Rare And Obscure Argo Recordings (VII)

The Jazztet

The Jazztet And John Lewis

The idea of John Lewis writing for the Jazztet seems, at first blush, an improbable one.

Lewis' jazz writing in recent years has been confined largely to the Modern Jazz Quartet, of which group he is pianist and musical director. His other work — movie scores and similar large-orchestra music — has required a different palette than that available in small jazz groups.

The Jazztet, furthermore, is utterly unlike the MJQ in instrumentation, conception, and flavor. The MJQ is based on two percussion-melody instruments, vibraharp and  piano, which dictates one kind of sound. The Jazztet is based on three horns — trumpet, tenor saxophone, and trombone — which dictates a vastly different one.

The one area of similarity between the two groups would appear to present a danger, rather than an advantage: both are integrated,  controlled units whose music has sometimes tended to the conservative. They stand at the other end of the pole from all the tiresome freeblowing groups of today. 

But what would happen when you put the conservative John Lewis together with the Jazztet? I must confess that when Art Farmer mentioned that John Lewis was writing an album for the group, I had reservations. I feared the collaboration would produce some sort of apotheosis of gentlemanly reserve. Control there would surely be. But spontaneity and fire?

It gives me considerable pleasure to discover that my fears were groundless. For the John Lewis Album is, I feel, far and away the best, the freest, and the gutsiest album the Jazztet has yet  made.

Never has the group seemed more appealing than in this set of compositions and arrangements by John Lewis. I have no hesitancy in commending it to you. It knocked me out. 

*Gene  Lees (liner notes)*

We'll be the first to admit that the piano and compositions of John Lewis can sometimes be a bit stiff and academic — but that's definitely not the case on this great little record! The album features interpretations of Lewis' work by the great Farmer/Golson Jazztet — and is a pretty sweet batch of tracks that adds a lot of the emotion and soul that's usually missing from Lewis' music. Cedar Walton's playing the piano parts, which probably helps the groove a bit, and the group's tight hard sound puts in a "bottom" that you'd hardly hear when listening to John Lewis with the Modern Jazz Quartet. In fact, Lewis isn't even on the record — just billed in the title because he contributed the compositions.  *Dusty Groove, Inc.*

Side 1

1 - Bel

2 - Milano

3 - Django

4 - New York 19

Side 2

5 - 2 Degrees East, 3 Degrees West

6 - Odds Against Tomorrow

(All compositions by John Lewis)

Art Farmer (trumpet), Benny Golson (tenor  sax), Thomas McIntosh (trombone),

Thomas Williams (bass), Cedar Walton (piano), Albert Heath (drums). 

Recorded at Nola Studios, New York City, December 20 and 21, 1960 and January 9, 1961. 

Rare And Obscure Argo Recordings (VI)

Benny Golson

Take A Number From 1 To 10

Benny Golson is already strongly established as one of the most consistently fresh and personal composer-arrangers in jazz. What this uniquely challenging album accomplishes — in addition to re-emphasizing his writing capacities — is to focus on Benny's equally individual power and warmth as a player. 

It is by far his most impressive achievement on record as a tenor saxophonist as he ranges from an unaccompanied solo to the leadership of a 10-piece band. 

When I first became particularly aware of Benny's playing in Dizzy Gillespie’s big band five years ago, I was struck by the invigorating fact that he was one of the very few of the younger players with a big, full tone and a surging lyricism. Although modern in conception, he recalled the richness of Don Byas and the sinewy linear imagination of Lucky Thompson. For a time in recent years, Benny's playing style became less distinctive. There were explosive, multi-noted passages and less concern than before with melodic improvisation.

Now, however, Benny has decided on the direction he prefers; and this album heralds not only the return of his basic, warmly lyrical style but also marks its strengthening. He hasn’t lost in any degree his adventurousness, but all elements in his work are now part of an integrated, thoroughly distinctive whole.

The format of the album is unlike any that  Benny — or any other player — has attempted before. Beginning with one instrument, Benny's, an instrument is added on each track culminating in the exciting 10-piece arrangement, Time. The idea was conceived by Benny's manager, Kay Norton, as a frame for Benny's talent as an instrumentalist as well as a composer-arranger.

"It's not a gimmick", Benny emphasizes. "I did all of these with a strong conviction and feeling, because I wanted to try them. I'd  never recorded before all by myself or with a duo or a trio. And on the last three numbers, there were several techniques I wanted to develop for the first time on records".*Nat Hentoff (liner notes)* 

A record with a gimmick – but one that's totally great, and really unique for the time! The "1 to 10" in the title is the way that the album spins out – as track 1 features Golson blowing solo tenor, track 2 features him in duet, track 3 a trio – and so on, until track 10, which features a ten-piece group! One of the best things about the record is the way it really lets you focus on Golson's tone and phrasing – as even some of the bigger group tunes have a nicely laidback feel that's really dominated by Benny's solo work – and in a way, the record's a nice bridge between the more tightly arranged Golson sessions of the late 50s, and some of his looser sides of later years. Players include Cedar Walton, Curtis Fuller, Freddy Hubbard, and Albert Heath – among ohters – and titles include the Golson originals "Little Karin", "Swing It", "The Touch", "Impromptune", and "Time", plus versions of "You're My Thrill", "Out Of This World", and "I Fall In Love Too Easily". *Dusty Groove, Inc.*

Side 1

1 - You're My Thrill

(Lane, Washington)

2 - My Heart Belongs To Daddy

(Cole Porter)

3 - The Best Thing For You Is Me

(DeSylva, Henderson, Brown)

4 - Impromptune

(Benny Golson)

5 - Little Karin

(Benny Golson)

6 - Swing It

(Benny Golson)

Side 2

7 - I Fall In Love Too Easily

(Styne, Cahn)

8 - Out Of This World

(Arlen, Mercer)

9 - The Touch

(Benny Golson)

10 - Time

(Benny Golson)

Benny Golson (tenor saxophone); Art Farmer [#10], Bernie Glow [#9, #10],

Freddie Hubbard [#5 to #7], Nick Travis [#8 to #10] (trumpets);

Willie Ruff  (French horn [#8 to #10]); Bill Elton [#8 to #10],

Curtis Fuller [#6, #7] (trombones); Hal McKusick (alto sax [#8 to #10]); 

Sol Schlinger [#8 to #10], Sahib Shihab [#7] (baritones saxes);

Cedar Walton (piano [#4 to #7]); Tommy Williams (bass [#2 to #10]);

Albert Heath (drums [#3 to #10]).

Recorded at Nola's Penthouse Sound Studio, New York City, December 13, 1960 (#1 to #4),

December 14, 1960 (tracks #5 to #7) and April 11, 1961 (#8, #9, #10).

Brazilian Jazz Quartet And The Good Neighbors Jazz

Brazilian Jazz Quartet And The Good Neighbors Jazz

Rare And Obscure Jazz Albums

Coffee And Jazz

In 1957, inspired by Dave Brubeck's quartet, pianist Moacyr Peixo (1921-2003), considered one of the pioneers of Brazilian jazz, founded the "Brazilian Jazz Quartet" alongside three talented musicians: José Ferreira Godinho Filho, known as "Casé", on alto saxophone; and a delightfully laid-back rhythm team, Luiz Chaves on double bass, and Rubinho on drums. The quartet gained popularity at Club 34 in Rio de Janeiro, catching the attention of Columbia label producer Roberto Corte Real. This led to the recording on February 11, 1958, of the remarkable album Coffee and Jazz. During this date, the quartet skillfully interpreted a dozen well-known American standards, infusing their musical expression with influences from the "cool" and "west coast" jazz styles. This album not only serves as a showcase for Casé's melodic, swinging, and eloquent style, reminiscent of Paul Desmond, but it also stands as a warm and wonderful testament to Moacyr's approach to the piano, radiating melodic and swinging imagination with a pulsating, fluid, and deft touch.

*Jordi Pujol*

The Good Neighbors Jazz

In September 1958, pianist Moacyr Peixoto and altoist José Ferreira "Casé" traveled to São Paulo while Woody Herman's big band was performing in the city as part of their extensive South American tour that summer. Following the show, the band's bassist Major Holley and drummer Jimmy Campbell joined Moacyr and Casé for a successful gathering at the Michel nightclub. The subsequent day, producer Roberto Corte Real orchestrated a recording session with the quartet, conducted from 22 hours on September 21 until 1 in the morning on September 22 at the Columbia studio on Avenida Liberdade in São Paulo. They recorded seven tracks without written arrangements, including "Rough Ridin'", "Easy to Love", a blues by Holley, another by Peixoto, and "Copacabana" by Alberto Ribeiro and Braguinha. As a result of this improvised session, the album titled The Good Neighbors Jazz was released and acclaimed. Sixty-five years after its recording, this album stands as a testament to the thriving relationship between young Brazilian musicians and modern American jazz players in the late 1950s and early 1960s. *Jordi Pujol*

There was such a surfeit of great sax players in the 1950s that it’s understandable that many got overlooked. Here’s a chance to see what you’ve been missing with this rich reissue from Fresh Sound Records.

Brazilian alto saxist Jose Ferreira "Case" comes from the Art Pepper school of blowing on these two albums recorded in 1958 in either Rio de Janeiro or São Paulo. The quartet with Moacyr Reixoto/p, Luiz Chaves/b and Rubens Barsotti/dr is a bopper, with Peixoto in a Bud Powell mood for the upbeat read of Duke Ellington’s obscure "Cop-Out" and a fervent "Don’t Get Around Much Anymore". The team drives like stallions on "The Lonesome Road" and Barsotti rides the cymbals like a bull whip on "Old Devil Moon". Peixoto is kept but now with Major Holley/b and Jimmy Campbell/dr for a swaying "Major Blues" and a deep groove of "Out Of Nowhere". Ferreira sways on "Rough Ridin'" and bops till he drops on "Peixoto’s Blues". Any more of this around? *George W. Harris*

1 - The Lonesome Road

(Shilkret, Austin)

2 - When Your Lover Has Gone

(E. A. Swan)

3 - Cop-Out

(Duke Ellington)

4 - Black Satin

(George Shearing)

5 - Makin' Whoopee

(Donaldson, Kahn)

6 - No Moon At All

(Mann, Evans)

7 - Old Devil Moon

(Lane, Harburg)

8 - Don't Get Around Much Anymore

(Ellington, Russell)

9 - You'd Be So Nice To Come Home

(Cole Porter)

10 - I'll Close My Eyes

(Reid, Kaye)

11 - Alone

(Steinberg, Kelly)

12 - Too Marvelous For Words

(Whiting, Mercer)

13 - Rough Ridin'

(Jones, Fitzgerald)

14 - Easy To Love

(Cole Porter)

15 - Out Of Nowhere

(Green, Heyman)

16 - Major Blues

(Major Holley)

17 - Yesterdays

(Kern, Harbach)

18 - Copacabana

(Ribeiro, De Barro)

19 - Peixoto's Blues

(Moacyr Peixoto)

#1 to #12: from the Brazilian Jazz Quartet album Coffee and Jazz (Columbia LPCB 37005)

José Ferreira "Casé" (alto sax), Moacyr Peixoto (piano),

Luiz Chaves (bass), Rubens Barsotti "Rubinho" (drums).

Recorded in Rio de Janeiro, February 11, 1958.

#13 to #19: from the album The Good Neighbors Jazz (Columbia LPCB 37037)

José Ferreira "Casé" (alto sax), Moacyr Peixoto (piano),

Major Holley (bass), Jimmy Campbell (drums).

Recorded in São Paulo, September 25 and 26, 1958.

Tony Luis And Bob Freedman - Rare And Obscure Jazz Albums

Introducing the Tony Luis Trio

Pianist Tony Luis, born in Philadelphia in 1931, was stricken with infantile paralysis at the age of 12. Having the use of only two fingers on his right hand, he was advised by a physician that consistent exercise would help to strengthen them. This is when he first became interested in the piano. His conquest of this restriction was remarkable. By using a close piano style, he was able to achieve a captivating sound that is both relaxing and swinging. His trio created considerable enthusiasm in his hometown and its environs in the mid-50s and also distinguished themselves by accompanying singers such as Terry Morel and Teddi King. These are the only recordings available from this trio. Tony plays with percussive vigor, and on a song like "You're Blasé", he also showed a particularly relaxed ballad feel. His creativity is shown in "Un Poco Fresco", one of his original compositions. Tony received excellent rhythmic support from bassist Ronny Andrews and drummer Hank Nanni, both displaying fine taste and imagination, combined with a beat that is warm, fresh, and swinging.

Piano Moods Featuring the Bob Freedman Trio

Bob Freedman (1934-2018) emerged as a notable Boston jazz figure after forming his trio in 1953, which received critical acclaim in New England and recorded an album for the Savoy label. As a pianist, he remained active in the Boston jazz scene, joining groups led by Boots Mussulli, Herb Pomeroy and Jay Migliori, and accompanying Charlie Parker at the Hi-Hat club in 1955. Freedman's innovative arrangements earned him respect and admiration in the jazz community. His first big band success came in 1958 with "And We Listened (to Him)", dedicated to Gerry Mulligan. He later joined Herb Pomeroy's big band, writing many arrangements and recording as a leader an album featuring his excellent version of Duke Ellington's "Anatomy of a Murder" soundtrack. From the mid-1960s, Freedman became a sought-after arranger and composer for stars such as Joe Williams, Sarah Vaughan, Billy Joel, and Wynton Marsalis. His work extended to television and film, showcasing his versatility across genres. His compositions for large ensembles were particularly notable for their orchestration and dramatic expression.

1 - Between The Devil And The Deep Blue Sea

(Arlen, Koehler)

2 - Un Poco Fresco

(Tony Luis)

3 - You’re Blase

(Hamilton, Siever)

4 - Lullaby Of The Leaves

(Petkere, Young)

5 - Harvey's House

(Tony Luis)

6 - Tunerville Tommy

(Tony Luis)

7 - What Is There To Say

(Harburg, Duke)

8 - Gone With The Wind

(Wrubel, Magidson)

9 - Imagination

(Van Heusen, Burke)

10 - Autumn In New York

(Vernon Duke)

11 - A Foggy Day

(G. and I. Gershwin)

12 - Sophisticated Lady

(Duke Ellington)

13 - Stars Fell On Alabama

(Perkins, Parish)

14 - Jeepers Creepers

(Warren, Mercer)

15 - Always

(Irving Berlin)

16 - Deep Purple

(Peter DeRose)

#1 to #4, from Introducing the Tony Luis Trio (New Jazz EP 1703)

#5 to #8, from Tony Luis Trio (Prestige EP 1373)

Tony Luis (piano), Ronny Andrews (bass), Hank Nanni (drums).

Recorded in Philadelphia, October 20, 1954 (#1 to #4) and March 10, 1955 (#5 to #8).

#9 to #16, from The Bob Freedman Trio - Piano Moods (Savoy MG 15040)

Bob Freedman (piano), Joe Reichgott (bass), Bob Gibson (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, October 1953. 

Rare And Obscure Argo Recordings (V)

Ahmad Jamal Trio

Count 'Em 88

It was in the spring of 1952, when Jamal played the Embers, that noted critic John Hammond hailed the Jamal trio as "prodigious" and "Unbelievably subtle". 

Jamal is indeed subtle, and he is dartquick in facility, with a firm-yet-delicate touch that enables him to skim through figures that is charted on graph paper would look like the ups and downs in the career of Yellow Kid Weil.

It is obvious at first hearing that Ahmad approaches a piano as a skilled fisherman might a mile-long lake teeming with fish. He has a lot of room to get a lot out of it, and he casts about with sure skill, utilizing the entire area to achieve his results.

This is a long way to go about saying that Jamal is a two-handed pianist, a species sometimes difficult to find. It is demonstrated neatly here, however, as is his good taste and droll sense of humor. You might be as happy as I am that he chose to include "I Just Can't See for Lookin", a Nat Cole vocal effort a decade ago. 

"Easy to Remember" is a good example of the unit feel the trio achieves, and their romping qualities come out on "Beat Out One".

Ahmad is offered the sturdy support here of bassist Israel Crosby, for years a well-known figure in jazz, and drummer Walter Perkins, whose credits include work with Ben Webster. He frequently was the drummer for Jutta  Hipp when he was stationed in Germany a couple of years ago.

They provide friendly atmosphere for Jamal, who is content that this is the best set of sides he has yet recorded.

I will have to agree with him. *Jack Tracy (liner notes)*

This LP was pianist Ahmad Jamal's first with his new group, a trio also including bassist Israel Crosby and drummer Walter Perkins. Although he was reasonably popular around the Chicago area at the time, Jamal's major breakthrough would be the following album, >But Not for Me<, recorded more than a year later. The "Jamal sound", with its expert use of dynamics, close interplay, space and subtle surprises was very much in place, and this out-of-print set is on the same level as his better-known hits to come. Highlights include "Green Dolphin Street", "How About You" and "Easy To Remember." Well worth searching for. *Scott Yanow*

That's right, count 'em — 88 keys on the piano in all, and Ahmad does a pretty good job of hitting them all in this early album of piano virtuosity! The album's amazing — set the pace for a whole new generation of piano expressiveness, with a cool and earthy approach that also still has quite a bit of poise. The group features Walter Perkins on drums and Israel Crosby on bass — fantastic rhythm players both of them, giving the album a pulsating live that goes way beyond the simple format of the tunes! *Dusty Groove, Inc.*

Side 1

1 - Volga Boatman

(Public Domain)

2 - Green Dolphin Street

(Bronisław Kaper, Ned Washington)

3 - How About You

(Ralph Freed, Burton Lane)

4 - I Just Can't See For Lookin

(A. Stanford, N. Robinson)

5 - Spring Will Be A Little Late This Year

(Frank Loesser)

Side 2

6 - Beat Out One

(Ahmad Jamal)

7 - Maryam

(Ahmad Jamal)

8 - Easy To Remember

(Lorenz Hart, Richard Rodgers)

9 - Jim Loves Sue

(Ahmad Jamal)

Ahmad Jamal (piano), Israel Crosby (bass), Walter Perkins (drums).

Recorded in Chicago, Illinois, September 27 and October 4 (#4), 1956.

 

Rare And Obscure Argo Recordings (IV)

The Herb Pilhofer Trio

Jazz

A good portion of American jazz, like many other areas of entertainment, is embroiled in a star-system that exults the individual performer and discourages ensemble efforts. 

Many groups have no choice but to build their work around a featured performer because they lack the ability to perform as an integrated unit. Such groups are quickly transformed into the promotion man's "personality" product. 

And so it is indeed refreshing to find a group like the Herb Pilhofer trio that produces that scarce commodity, ensemble jazz, and with such extremely good taste. So emphatic‘ is Pilhofer about the group concept that he rejected several bookings that would have featured him with bass and guitar. It was the group or nothing, a decision that delayed wider recognition, but kept Herb’s musical philosophy intact. 

Argo has, with this album, acknowledged the honesty and integrity of Pilhofer's bias. As one observer remarked while listening to the tapes, "it's the whole cloth, without any superfluous embroidery". It is a good metaphor for describing the trio's work, comparing its music to a rich and finely woven fabric. No matter what the trio cuts from the bolt it applies its craft masterfully.

This album demonstrates Pilhofer's theories of unity. There are no exhibits of individual talent at the expense of the trio. It's the total instrumentation — a piano, a guitar, and a bass — that prevails. One exception is Pilhofer's solo performance of "It Might As Wll Be Spring". Still, this an obvious showcase for the piano and not a misappropriation of the unit. *Charles Hanna (liner notes)*

The Herb Pilhofer Trio (Argo LP 657) is, as far as I know, the initial recording of this group with guitarist Dale Olinger and bassist Stu Anderson. The unit is a tightly integrated one and depends for much of its effectiveness upon the close polyphonic interplay of the voices.

They have chosen material which is good in itself and has not been overplayed: "Valse Hot", "The Duke", "My Ship", "Godchild". Their playing is always in good taste and their ideas are clearly defined and consistently developed. Each player seems to understand the others and to know how to work in with them. Pilhofer and Olinger bear most of the solo burden and they acquit themselves well. Nevertheless, most of the performances seem to lack what I would call vitality. Everything is well done, but one is conscious of what seems a desire to be correct at all costs, and neither the solos nor the polyphonic passages seem to have feeling of deep engagement.

*H. A. Woodfin (The Jazz Review, November 1960)*

Side 1

1 - Valse Hot

(Sonny Rollins)

2 - Sweets

(Bill Russo)

3 - More Than You Know

(Youmans, Rose, Eliscu)

4 - The Duke

(Dave Brubeck)

5 - My Ship

(Weill, Gershwin)

Side 2

6 - Trio

(Herb Pilhofer)

7 - Ship Without A Sail

(Rodgers, Hart)

8 - Isn't It Romantic

(Rodgers, Hart)

9 - It Might As Well Be Spring

(Rodgers, Hammerstein)

10 - Godchild

(George Wallington)

Herb Pilhofer (piano), Dale Olinger (guitar), Stuart Anderson (bass).

Recorded at Ter-Mar Recording Studios, Chicago, Illinois, September 8 and 9, 1959.

Rare And Obscure Argo Recordings (III)

King Fleming Trio

Stand By

"I know there are a lot of good talented piano players around but they all sound the same to me".

I have heard that particular comment a number of times and, on occasions, have agreed. However, I feel that those talents should always be given some sort of a chance to be exposed or listened to and, of course, finally judged by the public. It is true that some of these people, or talents, are tucked away in a string of small local lounges, but they still have a chance to develop a following, which can be of great assistance as a stepping stone to their first recording session. When it does come, the artist, in most cases, is wise in his selection of tunes. In this particular collection, the above mentioned is quite evident. 

King Fleming offers you a variety program, including: modern jazz, blues, ballads, afro-jazz and latin music. I might add here that King has a great amount of patience and works very well with vocalists, providing them with arrangements and the proper amount of accompaniment. He is a well rounded musician, composer and arranger.

The main objective in this album was to have something for everyone. This has been accomplished with the supporting efforts of drummer Royce Rowan, who studied at the Roy Knapp School of Music (Royce, also holds a B.A. in music) and has worked with Miles Davis, the late Billy Holiday, Wardell Gray and Charlie Parker. Also tugging the load is Malachi Favors, the bass player. He too has had the pleasure of performing with some of the big ones, such as drummers: Art Blakey and Philly Jo Jones, which he considers invaluable experience.

You'll find in this album a considerable amount of interesting, clever and pleasureable moments of listening. I hope that this album will serve as another stepping stone to success for King Fleming. He's a hard worker with a deep appreciation for music, talent and friends, and most important, he knows their values. *Burt Burdeen" (liner notes).

Incredible work from Chicago pianist King Fleming – a lost talent that had a key influence on more famous players in the scene, but who rarely got his due because he hardly left the Windy City! The set's got a really incredible feel – partly in the gentle groove of Ahmad Jamal, but also with one ear towards the more righteous rhythms that were coming into piano jazz during the 60s. A key element of the strength of the set is work in the trio by bassist Malachi Favors – working here years before his time with the Art Ensemble Of Chicago – and the set's also graced by some wonderful originals that show Fleming to be a heck of a great writer as well as musician! Titles include "Time Out", "Stand By", "On Green Dolphin Street", "Song Of Paradise", "Between The Toes", and "Lonely One". *Dusty Groove, Inc.*

Side 1

1 - Time Out

(King Fleming)

2 - On Green Dolphin Street

(Washington, Kaper)

3 - I Didn't Know What Time It Was

(Rodgers, Hart)

4 - Stand By (part 1)

(King Fleming)

5 - Then I'll Be Tired Of You

(Harburg, Schwartz)

Side 2

6 - Junction City Blues

(King Fleming)

7 - Song Of Paradise

(King Fleming)

8 - Stand By (part 2)

(King Fleming)

9 - Lonely One

(King Fleming)

10 - Gypsy In My Soul

(Clay, Moe)

11 - Between The Toes

(King Fleming)

King Fleming (piano), Malachi Favors (bass), Royce Rowan (drums),

Charles Stepney (vibes [#1, #6]), Unidentified males (african percussions and voices [#8]).

Recorded at Ter-Mar Recording Studios, Chicago, Illinois, March 2 (#1 to #8, #10)

and March 9 (#9, #11), 1962.

Rare And Obscure Argo Recordings (II)

• The Jazz Exponents •

This first Argo LP by the "Jazz Exponents" serves as an introduction, nation-wide of a versatile Jazz group that has tremendous popularity in the northern Michigan territory. It is also my first introduction to them... After auditioning the LP for the purpose of composing these liner notes, I hope to have the opportunity of being able to hear them in person. They have some very rare qualities, an awareness of the latest happenings in the ever-changing Modern Jazz repertoire; the technical and artistic abilities necessary to convey successfully their interpretations to an audience; and an obvious in-born talent for improvisation, without which the other attributes would be nil!

The leader is Jack Gridley, a triple-threat man, no less, from Saginaw, Michigan. Vibes are his main instrument, but his piano comping, and trombone playing are very outstanding. His organizational powers have helped maintain the young unit through its "scuffle" days.

Bob Elliot, also from Saginaw, was formerly lead trombonist with one of Jerry Wald’s big bands, and now doubles on piano and trombonium. His is a lyrical style on piano and drivingly hot on trombone. His arranging talents are also in evidence in this LP.

The group is rounded out by Philadelphian, Norm Diamond on bass, and Dick Riordan, drums, from Sault Sainte Marie, Michigan. Diamond has strength of tone, plays the right notes, and maintains a steady pulse for the group to swing on. Riordan plays lightly but firmly, and has the all-too-rare feeling of just when, and when not to, punctuate the proceedings.

The "Exponents" in general, have two major sounds. Dominating side one, and the first tune on side two, is the vibes/ piano and rhythm grouping, with the two-trombone, ala J & K, sound closing out the last three tunes of the album. *Joe Segal (liner notes)*

The versatile jazz group has a distinctive sound on a fine selection of tunes which include "Night in Tunisia", "The Preacher" and "Love Letters". Each member of the group wich features Jack Gridley on vibes, piano and trombone; Bob Elliot, trombonium and piano; Norm Diamond on bass, and Dick Riordan show fine control. It's a fine first album for the group, and the set can be a good programming set for op as well as jazz jocks. It rates exposure. *Billboard, September 8, 1958*

Side 1

1 - Love Letters

(Victor Young, E. Heyman)

2 - Doodlin

(Horace Silver)

3 - Minors Holiday

(Kenny Dorham)

Side 2

4 - Night In Tunisia

(Dizzy Gillespie)

5 - Button Up Your Overcoat

(De Silva, Henderson, Brown)

6 - Bob 'N Weave

(Bob Elliot)

7 - The Preacher

(Horace Silver)

Jack Gridley (vibes, piano, trombone), Bob Elliot (trombonium, piano),

Norm Diamond (bass), Dick Riordan (drums).

Recorded in Chicago, Illinois, 1958.

 

Rare And Obscure Argo Recordings (I)

Ralph Sharon & Friend

2:38 a.m.

I don’t know what the record people call it when they ask you to write a few notes about someone who has worked as closely with you as Ralph Sharon has with me, but I do know that he has provided me with an excellent vehicle for my own talent. It’s always a pleasure to work with him and his fine group.

We were playing the Chez Paree in Chicago, when Argo Records asked Ralph to do this album for them. The night the record was cut, the club management kindly consented to let us break the last set early, so Ralph and the boys could get over to the studio. The session began at 2:38 A.M., and I think it’s a good title for this album because it kind of gives you the idea of what went on. The boys were pretty relaxed by this time, and they told me later that someone had brought in a floor lamp for light — everything was real subdued. Relaxed as they were, the sounds just had to come out as fine as they did. I was surprised when I learned that they completed the session at 5:40 A.M., 3 hours ahead of schedule. 

Ralph Sharon’s music speaks for itself and there isn’t much more I can say, except to name his fine group. They are all really great! Now, I wish you the same thrill hearing them as I have working with them... so listen and have a ball! *Tony Bennett (liner notes)*

Here's an interesting jazz effort on the Argo label. It features pianist Ralph Sharon with friend Candido who handles the congo drums. Billy Exner handles the snare drums and Allan Mack in on bass. The music is rhythmic and swinging, sparked by Sharon piano and the Candido congo work. Tunes include originals and an-occasional standard, with "Blues" and "Friends Blues" both by Sharon, among the album's best. *Billboard, November 10, 1958*

Side 1

1 - Blues

(Ralph Sharon)

2 - Ol' Man River

(J. Kern, O. Hammerstein II)

3 - Garden In The Rain

(C. Gibbons, I. Dyrenforth)

4 - Linguine Lover's Lullaby

(Ralph Sharon)

5 - Teach Me Tonight

(Cann, DePaul)

Side 2

6 - Friend's Blues

(Ralph Sharon)

7 - How Long Has This Been Going On

(G. and I. Gershwin)

8 - Time

(Shapiro, Lynn)

9 - I'll Never Be The Same

(F. Signorelli, M. Malneck, G. Kahn)

10 - Love Me Or Leave Me

(Kahn, Donaldson)

Ralph Sharon (piano), Allan Mack (bass), Billy Exner (drums),

Candido (conga), Tony Bennett (scat on #6)

Recorded at the Chez Paree nightclub, Chicago, June 3, 1958.

• The Jazz School •

A nice bop compilation featuring three different sessions as below:

Art Mardigan Sextet featuring John Williams on piano: a refreshing bop session with unique sound colour; Paul Gonsalves Sextet featuring Clark Terry: a bit corny, but also a nice mainstream session; and two tracks by Joe Gordon Quintet: Gordon's brilliant trumpet blows so great, and Art Blakey's propulsive rhythm gives the entire mood of this great hard-bop session.

Strictly personal rating (to what extent I could enjoy this album); 8 out of 10.

*Matsubayashi "Shaolin" Kohji [microgroove.jp]*

There are sixteen students in this class of the Jazz School; sixteen young men whose grades are impeccable, whose studies have clearly qualified them for a successful and distinguished career. 

At the head of the class for the first four exercises is a member of the drums Corps, a familiar figure by the name of Arthur Mardigan.

Art is a native Detroiter, born in December, 1923 and a name band musician since the age of nineteen, when he joined Tommy Reynolds. After Army service in 1943-44 he spent a year with Georgie Auld's group, then went home to Detroit for a while before entering the New York scene, where he was a part of many noteworthy 52nd Street combos under the leadership of Charlie Parker, Dexter Gordon, Allen Eager and Kai Winding. In addition, Art worked off and on with Woody Herman and Elliot Lawrence. In 1954, when Pete Rugolo came east to form a band for a tour, Art was a cornerstone of that all-star ensemble.

Featured with Art on his four performances here are Don Joseph, a cornetist who's been a familiar figure around New York jazz circles for several years; Milt Gold, a trombonist who has seen service with such name bands as Stan Kenton's and Claude Thornhill's; and Al Cohn, the tenor saxophonist and arranger who has been rising rapidly to jazz eminence in the past year. Heard with Mardigan in the rhythm section are John Williams, the 25-year-old pianist from Windsor, Vermont, best known for his work with Stan Getz; and Teddy Kotick, a 27-year-old bass man who has been prominent on the New York scene with Charlie Parker, Buddy Rich, Buddy De Franco and a flock of other combos. 

Class dismissed.

A new group moves in: at the head of this class is Paul Gonsalves, tenor saxophonist from Brockton, Massachusetts. Raised in Pawtucket, R.I., Paul started his musical life as a guitarist at the age of sixteen, in 1936; later, switching to tenor saxophone, he became popular as a featured member of the Sabby Lewis orchestra, a well known Boston group, with which he made his record debut.

A three-year hitch in the Army, from 1942 to '45, was followed by a stint in the Count Basie orchestra, and a brief fling in Dizzy Gillespie's final big band. Then, early in 1951, Paul joined the great Duke Ellington orchestra, of which, except for a few weeks in Tommy Dorsey's band in 1953, he has been a member ever since. 

Paul's colleagues on this, his first record session under his own leadership, include Clark Terry, another great Ellingtonian of several years standing and sitting; Porter Kilbert, baritone saxophonist, who worked briefly on alto with Ellington in 1951; Junior Mance, a gifted 27-year-old pianist from Chicago, best known for the fine work he has done as Dinah Washington's accompanist; Eugene Miller on drums; and the inimitable, poll-winning bassist of erstwhile Woody Herman fame, Greig Stewart "Chubby" Jackson. 

... dismissed...

Time now for graduation exercises. The class is headed by Joseph Henry Gordon, another brilliant New Englander on the modern jazz scene. Born in 1928 in Boston, Joe worked as a sandwich boy on the Boston-Albany railroad as recently as 1947, but later in that same year made his professional bow with his own combo at Boston's Savoy Ballroom, where the above-named Sabby Lewis was a frequent favorite. Joe also worked as a sideman with Sabby, as well as with a variety of other groups, from Georgie Auld to Charlie Mariano, from Charlie Parker to Lionel Hampton.

Heard with Joe on these sides are Charlie Rouse, a tenor man from Washington, D.C., who was with Duke Ellington in 1949-'50; Junior Mance, reappearing on piano; Jimmy Schenck on bass; and the pride of Pittsburgh, winner of the 1953 New Star award in the critics’ poll, Art Blakey on drums.

So these are the men you will meet in the Jazz School. It seems superfluous to point out that every last man of these sixteen students has graduated, as he deserves to, summa cum laude. 

*(from the liner notes)*

Side 1

1 - I've Found A New Baby

(Plamer, Williams)

2 - Moroccan Blues

(Al Cohn)

3 - Old Gold

(Milt Green)

4 - Golden Touch

(Quincy Jones)

5 - Evening Lights

(Joe Gordon)

Side 2

6 - It Don't Mean A Thing

(Mills, Ellington)

7 - Take Nine

(Paul Gonsalves)

8 - Everything Happens To Me

(Adair, Dennis)

9 - Don't Blame Me

(Fields, McHugh)

10 - Body And Soul

(Heyman, Sour, Green, Eyton)

#1 to #4: Art Mardigan Sextet

Don Joseph (cornet), Milt Gold (trombone), Al Cohn (tenor sax), John Williams (piano), Teddy Kotick (bass), Art Mardigan (drums).

Recorded in New York City, May 20, 1954.

#6 to #9: Paul Gonsalves Sextet

Clark Terry (trumpet), Porter Kilbert (alto sax), Paul Gonsalves (tenor sax), Junior Mance (piano), Chubby Jackson (bass), Eugene Miller (drums).

Recorded (probably) in Chicago, Illinois, February 6, 1954.

#5 and #10: Joe Gordon Quintet

Joe Gordon (trumpet), Charlie Rouse (tenor sax), Junior Mance (piano), Jimmy Schenck (bass), Art Blakey (drums).

Recorded at Fine Sound Studio, New York City, September 3 (#10) and 8 (#5), 1954.

 

Art Blakey & Joe Gordon - The Complete Art Blakey On EmArcy

The textbook method of studying jazz history frequently creates and perpetuates misconcenptions, overemphasizing certain individuals at the expense of others. While Art Blakey should be a familiar name to all jazz fans, Joe Gordon and Gigi  Gryce have been somewhat forgotten. However,  in their time, both men were extremely well respected and worked with manyof the figures who made the textbook roll call.

The 1954s sessions recorded for EmArcy label collected here, have long been favorites of connoisseurs of the intense but accessible sounds know as hard bop, a style wich was developed in the mid-1950s. However, they have been hard to come by, and this is their first complete appearance on a United States compact disc. 

Blakey

&

Introducing Joe Gordon

A fantastic hard bop reissue! This CD combines two rare early sessions by Art Blakey – one recorded under his name, the other under the leadership of trumpeter Joe Gordon, a fantastic player who died an early death, and never got to record as much as he should have. Both albums were only ever issued on rare 10" LPs during the mid 50s, and they're combined here with great sound, great notes, and two bonus tracks. The set's over 70 minutes in length, and every cut crackles with a sinister intensity that's just fantastic – made all the more special by a host of original compositions by both Gordon and Gigi Gryce, who arranged one of the session. One session features Gordon on trumpet, Gigi Gryce on alto, and Walter Bishop on piano; the other features Gordon, Charlie Rouse, and Junior Mance – and Blakey is on drums throughout. Titles include "Evening Lights", "Rifftide", "Lady Bob", "Eleanor", "Minority", "Hello", "Mayreh", and "Futurity".  *Dusty Groove, Inc.*

This compilation assembles some long unavailable bop sessions led by either Art Blakey or trumpeter Joe Gordon as a collectable Verve Elite Edition reissue CD. Blakey's quintet includes Gordon pianist Walter Bishop, Jr. and alto saxophonist Gigi Gryce, who composed most of the music. "Minority" has long since become a standard among boppers but "Salute To Birdland" is almost as good; the remaining tracks are quite as strong. Gordon's set leads off with Coleman Hawkins' well known riff tune "Rifftide"; Pianist Junior Mance provides Gordon with some strong backing and a young Charlie Rouse adds a spirited tenor sax solo. Gordon's playing is a little choppy on his tunes "Xochimilco" and "Evening Lights", while his lyrical take of "Body And Soul" is strangely backed by Blakey's tom toms. This is a mandatory acquisition for Blakey fans and those who enjoy bop. *Ken Dryden*

1 - Minority

(Gigi Gryce)

2 -Salute To Birdland

(Gigi Gryce)

3 - Eleanor

(Gigi Gryce)

4 - Futurity

(Gigi Gryce)

5 - Simplicity

(Gigi Gryce)

6 - Strictly Romantic

(Gigi Gryce)

7 - Hello

(Gigi Gryce)

8 - Mayreh

(Horace Silver)

9 - Rifftide

(Coleman Hawkins)

10 - Lady Bob

(Quincy Jones)

11 - Grasshopper

(Quincy Jones)

12 - The Theme

(Kenny Dorham)

13 - Bous Bier

(Quincy Jones)

14 - Xochimilco

(Joe Gordon)

15 -Evening Lights

(Joe Gordon)

16 - Body And Soul

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

#1 to #8: from the album Blakey, EmArcy (MG 26030)

Joe Gordon (trumpet), Gigi Gryce (alto sax), Walter Bishop, Jr. (piano), Bernard "Bernie" Griggs (bass), Art Blakey (drums).

Recorded at Fine Sound, New York City, May 20, 1954.

#9 to #14: from the album Introducing Joe Gordon, EmArcy (MG 26046) and EmArcy (MG 36025)

#15 and #16: from the album The Jazz School, EmArcy (MG-36093)

Joe Gordon (trumpet), Charlie Rouse (tenor sax), Junior Mance (piano), James "Jimmy" Schenk (bass), Art Blakey (drums).

Recorded at Fine Sound, New York City, September 3 (#11, #12, #14, #15) and September 8 (#9, #10, #13, #16), 1954.

Specs Powell & Co. - Movin' In

Drummer Gordon "Specs" Powell born in New York on June 5, 1922, and died in San Marcos, California, on September 15, 2007. He traveled the jazz world discreetly, spending most of his career in CBS radio and television studios, notably for the famous Ed Sullivan Show, as part of Raymond Scott's house band. He was also the first black musician hired by a radio orchestra, in 1943. His flexibility, due to the fact that he also played castanets, bongos and the whole range of small percussion instruments, also contributed to his longevity. He left CBS in 1972 to retire to the Virgin Islands, then to the San Diego area.

Specs Powell had begun his professional career in the late 1930s with Edgar Hayes, in the middle of the swing era, and continued it with Benny Carter and Ben Webster. After recording on a number of V-Discs, he found himself in the whirlwind of Manhattan's 52nd Street nightlife, sometimes playing four different gigs a night to accompany legends such as Billie Holiday, John Kirby, Benny Goodman, Coleman Hawkins and Red Norvo.

It was in 1957 that he recorded Movin' In, his first and only album as a leader. At the time of the infancy of bebop, he had been one of the very first drummers to accompany the emergence of Charlie Parker and Dizzy Gillespie. Hence the affection shown by the latter in his presentation text on the back of the album cover. He laments that most "modern" drummers have missed the dimension and mastery of this drummer and percussionist that he adores. The album, a condensed swing with a team of familiar faces from Count Basie's orchestra, does him full justice in this regard. It should be noted that it was released on the Roulette label, at a time when Basie himself was signing a few masterpieces there. *Alex Dutilh*

A neglected gem from Specs Powell & Co. in 1957. The versatile but little-known drummer Gordon "Specs" Powell (1922-2007) was active in the 1930s and 40s and worked with Errol Garner during the 1950s.This excellent album was his only session as leader recorded for ROULETTE in 1957.

With Powell (drums) were Sahib Shihab (alto & baritone sax); Aaron Sachs (tenor sax & clarinet); Pritchard Cheeseman (baritone sax); George Dorsey (alto sax & flute); Ray Copeland, Leon Merian (trumpets); Jimmy Cleveland, Jimmie Dahl (trombones); Hank Jones, Nat Pierce (piano); Clyde Lombardi (bass).

The 12 memorable tracks are a mix of Powell originals and standards with arrangements by Ray Copeland. There are plenty of fine solos and this swinging modern-mainstream jazz deserves to be more widely known.

Dizzy Gillespie's enthusiastic liner notes require the eyes of a hawk or a very strong pair of "specs". *Jazzrook (from Amazon review)*

1- Undecided

(Robin, Shavers)

2 - All Or Nothing At All

(Lawrence, Altman)

3- It's a Pitty To Say Goodnight

(B. Reid)

4 - You Don't Know What Love Is

(Raye, DePaul)

5 - Spider Blues

(Specs Powell)

6 - Rat Race

(Specs Powell)

7 - Suspicion

(Specs Powell)

8 - Locked Out

(Specs Powell)

9 - He's My Guy

(Raye, DePaul)

10 - I'll Remember April

(Raye, DePaul, Johnston)

11 - Dispossessed

(Specs Powell)

12 - Movin' In

(Specs Powell)

 

Ray Copeland, Leon Merian (trumpets); Jimmie Dahl, Jimmy Cleveland (trombones); George Dorsey (alto sax, flute); Sahib Shihab (alto sax, baritone sax); Aaron Schs (tenor sax, clarinet); Pritchard Cheeseman (baritone sax); Clyde Lombardi (bass); Hank Jones, Nat Pierce [#11] (pianos); Specs Powell (drums).

Recorded in New York City, February 13 and 20, 1957