John Gamba And Claude Williamson - Rare And Obscure Jazz Albums

 

Mr. Counterpoint

This album took its title from a club in West Orange, N.J., called Counterpoint. The club was owned by pianist John Gamba, making him one of the few jazz musicians to become a club owner. A skilled technician, the pianist managed to infuse his performances with a good deal of unexpected fire. Indeed, there were moments on "In Other Words", "Yesterdays", and "Lullaby Of The Leaves" that sharply suggested the legendary Eddie Costa. Gamba had the strong percussive approach to his instrument that was a hallmark of Costa and displayed a similar concept of time. Don Cinderella kept tightly in the rhythm section and proved to be a sensitive and imaginative soloist of some measure in "Lullaby Of The Leaves", "Things Ain't What They Used To Be", and "In Other Words". Paul Motian, Bill Evans' drummer for the previous three years, made his presence decidedly felt in the group's sound, and his secondary playing was very sensitive and musical, adding color and depth to John Gamba's honest and swinging piano playing. *Jordi Pujol*

The Fabulous Claude Williamson Trio

Claude Williamson (1926-2016) stood out as one of the most prolific jazz pianists on the West Coast in the 1950s. Influenced primarily by Teddy Wilson, later by Al Haig and Bud Powell, he took his first steps as a member of Charlie Barnet's excellent orchestra (1947-1949), showcasing himself as a jazzman with numerous virtues: a burgeoning pianist with a keen sense of emotions and definite instrumental ability. After this initial and enriching experience, Claude accompanied June Christy (1950-1951) and then spent over two years as the resident pianist at the Lighthouse Café, where he solidified his reputation as a soloist with the Howard Rumsey All-Stars. Subsequently, thanks to his exceptional versatility and talent, and until the mid-1960s, Claude played a crucial role not only as the leader of his trio in recordings but also as an accompanist on numerous albums featuring almost all the best jazz performers and orchestras from the Los Angeles scene. In this recording from 1961, Claude leads a trio that delivers a powerful and emotionally charged performance, presenting an excellent selection of standards with many captivating moments. *Jordi Pujol*

1 - Things Ain't What They Used To Be

(Duke Ellington)

2 - In Other Words

(Bart Howard)

3 - In A Sentimental Mood

(Duke Ellington)

4 - Yesterdays

(Jerome Kern)

5 - Green Dolphin Street

(Kaper, Washington)

6 - Wait Till You See Her

(Rodgers, Hart)

7 - Lullaby Of The Leaves

(Petkere, Young)

8 - Secret Love

(Fain, Webster)

9 - Witchcraft

(Coleman, Leight)

10 - A Foggy Day

(G. and  I. Gershwin)

11 - Young At Heart

(Richards, Leigh)

12 - You Make Me Feel So Young

(Myrrow, Gordon)

13 - Nancy

(Van Heusen, Cahn)

14 - The Lady Is A Tramp

(Rodgers, Hart)

15 - Anything Goes

(Cole Porter)

16 - All The Way

(Van Heusen, Cahn)

17 - They Can't Take That Away From Me

(G. and  I. Gershwin)

18 - While We're Young

(Wilder, Palittz, Engvic)

19 - Let There Be Love

(Cole Porter)

#1 to #8:

from the album Mr. Counterpoint – Jazz Impressions by John Gamba (Del Moral LPDM 103)

John Gamba (piano), Don Cinderella (bass), Paul Motian (drums).

Recorded at Bell Sound Studios, New York City, August 1962

#9 to #19:

from the album The Fabulous Claude Williamson Trio (Contract 15001)

Claude Williamson (piano), Duke Morgan (bass), Chuck Flores (drums).

Recorded in Los Angeles, California, 1961

Claude Williamson - Mulls The Mulligan Scene

Claude Williamson Mulls The Mulligan Scene merely means making Mulligan's music more pianistic: The word mull can take on many meanings, but in this instance it has to do with the interesting presentation of this collection of successful instrumentals with a group featuring piano, whereas the original recordings of these tunes by Gerry have been unique in that they had no piano in their instrumentation ("Blue at the Roots" is the exception).

To make the conception of these composition more unique, Claude Williamson is actually featured by four hands on two pianos. When the idea for this album first was discussed, the plan was to have Claude play a duet with another pianist. 

However, it was difficult to match the styles of Claude and the various pianists available for the project. Also, rehearsing and arranging with two busy men made it apparent that there would have to be another approach. Finally, it was decided that Claude would actually play the four hands by the simple process of playing on a second track over the original one.

*Claude Williamson (liner notes)*

What makes this 1958 album clever is Williamson plays piano on two tracks, giving the impression of two pianists. What makes the arrangements ironic is all of the tracks are Gerry Mulligan compositions, and they were originally recorded by Mulligan without a piano. 

As you listen to the sound samples it's no surprise that the sound is rich. Not only does Williamson play a second track of piano, but Howard Roberts' guitar adds even more depth to ensemble. Red Mitchell on bass and Stan Levey on drums round out the rhythm section. I am a big fan of both Mitchell and Levey, and Levey in particular is one of my personal inspirations.

This album was originally recorded for Criterion Records in Los Angeles in 1958. Fresh Sounds has done a remarkable job of remastering, and to be honest, for digging it out of obscurity and making it once again available.

If you are a Claude Williamson fan this is a wonderful album to add to your library. If you are also a Gerry Mulligan fan the song list is going to grab you, but the music is going to grab you even more. *Mike Tarrani*

1 - Walkin Shoes

2 - Limelight

3 - Westwood Walk

4 - A Ballad

5 - Utter Chaos

6 - Bark For Barksdale

7 - Simbah

8 - Blue At The Roots

9 - Apple Core

10 - Line For Lyons

11 - Ontet

(All compositions by Gerry Mulligan)

Claude Williamson (piano), Howards Roberts (guitar), Red Mitchell (bass), Stan Levey (drums).

Recorded at Radio Recorders, Studio B, Los Angeles, California, 1958