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.