Frank Rosolino Quintet

There's a legend abroad in the music business, and his name is Frank  Rosolino.

The legend that has grown up around Frank is not so much for his music skill, which has been firmly established for many years, but for his inexhaustible energy  and disarming wit which is in motion twenty-four hours a day.

Wherever musicians gather to swap stories of the rigors of the road when traveling with big bands, the fable of Frank is certain to come up and be discussed time and again. To a man, the musicians who worked with  him on the Stan  Kenton band and other travelling units agree that Frank's presence on the stand or in the bus made a difficult condition almost bearable.

We mention this legend to acquaint you with the magnificent philosophy by which Frank Rosolino lives, and which is projected into his music. As a young trombone student in  Detroit some years ago, Frank learned the paradoxical lesson that ragged nerves produce bad music, yet the music business produces ragged nerves. His love for music refused to admit any seamy side, and he resolved to lean on his own good nature when the trips were long and the income rather limited. This novel approach radiated to every musician he worked with who, although unable to match his energy, felt a psycolgical lift from his ceasless jocularity. They felt better and played better because of Frank Rosolino  — and thus the legend was born.

Recording sessions are no exception to Frank's rule of thumb, as his initial MODE release will show. He sagaciously picks tunes and personnel to compliment his unmistakeable trombone style, and remains ever-watchful that the mood of the session is happy and relaxed. This, coupled with his intense sincerity to produce grade A jazz, gives an added bonus to any Frank Rosolino release.

The jazz history of the trombone is a long and distinguished one, and the new departures outlined by Frank Rosolino marks a milestone for that instrument. Not content with aping other styles, Frank has introduced a technical facility which few can match. His impressive jazz sense completes a perfect mold. *Joe Quinn (liner notes)*

This session for the short-lived Mode label remains the zenith of Frank Rosolino's recorded output. Paired with a stellar support unit featuring pianist Vince Guaraldi, tenorist Richie Kamuca, bassist Monty Budwig, and drummer Stan Levey, the trombonist not only delivers some of the most dazzling solos of his career, but also proves himself a gifted composer, contributing a handful of original tunes that fit comfortably alongside standards like Gershwin's "How Long Has This Been Going On?" Largely eschewing more uptempo fare, Rosolino instead favors a simmering, soulful bop approach that champions feeling as much as technique. This is music with genuine emotional heft and intellectual edge. *Jason Ankeny*

One of the best albums on the rare Mode label – and a great quintet side by trombonist Frank Rosolino! The group here features Vince Guaraldi on piano, Richie Kamuca on tenor, Monty Budwig on bass, and Stan Levy on drums – and the sound's a lot harder than you'd expect from the combo. Guraldi's especially rough-edged – with a soulful sound that's quite different than his 60s recordings, one that sounds great next to Rosolino's horn. Titles include "Tuffy", "Fine Shape", "Cherry", "Let's Make It", "Fallout", "Thou Swell", "How Long Has This Been Going On" and "They Say". *dustygroove.com*

Side 1

1 - Cherry

(Daniels, Gillespie)

2 - Let's Make It

(Frank Rosolino)

3 - How Long Has This Been Going On?

(G. and I. Gershwin)

4 - They Say

(Weiss, Mann, Heyman)

Side 2

5 - Fine Shape

(Frank Rosolino)

6 - Fallout

(Bill Holman)

7 - Thou Swell

(Rodgers, Hart)

8 - Tuffy

(Frank Rosolino)

Frank Rosolino (trombone), Richie Kamuca (tenor sax), Vince Guaraldi (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded Radio Recorders, Hollywood, California, June 1957.

No Strings Sextet And Mannie Klein's Sextet - Rare And Obscure Jazz Albums

 

Peter Matz (1928–2002) was an American musician, composer, arranger, and conductor. His illustrious musical career in film, theater, television, and studio recording spanned five decades, during which he collaborated with several renowned artists, including Marlene Dietrich, Anita Ellis, Noël Coward, and Barbra Streisand. In 1962, he conducted the orchestra for the Broadway show "No Strings" and led the sextet from the production in this jazz-oriented rendition of the musical's songs. The combo performs the songs in a light and breezy style, enhancing the Richard Rodgers tunes with finesse. Matz's fresh and imaginative arrangements of Rodgers' superb "No Strings" score are brought to life by six exceptionally talented wind players and two of the best rhythm musicians in the business. Qualities, which fully highlight the essentially lyrical nature of these songs.

Emmanuel Klein (1908–1994) was an American jazz trumpeter closely associated with the Swing Era. He was active throughout the 1930s, working as a studio musician and performing with bands such as Jimmy and Tommy Dorsey, Benny Goodman and others. In 1937, he moved to California and joined Frank Trumbauer's orchestra, quickly becoming one of the most sought-after trumpet players in Hollywood studios. In this album, he and a group of West Coast jazz musicians perform selections from the highly successful Rodgers and Hammerstein II musical "The Sound of Music" with taste and imagination, resulting in an outstanding recording. The arrangements were crafted by Henry Beau and Bobby Hammack. For this session, Klein assembled a stellar line-up of musicians, including Bobby Hammack on piano, Ronnie Lang on saxophone, Al Hendrickson on guitar (alternating with Bobby Gibbons), Morty Corb on bass, and Frank Flynn (alternating with Irving Cottler) on drums and percussion. *Jordi Pujol*

If you are a fan of the "Cool School" of jazz from the 50s and 60s, you're in for a treat on this disc of some real obscurities. The first album on this single disc is a 1962 session arranged by Peter Matz, who put together a team of oboe, flute, bass clarinet, alto sax, baritone sax, bassoon as well as trumpet and trombone for the pianoless rhythm team of Joe Benjamin/b and Ronnie Bedford/dr-bong. The result is a lithe a floating collection of concise readings of material from the Richard Rogers Broadway production No Strings. There are some richly swinging moments such as on "Eager Beaver" and velvety reed work on "The Sweetest Sounds" and "Be My Host" with solos weaving in and out to n ever overstay their welcome. Amber moods.

Music from The Sound Of Music  is arranged by Heinie Beau and Bobby Hammack as its performed by trumpeter Mannie Klein and his team of Hammack/p, Ronny Lang/as-fl, Al Hendrickson-Bobby Gibbons/g, Morty Corb/b, Irv Cottler/dr and Frank Flynn/vib-perc. The charts here are quite clever, having lives of their own, as on a tropical take of "Climb Every Mountain", a bopping "Sixteen Going On Seventeen" and a deep dig on "Do-Re-Mi". The hills are alive! *George W. Harris*

1 - The Sweetest Sounds

2 - Loads Of Love

3 - The Man Who Has Everything

4 - Be My Host

5 - La-La-La

6 - Love Makes The World Go

7 - An Orthodox Fool

8 - Look No Further

9 - "Maine"

10 - Nobody Told Me

11 - Eager Beaver

12 - No Strings

13 - How Can Our Love Survive

14 - Maria

15 - An Ordinary Couple

16 - Do-Re-Mi

17 - The Lonely Goatherd

18 - My Favorite Things

19 - The Sound Of Music

20 - No Way To Stop It

21 - Climb Every Mountain

22 - Sixteen Going On Seventeen

(All compositions by Richard Rodgers)

#1 to #12, from the album "No Strings" by the No Strings Sextet (Columbia CS-8617)

Music by Richard Rodgers from the Broadway Production "No Strings". Arranged & Conducted by Peter Matz.

Wally Wegner (flute, piccolo, clarinet, bass clarinet, baritone sax), Aaron Sachs (clarinet, alto sax solos), Ernie Mauro (oboe, English horn, clarinet, bass clarinet, saxophone), Wally Kane (bassoon, flute, bass clarinet, baritone sax solos), Jimmy Sedlar (trumpet), Jimmy Dahl (trombone), Joe Benjamin (bass), Ronnie Bedford (drums, bongos).

Recorded in New York City, May 1962.

#13 to #22 from the album "The Sound of Music" by Mannie Klein and His Sextet (Imperial LP 12038)

Music by Richard Rodgers from the Broadway Production "The Sound of Music". Arrangements by Heinie Beau and Bobby Hammack.

Mannie Klein (trumpet); Ronny Lang (alto sax, flute); Bobby Hammack (piano); Al Hendrickson [#13, #15, #19, #21, #22], Bobby Gibbons [#14, #16, #17, #18, #20] (guitars); Morty Corb (bass); Frank Flynn (vibes, percussion, drums); Irv Cottler (drums, bongos). 

Recorded at United Recorders, Hollywood, October 22 (#13, #15, #19, #21, #22) and 23 (#14, #16, #17, #18, #20), 1959.

Enrique Villegas - An Argentinian in New York

Enrique "Mono" Villegas born in Buenos Aires (August 3, 1913) into an aristocratic family. He studied piano under the guidance of the composer Alberto Williams. Trained in classical music, he soon abandoned this genre to embrace jazz. He held his first concert at the Teatro Odeón at 19 years old, and performed his first composition, "Jazzeta", in 1941. After forming some ensambles (notably the Santa Anita Sextet and Los Punteros) and collaborating to several recordings, he recorded the first album under his name in 1952.

In the mid-1950s he was put under contract by Columbia Records and moved to New York City; after two albums he decided to terminate the contract due to artistic disagreements with the label. He then toured extensively in Europe, United States and Latin America for eight years, before coming back in Buenos Aires where he formed two trio ensambles, first with Jorge López Ruiz and Eduardo Casalla, and then with Alfredo Remus and Néstor Astarita, and recorded several albums.

Enrique Villegas was the first jazz pianist to perform at famed Teatro Colón.

He died in Buenos Aires (July 11, 1986), from complications due to a hip broken in a car accident.

Enrique Villegas

Complete New York Sessions

1955-1957

The playing of Argentinian pianist Enrique Villegas (1913-1986) was unique, exciting and continuously interesting, with a special character of its own founded on his classical training and jazz inclinations. He moved to the United States in 1955, when he was already well-known in his country, with the intention of establishing himself in North America as a Jazz pianist. His nightclub debut at the Cafe Bohemia was an instant success, and his performances were acclaimed by both critics and public.

His career was already on its way, but two years after his arrival in New York, he drastically decided, due to artistic discrepancies with his record label, to return to Buenos Aires. This CD contains the two historic trio albums Villegas recorded during his stint in New York City. *Jordi Pujol*

Argentinian pianist Enrique "El mono" Villegas (1913-1986) was one of Argentina's biggest jazz exports, along with Gato Barbieri. He spent his exemplary career living and working in Buenos Aires, where he made his debut recording in 1944 and his last in 1977. To mark the 20th anniversay since his death in 1986, Fresh Sound Records has published this 2 LPs-on-1 CD compilation with the two terrific albums he recorded for the Columbia label in New York.

Villegas moved to the United States in 1955, when he was already well-known in his country, with the intention of establishing himself in North America as a professional jazz pianist. Although he didn't stay in USA that long, his nightclub debut at the Café Bohemia was an instant success, and his performances were acclaimed by both critics and public alike. This CD contains the only two historic trio albums Villegas recorded in studio during his stint in New York. *jazzmessengers.com*

1 - Ain't Misbehavin'

(Razaf, Waller, Brooks)

2 - Yesterdays

(Harbach, Kern)

3 - What Is This Thing Called Love

(Cole Porter)

4 - Chopin Prelude

(Frédéric Chopin)

5 - Lazy Bones

(Mercer, Carmichael)

6 - Where Or When

(Rodgers, Hart)

7 - Sometimes I'm Happy

(Caesar, Youmans)

8 - Embraceable You

(G. and I. Gershwin)

9 - Poor Butterfly

(Garner, Hubbell)

10 - Jelly Roll Blues

(Jelly Roll Morton)

11 - I Ain't Got Nobody

(Graham, Williams)

12 - Black Beauty

(Duke Ellington)

13 - Honeysuckle Rose

(Waller, Razaf)

14 - Rosetta

(Hines, Woods)

15 - Jumpin' At The Woodside

(Count Basie)

16 - Night In Tunisia

(Gillespie, Paparelli)

17 - Django

(John Lewis)

18 - Scruby

(Friedrich Gulda)

19 - Western Reunion

(Gerry Mulligan)

#1 to #9: from the album Introducing Villegas (Columbia CL 787)

Enrique Villegas (piano), Milt Hinton (bass), Cozy Cole (drums).

Recorded in New York City, September 8 and 9, 1955.

#10 to #19, from the album Very, Very Villegas (Columbia CL 877)

Enrique Villegas (piano), Milt Hinton (bass), Cozy Cole (drums).

Recorded in New York City, March 13, April 10 and May 2, 1957.

The Amazing Sound Of Toots Thielemans

Jean Toots Thielemans arrived in the U.S. from his native Belgium in 1951. His first works in jazz were as a guitarist, instrument on which he achieved recognition as soon as he joined the George Shearing Quintet in late 1952. However, he was also a skilful harmonica player.

The present selection was intended to introduce the several facets of the instrument as exposed by Toots Thielemans thorough musicianship, his swing, and his unique achievements in versatility. For him, the ingredients of jazz are the beat (the motor) and sound, melody, and harmony (the intelligence). In this collection you will find Toots playing harmonica on every track, and even overdubbing guitar solos on four of them. With feats like this, not only he proved that jazz is a music of many moods, but he also brought a new perspective to the use of the harmonica in the jazz field; because one thing is certain: he can make it swing! *Jordi Pujol*

Jean "Toots" Thielemans

The Amazing Sound Of "Toots" Thielemans

This CD contains the music from two old long-playing records by Toots Thielemans. This concerns The Sound and Time out for Toots from 1955 and 1958 respectively.

Our man was initially mainly active as a guitarist in the United States. I think everyone will be familiar with his role in the George Shearing Quintet of the 1950s. Gradually the harmonica came into more and more action, often in unison with the guitar. That is also the case here. Guitar and harmonica are often heard together. However, the guitar part here was played later. The harmonica is definitely the center of attention.

Thanks to Toots, the small instrument gained a serious place in jazz. When listening to this material it immediately becomes clear what appealed to people about this music at the time. Everything testifies to an unmistakable swing and an indomitable zest for life. The choice of repertoire may lead some people to suspect that it is easy listening pop music from the old days. Nothing is less true. What we hear is jazz of the highest order from the time when jazz was still a mainstream music direction and not a somewhat obscure niche for connoisseurs. It is pleasantly listenable, accessible, modern jazz with a touch of bop here and there. Fans of good guitar playing, refined harmonica playing and Toots in general will find much to enjoy here. He explained the success of his way of playing the harmonica in an interview in Down Beat in 1953 as follows: "The basic thing is that I play the harmonica as an instrument, not a toy". *Jo Beckers*

If this collection proves that jazz is music of many moods, it also proves that jazz is a music which knows no boundaries... of nations of instruments.

It brings a new perspective to that mush-maligned instrument, the harmonica. And adds a new dimension to Thielemans, who can cerrainly make it swing. *Dom Cerulli*

1 - On The Alamo

(Kahn, Jones)

2 - Don't Be That Way

(Goodman, Sampson, Parish)

3 - I Put All The Eggs In One Basket

(Berlin)

4 - Sophisticated Lady

(Ellington, Parish, Mills)

5 - Scotch On The Rocks

(Thielemans)

6 - I Let A Song Go Out Of My Heart

(Ellington, Nemo, Redmond, Mills)

7 - Stars Fell Of Alabama

(Parish, Perkins)

8 - Diga Diga Doo

(McHugh, Fields)

9 - So Rare

(Sharpe, Herst)

10 - Skylark

(Carmichael, Mercer)

11 - Sonny Boy

(Brown, Henderson, DeSylva, Jolson)

12 - Cocktails For Two

(Coslow, Johnston)

13 - The Nearness Of You

(Carmichael, Washington)

14 - In A Sentimental Mood

(Ellington, Kustz, Mills)

15 - You Took Advantage Of Me

(Rodgers, Hart)

16 - Cool And Easy

(Thielemans)

17 - Body And Soul

(Green, Sour, Heyman, Eaton)

18 - The Cuckoo In The Clock

(Donaldson, Mercer)

19 - Tangerine

(Mercer, Schertzinger)

20 - Early Autumn

(Burns, Herman, Mercer)

21 - Them There Eyes

(Pinkard, Tracey, Tauber)

22 - A Handful Of Stars

(Shapiro, Lawrence)

23 - Can't Lovin' Dat Man

(Kern, Hammerstein II)

24 - Clap Yo' Hands

(G. and I. Gershwin)

#1 to #12 from the 12" album The Sound (Columbia CL658)

Toots Thielemans (harmonica) with:

#3, #6, #10, #12:

Lou McGarity, Al Godlis, Billy Rauch, Jack Satterfield (trombones); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#1, #4, #7, #9:

Toots Mondello, Artie Beck (alto sax, clarinet); Carl Prager (baritone sax, clarinet); George Berg (tenor sax, clarinet); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#2, #5, #8, #11

Ray Bryant (piano), Wendell Marshall (bass), Bill Clark (drums).

Recorded in New York City, April 1955.

#13 to #24 from the 12" album Time Out For Toots (Decca DL9204)

Toots Thielemans (harmonica, guitar [#18, #20, #21, #22]) with:

#14, #16, #19, #23: 

Hank Jones (piano), Doug Watkins (bass), Art Taylor (drums).

Recorded in New York City, January 22, 1958.

#13, #17, #18, #22:

Urbie Green, Billy Byers, Chauncey Welsch, Santos Russo (trombones); Hank Jones (piano); Bucky Pizzarelli (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

#15, #20, #21, #24:

Al Cohn, Zoot Sims (tenor saxes); Al Epstein, Danny Bank (baritone saxes); Hank Jones (piano); Barry Galbraith (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

Benny Golson - Stockholm Sojourn

The International Jazz Orchestra

Under The Direction Of Benny Golson

Stockholm Sojourn

In recent years Benny Golson has been known — aside from his excellent tenor playing — for his small group writing. It should not be forgotten that he first attracted attention as an arranger through his work for Dizzy Gillespie's big band. The years since then have seen a constant accretion of his skills. In this album, a return to a big band format (23 men in all), we can see, or rather hear, how much his talent has grown. 

It is an album of tightly-woven textures. He uses an instrumentation of four trumpets, three trombones, four French horns, flutes, clarinets, alto flutes, oboes, English horns, a bass clarinet, a baritone saxophone, bass and drums. The voicings are often unusual. "A lot of times", he said, "I wanted a blanket effect-like a crazy quilt".

Listening to the tape, he added, "You'll notice I had the bass recorded a little heavy. That's because there's no piano, and the two rhythm have 21 men sitting on top of them". Fortunately, the bassist is Roman Dylag, the young Pole whose work was gaining repute even before he slipped out under the Iron Curtain and took up residence in Sweden.

Sweden has proved a haven for many jazzmen, including some Americans. One of these is the brilliant trumpeter Benny Bailey, who plays lead and a number of the solos in this recording. The majority of the musicians, however, are Swedish, residents of Stockholm, where this LP was recorded.

Though Benny Golson is one of the most gifted of the younger composers to come out of jazz, his writing exceeds the scope of what current cant considers to be jazz, which has become too often a term of narrowing, of cramping, of littleness. It is to be hoped that the context in which he writes can continue to grow broader apace with his talent. *Gene Lees, February 1965 (liner notes)* 

Although the International Jazz Orchestra (which was arranged and conducted by Benny Golson) recorded their parts for this album on July 14, 1964, some of the soloists were dubbed in later that year. Golson, who does not play at all on this set, seemed inspired by the large instrumentation — a full orchestra with trumpets, trombones, French horns, several English horns doubling on oboes, five reeds, up to six additional flutes and a pianoless rhythm section — and his charts (six of his originals and three standards) are both inventive and full of subtle surprises. Among the many highlights are Golson's reworkings of "Are You Real", "Waltz for Debby" and "I Remember Clifford". This underrated set is recommended. *Scott Yanow*

Side 1

01 - Stockholm Sojourn

02 - Tryst

03 - Are You Real

04 - Goodbye

Side 2

05 - Waltz For Debby

06 - My Foolish Heart

07 - A Swedish Villa

08 - I Remembered Clifford

(All compositions by Benny Golson)

[Note: On the 1997 CD edition, a bonus track is added ("The Call") that does not appear on the original LP]

The International Jazz Orchestra:

Benny Bailey, Bengt-Arne Wallin, Bosso Broberg, Bertil Lövgren, Maffy Falay (trumpets); Åke Persson, Georg Vernon, Jörgen Johansson, Eje Thelin, Grachan Moncur III (trombones); Bengt Olsson, Carl Nyström, Elis Kårvall, William Foch (French horns); Rune Ericksson (euphonium); Alf Nilsson, Ingvar Holst, Lars Skoglund, Erik Björkhager (English horns, oboes); Bengt Christiansson, Nils Wahrby, Börje Marelius, Yngve Sandström, Gösta Ströberg, Ulf Bergström (flutes); Arne Domnérus (clarinet, alto sax); Cecil Payne (baritone sax); Rune Falk (clarinet baritone sax); Torsten Wennberg, Claes Rosendahl (clarinet, saxes); Bjarne Nerem (tenr sax); Rune Falk (baritone sax, clarinet); Jan Johansson (piano); Roman Dylag (bass); Egil Johansen (drums).

Recorded in Stockholm, Sweden, July 14, 1964.

Arranged and conducted by Benny Golson with solos by Benny Bailey, Cecil Payne, Grachan Moncur III, Bengt-Arne Wallin, Eje Thelin, Rune Falk, Bo Broberg and Roman Dylong.

[The parts of Grachan Moncur III and Cecil Payne were dubbed in New York during autumn 1964. Same was done with the solo parts of Persson, Thelin, Domnérus and Nerem who were dubbed in on August 1964 in Stockholm].

Lars Gullin Quartet, Quintet, Sextet, Octet and Orchestra

Lars Gullin

Baritone Sax

Lars Gullin, the Swedish saxman, was reckoned as one of the greatest baritone saxophone soloists of his time. His personal playing, composing and arranging style was somewhat reminiscent of Gerry Mulligan's, but he was also heavily influenced by Lee Konitz' alto playing. He played with all the greats when they visited Scandinavia, and was ranked high in Down Beat's polls during the fifties.

This man and his music, 1950's bebop oriented, well crafted and arranged jazz with a tinge of Swedish folklore, deserves a lot of attention! This album is a great first look into his work, heart-and-ear-pleasing music by a true romantic! Check this one out! *amazon.com*

An amazing American release from this legendary baritone saxophonist – one of a few Swedish sessions that Lars issued here in the US at the time! The album's a perfect introduction to Gullin's groundbreaking work – that blend of soul, swing, and modernism that easily made him one of the best talents on his instrument in the postwar years – an overseas player to rival gians like Pepper Adams or Serge Chaloff here in the US! The work is some of Lars' best from the decade – and the tracks feature his modernist baritone in different groupings with top Swedish jazzmen of the time – including Rune Ofwerman on piano, Arne Domnerus on alto, Rolf Blomquist on tenor, Ake Persson on trombone, and George Riedel on bass. The tracks are all longish (most are over 5 minutes), with a strong swing, and introspective solos by Gulling that are some of his strongest of the time – and titles include "Perntz", "Fedja", "All Of Me", and "So What".  *dustygroove.com*

1 - Summertime

(George Gershwin, DuBose Heyward)

2 - Fedja

(Lars Gullin)

3 - A Foggy Day

(George and Ira Gershwin)

4 - Perntz

(Lars Gullin)

5 - All Of Me

(Seymour Simons, Gerald Marks)

6 - Mean To Me

(Roy Turk, Fred E. Ahlert)

7 - So What

(Gerry Mulligan)

#2 and #4: Lars Gullin Octet

Georg Vernon (trombone); Arne Domnérus (alto sax, clarinet); Carl-Henrik Norin (tenor sax); Lars Gullin, Rune Falk (baritone saxes) ; Rune Ofwerman (piano); George Riedel (bass); Bert Dahlander (drums).

Stockholm, Sweden, April 23, 1956.

#5: Lars Gullin Quartet

Lars Gullin (baritone sax), Rune Ofwerman (piano), Bengt Carlsson (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 24, 1956.

#7: Lars Gullin Quintet

Lars Gullin (baritone sax), Åke Persson (trombone), Rune Ofwerman (piano), George Riedel (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 25, 1956.

#1 and #3: Lars Gullin With Gösta Theselius And His Orchestra

Jan Allan, Weine Renliden, Nisse Skoog, Bengt-Arne Wallin (trumpets); Gordon Ohlsson, Åke Persson, Georg Vernon (trombones); Arne Domnérus (alto sax); Rolf Blomquist, Carl-Henrik Norin (tenor saxes); Rune Falk, Lars Gullin (baritone saxes); Rune Ofwerman (piano); George Riedel (bass); Bert Dahlander (drums). Gösta Theselius (arranger).

Stockholm, Sweden, April 25, 1956.

#6: Lars Gullin Sextet

Lars Gullin (baritone sax), Åke Persson (trombone); Arne Domnérus (alto sax), Rune Ofwerman (piano), George Riedel (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 26, 1956.

Lars Gullin Quartet

One of the top baritone saxophonists of all time and a giant of European jazz, Lars Gullin would be better known today if he had visited the U.S. often and if excessive drug use had not cut short his career. Early on he learned to play bugle, clarinet, and piano, and was actually a professional altoist until switching to baritone when he was 21. Sounding somewhere between Gerry Mulligan and Serge Chaloff, Gullin played in local big bands in the late '40s and was in Arne Domnerus' sextet (1951-1953), but is best known for his own small-group recordings. He played with such touring Americans as Lee Konitz (a major influence), James Moody, Clifford Brown, Zoot Sims, and Chet Baker, and recorded frequently during 1951-1960, with "Danny's Dream" being his most famous composition.  *Scott Yanow*

Lars Gullin was one of the most famous baritone saxophonists from Sweden - actually he was elected the new star of the year (1954) by a board of critics, on baritone saxophone in the Down Beat Critics' Poll. Also, before the Critics' Poll, many US Jazz players who toured to North Europe noticed Lars Gullin's artistry - such musicians as Chet Baker, James Moody and Stan Getz played with Lars Gullin.

Like Gerry Mulligan, he doubles on baritone sax and piano. But of course his primary instrument is baritone sax. His tone is heart-warming as well as swingy - as Chet Baker recalled Lars in his late days: "... Lars played with a lot more fire and a lot more authority in some ways than Gerry did". *microgroove.jp*

Lars Gullin is one of the very few European jazz musicians who consistently appear on American all star polls. One of the reasons for this is that many European musicians imitate American styles and sounds rather than creating for themselves. 

Gullin is certainly an exception to this general rule. Now in his middle twenties, he has been playing baritone for a number of years, still keeping his hand in on the tenor which was his first instrument. Speaking as a musician, as well as a composer and arranger, Lars has long felt that the efforts during recent years to produce "new sounds" in jazz have resulted in many rather strained and unmusical recordings. 

He feels that this is so because arrangers and musicians have tried too hard to be original in their manner of writing and playing, instead of concentrating on what they are creating. As he says, what really has had any importance in "new sounds" has evolved from minds less concerned about the originality as such than about musical sincerity in exploring new tone colors in the jazz idiom. 

This is not to say, of course, that there is anything wrong with experimenting with different combinations of instruments. These sides, for example, feature an instrumentation which has probably never before been used on records — that is, the combination of guitar, baritone, bass nd drums. 

But what is most striking about this album is more than just the smooth and delicate sound that this unusual blend produces. It is most particularly the feeling of cohesion and continuity which is present in the inventive. writing, the closely integrated team work and the warm and intelligent solo work. This is jazz chamber music at its best.

It is with considerable pride, then, that EmArcy presents these examples of modern jazz, jazz without a foreign accent, but still freshly and beautifully Made in Sweden. *(Liner notes)*

Side 1

1 - Danny's Dream

2 - Be Careful

Side 2

3 - Igloo

4 - Circus

(All compositions by Lars Gullin)

Lars Gullin (baritone sax), Rolf Berg (guitar), George Riedel (bass), Robert Edman (drums).

Recorded at Europa-Film Studio, Stockholm, Sweden, May 25, 1954.

Max Brüel - Cool architect and jazz aesthete

Danish architect Max Brüel (born July 14, 1927 in Hillerød, Denmark and died March 31, 1995 in Algarve, Portugal) was a versatile artistic talent who, in addition to his career in architecture, also worked as a designer, ceramicist and jazz musician. He studied architecture at the Royal Danish Academy of Arts in the 1940s and won his first architectural competition already during his studies. Around the same time, he also began his career as a musician – Brüel later gained a reputation as an internationally acclaimed jazz pianist and saxophonist. Brüel's best-known building is perhaps the Herlev Hospital in Copenhagen.

Brüel is unique among Danish, if not Euopean musicians in that he was brought up with and even encouraged to play jazz during his childhood. He started playing the piano, then took up alto saxophone. The alto was dismissed in favour of baritone in 1951 after Lars Gullin's playing had opened his ears to the possibilities of that virile sounding instrument.

Brüel was a friend and fervent admirer of Lee Konitz. Among modern baritones he preferred Lars Gullin, but considered Harry Carney the greatest exponent of the instrument.

Max Brüel Quartette

Cool Bruel

During the last four or five years Danish jazz has been dominated by the outstanding work of two young and talented soloists, baritone saxophonist Max Brüel and trumpeter Jørgen Ryg.

Born July 14, 1927, Max Brüel was playing jazz on a set of his father's homemade drums back in the early thirties, and as a child used to sit and listen to jazz dates when his parents played with other professional musicians. Brüel played a variety of instruments including the piano, a special instrument constructed by his father named the "bambaphone" and the alto sax before he decided, five years ago, to make the baritone sax his main musical instrument.

In direct contrast, Jørgen Ryg was seventeen years old before he started paracticing on his first instrument, the trumpet. Ryg has been playing trumpet ever since he became interested in music.

Since 1951 Brüel has been considered the leading Danish jazz soloist, and while living in Stockholm during the winter of 1952-53 he attracted the attention of Swedish musicians and critics. He became known in even wider circles when in June 1954 he played with a quintet at the "Salon du Jazz", the international jazz festival in Paris. Jørgen Ryg also represented Denmark at this festival.

Max Brüel cut his first records in 1950 and since then has been recorded in both Denmark and Sweden. Even though he has had considerable success as a jazz musician he does not devote his entire time to playing jazz. He is an architect by trade and this still remains his vocation. Brüel's preferences in musicians go to Lennie Tristano, Lee Konitz and Lars Gullin.

*Erik Wiedemann (liner notes)*

Max Brüel (1927-1995), spelled as "Bruel" on this LP, was one of the famous Danish baritone sax players, although there were few in the country. On this LP (originally recorded by Swedish Metronome label), Max Brüel plays his baritone in soft, moody and relaxed moods while at the same time the sound is rather swingy. B-1, B-2, B-3 (#5, #6, #7) features Jørgen Ryg on trumpet, who plays refreshing solos. *microgroove.jp*

One of Emarcy's excellent American releases of work by Swedish modernists of the 50s – in this case the quartet of Max Brüel, featuring Brüel on baritone, Bent Axen on piano, Jørgen Ryg on trumpet, Leif Sjöberg on bass, and William Schiöpffe on drums. Bruel's got a tone that recalls a lot of Lars Gullin's playing at the time – and titles include "Garlic Wafer", "Mao Tse Tsonga", "Fine & Dandy", "Maxisme", and "Non Descript".  *dustygroove.com*

Side 1

1 - These Foolish Things

(Marvell, Link, Strachey)

2 - Maxisme

(Brüel)

3 - Non Descript

(Brüel, Axen)

4 - Lover Man

(Davis, Ramirez, Sherman)

Side 2

5 - Indiana

(McDonald, Hanley)

6 - Fine And Dandy

(Swift, James)

7 - Coop De Graas

 (Shorty Rogers)

8 - Garlic Wafer

(Brüel, Axen)

9 - Mao-Tse-Tsonga

(Brüel, Axen)

Max Brüel (baritone sax); Jørgen Ryg (trumpet #5, #6, #7); Bent Axen (piano [#1 to #4, #8, #9]); Erik Moseholm [#1 to #4, #8, #9], Leif Sjöberg [#5, #6, #7] (basses), William Schiöpffe (drums).

Recorded in Copenhagen, Denmark , March 15 (#1, #3, #4, #8), March 20 (#2, #9) and April 12 (#5, #6, #7), 1955.

Jørgen Ryg Jazz Quartet

Jørgen Ryg, Danish jazz trumpeter, comedian and actor (August 11, 1927 - August 28, 1981) started out as a jazz musician but in the 60's his huge succes as a comedy act turned his career away from music. In the 60's and 70's he had great succes on stage and screen as an often grumpy or alcoholic character, but occasionally he performed in dramatic roles to great acclaim. After his rise to fame as a comedian, ironically his jazz trumpet recordings have been compiled and released. *microgroove.jp*

For almost a decade Sweden's musicians have enjoyed a mental monopoly among American jazz fans as the foremost European purveyors of modern jazz. The time has come to remind the listener that just across the water from Sweden's southwestern extremity lies a little peninsula that has been far from idle in its rhythmic development. Danish jazz, too, must be counted among the Continent's contributions.

Older fans need hardly be reminded that one of the greatest jazz violinists of jazz history was Svend Asmussen, a phenomenon of the late '30s and still active in his homeland. More recently U.S. artists visiting Scandinavia have found that in addition to the expected complement of Swedish swingsters there is a growing coterie of Danes given to expressing themselves in the modern idiom. Notable among them have been the baritone saxophonist Max Brüel and the trumpeter Jørgen Ryg.

Jørgen, who normally spells his first name with one of those Danish pierced o's that look like satellites in orbit, is a musician, an actor and an artist. Born August 11, 1927, he did not get his first trumpet until ten years ago and had no real experience with it until two years later when, drafted, he earned his primary musical education in an army band.

For several years Jørgen has been gigging, often in the company of the above-cited Mr. Brüel; he was a member of the quintet that represented Danish jazz at an international festival held in June 1954 in Paris. In September of that year he made his record debut, cutting the first four tunes heard on the A side of this LP. The next four numbers were cut the following March and the final four in November 1955, all in Copenhagen.

Jørgen names Bobby Hackett among his favorite musicians and chief influences, though it is immediately evident that such modernists as Miles Davis, Fats Navarro and Chet Baker, whose recordings he has studied extensively, have also made a deep impression.

Accompanying him on these sides are Jørgen Lausen, piano; William Schiöpffe, drums, and Erik Moseholm, bass (on the last session Atli Bjørn replaced Lausen). 

The moral that emerges from a hearing of these sides is sharply evident: give all the Swedes the credit they deserve, but don't depreciate those Danes! *Leonard Feather (liner notes)*

Side 1

1 - I Didn't Know

(J. Ryg)

2 - Chloe

(Kahn, Moret)

3 - Gillchrist

(J. Ryg)

4 - Ain't Misbehavin'

(F. Waller, Razaf, Brooks)

5 - Orangutango

(Lausen, Ryg)

6 - Autumn Leaves

(Kosma, Mercer)

Side 2

7 - Mean To Me

(Turk, Ahlert)

8 - Serenade T.D.P.J.I.H.M.

(J. Ryg)

9 - El Domingo

(J. Ryg)

10 - Our Love Is Here To Stay

(G. and I. Gershwin)

11 - Whispering

(Schonberger, Coburn, Rose)

12 - Polka Dots And Moonbeams

(Van Heusen, Burke)

Jørgen Ryg (trumpet); Jørgen Lausen [#1 to #6, #8, #10], Atli Bjørn [#7, #9, #11, #12] (pianos); Erik Moseholm (bass); William Schiöpffe (drums).

Recorded in Copenhagen, Denmark, September 1954 (#1 to #4), March 21, 1955 (#6, #8), March 22, 1955 (#5, #10), November 1, 1955 (#7, #9, #11, #12).

Guy Lafitte - Obscure Parisian Sessions

In the 1950's, tenor saxophonist Guy Lafitte (January 12, 1927 –  July 11, 1998) was considered one of the luminaries of European jazz. In his playing he integrated the harmonic and rhythmic contributions of modern jazz to a more classical style in the lines of Buddy Tate, Eddie "Lockjaw" Davis, Frank Wess and many others who were influenced by Coleman Hawkins and Hershel Evans.

For Lafitte, the emphasis of his playing was always in the strength of his sound, and in his swinging approach to the language of jazz, both qualities that earned him the Django Reinhardt Prize in 1954, the highest honor granted by the French Academie du Jazz. *Jordi Pujol*

A fine swing tenorman whose main inspiration was always Coleman Hawkins, Guy Lafitte appeared in many mainstream settings through the years. Lafitte started out paying clarinet including with swing-oriented gypsy bands. After switching to tenor in 1947 and moving to Paris, he worked with Big Bill Broonzy (1950), Mezz Mezzrow (1951), Bill Coleman (off and on starting in 1952), Dicky Wells and Buck Clayton. Through the years, Lafitte has frequently led his own mainstream combos and was also often utilized by veteran American players who were visiting France including Lionel Hampton (1956), Duke Ellington (for the 1961 film "Paris Blues"), Milt Buckner, Wallace Davenport, Arnett Cobb and Wild Bill Davis. As a leader, Guy Lafitte led many sessions during the 1954-93 period (particularly 1954-64) including for CFD, Duc-Thomson, Pathe, French Columbia, VSM, French RCA, Vega, Black & Blue and CTPL. *Scott Yanow*

Guy Lafitte

Quartette And Quintette

Featuring Geo Daly

1955 - 1956

Many critics in the Fifties considered French jazz to be on a par with its American counterpart: if the United States was the cradle of the genre, they reasoned, France was fast becoming the keeper of its best traditions. Even stateside most agreed, seeing the many unique talents that kept coming from France, among them the brilliant young tenor saxophonist Guy Lafitte (1927-1998). In 1954 he received the best album and best tenor saxophonist awards in a poll organized by the Jazz Hot magazine, but he was also crowned best French soloist by the Academie du Jazz with its prestigious prix Django Reinhardt.

These small group sessions led by Lafitte (1954-1956) shine with the presence of Geo Daly, the legendary vibraphonist who introduced the instrument to Europe. Daly was at ease in this small group context, and his alliance with Lafitte generates an unpretentious and relaxed mood—it's jazz with a swinging beat and warm improvisatory interplay.

The music in these sides is a testament to the progress and maturity Guy Lafitte had acquired since his early years: many had compared him to other great tenor saxophonists, but it is obvious here that he had managed to escape the influence of Hawkins, Herschel Evans, Chu Berry, Lester Young, or anyone else for that matter. By the time he recorded these sessions, his language and ideas were fully his own. *Jordi Pujol*

The progression of European jazz musicians radically ascended from the days that Louis Armstrong and Coleman Hawkins originally came to France and these 50s and 60s sessions of home grown artists sounded more authoritative than imitative. You're going to be pleasantly surprised by this reissue.

Tenor saxist Guy Lafitte had a strong growl similar to Coleman Hawkins, and the depth of a Chu Berry or Herschel Evans from the Count Basie Big Band. There are 16 tunes with his quartet with George Daly/vib, Raymond Fol-Andre Persiany/p, Alix Bret-Buddy Banks-Jaques Medvedko/b and Bernard  planchenault-Jacques David-Teddy Martin/dr and a few cameo guests. Lafitte fills the room with a bel canto "Blue and Sentimental" and "I've Got the World On A String". His vibrato is an old world charmer on "Stardust" and "Where Or When" and shows he can swing with the muscles bulging on "I Got Rhythm" and an snappy "Topsy". In a quintette mode with Jean-Pierre Sasson adding his guitar, Lafitte sails like a pirate on "Flying Back" and sears through "What A Funny Moon". More testosterone per note than 90% if today's cacophonic hipsters.

The session notes and liner notes of this release gives wonderful information regarding the artist himself but the milieu of jazz back in the days of De Gaulle. *George W. Harris*

1 -  Blue And Sentimental

(Basie, David, Livingston)

2 - She's Funny That Way

(Whiting, Moret)

3 - Stardust

(Carmichael, Parish)

4 - Where Or When

(Rodgers, Hart)

5 - Krum Elbow Blues

(Ellington, Hodges)

6 - If I Had You

(Schapiro, Campbell, Connelly)

7 - I've Got The World On A String

(Arlen, Koehler)

8 - Get Happy

(Arlen, Koehler)

9 - I Cover The Waterfront

(Green, Heyman)

10 - I Got Rhythm

(G. and I. Gershwin)

11 - Melodie Au Crepuscule

(Django Reinhardt)

12 - Sweethearts On Parade

(Lombardo, Newman)

13 - Topsy

(Battle, Durham)

14 - If I Could Be With You

(James P. Johnson)

15 - Jubilee

(Louis Armstrong)

16 - Chase À "La Baute"

(Guy Lafitte)

17 - Dans Un Vieux Livre

(Guy Lafitte)

18 - Flying Back

(Jean-Pierre Sasson)

19 - What A Funny Moon

(Geo Daly)

20 - Partnership Boys

(Jean-Claude Pelletier)

#1 to #8, from the 10” LP Blue and Sentimental (Le Club Français du Disque 21)

#9 to #13, from the 10” LP Guy Lafitte et son Orchestre (Ducretet-Thomson 460 V 019)

#14 to #16, from the 7” EP Guy Lafitte et son Quartette (Columbia ESDF 1043)

#17 to #20, from the 7” EP >Columbia All Stars< (Columbia ESDF 1125)

#1 to #5:

Guy Lafitte (tenor sax), Peanuts Holland (trumpet #5), Bernard Zacharias (trombone #5), Geo Daly (vibes), Raymond Fol (piano), Jean Bonal (guitar #4), Alix Bret (bass), Bernard Planchenault (drums).

Recorded in Paris, May 1954.

#6 to #13:

Guy Lafitte (tenor sax), Geo Daly (vibes), André Persiany (piano), Buddy Banks (bass), Jacques David (drums).

Recorded in Paris, June 1, 1954

#14 to #16:

Guy Lafitte (tenor sax), Geo Daly (vibes), André Persiany (piano), Jacques "Popoff" Medvedko (bass), Teddy Martin (drums).

Recorded in Paris, March 31, 1955.

#17 to #20:

Guy Lafitte (tenor sax), Geo Daly (vibes), Jean-Pierre Sasson (guitar), Jean-Claude Pelletier (piano), Paul Rovère (bass), Christian Garros (drums).

Recorded in Paris, June 18, 1956.

***

Guy Lafitte

Quartet And Sextet Sessions

1956 - 1962

These Guy Lafitte sides were recorded between 1956 and 1962, and are full of great moments. To begin somewhere, the quartet sessions include some absolutely beautiful solos by Guy on the ballads — "Body And Soul" may be the best. Naturally, the rhythm sections are about as relaxed as can be, driven by two pillars of French jazz: bassist Paul Rovère, and drummer Christian Garros, who lay down the beat without flurries or distractions. But solo honors on these dates must also go to the pianists — Jean-Claude Pelletier, who does a great job, but particularly George Arvanitas and Raymond Fol, with whom Guy loved to play. The appearance of bop vocalist Kenny Hagood in three of the tunes is a welcome addition, with his natural and easy voice.

Guy is also heard in the loose-limbed context of two consistent sextets. But despite the solid framework, it is again Guy who carried the load, improvising through a repertoire of moody and warm originals and three well known Ellington tunes arranged by Claude Bolling and Raymond Fol, and with the contribution of Martial Solal scoring two new compositions penned by Lafitte. In addition, these dates feature several soloists whose talents have been too often bypassed over the years — Roger Guérin, Claude Gousset, Nat Peck, Dominique Chanson, and William Boucaya.

As a soloist, it is always worth paying attention to Guy Lafitte. His music was not merely fine, mellow and swinging — it was an entire philosophy praising the joie de vivre. *Jordi Pujol*

Monsieur Lafitte was a master. In effect, I would rank him with Chu Berry and Don Byas. I say in effect because, although his sense of form, eloquence on the horn and beautiful tone are a match for Byas and Berry, he was a primitive. He never learned to read music. If I know the number, I know my place, where I play with the other musicians.

Like Django, he began his career playing with gypsies. They were Spanish — they are different you know. Although Guy was house-trained and Django wasn't, they had their skills in common, and Guy should rank with the very top musicians who came out of France fully equipped to improvise and swing at a time when our musicians were writhing incoherently over British rhythm sections that had the bounce and lift of Westminister Abbey.

Although first influenced by Louis, Guy is most palpably a Coleman Hawkins disciple, using all the elements of Hawk's style in his own voice. Hawk burgeons through these tracks, but there's a particularly good sample in the fine "Le Chat Qui Dort", which also serves as a yardstick for the sextet.

It's listed as by the quartet, but there is a great blues solo from a trombonist, probably Claude Gusset (there is also a good trombonist, unlisted on the [5] sides) as well as some gentle instrumental vocalising from Hagood, who intones a strange "Body And Soul". Kenny has a crack at Billy Eckstine's "Lonesome Lover Blues", but men-from-boys comes to mind and Mr B has nothing to fear. There's a good bluster solo from Guy, though and muscular piano from Raymond Fol.

The French pianists are particularly fine, and Roger Guérin, a tasteful trumpeter who sounds as though he’s holding in his bop instincts, only emerges to tantalise. Lafitte rhapsodises beautifully on the ballads, notably "It Might As Well Be Spring". *Steve Voce*

1 - Three Little Words

(Ruby, Kalmar)

2 - Le Conte

(Guy Lafitte)

3 - Sugar

(Pinkard, Alexander, Mitchell)

4 - What's New?

(Haggart, Burke)

5 - Portrait De Camile

(Guy Lafitte)

6 - Corail

(Jean-Claude Pelletier)

7 - It's The Talk Of The Town

(Livingston, Symes, Neiburg)

8 - A Song Was Born

(Raye, DePaul)

9 - The Jeep Is Jumpin'

(Ellington, Hodges)

10 - Tranquillement

(Claude Bolling)

11 - Queenie

(Guy Lafitte)

12 - Le Chat Qui Dort

(Guy Lafitte)

13 - It Might As Well Be Spring

(Rodgers, Hammerstein II)

14 - Gone With The Wind

(Wrubel, Magidson)

15 - Body And Soul

(Green, Heyman, Sour, Eyton)

16 - Lonesome Lover Blues

(Billy Eckstine)

17 - You Can Depend On Me

(Hines, Dunlap, Carpenter)

18 - All Too Soon

(Ellington, Sigman)

19 - What Am I Here For

(Duke Ellington)

20 - The Mill And The River

(Guy Lafitte)

21 - Plucky

(Guy Lafitte)

#1 to #4, from the 7-inch EP Rendez-vous aux Trois Mailletz (Columbia ESDF1118)

#5 and #6, from the 10-inch LP Do Not Disturb (Columbia FP 1085)

Guy Lafitte(tenor sax); Michel De Villers (baritone sax #4); Jean-Claude Pelletier (piano); Paul Rovère (bass), Christian Garros (drums). 

Recorded in Paris, May 24 (#1 to #4) and 25 (#5 and #6), 1956.

#7 to #11, from the 10-inch LP Guy (Columbia FP 1124)

#7 and #8:

Guy Lafitte(tenor sax), Georges Arvanitas (piano), Paul Rovère (bass), Christian Garros (drums).

Recorded in Paris, September 30, 1959.

#9 to #11:

Roger Guérin (trumpet), Claude Gousset (trombone), Guy Lafitte (tenor sax), Georges Arvantitas (piano), Paul Rovère (bass), Christian Garros (drums).

Recorded in Paris, September 30, 1959.

#12 to #17, from the 10-inch LP Guy Lafitte et son Quartette avec Kenny Hagood (Columbia FP 1133)

Guy Lafitte (tenor sax), Raymond Fol (piano), Paul Rovère (bass), Christian Garros (drums), Kenny Haggod (vocals #12, #15 and #16).

Recorded in Paris, September 26, 1960.

#18 to #21, from the 7-inch EP Guy Lafitte (Columbia ESDF 1415)

Nat Peck (trombone), Dominique Chanson (alto sax, flute), Guy Lafitte (tenor sax), William Boucaya (baritone sax), Raymond Fol (piano), Gilbert "Bibi" Rovère (bass), Franco Manzecchi (drums).

Recorded in Paris, May 3, 1962. 

Lee Konitz Meets Jimmy Giuffre

Lee Konitz Meets Jimmy Giuffre:

Altoist Lee Konitz is showcased during a set of adventurous Bill Russo arrangements for an orchestra and strings in 1958, pops up on half of Ralph Burns' underrated 1951 classic Free Forms (the most enjoyable of the four sets), and meets up with baritonist Jimmy Giuffre, whose arrangements for five saxes (including the great tenor Warne Marsh) and a trio led by pianist Bill Evans are sometimes equally influenced by classical music and bop. The least interesting date showcases Giuffre’s clarinet with a string section on his five-part "Piece For Clarinet And String Orchestra" and the 16 brief movements of "Mobiles". *vinylpussycat.com*

These two virtuoso reed players are among the most intrepid improvisers in jazz. In the Forties, Konitz was the alternative voice to Charlie Parker on alto saxophone, playing with a pure, cool sound, and he first came to prominence with the Miles Davis nine-piece band.

Lee Konitz meets Jimmy Giuffre, and it's a small masterpiece of pure jazz. Konitz is the main soloist on nine tracks of standards, ballads and originals, all beautifully scored by Giuffre for five saxophones plus a rhythm section of pianist Bill Evans, bassist Buddy Clark and drummer Ronnie Free. The music swings effortlessly and has the added joy of solos by Evans, the late great tenor saxophonist Warne Marsh and Giuffre himself, who plays baritone sax. *classical-music.com*

You And Lee:

A treasure! This album has been long out of print, although it was available on some compilations.

Before I proceed give the sound samples on You And Lee  a listen to get a sense of this album. For one thing, it's more of a big band ensemble. However, the arrangements by Jimmy Giuffre lift this into a different vibe than your typical big band fare. There is a definite West Coast touch to this album. Another feature is the rhythm section, which features Bill Evans on piano leading on most tracks, and Jim Hall on guitar on the remaining ones. That, too, gives this album a distinctive sound without breaking the continuity of the overall listening experience.

This was recorded in New York City for Verve on October 29 and 30, 1959. The core ensemble is comprised of Konitz on alto sax accompanied by a trumpet section (Marky Markowitz, Ernie Royal, Phil Sunkel), a trombone section (Eddie Bert and Billy Byers, with Bob Brookmeyer on valve trombone), Bill Evans on piano, Jim Hall on guitar, Sonny Dallas on bass and Roy Haynes on drums. *Mike Tarrani*

One of the lesser-known Lee Konitz albums, this LP features the altoist joined by six brass and a rhythm section for eight Jimmy Giuffre arrangements. The shouting brass contrasts well with Konitz's cool-toned solos and together they perform eight underplayed standards. Guitarist Jim Hall and pianist Bill Evans (who are on four songs apiece) are major assets behind Konitz on this pleasing set. * Scott Yanow*

Lee Konitz Meets Jimmy Giuffre

Featuring Bill Evans

This release presents the complete Lee Konitz albums You and Lee , and Lee Konitz Meets Jimmy Giuffre . These were Konitz and Bill Evans' earliest studio collaborations: on the first LP the pianist only played on one of the two sessions (Jim Hall replaced him on the other one), while on the second Evans was featured throughout the entire album. Both works were taped in 1959, and although Konitz and Evans had been previously recorded together in a concert setting, and would be taped in the same fashion during a 1965 European tour, their only other studio LP collaboration was the pianist’s 1977 album Crosscurrents. The great Jimmy Giuffre also participated on both records – on the first as arranger, and on the second as arranger and performer. *jazzmessengers.com*

Merged from two brilliant 1959 studio sessions, this disc is, just as the title and artist credits suggest, a showcase for three immense talents. Those expecting to hear the snap-crackle of Roy Haynes' snare or Bob Brookmeyer's punctuated counterpoints after reading the all-star lineup may be surprised to hear them relegated to the background, but any disappointment will end there. The brilliant playing of Lee Konitz and Bill Evans, paired with Jimmy Giuffre's sensitive arrangements, is enough to satisfy any true jazz lover.

Assembled for the album Lee Konitz Meets Jimmy Giuffre, the first band, a quintet of saxophones backed by the rhythmic underpinnings of Evans, bassist Buddy Clark and drummer Ronnie Free, immediately shows its musicality on the angular, quasi-atonal "Palo Alto. After a rundown of the pointillistic Giuffre arrangement, Konitz jumps in and alternately toys with and floats over the buoyantly swinging rhythm section and airy horn backgrounds. Konitz and Evans solo at length on "Somp'm Outa' Nothin'", which can only be described as a blues that has a hard time getting off the "one" chord. The arrangement is quintessential Guiffre, with its dense tone clusters and recurring rhythmic pedal; Evans takes incredible liberties with the harmonic structure and shows an early affinity for Monk.

Following a chamber-jazz reworking of "Darn That Dream", in which Giuffre masterfully exploits the subtle harmonic movements using a quintet of saxophones, the album is rounded out with a number of tracks from the '59 album You And Lee. Recorded five months after the initial Konitz/Giuffre studio session, this date finds a trio of trumpets and trombones replacing the saxophone section and adding a distinct edge to the music. Konitz is clearly the leader here; his probing, inventive solos are featured throughout the lineup of reworked standards, and the comping work is split by Evans' piano and the earthy guitar of Jim Hall. The tunes, especially "You Don't Know What Love Is", show Konitz at his best. He dazzles the listener with his sensitivity and invention and revels in the shimmering, transparent beauty evoked by Giuffre's arrangements. *Matthew Miller*

1 - Somp'm Outa' Nothin'

(Giuffre)

2 - Someone To Watch Over Me

(Gershwin, Gershwin)

3 - Uncharted

(Giuffre)

4 - Moonlight In Vermont

(Suessedorf, Blackburn)

5 - The Song Is You

(Kern, Hammerstein)

6 - Palo Alto

(Konitz)

7 - Darn That Dream

(VanHeusen, DeLange)

8 - When Your Lover Has Gone

(Swan)

9 - Cork 'n Bib

(Konitz)

10 - I’m Getting Sentimental Over You

(Bassman, Washington)

11 - You Don't Know What Love Is

(Raye, DePaul)

12 - I Didn't Know About You

(Ellington, Russell)

13 - Ev'rything I've Got (Belongs To You)

(Rodgers, Hart)

14 - You're Clear Out Of This

(Arlen, Mercer)

15 - You Are Too Beautiful

(Rodgers, Hart)

16 - The More I See You

(Warren, Gordon)

17 - You're Driving Me Crazy

(Donaldson)

#1 to #9: from the album Lee Konitz Meets Jimmy Giuffre (Verve Records MG V-8335)

Lee Konitz, Hal McKusick (as); Warne Marsh, Ted Brown (ts); Jimmy Giuffre (bs); Bill Evans (p); Buddy Clark (b); Ronnie Free (d).

Recorded in New York City, May 12 (#1 to #5) and May 13 (#6 to #9), 1959.

#10 to #17: from the album You And Lee (Verve Records MG V-8362)

Ernie Royal, Irving "Marky" Markowitz, Phil Sunkel (tp); Bob Brookmeyer (v-tb); Eddie Bert [except #14 to #17], Billy Byers (tb); Lee Konitz (as); Bill Evans [except #14 to #17](p); Jim Hall [#14 to #17](g); Sonny Dallas (b); Roy Haynes (d). Jimmy Giuffre (arranger).

Recorded in New York City, October 29 (#10 to #13) and October 30 (#14 to #17), 1959.

Gerry Mulligan Meets Stan Getz

There's a cross-dressing quality about the first three tracks on the CD version of Getz Meets Mulligan in Hi-Fi. As you listen to the baritone and tenor saxophones, things seem a little inside out. The baritone has Stan Getz's mildness and the tenor has Mulligan's bouncing attack. In fact, Verve producer Norman Granz recorded those tracks with the two jazz stars on each other's instruments. At first, the switch might seem pointless but it kind of grows on you. Both are lacking slightly, since the baritone doesn't sound nearly as commanding and the tenor doesn't sound as airy or as sweet. But somehow it works as a novelty on "Let's Fall in Love", "Anything Goe" and "Too Close for Comfort", forcing you to hear the instruments differently. Or rather, you wind up listening for the Getz feel on the baritone and the Mulligan feel on the tenor.

By the fourth track—"That Old Feeling"—Getz and Mulligan are on their signature horns for the remainder of the album. Getz is roosted on the high end of the tenor's register and soaring off the top while Mulligan bops along with barking-seal accents on the baritone. That's when the album's pairing of these two giants gels. And how could it not? If they were playing wooden recorders they'd sound great. After Lester Young, they were among the smoothest, most lyrical saxophone swingers of the 1950s

A little history: Shortly after pop albums began appearing on 12-inch albums in 1955, they quickly replaced the 10-inch disc. Better playback equipment was manufactured and marketed to the public as all-in-one, hi-fi consoles. Albums on the larger format were issued with improved audio production and more dynamic instrument placement. They were meant to sound better on these improved units. Album covers proudly exclaimed that the music inside was "in hi-fi" or they used a half-dozen other terms to say the same thing, including "orthophonic sound," "living sound" and "360 sound". Getz Meets Mulligan in Hi-Fi let you hear the two saxophones coming through your console's speaker more distinctly and seemingly in two different places.

As for the three tracks with Getz and Mulligan, Granz revealed in early liner notes that Mulligan was responsible for the swap. In his notes, Granz wrote: "Mulligan suggested at one juncture that they trade horns, so you find that on side one of the album that Getz plays baritone and Mulligan plays tenor; and on the other side they reversed the procedure so that each played his primary instrument—Stan the tenor and Gerry the baritone. The session, by the way, produced a second album, which will be released shortly after this one, so there will be something for fans to look forward to as further minutes of this history meeting".

From these notes, it would seem that the earliest release came on two 10-inch albums, but it's hard to imagine why the 10-inch format would have been used in 1957. As for the rhythm section, Granz writes they were selected by Getz "with Mulligan's approval." They are: Lou Levy (p), Ray Brown (b) and Stan Levey (d).

Stan Getz died in 1991; Gerry Mulligan died in 1996. *Marc Myers*

Gerry Mulligan And Stan Getz

Getz Meets Mulligan In Hi-Fi

This release presents the complete album Getz Meets Mulligan on HI-FI, including the two last tunes from the session, originally issued on another LP Getz and Mulligan's only collaboration ever in a quintet format. The trade horns on the album's first three tracks, allowing the listener the rare opportunuty to hear Getz on baritone and Mulligan on tenor.

In the original liner notes, producer Norman Granz states that he was interested in the results of a front-line collaboration between saxophonists Stan Getz and Gerry Mulligan.

He also commented that this was the first time they recorded together as the primary horns of a session. Even though this project proved very successful musically and both musicians had known each other long before it was recorded, they would never again play together in this format (at least on records). *jazzmessengers.com*

1 - Let's Fall In Love

(Harold Arlen, Ted Koehler)

2 - Anything Goes

(Cole Porter)

3 - Too Close For Comfort

(Jerry Bock, Larry Holofcener, George David Weiss)

4 - That Old Feeling

(Sammy Fain, Lew Brown)

5 - This Can't Be Love

(Richard Rodgers, Lorenz Hart)

6 - A Ballad

(Gerry Mulligan)

7 - Scrapple From The Apple

(Charlie Parker)

8 - I Didn't Know What Time It Was

(Richard Rodgers, Lorenz Hart)

Gerry Mulligan (baritone sax [#4 to #8], tenor sax [#1 to #3]), Stan Getz (tenor sax [#4 to #8], baritone sax [#1 to #3]), Lou Levy (piano), Ray Brown (bass), Stan Levey (drums).

Recorded in Los Angeles, California, October 12, 1957.