Rare And Obscure Argo Recordings (XIV)

Bill Leslie

Diggin' The Chicks

Who is Bill Leslie? Well, he was born in Media, Pennsylvania in 1925 and passed away in 2003. For many years, Jennings played in the group of the popular and influential alto saxophonist and bandleader, Louis Jordan. In the early sixties, Jennings was featured on organist Larry Young's Groove Street and guitarist Thornel Schwartz' Soul Cookin'. Diggin' The Chicks is Leslie's only album as a leader. In the late sixties, Leslie led an organ combo. That's about it as far as bio goes.

Yeah, ok. But who, really, is Bill Leslie? Here a straightforward answer won’t suffice. He's a straightforward player, at ease in a conservative setting, yet picks notes that have one leapin' sideways. He likes to play swing music with a breathy sound and bends notes like a country blues singer. At the same time, Leslie adds spare, effective bits of double-timing. Perhaps this kind of gelling isn't that unusual for players who grew up in the 30s and 40s, when black popular music was still labeled as "race" music and included traditional New Orleans jazz, gospel, jump blues, novelty and swing and, in the late 40s, while bebop was changing the face of jazz, black popular music with a driving back beat suddenly came to be labeled as rhythm & blues. Likely musicians (like, for instance, Gene Ammons or Eddie "Lockjaw" Davis) didn’t feel it was unusual to switch from race/jump/r&b to modern jazz. And almost as a rule, he or she's got the blues and was raised in church. All of this is somehow reflected in his/hers style. Leslie also shows a liking for Thelonious Monk and Ornette Coleman. Get it? Anyhow, a quirky, fascinating player which in some magical way that only seems possible in the fantasy world of jazz, holds one spellbound with highly enjoyable, original notes and tones.

On Diggin' The Chicks, a novelty title that clouds his message, Leslie is supported by Tommy Flanagan on piano, his friend Thornel Schwartz on guitar, Ben Tucker on bass and Art Taylor on drums. Schwartz serves as accompanist, while Flanagan, a receptive supporter, adds a number of delicate, coherent solos. Leslie is addressing a lot of female creatures, presenting tunes like "Madge", "Margie", (Earl Hines') "Rosetta", and playing standards like "Angel Eyes" and "Got A Date With An Angel". Making his presence known with a lot of flair too. Not a loudmouth. Instead Leslie charms his way in like a gentleman. He's taking his time, the leisurely stroll is Leslie's favorite walk. And he's adept at setting a homey atmosphere, smoothly luring the listener into a cozy place, the woodblocks in the fireplace quietly whispering, the cup of hot chocolate and roasted marshmallows all set on a low mahogany wooden side table… Then again it's unlikely that Leslie will doze off, there's a bite to his tone and he's got bright ideas, is shaved, ready, with tie knotted, eager for a night out into town.

How charming an album when it includes both "Goodnight Irene" and an Ornette Coleman tune! Leslie picked Coleman's "Lonely Woman". Leslie's pace is slower than Coleman's, and bassist Ben Tucker plays a key role employing an attractive descending figure. Leslie uses the saxella. The vocalized sound is highly expressive, the twists and turns haunting. But if I was to pick one highlight, it would be his version of Huddie Ledbetter's "Goodnight Irene". The waltz figure of Art Taylor gives it a gentle but probing chuck-chuck-chucking push, Leslie's genial tone, relaxed delivery, out-of-tempo bits and surprising choice of notes stay in one's head long after the needle has jumped and the laundry has been done. It's an unbelievable fate that Leslie's career as a leader was finished before it started, but that's the way it works sometimes.

Listen to the full album of Diggin’ The Chicks. It's a crisp and punchy Rudy van Gelder recording. If Diggin' The Chicks was on Blue Note, considering its beautiful production and outstanding line up, it would go for 4 or 5 times the amount of money you have to lay down for this affordable Argo release. *flophousemagazine.com*

1 - Good Night Irene

(H. Ledbetter)

2 - Angel Eyes

(Matt Dennis, Earl Brent)

3 - Madge

(Wm. Leslie)

4 - Margie

(Robinson, Davis, Conrad)

5 - Lonely Woman

(Ornette Coleman)

6 - Got A Date With An Angel

(Waller, Tunbridge, Miller, Grey)

7 - Rosetta

(Earl Hines, Wm. Woode)

Bill Leslie (tenor sax, saxella [#5]), Tommy Flanagan (piano),

Thornel Schwartz (guitar), Ben Tucker (bass), Art Taylor (drums).

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, October 19, 1962

Aaron Sachs - Quintet, Sextet And Octet Ensembles

Aaron Sachs (1923-2014) was a native New Yorker who grew up in the Bronx. After studying clarinet with private teachers, in 1941, still in his teens, Sachs landed his first job with Babe Russin, playing clarinet and alto saxophone, the latter through self-training. That same year, he joined vibraphonist Red Norvo's Septet, alongside fellow Bronx musicians Shorty Rogers and Eddie Bert. After a brief period with the Van Alexander orchestra in 1943, Aaron rejoined Norvo in January 1944, solidifying his reputation as a skilled clarinetist and earning the prestigious Esquire "New Star" award in 1945.

Between 1945 and 1946, he performed both instruments with Benny Goodman, Buddy Rich, and Charlie Ventura bands. In 1946, Sachs formed his quintet, Aaron Sachs and his Manor Re-bops, establishing himself as the first jazz musician to embrace bebop on the clarinet, preceding Tony Scott and John LaPorta.

In 1948 Aaron married singer Helen Merrill, a union that lasted only a few years, as they divorced in 1956.

His tenure with the Earl Hines sextet from 1952 to 1953 allowed him to develop his talent as a tenor saxophonist. He admitted, "I enjoy playing both instruments, but I am disappointed that the clarinet isn't used more, both in jazz and pop records today." Sachs had Lester Young as his main influence, and that's how he wanted to play both tenor sax and clarinet. Subsequently, Aaron led his own combo at Cafe Society in New York for a period. Later, he worked as a freelancer in commercial recording sessions, primarily playing the tenor saxophone. Sachs cited Lester Young as his main influence for both instruments.

Leonard Feather once remarked, "Aaron has proved that he can bring to both instruments the taste, style, and musicianship that bespeak artistry rather than mere versatility for its own sake."

This CD compilation features three albums recorded by Aaron between 1954 and 1957, showcasing his talent as an instrumentalist and composer alongside some of the finest jazz musicians from the New York scene. The arrangements of these recordings were skillfully crafted to provide a supportive backdrop for either clarinet or tenor saxophone, highlighting Sachs' versatility and artistry. *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.

Aaron Sachs is not a household name, but he was with a number of important artists such as Shorty Rogers and Red Norvo. This single disc set finds him with some impressive company, giving his ideas to mostly originals in a sound that has “LA Cool” written all over for it, even though it was all recorded in The Big Apple.

He plays both a Lester Young-Zoot Sims inspired tenor, and a stripped down Buddy DeFranco styled clarinet, in quintet, sextet and octet settings, mixing and matching with Urbie Green/tb, Barry Galbraith-Jimmy Raney-Dick Garcia/g, Aaron Bell-Clyde Lombardi/b, Nat Pierce Hall Overton/p, Joe Roland/vibes and Osie Johnson/dr. Sachs blows like a West Coaster on "One Track" and is gorgeously fluffy on "Aaron’s Blues", fluttering on "Conversations" and sublime on "Why Shouldn’t I?" while digging in on the Basie-ish "Wiggins". His licorice stick is cool for "Kingfish" and flexible for "Gorme Has Her Day" with a nice bounce for "You're My Thrill". Warm and breezy.

*George W. Harris*

1 - One Track

(Sachs, Johnson)

2 - Helen

(Sachs, Johnson)

3 - Kingfish

(Quincy Jones)

4 - Conversation

(Sachs, Galbraith)

5 - The Bullfrog

(Quincy Jones)

6 - If You Are But A dream

(Jaffe, Fulton, Bonx)

7 - Aaron's Blues

(Aaron Sachs)

8 - You're My Thrill

(Gorney, Clare)

9 - Platter Pie

(Aaron Sachs)

10 - Why Shouldn't I?

(Cole Porter)

11 - Ah! The Pain

(Billy Ver Plank)

12 - Rondo Blues

(Phil Sunkel)

13 - Just Sick Blues

(Billy Ver Plank)

14 - Mona's Kimona

(Nat Pierce)

15 - Conversation

(Sachs, Galbraith)

16 - Blue Sophisticate

(Benny Golson)

17 - Countryfied

(Phil Sunkel)

18 - Wiggins

(Billy Ver Plank)

19 - Gorme Has Her Day

(Aaron Sachs)

20 - I Can't Believe

(Aaron Sachs)

21 - Hall's Loft

(Aaron Sachs)

22 - Nancy

(Van Heusen, Silvers)

#1 to #6, from the album Aaron Sachs Sextette (Bethlehem BCP-1008)

Aaron Sachs (clarinet [#3, #6], tenor sax [#1, #2, #4, #5]),

Urbie Green (trombone), Danny Bank (baritone sax),

Barry Galbraith (guitar), Clyde Lombardi (bass), Osie Johnson (drums).

Recorded in New York City, November 1954

#7 to #11, from the album Jazzville Vol.3 (Dawn DLP1114)

Aaron Sachs Sextet

Aaron Sachs (clarinet [#8, #19, #11), tenor sax (#7, #9),

Jimmy Cleveland (trombone), Joe Roland (vibes),

Dick Garcia (guitar), Aaron Bell (bass), Osie Johnson (drums)

Recorded in New York City, 1956

#12 to #22, from the album Clarinet and Co. (Rama RLP1004)

#12 to #18: Aaron Sachs Octet

Aaron Sachs (clarinet [#14, #17], tenor sax [#12, #13, #15, #16, #18]),

Phil Sunkel, Bernie Glow (trumpets), Frank Rehak (trombone), Gene Allen (baritone sax),

Nat Pierce (piano), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, February 18 and 21, 1957

#19 to #22: Aaron Sachs Quintet

Aaron Sachs (clarinet [#19-21] & tenor sax [#22]), Hall Overton (piano),

Jimmy Raney (guitar), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, March 4, 1957

Matthew Gee - Jazz By Gee!

Matthew Gee (1925-1979), who belatedly had the opportunity to record this album, Jazz by Gee!, his first and only one as a leader, in 1956, was one of many talented jazzmen who earned the solid and lasting respect of his peers without ever achieving the public recognition they clearly deserved. Leonard Feather described Gee as one of the "best and most underrated of bop-influenced trombonists".

Gee was first influenced—not only in style but in his decision to play the trombone—by hearing Trummy Young, who was playing ahead-of-his-time trombone with the Jimmie Lunceford band. After attending Alabama State College, where he built a musical reputation, Gee arrived in New York. His first big band job was with Erskine Hawkins's band. After military service, he worked with Dizzy Gillespie in 1946, the Gene Ammons-Sonny Stitt group, Count Basie, and Illinois Jacquet, before freelancing in the New York area. From 1959 to 1963, he played intermittently with the Duke Ellington Orchestra. Later, in the 1960s, he played in small groups with Paul Quinichette and Brooks Kerr, and in big bands with Sonny Stitt and Johnny Griffin.

Gee's favorite trombonists were J.J. Johnson and Benny Green, and some of his admiration for them could be heard in his work. But there was even more in his driving, plunging style that was uniquely Gee; and it was high time that a lot more people appreciated just how much jazz that was.

The supporting cast here rated his "star" billing. In the septet numbers, tenor sax Frank Foster, trumpet Kenny Dorham, and baritone sax Cecil Payne stood out. The quintet featured Ernie Henry, one of those few altos with a defined sound and his own ideas, in addition to the inevitable debt to Charlie Parker. The rhythm section in both sessions was driven by Art Taylor. Joe Knight, a young pianist from Brooklyn, provided remarkably solid support throughout. Bass was shared by formidable veteran John Simmons and respected Chicago newcomer Wilbur Ware.

Matthew Gee's limited discography as a leader prompted us to add five bonus tracks from albums by other artists, featuring Matthew as a soloist and sideman. *Jordi Pujol*

Trombonist Matthew Gee was primarily a section player and a valuable sideman, but as this CD reissue shows, he could have been a significant soloist too. The two sessions (Gee's only two as a leader) feature him in an unusual quintet with altoist Ernie Henry (the trombone-alto blend has a unique sound) and at the head of a septet also including trumpeter Kenny Dorham, tenorman Frank Foster, and baritonist Cecil Payne. The music is quite bop-oriented and mixes together standards with three swinging Gee originals. An underrated and generally overlooked gem by a forgotten trombonist. *Scott Yanow*

Trombonist Matthew Gee was a sideman on a couple of dozen recording sessions but only one as a leader, Jazz by Gee, for Riverside, in July and August 1956. Between 1946 and 1975, Gee recorded with Gene Ammons, Erskine Hawkins, Sonny Stitt, Count Basie, Coleman Hawkins, Nat Pierce, Dizzy Gillespie, Johnny Griffin, Archie Shepp and many others. And yet, he made just one album under his own name. A terrible oversight by record labels at the time.

Today, Gee is barely known. As a sideman, his trombone was an ingredient in other artists' creations, so he never became a household name. What's interesting about his trombone is that he played with a zesty bark. A bebopper, Gee was able to push a rich sound through his horn and keep his improvisation bouncy and dance-like.

Now, Fresh Sound has released Jazz by Gee!  Matthew Gee All Stars that includes Gee's sole leadership album as well as sideman recordings leading up to that session. The bonus tracks are Gee with three different ensemble, led by Lou Donaldson, Illinois Jacquet and Joe Newman. Of particular note about Jazz by Gee! are Gee's sidemen on the two leadership sessions. They were indeed all-stars. *Marc Myers*

1 - Out Of Nowhere

(Green, Heyman)

2 - I'll Remember April

(Raye, dePaul, Johnston)

3 - Joram

(Bill Massey)

4 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

5 - Lover Man

(Davis, Ramirez, Sherman)

6 - Gee!

(Matthew Gee)

7 - Kingston Lounge

(Matthew Gee)

8 - The Boys From Brooklyn

(Matthew Gee)

9 - Moe's Bluff

(Elmo Hope)

10 - Caracas

(Lou Donaldson)

11 - The Stroller

(Lou Donaldson)

12 - On Your Toes

(Illinois Jacquet)

13 - Close Quarters

(F. Foster, J. Newman)

#1 to #8, from the album Jazz by Gee (Riverside RLP 12-221)

#1 to #5:

Matthew Gee (trombone), Ernie Henry (alto sax),

Joe Knight (piano), Wilbur Ware (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, August 22, 1956

#6 to #8:

Kenny Dorham (trumpet), Matthew Gee (trombone),

Frank Foster (tenor sax),Cecil Payne (baritone sax),

Joe Knight (piano), John Simmons (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, July 19, 1956

#9 to #11, from the album Lou Donaldson Sextet, vol.2 (Blue Note BLP-5055)

Kenny Dorham (trumpet), Matthew Gee (trombone), Lou Donaldson (alto sax),

Elmo Hope (piano), Percy Heath (bass), Art Blakey (drums).

Recorded at Van Gelder Studio, Hackensack, NJ, August 22, 1954

#12, from the album Illinois Jacquet Septet - Jazz by Jacquet (Clef MG C-167)

Russell Jacquet (trumpet), Matthew Gee (trombone),

Illinois Jacquet (tenor sax), Cecil Payne (baritone sax),

Raymond Acea (piano), Al Lucas (bass), Shadow Wilson (drums).

Recorded in New York City, December 11, 1953

#13, from the album Joe Newman and His Band (Vanguard VRS 8007)

Joe Newman (trumpet), Matthew Gee (trombone),

Frank Wess (tenor sax, flute), Frank Foster (tenor sax),

Johnny Acea (piano), Eddie Jones (bass), Osie Johnson (drums).

Recorded in New York City, March 9, 1954

Rare And Obscure Argo Recordings (XIII)

Hank Jones

Here's Love

"Here's love", a musical version of the great film "Miracle on 34th Street" says "down with Scrooge and up with Tiny Tim" and in general, you don't have to be a screwball to believe in love or...Santa Claus.

The Hank Jones Quartet interpretation will become the definitive jazz presentation of Meredith Wilson's great score to "Miracle on 34th Street." Hank Jones has captured in the jazz idiom the flavor of Wilson's musical menu for Here's Love."

The artistry of Milt Hilton on bass, Elvin Jones on drums, and Kenny Burrell on guitar, welded cohesively by the remarkable ingenuity of Hank Jones, makes for many minutes of easy listening.

For good music aficionados, this will be Christmas all year round with the musicality of the Hank Jones Quartet a perennial gift from St. Nicholas himself.

I have said a lot of things about this album, but there's one thing you may have noticed we did not say and that would be to refer to this album as...square. So here's color, here's rhythm, here's enjoyment... HERE'S LOVE! *(From liner notes)*

Highlight is the interplay between Hank Jones and Kenny Burrell;

excellent music and arranging (5 stars):

I've owned this album for quite some time and decided to pull it out and listen with fresh ears. While this is not exactly a 'must-have' album, the musicianship is uniformly excellent and the arranging is masterful. Every track is based on a musical titled Here's Love, all of which were originally composed by Meredith Willson. There is where the arrangements shine because orchestral pieces have been distilled down into jazz quartet format and they sound rich and full.

The sound samples on this page will provide enough information to get a good sense of the music. The center of the music is Hank Jones' piano and Kenny Burrell's guitar. Both take turns with melody and harmony, and create some real studio magic (hence, the five stars.) Milt Hinton on bass and Hank's brother Elvin on drums are the perfect rhythm section. If you are a bassist focus on Hinton. He makes it sound simple and easy, but he is doing some incredible things that make the piano and guitar stand out. Elvin is masterful, especially on brushes, but he does have a few moments when he seems to over play. It does not detract from the music, and after a few listens I cannot imagine a more perfect drummer for this album.

This was recorded for the Argo label at Rudy van Gelder's Englewood Cliffs, NJ studio in a single session on October 19, 1963. While musicians will find this album to be rich in ideas, especially the interplay between piano and guitar, anyone who loves jazz quartets will probably love this album. *Mike Tarrani (amazon reviewer)*

1 - Here's Love

2 - My Wish

3 - You Don't Know

4 - Dear Mister Santa Claus

5 - That Man Over There

6 - Arm In Arm

7 - The Big Clown Balloons

8 - Love, Come Take Me Again

9 - Pine Cones And Holly Berries

10 - My State, My Kansas, My Home

(All compositions by Meredith Wilson)

Hank Jones (piano), Kenny Burrell (guitar), Milt Hinton (bass), Elvin Jones (drums).

Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey, October 19, 1963.

Rare And Obscure Argo Recordings (XII)

Lem Winchester

And

The Ramsey Lewis Trio

Perform A Tribute To Clifford Brown

This out of print LP, Lem Winchester's first as a leader, matches his vibes with the early Ramsey Lewis Trio on a tribute to the late trumpeter Clifford Brown. They perform two of Brownie's best compositions ("Joy Spring" and "Sandu"), four standards (including "Jordu"), the obscure "A Message from Boysie", and Winchester's "Where It Is". A good example of Ramsey Lewis' original piano style, the little-known set is actually excellent and would be easily recommended to straight-ahead jazz fans if it could be found. *Scott Yanow*

This edition contains the complete long out of print LP Perform A Tribute To Clifford Brown (Argo LP 642), originally issued under the name of vibraphonist Lem Winchester. A former policeman in Wilmington (where he met Clifford Brown), Winchester died in 1961, at the age of 32, due to a tragic gun accident. This set, consisting of tunes either composed, favored by or dedicated to Clifford Brown, was to be Winchester's only recorded collaboration with pianist Ramsey Lewis and his regular trio, which included Eldee Young on bass and Isaac "Red" Holt on drums.*jazzmessengers.com*

One of the few albums ever cut by vibist Lem Winchester — a hip talent from the soul jazz generation, but one who left our planet all too soon! Here, Lem plays vibes with backing from the Ramsey Lewis trio — excellent rhythm work from Eldee Young on bass and Red Holt on drums — plus lyrical piano that blends nicely with the vibes, almost in a Jack Wilson/Roy Ayers sort of mode! Tracks include "Joy Spring", "Jordu", "Sandu", "Message From Boysie", and "Where It Is", an original by Winchester.  *Dusty Groove, Inc.*

1 - Joy Spring

(Clifford Brown)

2 - Where It Is

(Lem Winchester)

3 - Sandu

(Clifford Brown)

4 - Once In A While

(Michael Edwards, Bud Green)

5 - Jordu

(Duke Jordan)

6 - It Could Happen To You

(Jimmy Van Heusen, Johnny Burke)

7 - Easy To Love

(Cole Porter)

08 - A Message From Boysie

(Robert Lowery)

Lem Winchester (vibes), Ramsey Lewis (piano),

Eldee Young (bass), Red Holt (drums).

Recorded in Chicago, Illinois, October 8, 1958.

Rare And Obscure Argo Recordings (XI)

Johnny Griffin Quartet

Johnny Griffin

This is Griffin's first date featured the saxophonist in the company of Junior Mance on piano, bassist Wilbur Ware, and session drummer Buddy Smith. The program features eight tunes that were fairly standard fare for jazzmen in 1956, such as "These Foolish Things", Jerome Kern's "Yesterdays", and the Youmans-Greene nugget "The Boy Next Door". These are played with the requisite verve and mastery of harmony, rhythm, and melodic changes, but they don't really stand out. What does stand out in this program are Griffin's originals, such as "Satin Wrap", which has since been covered by any tenor player worth his mouthpiece. It's a funky blues number that does not fall headlong into the hard bop swinging that would be so pervasive in the tenorist's style. Instead there are more formalist notions that suggest Paul Gonsalves and Coleman Hawkins. In addition, the album-closer, "Lollypop", comes out swinging hard with an R&B hook that digs in. Mance propels Griffin with fat, greasy chords that suggest a Chicago bar-walking honk frenzy, but Griffin's own playing is too sophisticated and glides like Lester Young around the changes. Also notable here is Ware's beautiful bop run "Riff Raff". The bassist knew not only how to write for but arrange for horns. Mance and Griffin are in it knee-deep, note for note, with Mance adding beefy left-hand clusters to the melody as Ware and Smith play it straight time until the solo, when the middle breaks up and everybody goes in a different direction. It's got the hard bop blues at its root. This recording is brief, as it originally came out on a 10" LP, but is nonetheless a necessary addition to any shelf that pays Johnny Griffin homage. *Thom Jurek*

Excellent early work by Johnny Griffin — a set that's a bit more obscure than some of his Blue Note classics to come, and which was recorded on the Chicago hometown scene from which he first sprang! The group here is a quartet — with Junior Mance on piano and Wilbur Ware on bass — the same lineup that graced the legendary Chicago Sound album under Ware's own name, which was issued on Riverside — a record that shares a lot with this one in its mix of soul and modernism, new ideas just brimming over from all of the young players involved. The album's overflowing with great tenor work from Griffin — angular, imaginative, and really breaking out of tenor modes of the early 50s. Original titles include "Lollypop", "Satin Wrap", "Riff Raff", and "Bee-Ees" — and the group does some nice work on a few mellower ballads as well!  *Dusty Groove, Inc.*

1 - I Cried For You

(Gus Arnheim, Arthur Freed, Abe Lyman)

2 - Satin Wrap

(Johnny Griffin)

3 - Yesterdays

(Jerome Kern, Otto Harbach)

4 - Riff-Raff

(Wilbur Ware)

5 - Bee-Ees

(Johnny Griffin)

6 - The Boy Next Door

(Vincent Youmans, S. Green, O. Harbach)

7 - These Foolish Things

(Harry Link, Eric Maschwitz, Jack Strachey)

8 - Lollypop

(Johnny Griffin)

Johnny Griffin (tenor sax), Junior Mance (piano),

Wilbur Ware (bass), Buddy Smith (drums).

Recorded in Chicago, Illinois, 1956.

Chet Baker - In New York

A uniformly brilliant effort from cool-toned trumpeter Chet Baker in his first ever appearance as a leader for the New York based label Riverside Records, In New York is the epitome of West Coast cool meets East Coast sensibility. Teaming up with pianist Al Haig, tenor saxophonist Johnny Griffin, bassist Paul Chambers, and drummer Philly Joe Jones, Baker's laid-back mastery is on full display throughout this historic session.

Marked by an uncanny group unity, which gives rise to many outstanding supporting solos, the tracks captured on Chet Baker In New York alternatingly effervesce with a California cool introspection and percolate with driving intensity. An excellent survey of Baker's style and prowess as a leader, Chet Baker In New York is highly recommended as THE album to own for anyone curious about diving in to his illustrious catalog. *elusivedisc.com*

Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first – in a four album deal – with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums). The results are uniformly brilliant as Baker's cool-toned solos fly and bop with authority around the equally impressive supporting soloists. Conversely, the same cohesive unity continues on the introspective numbers that are more akin to Baker's California cool. Undoubtedly one of the charms of this collection is the distinct choice of material. Running the gamut from the relaxed and soothing "Polka Dots and Moonbeams" and equally serene "Blue Thoughts" at one end of the spectrum to the percolating and driving intensity of "Hotel 49" on the other. This track features each quintet member taking extended solos corralling together at the head and again at the coda for some intense bop interaction. Especially ferocious is Philly Joe Jones, who could easily be mistaken for Keith Moon, Ginger Baker, or even Gene Krupa with his cacophonous solo that never strays from the beat or loses its sense of swing. Perhaps the best meshing of styles can be heard on the Miles Davis composition "Solar." This "best-of" candidate refers to both Chambers' and Jones' concurrent involvement with Davis. The churning backbeat likewise propels the melody and ultimately the performers into reaching beyond their individual expertise and into an area of mutual brilliance. Chet Baker in New York is a highly recommended entry into Baker's catalog. *Lindsay Planer*

Side 1

1 - Fair Weather

(Benny Golson)

2 - Polka Dots And Moonbeams

(Johnny Burke, Jimmy Van Heusen)

3 - Hotel 49

(Owen Marshall)

Side 2

4 - Solar

(Miles Davis)

05 - Blue Thoughts

(Benny Golson)

6 - When Lights Are Low

(Benny Carter, Spencer Williamson)

Chet Baker (trumpet), Johnny Griffin (tenor sax #1, #3, #5),

Al Haig (piano), Paul Chambers (bass), Philly Joe Jones (drums).

Recorded at Reeves Sound Studios, New York City, September 1958.

 

Gérard Gustin

Gérard Gustin, born in Nice in 1930, initially trained in violin but soon found his true passion in the piano, particularly in the realm of jazz. His musical journey was shaped by encounters with notable musicians along the way. By 1955, Gustin’s talent caught the attention of Parisian audiences, and his trio performances solidified his reputation as one of the finest French pianists of his generation.

During this pivotal period, Gustin crossed paths with Chet Baker, leading to a memorable collaboration on the trumpeter’s second album for the Barclay label. This partnership showcased Gustin’s exceptional piano skills, revealing a distinctive musical language influenced by jazz luminaries like Horace Silver and George Wallington, yet marked by his own unique flair and creativity.

In January 1956, Barclay took a significant step in recognizing Gustin’s talent by recording him for a debut 10-inch album. Leading a trio with guitarist Sacha Distel and bassist Gilbert Gassin, Gustin’s compositions and performances highlighted his innate abilities as both a pianist and a composer.

As Gustin shifted towards popular music and embraced theworld of show business, his jazz legacy began to fade into the background. Despite his undeniable talent, he didn’t attain the same level of recognition in jazz circles as some of his peers. Nevertheless, Gérard Gustin stayed committed to his musical craft until his passing in 1994, leaving behind a rich and varied musical legacy that resonated across multiple generations. *Jordi Pujol*

Gérard Gustin Trio

And 

The Chet Baker Quartet with Gérard Gustin

Gérard Gustin isn't very well known by American jazz fans. The French jazz pianist is best known for accompanying Chet Baker on the second Chet Baker Quartet album for the French Barclay album while Baker was in Paris in October of 1955. Now Fresh Sound records has combined that album with Trio Gérard Gustin for Barclay in 1956, on a remastered release.

Gustin wasn't as well known as many other French 1950s jazz pianists such as Martial Solal, René Urtreger, Antoine Hervé, Eddy Louiss and Henri Renaud, but that was largely due to his brief jazz career.

A student at the Nice Conservatory after World War II, Gustin fell in love with jazz after hearing records by Charlie Parker, Dizzy Gillespie and Bud Powell. By 1949 and '50, he was gigging on the French Riviera. He went into the French Army in the early 1950s.

Stationed in Marseilles for 18 months, he performed in clubs nightly and became friendly with many French jazz musicians in the city. Throughout the early 1950s Gustin went where there was work in France. In March 1955, he settled in Paris, where he worked and met Chet Baker, who asked him to record with him on his second 12-inch Barclay LP.

The following year, Eddy Barclay decided to record Gustin with his trio on a 10-inch LP. The group featured Sacha Distel on guitar and Gilbert Gassin on bass. Nearly two years passed before the album was released, in the fall of 1957. By then, jazz was no longer a career path for Gustin. Instead, he leaned into French pop by playing piano for three years in Aimé Barelli's orchestra, which accompanied many marquee U.S. pop singers on tour in Paris.

From 1963 to 1971, Gustin collaborated with Sacha Distel, who by then had put down his guitar for a successful singing and hosting career. Gustin accompanied Distel on tours and was the musical director of Distel's weekly television program, Le Sacha Show. He also composed upward of 450 French songs.

Gustin had an interesting way of opening many songs on his trio album with a classical baroque approach before springing into swing. He also had a nice touch with Baker.

Gérard Gustin died in May 1994. *Marc Myers*

1 - Y'a Qu'ça De Vraie

(Gerard Gustin)

2 - Autumn In New York

(Vernon Duke)

3 - Equation

(Gérard Gustin)

4 - Lover Man

(Davis, Ramirez, Sherman)

5 - For You, For Me, For Evermore

(George Gershwin)

6 - There's A Small Hotel

(Rodgers, Hart)

7 - "Greek" Gone Crazy

(Gérard Gustin)

8 - These Foolish Things

(Strachey, Link, Marvell)

9 - Lookin' For A Boy

(George Gershwin)

10 - I'll Remember April

(Raye, de Paul, Johnston)

11 - Romano's Dilemma

(Gérard Gustin)

12 - Summertime

(Gershwin, Heyward)

13 - Autumn Nocturne

(Joseph Myrow)

14 - You Go To My Head

(Coots, Gillespie)

15 - Somebody Loves Me

(George Gershwin)

16 - Tenderly

(Gross, Lawrence)

Trio Gérard Gustin

#1, #3, #5, #7, #9, #11, #13, # 15, from the album Trio Gérard Gustin (Barclay 84.041)

Gérard Gustin (piano), Sacha Distel (guitar), Gilbert Gassin (bass).

Recorded at Pathé-Magellan Studio, Paris, January 1956.

Gérard Gustin with The Chet Baker Quartet

 #2, #4, #6, #8, #10, #12, #14, #16, from the album Chet Baker Quartet (Barclay 84.017)

Chet Baker (trumpet), Gérard Gustin (piano),

Jimmy Bond (bass), Nils-Bertil "Bert" Dahlander (drums).

Recorded at Pathé-Magellan Studio, Paris, October 24, 1955.

Buddy Collette And Teddy Edwards - The Crown Sessions

Buddy Collette (1921-2010) and Teddy Edwards (1924-2003) were two prominent, individual jazz musicians whose beginnings were firmly rooted in the Los Angeles Central Avenue jazz and rhythm and blues scene of the 1940s.

Buddy, born in Los Angeles, gained recognition in 1946 as an alto saxophone and clarinet player, performing alongside musicians like Lucky Thompson and Charlie Mingus. In 1950, he became the first Black musician to work in Los Angeles film and TV studios, further establishing his reputation in jazz through his versatility as a woodwind player. His collaborations with the Chico Hamilton Quintet and his own albums as a leader showcased his talents as a composer and thoughtful jazz musician.

Teddy, a native of Jackson, Mississippi, was credited with recording the first bop solo on tenor saxophone in 1946 on "Up in Dodo's Room" with Howard McGhee's sextet. He was an early associate of jazz greats like Dexter Gordon, Sonny Criss, Art Pepper, Max Roach, and Clifford Brown. Known for his charging, up-tempo, bluesy style, Edwards was equally adept at producing a sweet, burnished tone from the tenor sax, making him a significant influence on other tenor saxophonists like Harold Land and Sonny Rollins.

Throughout their extensive careers, both musicians remained deeply connected to Los Angeles as their home base and source of inspiration.

In the tracks included on this CD, recorded between 1959 and 1960, we hear Buddy Collette and Teddy Edwards in two rare quartet sessions, navigating through a set of blues and originals. The uniqueness of these recordings lies in the fact that they were originally scattered across several Crown label albums, without any personnel or composer information, often indiscriminately attributed to different jazz artists, with the musicians not always properly credited. Here, for the first time, they are grouped together in a single collection. *Jordi Pujol*

1 - What's Up?

2 - Hideaway

3 - Reunion

4 - Joggin'

5 - Evergreen

6 - Bye Bye

7 - The Groove

8 - Lucky Me

9 - Miss Beat

10 - I'll Get Away

11 - The Grind, Part 1

12 - The Grind, Part 2

13 - Across Town

#1 to #8:

Buddy Collette (tenor sax), Gerald Wiggins (piano),

Joe Comfort (bass), Bill Douglass (drums).

#1, #2, #3: from Way Out Wardell (Crown CLP-5278)

#4 : from Gerry Mulligan/Chet Baker/Chico Hamilton/Buddy Collette/Gerald Wiggins (Crown CLP-5289)

#5, #6, #7, #8: from Groovin’ High (Crown CLP-5284)

#9 to 13:

Teddy Edwards (tenor sax), Joe Castro (piano), Leroy Vinnegar (bass), Billy Higgins (drums).

#9, #10 from: Sonny Criss/Gerald Wiggins/Erroll Garner/Stan Getz (Crown CLP-5292) 

#11, #12, #13: from Erroll Garner/Wardell Gray/ Barney Kessel/Gerald Wiggins Crown (CLP-5293)

Recorded at Modern Records Studio, Hollywood, between 1959 and 1960.

Rare And Obscure Argo Recordings (X)

Dodo Marmarosa

Dodo's Back! 

Michael "Dodo" Marmarosa, born Pittsburgh, December 12, 1925, died September 17, 2002, jazz piano player, a link between swing and bebop, recorded with (among others) Lester Young, Charlie Parker, Lucky Thompson, Barney Kessel, Charlie Barnet and Slim Gaillard; retired from music, early sixties; died 76.

That's what you surely will read in many books about him.

Of course, Dodo disappeared from music when he was only 36; but he'll forever remain as one essential link between the swing era and bebop. Maybe he was one of the founders of bebop. Just a great musician.

Coming from an Italian family, he started his professionnal career while he was in his teens; please, note the fact that he came from Pittsburgh, a town who gave jazz some of its greatest piano players: Erroll Garner, Earl Hines. But Dodo's main influence certainly was Teddy Wilson. It's obvious in his playing, even if there are some Garner's phrases, too. Dodo can be compared to musicians like Hank Jones, or even Tommy Flanagan, or Clyde Hart; they allways were just between swing and bop, just between Wilson, or Tatum, or Chittison, and Bud. 

This session is one of the last (and maybe the last one) Dodo ever recorded. This happened May 9 and 10,1961; the trio includes Richard Evans, bass, and Marshall Thompson, drums. And Dodo plays great, of course; some standards that were often played by bop musicians. Just one of the major jazz piano players. *Jean-Marie Juif (amazon.com)*

Dodo very obviously found himself back in the days of superior musicianship, and I hasten to add,a superior instrument upon which to work his magic. The music herein, standards and some originals, displays clearly the broadening.Dodo's playing has undergone since his early days. The chords are "fatter", the nuances grater, the feeling deeper, mellower! Here is a mature pianist! He is not an experimentor or really an innovator, although perhaps he once was. He is not an "I leave you far behind I'm hio" modernist. Nor is he a "Let's stick our snouts in the mud and dig the gospel" funky soul proponent. Hi is a solid musician with impeccable taste, flowing, easily imperterabably, with swing uppermost in his mind. This album undoubtedly will help re-establish Dodo Marmarosa as the great pianist he is. There are many to whom his name means nothing. There are more who remember. *Joe Segal (liner notes)*

A wonderful later album from pianist Dodo Marmarosa — quite possibly his greatest record ever! The set's an obscure "comeback" date recorded in Chicago for Chess in the early 60s — a trio session with Richard Evans on bass and Marshall Thompson on drums — both working very gently behind Marmarosa's lead. Dodo sounds wonderful here — slightly broken down and world-weary, but in a way that makes for quite a change both from his earlier recordings, and from the standard piano session of the time. There's nothing too polished here, and there's always a strong sense of "voice" on the tracks — a quality that speaks volumes with a short amount of effort — and which has really made this one a favorite of ours over the years! Titles include "Tracy's Blues", "Mellow Mood", "On Green Dolphin Street", and "Cottage For Sale".  *Dusty Groove, Inc.*

1 - Mellow Mood

(Dodo Marmarosa)

2 - Cottage For Sale

(Larry Conley, Willard Robison)

3 - April Played The Fiddle

(Johnny Burke, James V. Monaco)

4 - Everything Happeds To Me

(Tom Adair, Matt Dennis)

5 - On Green Dolphin Street

(Bronisław Kaper, Ned Washington)

6 - Why Do I Love You?

(Oscar Hammerstein II, Jerome Kern)

7 - I Thought About You

(Jimmy Van Heusen, Johnny Mercer)

8 - Me And My Shadow

(Dave Dreyer, Al Jolson, Billy Rose)

9 - Tracy's Blues

(Dodo Marmarosa)

10 - You Call It Madness

(Russ Columbo, Con Conrad, Alain DuBois, Paul Gregory)

Michael "Dodo" Marmarosa (piano), Richard Evans (bass), Marshall Thompson (drums).

Recorded at Ter Mar Recording Studios, Chicago, Illinois, May 9 and 10, 1961.

Rare And Obscure Argo Recordings (IX)

Gene Shaw Quintet

Break Through

Originally released in 1964, Break Through is a superb, if obscure, hard bop solo debut by trumpeter Gene Shaw. Born in Detroit, Shaw is best known as a member of bassist Charles Mingus' ensemble in the late '50s. Recorded in Chicago, Break Through finds Shaw joined by tenor saxophonist Sherman Morrison, pianist James Taylor, bassist Sidney Robinson, and drummer Bernard Martin. Having studied at the Detroit Institute of Music, Shaw was obviously well schooled in the American popular songbook as well as post-bop theory, and such tunes as the Latin-tinged original "Marj", the sweetly laid-back midtempo take on Leonard Bernstein's "Tonight", and the burning and bluesy original concept piece "The Thing" reveal a knack for thoughtful melodic conception and harmonic development. Fittingly, trumpet player Shaw's sound falls somewhere between the soul-inflected approach of Lee Morgan and the more lyrical, minimal style of Kenny Dorham — the latter especially in his penchant for softly fluid lines whose prettiness belies a deft boppish complexity. All of which is to say that, while this stuff swings and grooves, Break Through is more of a searching, urbane, and reflective album than some of the more dance and groove-oriented sides many of Shaw's contemporaries were releasing at the time. *Matt Collar*

Rare genius from trumpeter Gene Shaw a player who worked famously with Charles Mingus (under the name Clarence Shaw) on the albums Tijuana Moods and East Coasting then disappeared from the scene after having a famous fight with his leader. After a few years of silence, Shaw resurfaced in Chicago with this brilliant debut as a leader for Argo Records — a wonderful album that s filled with as much soul and emotion as his sessions with Mingus. The group has a slightly modern take on hardbop often straight and hard-swinging, but with plenty of room for the players to really stretch out with a great deal of expression. Shaw's trumpet tone is amazing right up there with Lee Morgan or Kenny Dorham at their Blue Note best and the rest of the group is wonderful too — especially tenorist Sherman Morrison, whose work here is a real discovery. Chicago dates like this never got their due back in the day and this CD reissue finally brings Shaw s post-Mingus work into focus! *amazon.com*

An amazing record — bold, proud, and soulful — a set that we'd easily rank with any classic early 60s session on Blue Note — and for good reason too! This rare date is the debut as a leader for trumpeter Gene Shaw — also known as Clarence Shaw in an earlier history of work with Charles Mingus — and it's an incredible blend of hardbop grooving with sharper-edged modern jazz ideals — an incredible blend that comes off beautifully on every track in the set! Shaw's probably best known for his late 50s work on the Charles Mingus albums Tijuana Moods, East Coasting, and Modern Jazz Symposium Of Music & Poetry — but after a famous fight with Mingus, Clarence "hid out" in Chicago and worked under the name of Gene — but soon made big waves on his own with tremendous work like this. In the liner notes to the 1963 release of Tijuana Moods, in which Mingus says that he loved Shaw, but can't get in touch with him anymore! Every aspect of the record is superb — from the writing, to the rhythm section, to the incredibly well blown solos from trumpeter Shaw and tenorist Sherman Morrison — who himself is another vastly-overlooked talent in jazz. The rest of the group features James Taylor on piano, Sidney Robinson on bass, and Bernard Martin on drums — a totally crackling rhythm section who give most tunes a snapping sort of groove! Most tracks are originals, and titles include "Autum Walk", "Six Bits", "The Thing", "It's A Long Way", "AD's Blues", "Marj", and "Our Tune". *Dusty Groove, Inc.*

1 - Autumn Walk

(James Taylor)

2 - AD's Blues

(C. E. Shaw)

3 - Marj

(C. E. Shaw)

4 - Six Bits

(Carl Davis)

5 - The Thing

(C. E. Shaw)

6 - Tonight

(Leonard Bernstein)

7 - Our Tune

(Jack DeJohnette)

8 - It's A Long Way

(Carl Davis)

Clarence Eugene Shaw (trumpet), Sherman Morrison (tenor sax),

James Taylor (piano), Sidney Robinson (bass), Bernard Martin (drums).

Recorded at Ter Mar Recording Studio, Chicago, Illinois, October 11, 1962.

Rare And Obscure Argo Recordings (VIII)

Art Farmer

Art

For all the insistent cannonade of "new names" in jazz, relatively few players actually do become thoroughly and firmly established so that their reputations are secure throughout all the dust storms of changing jazz fashions.

Art Farmr, or example, has arrived. He is no longer a "promising" player. Over the past few years, he has demostrated a maturity of personal style and a consistency that make him unmistakably one of the major trumpet players.

Because of his total lack of complacency and his pride as a prefessional, Art will certainly continue to grow, but he has already accomplished the most difficult task for any jazzman — the attainment of a wholly individual voice.

This album, moreover, is the fullest and most complete evocation yet of Art Farmer as a soloist.

Art had been thinking about and planning for this set for a year before he went into the studio. "I wanted", he explains, "to do a very intimate session. I wanted it do sound as if I were just sitting and talking to someone with the horn, talking to just one person. The feeling was to be as if the horn were in the room, right next to the listener".

Over a long period of time Art picked tunes he liked, including several that are rarely if ever performed in jazz context. "I wanted it to be free though", he adds, "without tight, set arrangements. It was when we got into the studio that we worked out the form for each tune".

It's customary in a liner note to emphasize that the leader of the given album exploded in euphoria at how well the date came out. At it happens, Farmer is indeed very pleased by the session, but in his case approval is a rare phenomenon. Art is incorrigibly self-critical.

In the past, I've been associated with him in the production of albums and in writing the liners for some of his sets. Invariabily, he has pointed to places that could have been improved, tunes that should have been redone, and other imperfections in performances that many other trumpet players would have prized. This time, however, he feels he accomplished what he set out to do.

*Nat Hentoff (liner notes)*

During a career that spanned close to a half century, Art Farmer was well-known for his consistency as a soloist and a bandleader. This series of studio sessions from 1960, with pianist Tommy Flanagan, bassist Tommy Williams, and drummer Albert Heathe, find the trumpeter in great form, with the usually impeccable accompaniment one expects from Flanagan. Many of the rich ballads featured, including "So Beats My Heart for You", "Goodbye Old Girl", and "Younger Than Springtime", have fallen out of favor in the early 21st century, but Farmer's impeccable performances of these chestnuts sound timeless. A slightly jaunty take of Benny Golson's "Out of the Past" and a spirited rendition of "The Best Thing for You Is Me" also merit attention. *Ken Dryden*

A beautiful album of understated brilliance — one of Art Farmer's early shifts into the sublime, and an easily-blown batch of trumpet tracks that always takes our breath away! There's a sense of relaxed freedom here that's really tremendous — a difference from some of Farmer's more arranged, or more hard-blown moments of the 50s — and a real move into notes that are airier and more open — almost effortless at times, and played like nobody else! The group's a quartet — with Tommy Flanagan on piano, Tommy Williams on bass, and Albert Heath on drums — and the tracks are all in the four to five minute range, with Art crafting lyrically soulful lines over the top. Titles include "Who Cares", "Out Of The Past", "Younger Than Springtime", "That Ole Devil Called Love", and "Goodbye Old Girl".  *Dusty Groove, Inc.*

1 - So Beats My Heart For You

(Ballard, Henderson, Waring)

2 - Goodbye, Old Girl

(Adler, Ross)

3 - Who Cares

(George and Ira Gershwin)

4 - Out Of The Past

(Benny Golson)

5 - Younger Than Springtime

(Rodgers, Hammerstein II)

6 - The Best Thing For You Is Me

(Irving Berlin)

7 - I'm A Fool To Want You

(Herron, Sinatra, Wolf)

8 - That Old Devil Called Love

(Roberts, Fisher)

Art Farmer (trumpet), Tommy Flanagan (piano), Tommy Williams (bass), Albert Heath (drums).

Recorded at Nola Penthouse Studios, New York City, September 21, 22 and 23, 1960.