Richie Kamuca Quartet

When jazz scholars make a thumbnail appraisal of musical talent, they invariably begin with influences. This fact of analysis is at times readily apparent; at other times quite obscure. It's purpose, basically, is to trace the thread of originality back to a known source, and then to compare what the younger man has done with the thought schemes developed by his forerunners.

In Richie Kamuca, the young tenor player featured on this LP, we find a clearcut example of present-day tenor techniques firmly rooted in the accepted traditions of jazz playing for that instrument. Throughout his performance, Richie demonstrates the shifting patterns of contemporary music woven over the firmly established departure lines.

Programming for an LP is always a challenge to the artist, and Richie took particular pains and delight in assembling the tunes heard here.

Once around the turntable, and the listener will find convincing proof that in Richie Kamuca, we have a strong link between the schools in the art form he represents. This quartet recording — his first for any label — is a noteworthy equation to the high standards of that art.

*Joe Quinn (liner notes)*

Considering his talent, it is very surprising that tenor saxophonist Richie Kamuca led so few record dates throughout his career — just three during 1956-58 and three for Concord in 1977. This quartet set (a MOD LP reissued by V.S.O.P. on CD) features the excellent cool-toned tenor in a quartet with pianist Carl Perkins, bassist Leroy Vinnegar and drummer Stan Levey. Only the brief playing time (just over 30 minutes) keeps this set from getting a higher rating, for Kamuca is in prime form. Highlights include "Just Friends", "What's New" and "Cherokee". *Scott Yanow*

Pure genius from tenor saxophonist Richie Kamuca — a magical exercise in tone and balance, played by Richie with that warm and raspy style that we love so much in his work! Kamuca's probably best known for his bigger group work of the 50s, but on a session like this he steps out as a marvelously creative soloist — working at a good bop-inspired clip, but also taking the time to explore deeper, more personal ideas through his well-voiced solos on the set. Even on more familiar numbers, Richie steps out with a sense of personality that transforms the tunes to his own way of thinking — and he's very well aided in this work by a crack rhythm section that includes Carl Perkins on piano, Leroy Vinnegar on bass, and Stan Levey on drums. *dustygroove.com*

1 - Just Friends

(Klenner, Lewis)

2 - Rain Drain

(Richie Kamuca)

3 - What's New

(Haggart, Burke)

4 - Early Bird

(Carl Perkins)

5 - Nevertheless

(Kalmar, Ruby)

6 - My One and Only Love

(Wood, Mellin)

7 - Fire One

(Carl Perkins)

8 - Cherokee

(Ray Noble)

Richie Kamuca (tenor sax), Carl Perkins (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded at Radio Recorders, Hollywood, California, June 1957.

Conte Candoli Quartet

For his first MODE release, Conte chose a standard  rhythm foundation to support his creative trumpet designs. Piano is under the capable hands of young Vince Guaraldi whose two-fisted attack has earned for him the immediate respect of  music men. Bassist Monty Budwig is a thoroughly dependable player with a sharp rhythm sense and an acute ensemble feeling. Drummer Stan Levey worked the Kenton band with Conte and has a keen perception of the leader's particular style and attack. His support is invaluable. 

Another feature of MODE's Conte Candoli release is the elaboration on arrangements for the date by "Count" and his brother Pete. Pete's power-packed trumpet playing was a highlight of Woody Herman's first herd on which he and Conte sat together. With a deep respect for Pete's diverse talents, Conte was pleased to find him available to puzzle out the interesting originals heard here.

Keeping in mind that exploration is an important part of the jazz picture, Conte Candoli is always a welcome record study. His keen jazz sense and his interest in adapting unlikely melodies to that art have established him in the forefront of major influences. In the house of jazz royalty, the "Count" is a permanent fixture. *Joe Quinn (liner notes)* 

This session features the excellent bop trumpeter Conte Candoli in a quartet with pianist Vince Guaraldi, bassist Monty Budwig, and drummer Stan Levey. In addition to the joy of hearing Candoli so well-showcased, this set is recommended because of the interesting repertoire. In addition to "Flamingo", "Diane", and "No Moon at All", one gets to hear rare selections penned by the likes of Al Cohn, Osie Johnson, Conte's brother Pete Candoli, and the leader himself. *Scott Yanow*

Arguably one of the best records cut for the short-lived Mode label in the late 50s – and easily one of the best from trumpeter Conte Candoli too! For the session, Conte front a quartet with Vince Guaraldi on piano, Monty Budwig on bass, and Stan Levey on drums – and Guaraldi's piano style's got a heck of a lot more soul than you'd expect, a detail that brings a nice depth to a session that might have been otherwise lightweight – and which comes off with the same strength overall as the pair's outing from the same time for the Crown label. Candoli seems to play about half the tracks with a mute, but still in a style that's more open and fluid than much of his other work from the time. *dustygroove.com*

Side 1

1 - Something For Liza

(Al Cohn)

2 - Walkie Talkie

(Pete Candoli)

3 - Flamingo

(Grouya, Anderson)

4 - Mediolistic

(Osie Johnson)

Side 2

5 - Tara Ferma

(Pete Candoli)

6 - Diane

(Rapee, Pollack)

7 - No Moon At All

(Mann, Evans)

8 - Mambo Blues

(Conte Candoli)

Conte Candoli (trumpet), Vince Guaraldi (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded at Radio Recorders, Hollywood, California, June 1957.