at the rehearsal, then spoke condescendingly to Davis as if it were his session and Davis an employee or a child. After arguing, Parker fell asleep and Davis was so mad he played poorly, which in turn angered Gitler who was producing.

The 1953 session remained unreleased for several years, during which Parker died (in March 1955) and Davis left Prestige Records for Columbia Records (in 1956). Part of Davis' contractual obligation to Prestige was to record a second session to pair with the 1953 session that would give Prestige enough material for a full album. For the second session, only Rollins returned, and Davis's band included two relative newcomers to the New York jazz scene. Pianist Tommy Flanagan had just moved to New York City a few weeks prior to the Davis recording session, which was his third recording date in the city. Bassist Paul Chambers had moved to the city in 1955 and first recorded in New York in June at a session for Prestige led by trombonist Bennie Green. Chambers first recorded with Davis in October of 1955 for Columbia as part of Davis' regular performing group of the time, which included John Coltrane, Red Garland, and Philly Joe Jones. The Collectors' Items session was his third with Davis, and followed the November 1955 session for Miles: The New Miles Davis Quintet. *wikipedia.org*

The term "collectors item" seems to have died weeping on the grave of the 78 rpm record. No longer do legions of record hunters haunt musty shops on Saturday afternoons in hope of finding Pres playing clarinet on  Texas  Shuffle, Bird with McShann, old Louies or Beiderbeckes. They are all on LP.

It is true that many collectors lived up to the specific meaning of the word. It was the label and master number which interested them far beyond the music. To them records were like coins or postage stamps and this type of collector does not concern me. It is the other fellow who used to find a Jay Jay Johnson solo on a Savannah Churchill record, Milt Jackson with Dinah Washington, Lester Young with Glen Hardman or Wardell Gray with Earl Hines and rejoice in the little gems of music that he had found; he is the jazz lover who will want this LP.

As I said before, many of the old out of  print items have been re-issued on LP. Now we "collect" LPs. In addition to bringing back the obsolete 78s, the LP has enabled us to hear, for instance, many of Charlie Parker's great passages through the issuance of his rejected takes which, because of their abbreviated nature, never would have found their way on to a 78 rpm disc.

The sessions that went into the make-up of this LP were taped three years apart and in a way the second has a lot to do with the first being issued. 

I appreciate a well integrated performance but will always prefer moments of sincere-emotion jazz with mistakes to the slick product which is too often palmed off  as jazz today. Whether it be old jazz or new, I guess I'm kind of a purist. *Ira Gitler (liner notes)*

Collectors' Items is in two parts. The first side was cut in January 1953, and is released for the first time. It's the session with Charlie Parker on tenor that Sonny Rollins talked about in the November 28, 1956, DownBeat. Sonny is also present on tenor with a cooking rhythm section of Philly Joe Jones, Walter Bishop and Percy Heath. The most arresting track is the mournful "'Round About Midnight", which has Bird’s best tenor and Miles' best trumpet of the date.

For the rest, his tenor work is inevitably intriguing and forceful, and I wish there had been more recorded examples of his work on the horn after he had been playing it for some months (on this date, he has a new tenor that was christened on the date). Sonny also plays with heat. Miles is in good if not outstanding form, and Philly Joe is somewhat too loud in places. Bird is called Charlie Chan on the envelope.

The newer session (the last three tracks) has better Miles, considerably improved Rollins (with fuller, warmer tone and more cohesive idea structuring), and a superior rhythm section of Tommy Flanagan, Paul Chambers and Art Taylor. Flanagan also solos with flowing distinction. Miles wrote the first two, and the third is Dave Brubeck's. The improvement in Prestige's recorded sound in three years, incidentally, is illuminating.

"Vierd Blues" is a fine demonstration of the continuing, freshening, earthy validity of the blues in modern jazz, with Sonny blowing one of his most eloquent choruses on record. This track has superb Miles and another excellent Flanagan solo. Miles treats the Brubeck ballad with sensitive intentness. Sonny is less lyrical, but his solo is built interestingly. And Flanagan, one of the few younger pianists with a quality of touch and lyricism akin to Hank Jones, speaks briefly. An important record.

*Nat Hentoff (Downbeat, December 26, 1956)*

1 - The Serpent's Tooth (take 1)

(Miles Davis)

2 - The Serpent's Tooth (take 2)

(Miles Davis)

3 - 'Round Midnight

(Monk, Williams, Hanighen)

4 - Compulsion

(Miles Davis)

5 - No Line

(Miles Davis)

6 - Vierd Blues

(Miles Davis)

7 - In Your Own Sweet Way

(Dave Brubeck)

#1 to #4:

Miles Davis (trumpet); Sonny Rollins, Charlie Parker [as "Charlie Chan"] (tenor saxes); Walter Bishop (piano); Percy Heath (bass); Philly Joe Jones (drums).

Recorded at WOR Studios, New York City, January 30, 1953.

#5 to #7:

Miles Davis (trumpet), Sonny Rollins (tenor sax), Tommy Flanagan (piano), Paul Chambers (bass), Art Taylor (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, March 16, 1956. 

Miles Davis Septet - Plays The Compositions Of Al Cohn

Since the "records heard 'round the world", "Godchild", "Jeru", "Move", et al, Miles Davis has made many other fine records to enhance his position as top modern trumpeter, but in the main they have been three horn groups (including himself) with an emphasis on solo work. After the original melody, usually stated in tight unison, each hornman played again only when his solo turn came. The soloists had to be good to sustain interest, and they were, but it was felt that Miles needed a change of pace for his next recording date; compositions and arrangements which would suit him and result in a happy combination of arranged music and solo work.

The man who achieved this was Al Cohn, the unheralded great of the tenor saxophone, as well as the composer's and arranger's desk. Three of the pieces, "Willie The Wailer", "Floppy" and "For Adults Only" were written for this session. "Tasty Pudding" had been written before but Al arranged it specially for Miles and this date. The Pudding whipped up by Al receives flavoring and icing from Miles and best exemplifies the whole idea behind this type of integrated arrangement.

Thanks to Miles, Al, and Zoot Sims, with help from John Lewis and Sonny Truitt, the "solo" is not neglected and the feeling that they show in their reading of the arrangements (underlined, and punctuated by Kenny Clarke; propelled by Leonard Gaskin and Kenny) makes the "happy combination" possible. *Ira Gitler (liner notes)*

Miles Davis Plays The Compositions Of Al Cohn, from early 1953, was another album unified by idea and intent. The music is intelligent and spry, with sly references to other tunes, one that would lodge itself in Miles' memory; "Willie The Wailer", for example, opens as "Soft Winds", a number popularized by Benny Goodman in 1941, and which in 1959 Miles would morph into "Freddie The Freeloader" for >Kind Of Blue<. The performances are strong, the harmony lines benefitting from a three-horn frontline with Zoot Sims and Cohn the relaxed foils to Miles' brashness. *milesdavis.com*

Side 1

1 - Tasty Pudding

2 - Floppy

Side 2

3 - Willie The Wailer

4 - For Adults Only

(All compositions by Al Cohn)

Miles Davis (trumpet), Sonny Truitt (trombone), Al Cohn (tenor sax), Zoot Sims (tenor sax), John Lewis (piano), Leonard Gaskin (bass), Kenny Clarke (drums).

Recorded at Beltone Studios, New York City, February 19, 1953. 

Al Cohn Quintet - Progressive Al Cohn

Here's Al Cohn wailing as you never heard him wail before. He leads the quintet in his arrangements of four new originals.

On trumpet Nick Travis, now a star in the Sauter-Finegan band, takes some amazing solos.

The rhythm section is star studded with Max Roach, today’s top drummer, Horace Silver, a flashing new pianist, and Curly Russell, a solid rock on bass.

This is Al Cohn, ‘Mr. Music’, as you like him. *Gus Grant (liner notes)*

Backed by some of the top bop players of the day, Al Cohn stretches out here for a program heavy with up-tempo swingers. Cut in 1953, Progressive Al Cohn finds the usually more mellow tenor great feeding off the driving drum work of Max Roach. The four-track set is all Cohn originals done in a Lester Young-on-the-West Coast style. Also featuring the talents of pianist Horace Silver, this early Cohn release is at once hot and cool, vigorous and lithe. *Stephen Cook*

Side 1

1 - That's What You Think

2 - Ah-Moore

Side 2

3 - I'm Tellin' Ya

4 - Jane Street

(All compositions by Al Cohn)

 Al Cohn (tenor sax), Nick Travis (trumpet), Horace Silver (piano), Curley Russell (bass), Max Roach (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, June 23, 1953.

Sam Most Sextet

One of the most difficult feats in modern jazz is the formation of a "new sound", one that will have musical validity as well a commercial acceptance. Every type of instrument, from the harmonica to de harpsichord, has been utilized, and in 1955 the flute is emerging as a favored instrument.

Sam Most is equally at home on the clarinet and flute. His brother, Abe, was for years one of the great jazz clarinetist, with Les Brown and other bands, before settling down to the security of Hollywood studio work. Sam studied at Juillard and played with a variety of orchestras before joining the Mat Matthews Quintet. 

Like many classically-trained younger jazz musicians, Sam Most is primarily concerned with experimental rhythmic and harmonic patterns. He prefers the discipline of arrangements to the usual free-wheeling collective improvisations of the Vanguard jazz sessions. The result is that three of the outstanding composer-arrangers of modern jazz did the writing for this session; Hall Overton, Quincy Jones, and Ronnie Woelmer. *John Hammond (liner notes)*

Side 1

1 - Skippy

(Woelmer)

2 - Give Me The Single Life

(Ruby, Bloom)

3 - My Old Flame

(Johnson, Coslow)

4 - Just Tutshen

(Most)

Side 2

5 - Blues Junction

(Quincy Jones)

6 - You'd Be So Nice To Come Home To

(Porter)

7 - Everything Happens To Me

(Adair, Dennis)

8 - Open House

(Woelmer)

Sam Most (clarinet, flute), Marty Flax (baritone sax), Barry Galbraith (guitar), Bill Triglia (piano), Aaron Bell (bass), Bobby Donaldson (drums).

Recorded in New York City, December 3, 1954. 

George Handy - "X" Sessions

George Handy (born George Joseph Hendleman in January 1920) was an American jazz arranger, composer and pianist whose musical beginnings were fostered under the tutelage of composer Aaron Copland. While he had an impressive career as a pianist, he is best known in retrospect for his bebop arrangements.

Born in New York City, Handy first worked professionally as a swing pianist for Michael Loring in 1938, but soon was drafted into the United States Army in 1940. From 1944 to 1946 he became a member of the Boyd Raeburn Orchestra, composing and performing on piano. This was during a time when many big bands were transforming their musical tendencies toward bebop. He did leave the orchestra briefly to do work for Paramount Studios, but returned to Raeburn quickly. During this period he entered one of his most creative periods, doing arrangements of older standards with a distinctly bebop quality. Just as he was entering his prime, however, he had a falling out with Raeburn and left the group. While he continued to arrange for other musicians in his later career, it is that 1944–1946 period for which he is remembered most. AllMusic noted that "He was pianist with Zoot Sims' combo during 1956–1957 but mostly worked outside of jazz during his last four decades, although he did spend some time as a Down Beat critic during the latter half of the 60s.

Handy died in Harris, New York, in January 1997 at the age of 76, from heart disease. *wikipedia.org*

***

One of the most advanced arrangers of the mid-1940s, George Handy's radical charts gave the Boyd Raeburn Orchestra its musical personality while also probably making it impossible for the big band to work steadily. He originally learned piano from his mother but later studied at Julliard, New York University, and with Aaron Copland. Handy played with Raymond Scott in 1941 but made his reputation with Raeburn (1944-1946), whose orchestra he turned from a dance band into an ensemble more advanced in its own way than Stan Kenton's. "Tonsillectomy" and "Dalvatore Sally" were two of Handy's more notable (or infamous) originals but even his arrangements of standards (such as "Body and Soul" and "Temptation") that featured singers David Allyn and Ginnie Powell were quite dissonant and full of surprising explosions. Unfortunately, a personality conflict resulted in Handy only being with Raeburn for a little less than two years. Although he wrote for other bands (including those of Alvino Rey, Ina Ray Hutton, and Herbie Fields) and spent time working in the studios, Handy ended up being quite obscure. He was pianist with Zoot Sims' combo during 1956-1957 but mostly worked outside of jazz during his last four decades, although he did spend some time as a Down Beat critic during the latter half of the '60s. As a leader, George Handy was captured privately on six numbers with a quartet in 1945 (released by Onyx), made two studio sides with the Vivien Garry Trio (for Studio & Art in 1945), recorded a specially commissioned piece for Norman Granz in 1946 ("The Bloos"), and headed two little-known albums during 1954-1955 for the RCA subsidiary "X". *Scott Yanow*

George Handy

Handyland U.S.A.

[originally Handyland U.S.A. - "X" (LXA 1004)]

June 13, 1954, saw the return of George Handy to the musical world. He promptly began writing anew with unabashed fury, love and stoic realism. To those of us Handy-ites who had always felt that George was THE Giant of this decade it was anthralling news. Now, at last, a potencial that was virtually untapped was ready to yield a musical geyser.

Ed Kissack of label "X" and myself conceived the idea of recording George Handy running the gamut of jazz expressions. Hence the first of his musical feelings, basic jazz, is clearly attested to in this album. This, of course, is only the start of a free slowing musical flotsam, the Handy current, that will eventually culminate in a ocean of startling sharps and flats.

Thus it was avid interest that inner sanct of the musical realm looked forward to...

August 16, 1954, a hot, sultry evening in Manhattan. The site, Webster Hall, a large meeting place usually used for weddings and social functions. Its hallowed walls encompass acoustical quality second to none.

Assembled were some of the top musicians in the world. This was a hand-picked aggregation, men who had carved their niche in the immortal archives of swingdom.

Because of other commitments no rehearsal was possible. At about a quarter of ten at the night we started. We finished at six thirty that dawn. Needless to say there were interim periods of complete fatigue, high spirits, moroseness, verbosity, and Gemütlichkeit. Therefore, in spite of the unusual procedure of this recording session, it does reflect a complete stratum of feeling, both by the musicians and the composer; the only unwavering high quality was in the recordings.

Since most record dates are done in sterile surroundings, we decided to change matters. We invited a group of friends and music aficionados who we knew would lend a natural feeling to the recording. Of course they beame quite weary after a while and, since the next day was a work day, had to leave for the most part by one or two A.M., and after that quiet reigned as you'll notice in the recordings. *H. J. Morrison (liner notes)*

1 - Recoil

2 - A Tight Hat

3 - Noshin'

4 - Sprong

5 - Rainbow

6 - Pegasus

7 - Lean To

8 - Blinuet

9 - Case-Ace

10 - Crazy Lady

11 - Zonkin'

12 - Footnotes

(All compositions by George Handy)

Ernie Royal (trumpet), Kai Winding (trombone), Dave Schildkraut (alto sax), Allen Eager (tenor sax), Danny Banks (baritone sax), George Handy (piano), Vinnie Burke (bass), Art Mardigan (drums).

Recorded at Webster Hall, New York City, August 16 and 17, 1954.

***

George Handy

Pensive

[originally By George - "X" (LXA-1032)]

George Handy who became known as one of the most adventurous arrangers in progressive jazz between 1944 and 1948, before disappearing from the scene, returned to the music field in the summer of 1954.

Handys most remarkable early works were mainly big band arrangements that he did mostly for the Boyd Raeburn and Alvino Rey orchestras. However, in this new stage of his career, he focused more on his work as a leader of his own small band, recording two 12 albums. This is the second and, by far, the rarest one, reissued now for the first time since its 1955 release.

The band here plays a whole library of Handy originals, which he introduces as tone poems. The intricately woven orchestrations reflect many classical influences in the arranged passages, and some moments suggest Bartók and Stravinsky. But improvisation is never discarded, and there are three frequently featured soloists — Sherman, Rehak or Byers, and Schildkraut — whose warm contributions prevent the whole enterprise from losing contact with jazz.

Despite the tempo changes and a great deal of complexity in the writing, the music often swings. The violin is ingeniously used, usually playing a theme while one or two other lines are juxtaposed against it contrapuntally. *Jordi Pujol*

1 - Heavy Hands

2 - Pulse

3 - Tender Touch

4 - Foolish Little Boy

5 - The Sleepwalker

6 - A Wooden Sail In A Wooden Wind

7 - Maretet

8 - Pensive

9 - Of Gossamer Sheen

10 - Stream Of Consciousness

11 - The Flatterer

12 - Knobby Knees

(All compositions by George Handy)

#1 to #8:

Dick Sherman (trumpet), Gene Orloff (trumpet, violin), Frank Rehak (trombone), Dave Schildkraut (alto sax), Ray Beckenstein (flute, alto sax), Tommy Mace (oboe, tenor sax), Danny Bank (baritone sax), Tony Aless (piano), Buddy Jones (bass), Osie Johnson (drums).

Recorded in New York City, April 13 (#1 to #5) and April 14 (#6 to #8), 1955.

#9 to #12: 

Charle Panelli (trumpet), Gene Orloff (trumpet, violin), Billy Beyers (trombone), Dave Schildkraut (alto sax), Ray Beckenstein (flute, alto sax), Tommy Mace (oboe, tenor sax), Danny Bank (baritone sax), Tony Aless (piano), Buddy Jones (bass), Osie Johnson (drums).

Recorded in New York City, April 22, 1955.