Sahib Shihab - Summer Dawn

Sahib Shihab born Edmund Gregory in Savannah, Georgia, on June 23, 1925. Though his musical career stretched over four decades, Sahib Shihab counted only about a dozen titles as leader, including this 1964 recording made with a handful of members of the Clarke Boland Big Band in Cologne, engineered by their  regular engineer Wolfgang Hirschmann. How and why the title came to be released only in the US through Chicago based Chess Jazz subsidiary Argo label is anyone's guess. Shihab's other occasional label connections included Savoy, Debut, Storyville and Atlantic.

Shihab spent from 1960 to 1986 as a resident of Europe, including a decade 1963-72 a regular fixture of the Clarke Boland Big Band. He returned to the US for his final years, passing away in 1989 age 64.

The stripped-down Shihab — Clarke Boland Quintet is a marvel of musical mobility, big band in everything but... size. All the compositions and arrangements here enjoy a small big-band flavour, the power toned down, a bit more intimate, but unmistakably Clarke Boland, embracing a wider range of styles: waltz, rhumba, more European stuff.

Shihab is one of the most original voices of the baritone sax. With a reference bar of Harry Carney, Gerry Mulligan, Lars Gullin and Pepper Adams, Shihab  developed a unique vocabulary which owes little or nothing to those players, he simply charted his own course. Changing from baritone, his alto solo on the selection "Please Don't Leave Me" is quirky, straying fancifully, before finally locking onto the groove and picking up speed.  But not until Åke Persson and Francy Boland have shown their mettle. 

"Waltz For Seth" is another Shihab favourite, and other tracks ("Herr Fixit", "Campi's Idea")  point back to jazz producer / supervisor Gigi Campi: "busy, eloquent, creative intellectual, Pietro Luigi (Gigi) Campi — editor, architect, concert manager, music publisher, producer and restaurateur", and anchor of the Cologne jazz scene. Campi productions have found their way to the Italian reissue label Schema/Rearward,  of which I have many CBBB, Johnny Griffin and Sahib Shihab titles. *londonjazzcollector.wordpress.com*

A fantastic early record by Sahib Shihab — a motherlode of modal jazz grooves, cut during the early days of the Clarke-Boland Big Band! The record features a core group of players from that ensemble — including Shihab on alto, baritone, and flute, plus Francy Boland on piano, Jimmy Woode on bass, Åke Persson on trombone, Francy Boland on piano, Joe Harris on bongos, and Kenny Clarke on drums — all coming together here with a groove that's really groundbreaking — a style that's sweet and soulful, but rhythmically revolutionary too! The tracks are all long and grooving — with the kind of dancing jazz tone that you'd expect from the Saba/MPS label during the mid 60s — a big change from the Argo label that originally issued the record. But that's no surprise, either, as the session was actually recorded in Europe by Gigi Campi — the man behind the CBBB albums on MPS — with a feel that's quite similar to other Shihab classics, like Companionship or Seeds. The whole thing's great — one of Shihab's most wonderful records, and totally worth owning.  *dustygroove.com*

There is one moment... when the darkness of the night begins to pass... when first light creeps from horizon through the leaves of the trees, 'round the corners of your neighbor's house... it sneaks through the windows softening the colors on its way, altering your feelings of past and present, banishing all those many troubles...

Listen! The sounds seems transparent... they echo... they come again... and now from over there...

You smell the cool breeze, touching heart and brain, rebuilding your ego, helpin to strip off the troublesome yesterday...

You're alone. It is summer dawn... *Nat Jungnick (liner notes)*

1 - Lillemor

2 - Please Don't Leave Me

3 - Waltz For Seth

4 - Campi's Idea

5 - Herr Fixit

(All compositions by Sahib Shihab)

Sahib Shihab (alto sax, baritone sax, flute),  Åke Persson (trombone), Francy Boland (piano), Jimmy Woode (bass), Joe Harris (bongos), Kenny Clarke (drums).

Recorded in Cologne, Germany, May 8 and 9, 1963.

***

and now... a break and some days for my own summer dawns...

 Best New Year for all here!

Michel De Villers - ''Low Reed''

Michel de Villers (1926-1992) was one of the most influential French reed players in modern jazz, known by most of his fellow musicians by his nickname: "Low reed". From a very young age, de Villers excelled on alto sax and clarinet. After gaining the attention of fans and musicians as an amateur, he was hired by Django in 1946. Shortly afterwards he began recording as a leader, improvising with cohesive drive and swinging passion, with a clear tone and vocabulary straight from the leading swing alto players—Benny Carter, Willie Smith and Johnny Hodges.

Looking to achieve a more modern sound, he adopted the baritone as his main instrument in 1949, swinging authoritatively with a muscular fullness of tone, but with the initial fierceness of his attack tempered by the cool influence, of Bird first, and Mulligan later. His skill as a soloist and improviser put him among the best European baritonists when Jazz-Hot awarded him from 1950 onwards first place in their annual readers’ poll. This led to calls from American jazzmen on their way through Paris. His fame spread to the United States when in 1956 he was voted one of the best new baritone players by the Down Beat international critics' poll.

Below, a CD set with all his recording sessions in small groups as a leader during his most prolific years (1946-1956). The way he makes his sounds swing so naturally can lead one to believe that perhaps others possessed better techniques or ideas; but the truth is that few surpassed Michel de Villers in soul and feeling. In his own words: “I get deeply bored when it doesn't swing".

*Jordi Pujol*

Michel De Villers

''Low Reed''

Complete Small Group Sessions 1946-1956

De Villers was a regular poll winner in Jazz Hot magazine from 1950 until the poll ended in 1965. He also placed high in the Downbeat critics' poll when his fame spread to the USA. The earliest tracks in this collection, from 1946, feature him on alto with a curious but not unattractive blend of mainstream alto sax punctuated by bop phrases taken from Charlie Parker. "Shufflin' At The Hollywood" by Lionel Hampton is pure swing era, the alto sound fat and rich. His own "Blues At Eleven" is back to the bop with a strange French variation of scat from drummer Reilles, switching for a moment to vocal. De Villers quotes from "Salt Peanuts" during a wild alto burst. There is more of a hint of the boppers and Bird in "Lover Man", a slow and lyrical solo. By this session he had Kenny Clarke on drums, an early visit that later became full-time immigration.

Sometime in the early 1950s De Villers switched to baritone and this is the instrument that appears to have suited him best. "Fisher's Wife" has him swinging merrily on the big sax, with full tone and plenty of invention. He was very good on all styles and two instruments although his bop-influenced baritone is the most impressive on these fascinating tracks made in Paris. He himself said "I get bored deeply if it does not swing". Mostly though, it did. *Derek Ansell*

Michel "Low Reed" de Villers played both alto and baritone sax, mixing the swoon of Johnny Hodges on the former and the warmth of Gerry Mulligan on the latter. These sessions from 1946-1956 mix hot and cool sounds in settings ranging from hip quartets to moderate sized orchestras.

On alto, de Villers' lilting horn is drop dead gorgeous on the Old World "Blues at Eleven" and sounds like Rabbit with Bird tendencies on "How High the Moon" and "Sweet Lorraine" while dripping with passion on "Lover Man" and the ballad "I'm Sorry". He bops with the best on "Stuffy" and is lovingly modern on "I Surrender Dear". For his baritone sax, he sweetly swings on "Fisher's Wife" and gets a Kansas City feel on "Indiana". Some 1954 Orchestra settings have him in the midst of a velvety sax section, not dissimilar to Woody Herman's "Four Brothers" Band, with soft and sensuous harmonies on "These Foolish Things" and "I Only Have Eyes For You" while showing some muscle on "Somebody Loves Me". A discovered fresh water pearl! *George W. Harris*

1 - How High The Moon

(Morgan Lewis)

2 - Sweet Lorraine

(Parish, Burwell)

3 - Shufflin' At The Hollywood

(Lionel Hampton)

4 - Blues At Eleven

(Michel de Villers)

5 - Lover Man

(Davis, Sherman, Ramírez)

6 - The Small Bag

(Michel de Villers)

7 - I'm Sorry

(Michel de Villers)

8 - Working Eyes

(Tyree Glenn)

9 - Stuffy

(Coleman Hawkins)

10 - I Surrender Dear

(Barris, Clifford)

11 - Fisher's Wife

(Michel de Villers)

12 - I Can't Get Started

(Vernon Duke)

13 - Over The Rainbow

(Arlen, Harburg)

14 - Indiana

(MacDonald, Hanley)

15 - Let's Try Again

(Michel de Villers)

16 - 'Round Midnight

(Thelonious Monk)

17 - These Foolish Things

(Marvell, Strachey)

18 - Cat On The Stairs

(Michel de Villers)

19 - I Only Have Eyes For You

(Warren, Dubin)

20 - Penitas De Amor

(Claude P. Armand Artur, [a.k.a "Arture"])

21 - Somebody Loves Me

(Gershwin, MacDonald, DeSylva)

22 - Portrait Of Django

(Jean-Pierre Sasson)

23 - Happy Flying Carpet

(Michel de Villers)

24 - Don't Blame Me

 (McHugh, Fields)

#1 to #4: Michel de Villers et son Quintette from Swing albums (SW. 239 [#1, #3] and SW. 246 [#2, #4])

Michel de Villers (alto sax), André Persiany (piano), Jean Bonal (guitar), Georges Hadjo (bass), André Baptiste "Mac-Kac" Reilles (drums, vocals [#4]), Georges Martinon (drums [#4]).

Recorded in Paris, October 16, 1946.

#5 to #7: Michel de Villers et son Quintette from Swing albums (SW. 276 [#5, #6] and SW. 290 [#7])

Michel de Villers (alto sax), Jean-Claude Fohrenbach (tenor sax), André Persiany (piano), Georges Hadjo (bass), Kenny Clarke (drums).

Recorded in Paris, March 12, 1948.

#8, #9: Michel de Villers et son Orchestra from Swing album (SW. 290 [#9], #8 [unreleased Swing recording])

Claude Dunson (trumpet), Michel de Villers (alto sax), Jean-Claude Fohrenbach (tenor sax), Jacques Denjean (piano), Harry Montaggioni (guitar), Alf "Totole" Masselier (bass), Kenny Clarke (drums).

Recorded in Paris, May 5, 1948.

#10: Michel de Villers et son Quintette from Swing (SW. 290)

Michel de Villers (alto sax), Jacques Denjean (piano), Harry Montaggioni (guitar), Alf  "Totole" Masselier (bass), Kenny Clarke (drums).

Recorded in Paris, May 5, 1948.

#11 to #16: Michel de Villers Swingtet from Jazz for Dance, Vol. 1 (Ducretet Thomson 250V001)

Michel de Villers (alto sax, baritone sax), André Persiany (piano), Jacques "Popoff" Medvedko (bass), Bernard Planchenault (drums).

Recorded in Paris, Spring of 1954.

#17 to #20: Michel de Villers et son Orchestra from Decca (EFS 450.511)

Michel de Villers (baritone sax), Charles Verstraete (trombone), Hubert Fol (alto sax), Maurice Meunier (tenor sax), Geo Daly [as L. Jackson] (vibes), André Persiany (piano, arrangements), Alix Bret (bass), Bernard Planchenault (drums).

Recorded in Paris, 1954.

#21 to #-24: Michel de Villers et son Orchestra from Decca (EFS 450.605)

Michel de Villers (baritone sax), André "Teddy" Hameline (alto sax), André Debonneville (tenor sax), André Persiany (piano, arrangements), Paul Rovere (bass), Roger Paraboschi (drums).

Recorded in Paris, April 13, 1956.

The Dave Brubeck Trio - Distinctive Rhythm Instrumentals

In the short space of two years, Dave Brubeck has risen from the obscurity of an unknown jazz pianist, to a point where he is accepted in this country and abroad  as one of the leaders of the modern school of musicians. 

Metronome  editor  Barry  Ulanov wrote:  "Dave's success was and is inevitable. More than most jazz musicians he has the equipment for both  commercial  and musical success. He  communicates his ideas through a series of levels — melodic, harmonic, rhythmic — that may escape the technical comprehension of his listeners but  rarely eludes their more easily given responses, emotional and  intellectual. Perhaps the best word to sum up Dave  Brubeck's music is 'legitimate'. It is certainly a better word  than  'classical', which suggests a tie to traditional music stronger than Dave's actually is, for the core of his contribution is a disciplined employment of all the musical devices which make sense in jazz, whatever their source... In that employment Dave has broadened jazz just a little more and given jazz another badly needed large voice".

In these sides, with Dave Brubeck trio, you will find the "fine beat", the "subtle wanderings in polytonality", and the "delicate balance of three instruments" that so excited Barry Ulanov. They can excite you, too. *Ralph J. Gleason*

Really great early work from Dave Brubeck — recorded with his early trio that included Cal Tjader on both drums and vibes — instruments he'd sometimes play on the same track! The rest of the trio is completed by Ron Crotty, an excellent bassist who did plenty of great work on the San Francisco scene in the 50s — and the package features material from the first 3 early 10" LPs on the Fantasy Records label!  *dustygroove.com*

The Dave Brubeck Trio

Distinctive Rhythm Instrumentals

Fresh, Percussive and Complex.

On most of the songs contained here, it's Cal Tjader's vibes and percussion that make for the excitement. Of course, Dave Brubeck's burgeoning piano voice and interesting tempos also give these songs a cool style that was very original for the time.

If you like the west coast cool jazz sound, very catchy piano playing and great rhythm accompaniment, you can discover this record anew—just as California jazz enthusiasts found it in 1954.

Another interesting way to hear this record is considering how Cal and Dave's music changed when they each achieved popular success. They did not play together after these recordings unfortunately, because each lead their own groups—blazing separate musical paths. Also, neither did a record quite like >Distinctive Rhythm Instrumentals< which were, for the time, fairly experimental. Really, there was no other group at the time using so few instruments with such complex arrangements. Fortunately, the results were quite pleasing; hence the reissue.

More superficially, the music is very relaxing and quite easy to enjoy. One may pay close attention and appreciate the interplay between Dave and Cal, or let the music fill in the background of a party. It's quite versatile, like the best jazz, and holds up well after many listens. Full of surprises too. This record may grow on you. My old man certainly enjoyed it back in the day and I still do.

*Monty Orrick*

1 - You Stepped Out Of A Dream

(Nacio Herb Brown, Gus Kahn)

2 - Lullaby I Rhythm

(Benny Goodman, Walter Hirsch, Clarence Profit, Edgar Sampson)

3 - Singin' In The Rain

(Nacio Herb Brown, Arthur Freed)

4 - I'll Remember April

(Gene DePaul, Pat Johnston, Patricia Johnston, Don Raye)

5 - Body And Soul

(Frank Eyton, Johnny Green, Edward Heyman, Robert Sour)

6 - Let's Fall In Love

(Harold Arlen, Ted Koehler)

7 - Laura

(Johnny Mercer, David Raksin)

8 - Indiana

(James F. Hanley, Ballard MacDonald)

9 - Blue Moon

(Lorenz Hart, Richard Rodgers)

10 - Tea For Two

(Irving Caesar, Vincent Youmans)

11 - Undecided

(Sydney Robin, Charlie Shavers)

12 - That Old Black Magic

(Harold Arlen, Johnny Mercer)

13 - September Song

(Maxwell Anderson, Kurt Weill)

14 - Sweet Georgia Brown

(Ben Bernie, Kenneth Casey, Maceo Pinkard)

15 - Spring Is Here

(Lorenz Hart, Richard Rodgers)

16 - 'S Wonderful

(George and Ira Gershwin)

17 - Perfidia

(Alberto Dominguez)

18 - Avalon

(Buddy DeSylva, Al Jolson, Vincent Rose)

19 - I Didn’t Know What Time It Was

(Lorenz Hart, Richard Rodgers)

20 - Always

(Irving Berlin)

21 - How High The Moon

(Nancy Hamilton, Morgan Lewis)

22 - Squeeze Me

(Fats Waller, Clarence Williams)

23 - Heart And Soul

(Hoagy Carmichael, Frank Loesser)

24 - Too Marvelous For Words

(Johnny Mercer, Richard A. Whiting)

Dave Brubeck (piano), Ron Crotty (bass), Cal Tjader (vibes, conga, bongo, drums).

Recorded in San Francisco, California, September 1949 (#7 to #10), March 1950 (#1 to #6), June 1950 (#11 to #16), October 1950 (#19, #21, #22, #23, #24), November 1950 (#17, #18, #20). 

Mel Lewis Septet - Got 'Cha

Melvin Sokoloff (May 10, 1929 – February 2, 1990), was born in Buffalo, New York, to Russian-Jewish immigrant parents Samuel and Mildred Sokoloff. Known professionally as Mel Lewis, was a jazz drummer, session musician, professor, and author. He received fourteen Grammy Award nominations.

Lewis  started playing professionally as a teen, eventually joining Stan Kenton in 1954. His musical career brought him to Los Angeles in 1957 and New York City in 1963. In 1966 in New York, he teamed up with Thad Jones to lead the Thad Jones/Mel Lewis Orchestra. The group started as informal jam sessions with the top studio and jazz musicians of the city, but eventually began performing regularly on Monday nights at the famed venue, the Village Vanguard. In 1979, the band won a Grammy for their album Live in Munich. Like all of the musicians in the band, it was only a sideline. In 1976, he released an album titled Mel Lewis and Friends that featured him leading a smaller sextet that allowed freedom and improvisation.

When Jones moved to Denmark in 1978, the band became known as Mel Lewis and the Jazz Orchestra. Lewis continued to lead the band, recording and performing every Monday night at the Village Vanguard until shortly before his death from cancer at age 60. The band still performs on most Monday nights at the club. Today, it is known as the Vanguard Jazz Orchestra and has released several CDs. *wikipedia.org*

Although he was generally reluctant to solo, Mel Lewis was considered one of the definitive big band drummers, a musician who was best at driving an orchestra, but could also play quite well with smaller units. He started playing professionally when he was 15 and worked with the big bands of Boyd Raeburn (1948), Alvino Rey, Ray Anthony, and Tex Beneke. Lewis gained a great deal of recognition in the jazz world for his work with Stan Kenton (1954-1957), making the large ensemble swing hard. In 1957, he settled in Los Angeles, became a studio drummer, and worked with the big bands of Terry Gibbs and Gerald Wilson. Lewis went to New York to play with Gerry Mulligan's Concert Jazz Band in 1960, and he toured Europe with Dizzy Gillespie (1961) and the Soviet Union with Benny Goodman (1962). In 1965, Lewis formed an orchestra in New York with Thad Jones which grew to be one of the top big bands in jazz. When Jones surprised everyone by suddenly fleeing to Europe in 1979, Lewis became the orchestra's sole leader, playing regularly each Monday night at the Village Vanguard until his death. Lewis recorded as a leader in the 1950s for San Francisco Jazz Records, Mode (reissued on V.S.O.P.), and Andex and, after Thad Jones left their orchestra, Lewis recorded with his big band for Atlantic, Telarc, and Music Masters. *Scott Yanow*

About Got 'Cha, Mel Lewis' first album under his own name: Kenton drummer, Mel Lewis, surrounded by fellow Kentonites — Pepper Adams, Richie Kamuca, Jerry Coker, Ed Leddy, etc., in a most competent outing. Set essays coolish, modern Basie feeling in arrangements by Lennie Niehaus, Bill Perkins, Coker, Adams and Marabuto that arenlean and warmly melodic, for the most part, with much space for the soloists. Could be sold to the modern jazz enthusiast. Try "In a Mellowtone" as demo band... Pepper Adams emerges as a jazz soloist to be watched.

*Billboard, April 20, 1957*

1 - In A Mellowtone

(Duke Ellington)

2 - Leave Your Worries Behind

(Lennie Niehaus)

3 - A Winters Tale

(Pepper Adams)

4 - Sir Richard Face

(Bill Perkins)

5 - One For Pat

(Lennie Niehaus)

6 - 'Enry 'Iggins 'Ead

(Jerry Coker)

7 - El Cerrito

(Johnny Marabuto)

Ed Leddy (trumpet); Richie Kamuca, Jerry Coker (tenor saxes); Pepper Adams (baritone sax); Johnny Marabuto (piano); Dean Reilly (bass); Mel Lewis (drums).

Recorded in San Francisco, California, November 19 (#1, #2, #5), and November 20 (#3, #4, #6, #7), 1956.

Jerry Coker - Modern Music

Jazz saxophonist and pedagogue Jerry Coker was born in South Bend, Indiana (November 28, 1932). He attended Indiana University in the early 1950s, but left school to become a member of Woody Herman's Herd. Coker eventually earned undergraduate and graduate degrees while he taught jazz at Sam Houston State University (then Sam Houston State Teachers College). He recorded under his own name in the mid-1950s and as a sideman with Nat Pierce, Dick Collins, and Mel Lewis; later that decade he played with Stan Kenton. In 1960 he began teaching and increasingly turned to music education and composition. He taught at Duke University, University of Miami, North Texas State University, and started the Studio Music and Jazz program at the University of Tennessee, where he was a professor of music from the 1980s through the 2000s. *wikipedia.org*

Born in 1932, tenor saxophonist Jerry Coker first emerged as a major talent in Indiana University's brilliant jazz clique of the early '50s. While he was still a student he joined Woody Herman's Third Herd, leading to a year performing, recording and, in the spring of 1954, a European tour. Returning to Indiana that summer, he was at the heart of the university's thriving jazz movement which, in July 1955, recorded his album, Modern Music from Indiana University. Leading some talented students, Coker, as producer, wrote all the arrangements – with echoes of the Four Brothers sax sound – while his solo work revealed an affinity for Lester Young.

In 1956, settled in Oakland, he began to make a name himself as performer, composer and arranger, and joined Rudy Salvini's rehearsal band. He also recorded with them and with his own quartet in November for San Francisco Jazz Records.

While the Kenton band was playing in the Bay Area, Coker briefly replaced the injured Bill Perkins, but, despite his considerable reputation as a soloist, after the spring of 1957 his appearances on concert and on record have been rare. He has since mostly devoted himself to teaching and writing, which has obscured his talents as a player—a pity, as these recordings show just how good he was. *Jordi Pujol*

Jerry Coker

Composes – Arranges – Plays

Modern Music

From Indiana University

And The Bay Area

Jerry Coker should have been a household name (and maybe he will be among readers after this post). A composer, arranger and tenor saxophonist from Indiana, Coker in the 1950s and beyond had a beautiful ear and gorgeous sound. Coker recorded only one album and a few tracks as a leader in 1955. He also recorded as a sideman small groups led by Mel Lewis and Nat Pierce in the mid-'50s as well as a big band led by Rudy Salvini. In the early 1950s, he recorded and toured with Woody Herman's Third Herd and he recorded with Clare Fischer's band in the early 1960s. Except for two albums in the early 1980s (A Re-emergence and Rebirth for the Revelation label), that was pretty much it.

Coker played with Stan Kenton in 1957 and then he spent much of his career as an exceptional educator. He taught at the Monterey Peninsula Junior College in 1963, at Indiana University as head of their jazz program and then, in 1966, at Coral Gables University in Miami, developing first-rate BA and MFA degree programs. He left in 1972.

While in Miami, Coker played gigs for entertainers, including Frank Sinatra and Tony Bennett. Next came Pembroke State College and Duke University before he settled with his wife in Knoxville, Tenn. Over the course of his career, Coker wrote 20 jazz education books and is a member of the International Association of Jazz Educators Hall of Fame. Coker is still with us today.

Fortunately for us, Fresh Sound Records has gathered many of Coker's recordings between 1954 and 1956 on a single CD entitled Jerry Coker: Modern Music From Indiana University and the Bay Area. It is a stunning collection of jazz recordings that will leave your jaw hanging. The sound is a perfect blend of West and East Coast jazz styles during this period, and Coker's composing and arranging was extraordinary. It's highly melodic with tasteful harmony parts and exquisite blowing by everyone on the dates.

The 12 tracks from Modern Music From Indiana University feature a reed ensemble comprised of three different configurations. The first includes Jerry Coker, Bob Cowart and Louis Ciotti (ts) Jack Coker (p) Monk Montgomery (b) and Charlie Mastropaolo (d). The second adds Freddy Fox and Roger Pemberton on baritone sax. And finally Al Kiger (tp) and Jim Hewitt (tb) sit in on selected tracks.

Coker's reed writing was so gorgeous you'll want to cry. Heartfelt and fully maximized, the arrangements have a sensitive passion for the harmonized saxophone sound while the musicians have a nimble Four Brothers feel. The players on the session were all students at Indiana University, where Coker had attended college.

Next are three tracks (Coker's "You'll Stay" and "Giggling Oysters" and Wayne Crabtree's "Water's Edge") that feature Coker in a quartet setting in San Francisco: Al Kiger (tp) Jerry Coker (ts) Eddie Duran (g) and Dean Reilly (b). A Mel Lewis Sextet track, 'Enry 'Iggins 'Ead, composed and arranged by Coker, includes Kentonites Ed Leddy (tp) Jerry Coker and Richie Kamuca (ts) Pepper Adams (bar) John Marabuto (p) Dean Reilly (b) and Mel Lewis (d).

This is followed by a Rudy Salvini Orchestra album called Intro to Jazz, recorded at the Sands Ballroom in Oakland, Calif., in November 1956. The band on these five tracks include Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen and Billy Catalano (tp), Van Hughes, Archie Lecoque, Chuck Etter and Ron Bertuccelli (tb), Charles Martin (as), Jerry Coker, Tom Hart and Howard Dudune (ts), Virgil Gonsalves (bar), John Marabuto (p), Dean Reilly (b) and John Markham (d), with arrangements by Jerry Cournoyer, Jerry Mulvihill and Coker.

There are two bonus tracks recorded in Paris in 1954 with groups that included members of Woody Herman's Third Herd: First, Coker's "Embarkation", with Cy Touff (b-tp), Jerry Coker (ts), Ralph Burns (p), Jimmy Gourley (g), Jean-Marie Ingrand (b) and Chuck Flores (d). And Coker's "Thanks for You", featuring Jerry Coker (ts), Ralph Burns (p), Jean-Marie Ingrand (b) and Chuck Flores (d).

Coker was masterful, and in an ideal, selfish world, he would have moved to Los Angeles, recorded dozens of albums in the studios and written for television. Then again, hundreds of fledgling jazz musicians studying at the various universities where Coker taught would be poorer for it. I'm just thankful we have what we have here. So gorgeous. *Marc Myers*

1 - Limehouse Blues

(Braham, Furber)

2 - Old Crinkletoes

(Jerry Coker)

3 - Opus #1

(Oliver, Garris)

4 - Red Kelly's Blues

(Jerry Coker)

5 - Nancy

(Van Heusen, Silvers)

6 - Kigeria

(Jerry Coker)

7 - You Gotta Show Me

(Brooks, Castle)

8 - It’s You Or No One

(Cahn, Styne)

9 - Jack's Acts

(Jerry Coker)

10 - This Is Always

(Warren, Gordon)

11 - Lost April

(DeLange, Newman, Spencer)

12 - Clare-ity

(Jerry Coker)

13 - You'll Stay

(Jerry Coker)

14 - Water's Edge

(Crabtree)

15 - Giggling Oysters

(Jerry Coker)

16 - 'Enry 'Iggins 'Ead

(Jerry Coker)

17 - Yesterdays

(Kern, Harbach)

18 - Wail For Patrick

(Jerry Coker)

19 - Boot's Boots

(Cournoyer)

20 - Topsy Returns

(Jerome Mulvihill)

21 - Smithsonian

(Jerome Mulvihill)

22 - Embarkation

(Jerry Coker)

23 - Thanks For You

(Hanighen, Wright)

#1 to #12: from the album Modern Music from Indiana University (Fantasy 3-214)

Jerry Coker, Bob Cowart, Lou Ciotti (out on #10) (tenor saxes); Roger Pemberton (baritone sax); Jack Coker (piano); Monk Montgomery (bass); Charles Mastropaolo (drums). 

#2, #3, #5, #6, #8, #9, #11, #12: Freddy Fox (added on baritone sax).

#6, #8: Al Kiger (added on trumpet).

#5, #11: Jim Hewitt (added on trombone).

Recorded at Indiana University, Bloomington, July 1955.

#13 to #15 : Jerry Coker Quartet - from the album Intro to Jazz (San Francisco Jazz JR-1)

Alan Kiger (trumpet), Jerry Coker (tenor sax), Eddie Duran (guitar), Dean Reilly (bass).

Recorded at the Sands Ballroom, Oakland, November 1956.

#16: Mel Lewis Sextet - from the album Got ‘Cha (San Francisco Jazz JR-2)

Ed Leddy (trumpet); Richie Kamuca, Jerry Coker (tenor saxes); Pepper Adams (baritone sax); Johnny Marabuto (piano); Dean Reilly (bass); Mel Lewis (drums).

Recorded at the Sands Ballroom, Oakland, November 20, 1956.

#17 to #21: Rudy Salvini Orchestra - from the album Intro to Jazz (San Francisco Jazz JR-1)

Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen, Billy Catalano (trumpets); Van Hughes, Archie Lecoque, Chuck Etter, Ron Bertuccelli (trombones); Charles Martin (alto sax); Jerry Coker, Tom Hart, Howard Dudune [#17, #19, #20, #21], Charles Peterson [#18] (tenor saxes); Virgil Gonsalves (baritone sax); John Marabuto (piano); Dean Reilly (bass); John Markham (drums).

Recorded at the Sands Ballroom, Oakland, November 1956.

#22: from the album The Third Herdmen Blow in Paris, Vol.2 (Vogue LD.205)

or also The Herdsmen Play Paris (Fantasy 3-201)

Cy Touff (bass trumpet), Jerry Coker (tenor sax), Ralph Burns (piano),  Jimmy Gourley (guitar), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954.

#23: from the album The Third Herdmen Blow in Paris, Vol.1 (Vogue LD.204)

or also The Herdsmen Play Paris (Fantasy 3-201)

Jerry Coker (tenor sax), Ralph Burns (piano), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954. 

Shorty Rogers And André Previn - Collaboration

It really seems that West Coast musicians will never cease to surprise us. They had a propensity for launching themselves into the wildest enterprises, taking enormous musical risks, with an air of nonchalance totally their own. The album Collaboration could well be the most impressive of all such carefree excursions; it is, at the very least, unique of its kind. 

The rules of this particular game seem innocuous at the outset, but have an unexpected sting in their tail. Take nine musicians, of whom two — among the best in California — double as instrumentalists and arrangers. Ask this same nonet to perform charts by each of the two arrangers in Strict alternation. Too easy so far, so now impose the condition that for each standard scored by the one, the other must reply with an original composition constructed around the same harmonies! A challenge to which Shorty Rogers and André Prévin respond magnificently.

Milton "Shorty" Rogers symbolises single-handed that magnificent wave of renewal that swept across the West Coast in the early 'fifties. Everything that bore his signature-whether as trumpeter, arranger or supervisor-possessed a certain distinction. His spell as artistic director at RCA produced many quite irreplaceable albums. André Prévin, for his part, is a musician who defies all categorisation. For many years he worked for MGM, composing the music of films such as Vincente Minnelli's "Four Horsemen of the Apocalypse", Ranald McDougall’s "Subterraneans" and Richard Brook’s "Elmer Gantry". Today he reigns triumphant as conductor of some of the world's leading symphony orchestras.

Undaunted by the daring concept of this project, Shorty Rogers and André Prévin set joyously about their task, juggling eagerly with contrasts and camparisons. They humorously nod acknowledgement to classical music: the shadow of Stravinsky glides over "You Do Something to Me", while Bud Shank and Bob Cooper execute a magnificent fugue passage on "Some Antics".

The vitality, invention and sheer mastery exhibited in this album almost obscure the fact that "Collaboration" originated as little more than a lighthearted wager! *Alain Tercinet*

Shorty Rogers And André Previn

Collaboration

For this slightly unusual LP Shorty Rogers and Andre Previn split the arranging chores in a somewhat competitive fashion. Rogers arranges a standard and then that is followed by a Previn original based on the same chord structure. This procedure is followed until the halfway point of the date when they reverse roles. As performed by a nonet featuring Rogers' trumpet, Previn's piano, altoist Bud Shank, Bob Cooper on tenor, baritonist Jimmy Giuffre, trombonist Milt Bernhart and a rhythm section, the result is a dead heat with some fine swinging solos on tunes (and variations) of such songs as "It's DeLovely", "You Stepped Out Of A Dream" and "You Do Something To Me". This will be a difficult album to locate. *Scott Yanow*

Here's a jazz set that should sell at a snappy rate over the next few months. If features, for the first time together, two top arrangers, having a go at each other in a sort of jazz arrangers battle. Shorty Rogers does a take-off on three of André Previn's arrangements, and vice versa. It ends up a stimulating, and oft-times exciting platter. The sidemen, all first-rate modernist, include Bud Shank on alto, Jimmy Giuffre on baritone, Milt Bernhart on trombone and Shelly Manne on drums. The boys turn out some mighty listenable jazz on both Rogers and Previn wear their arranging laurels proudy. Liner notes are good and the cover attractive. Crazy wax this, and a potent release. *Billboard, February 12, 1955*

1 - It's Delovely

(Cole Porter)

2 - Porterhouse

(André Previn)

3 - Heat Wave

(Irving Berlin)

4 - 40.° Below

(André Previn)

5 - You Stepped Out Of A Dream

(Nacio Herb Brown, Gus Kahn)

6 - Claudia

(André Previn)

7 - You Do Something To Me

(Cole Porter)

8 - Call For Cole

(Shorty Rogers)

9 - Everything I've Got (Belongs To You)

(Richard Rodgers, Lorenz Hart)

10 - Some Antics

(Shorty Rogers)

11 - It Only Happens When I Dance With You

(Berlin)

12 - General Cluster

(Shorty Rogers)

Shorty Rogers (trumpet); Milt Bernhart (trombone); Bud Shank (alto sax, flute); Bob Cooper (tenor sax); Jimmy Giuffre (baritone sax); André Previn (piano); Al Hendrickson [#3 to #6, #9 to #12], Jack Marshall [#1, #2, #7, #8] (guitars); Curtis Counce [#4, #6, #10, #12], Joe Mondragon [#1 to #3, #5, #7 to #9, #11] (basses); Shelly Manne (drums).

Recorded at RCA Studios in Hollywood, California, March 30 (#3, #5, #9, #11), June 14 (#4, #6, #10, #12) and September 14 (#1, #2, #7, #8), 1954.

***

and now... time for Punta del Este...

~ will back on December 20 ~