Liberty Records • Jazz in Hollywood Series (0)

 

A dozen single albums plus a first compendium as a presentation will star in the next OUTLET JAZZ series.

This time, the collection was the result of the association of two famous record labels from the 1950s: Liberty, again, and Nocturne Records.

Liberty Records was a record label founded in the United States by chairman Simon Waronker in 1955 with Alvin Bennett as president and Theodore Keep as chief engineer, while Nocturne Records, a label based in Hollywood concentrated on West Coast jazz, was a jazz record company and label founded in 1954 by drummer Roy Harte and bassist Harry Babasin.

Even before the first Liberty album came out, Simon Waronker was working to obtain sources for new records and this effort was finally realized in late May 1955. 

The news was reported in a small article in Billboard magazine in the June 4, 1955 issue under the title "Liberty Merger With Nocturne":

Indies Liberty and Nocturne Records this week completed a merger whereby the latter firm's catalog will henceforth be issued under the Liberty label.

Liberty, headed by 20th-Fox music director Si Waronker, Will release the Nocturne output under its "Jazz in Hollywood" series. Harry Babasin, former president of the jazz line, Will continue to supervise the repertoire function of the line.

Liberty created the prefix "LJH" for that purpose and the thirteen-disc collection was called the Liberty 6000 series. We will meet them in the next 13 posts...

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Liberty Records • Lighthouse Series (III)

Max Roach And Stan Levey

Drummin' The Blues

Lighthouse Series • Volume 3

The art of jazz drumming has come a long way since the day of the bass drum player in the marching bands of ole New Orleans. Today we have come to expect a drummer to be an excellent technician, a well rounded percussionist, capable of improvising as well as any solo instrumentalist in any musical aggregation. It would take a very thick book to discuss the requirements of being a jazz drummer, and even then, it would be necessary to interpret the printed word through skins, sticks, cymbals and mechanical contrivancesin order to express yourself and your feeling for the music.

No doubt about it, drums and drummers are popular subjects; whether you're an avid jazz enthusiast or bandleader, it is always interesting to hear and compare notes on the way different drummers play.

Among my personal favorites are two very good friends — two wonderful guys, each representing the moder idiom in the best possible manner: Max Roach and Stan Levey.

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When they expressed the desire to do this album, it was may great pleasure (and Liberty's) to be able to record it. However this is where the parallel ends, because, although they are the best of friends, great believers in the other's playing, they both display what every good jazz musician strives for — his own distinct musical personality. Care to compare? *Howard Rumsey (liner notes)*

Stan and Max are about as unlikely a pair as you could imagine — both jazz drummers, but one with a cooler, more laidback sound (Levy), the other with a harder, more full-on and bop driven approach (Roach). This set features each drummer alternating track to track — supporting a core group with Bill Perkins on tenor, Conte Candoli on trumpet, and Frank Rosolino on trombone. Given that such a setting is more Levy's territory than Roach's, he actually fits in a bit more with the sound — but even on the Roach tracks, the west coast jazz vibe pervades — so don't expect a super-huge change in the style. Titles include "Breadline Blues", "Facts About Max", "Royal Garden Blues", "The Count's Blues", and "Blues In The Night". *Dusty Groove, Inc.*

1 - Facts About Max

(Marty Paich)

2 - Milano Blues

(Bob Cooper)

3 - Swingin' The Blues

(Count Basie, Eddie Durham)

4 - Breadline Blues

(Dick Shreve)

5 - Bye Bye Blues

(Lown, Gray, Bennett, Hamm)

6 - Blues In The Night

(H. Arlen, J. Mercer)

7 - Royal Garden Blues

(C. Williams, S.Williams)

8 - The "Count's" Blues

(Conte Candoli)

Conte Candoli (trumpet), Bill Perkins (tenor sax [#1, #3, #6, #8]), 

Bob Cooper (tenor sax [#2, #4, #5, #7]), Frank Rosolino (trombone),

Dick Shreve (piano), Howard Rumsey (bass),

Max Roach (drums [#1, #3, #6, #8]), Stan Levey (drums [#2, #4, #5, #7]).

#1, #3, #6, #8:

Recorded in Los Angeles, California, March, 1957

#2, #4, #5, #7:

Recorded at "The Lighthouse", Hermosa Beach, California, March 1957

Liberty Records • Lighthouse Series (II)

Bill Perkins And Richie Kamuca

Tenors Head-On

Lighthouse Series • Volume 2

To anyone familiar with the jazz scene, the names BILL PERKINS and RICHIE KAMUCA mean fresh tenor excitement at its grooviest and innovating best. This album more than successfully combines these two major talents in a free-swinging, right-from-the-head session. And I am sure that you will find the spontaneous, contrapuntal interplay of the horn players, as well as the material utilized, most interesting.

Please keep in mind that no written arrangements were used... which as you know, makes for wonderful, easy-to-listen-to jazz brimming with spirit, emotion and spontaneity. 

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This album was not merely happenstance. It was a long time in the making. It actually started back in '54 when Richie and Perk were blowing for Woody. They spent a lot of time practicing together, exchanging ideas and discussing tenor men... mostly "Pres". That groundwork really became apparent that first Sunday evening I heard them blending their crazy sounds at the Lighthouse. Right then it was decided to blend them with a rhythm section, and this album is the culmination of that idea.

It was a genuine thrill to be in on this one, and considering the fact the entire opus was recorded in one session and a half hour overtime is in itself conclusive that it was a wonderfully cohesive experience for all concerned... Drop the diamond, relax, and join the group.

*Howard Rumsey (liner notes)*

A killer date from two of the hippest tenors of the west coast scene in the 50s — Bill Perkins and Richie Kamuca — both musicians who worked in the cool school, but could also come across with plenty of soul! The album's got both tenors working head on — hitting counterpoint modes at times, but also opening up more freely at others — showing the balance between composition, arrangement, and improvisation that made the scene so great at the time — yet executed with a bit more depth of feeling, as we'd expect from Perkins and Kaumca. Rhythm is from the trio of Pete Jolly on piano, Red Mitchell on bass, and Stan Levey on drums — and titles include "Spain", "Pick A Dilly", "Oh! Look At Me Now", "Don't Be That Way", and "Blues For Two".

*Dusty Groove, Inc.*

Side 1

1 - Cotton Tail

(Harry Brewer)

2 - I Want A Little Girl

(W. S. Stevenson)

3 - Blues For Two

(K. Mitchell)

4 - Indian Summer

(B. Gregory)

Side 2

5 - Don't Be That Way

(Goodman, Sampson, Parrish)

6 - Oh! Look At Me Now

(J. Bushkin, J. DeVries)

7 - Spain

(Jones, Kahn)

8 - Pick A Dilly

(Al Cohn)

Bill Perkins, Richie Kamuca (tenor saxes); Pete Jolly (piano);

Red Mitchell (bass); Stan Levey (drums).

Recorded in Los Angeles, California, July, 1956

Liberty Records • Lighthouse Series (I)

Howard Rumsey's Lighthouse All Stars

Host Charlie Persip And His Jazz Statesmen

Double Or Nothin'

Lighthouse Series • Volume 1

One of the few albums ever cut as a leader by crack drummer Charlie Persip — and a great record that you might have missed because Howard Rumsey's name is bigger on the cover than Charlie's! The album's one of Rumsey's "Lighthouse Series" sides of the 50s — but it's a lot harder-driving and more energy-filled than most of the other Lighthouse-related sides coming out of LA at the time. Half the record features Charlie's group — a set of east coasters that includes Lee Morgan, Benny Golson, and Wynton Kelly — and the other part features some of the players from that ensemble mixing it up with drummer Stan Levey and other LA talents that include Frank Rosolino, Conte Candoli, Bob Cooper, and others. In all, the album's a great meeting of east and west coast hardbop styles — with short driving tracks that include "Reggie Of Chester", "Celedia", "Moto", "The Champ", and "Wildwood". *Dusty Groove, Inc.*

Double or Nothin' promises a creative East Coast-meets-West Coast musical confrontation, but never delivers. Ace trumpet men Conte Candoli, based in California, and Philly-born Lee Morgan, then making his first impression on the jazz world, headline this 1957 session that grew out of a Charlie Persip gig at the legendary Pacific Coast club the Lighthouse. These two all-star groups belie the assumptions made at the time about the differences between the East and West Coast sounds (with underlining racial assumptions). Both trumpet players draw heavily on Dizzy Gillespie for inspiration, and both saxophonists (Benny Golson and Bob Cooper) are more indebted to swing master Lester Young than to any bebop saxophonist. Indeed, the contrast between the two is one of the pleasures of the session. Golson's lines are blurry and oblique, while Cooper's are finely etched and to-the-point. Both are also more noted for their writing skills, which are also on display here. Though the listener may expect such a jam session would feature usual blowing vehicles, here the music is largely original or of more recent vintage (though two [Golson's "Stablemates" and Horace Silver's "Quicksilver"] were destined to become standards). While the repertoire is refreshing, it leads to tentative performances on the tracks in which the two groups interact. The solos have awkward pauses between phrases, and loquacious soloists such as Morgan and trombonist Frank Rosolino rely on pet turns of phrase. The strongest playing comes on the tracks when the Morgan group and the Lighthouse All-Stars play as separate units. *David Dupont*

1 - Reggie Of Chester

(Benny Golson)

2 - Stablemates

(Benny Golson)

3 - Celedia

(Benny Golson)

4 - Moto

(Bop Cooper)

5 - The Champ

(Dizzy Gillespie)

6 - Blues After Dark

(Benny Golson)

7 - Wildwood

(Gigi Gryce)

8 - Quicksilver

(Horace Silver) 

#1: 

Lee Morgan (trumpet), Benny Golson (tenor sax),

Wynton Kelly (piano), Wilfred Middlebrooks (bass), Charles Persip (drums).

#2:

Lee Morgan (trumpet), Frank Rosolino (trombone), Benny Golson (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

#3:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Wynton Kelly (piano), Wilfred Middlebrooks (bass), Charles Persip (drums).

#4:

Lee Morgan, Conte Candoli (trumpets); Frank Rosolino (trombone);

Benny Golson, Bob Cooper (tenor saxes); Dick Shreve (piano),

Red Mitchell (bass), Stan Levey (drums).

#5:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

#6:

Lee Morgan (trumpet), Benny Golson (tenor sax),

Wynton Kelly (piano), Red Mitchell (bass), Charles Persip (drums).

#7:

Lee Morgan, Conte Candoli (trumpets); Frank Rosolino (trombone);

Benny Golson, Bob Cooper (tenor saxe); Wynton Kelly (piano);

Wilfred Middlebrooks (bass); Charles Persip (drums).

#8:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

Recorded at Liberty Studios, in Hollywood, California,

February 14 (#2, #4) and 27 (#1, #3, #5 to #8), 1957

Liberty Records • Lighthouse Series (0)

Liberty Records was founded in 1955 in Hollywood by Simon Waronker. He liked lush orchestral music and the label´s catalog was in the beginning filled with movie music, big bands. In 1957, Liberty acquired Pacific Jazz Records, and in mid 1960s they also acquired Blue Note Records. A few years later Liberty was sold to the owner of United Artists Records, who in 1971 dropped the Liberty name. But in 1980, a new owner, EMI, dropped United Artists name and revived the Liberty name.

More information about its history and associations with other record labels can be found on sites like bsnpubs.com or friktech.com.

But there is one very particular partnership about which there is Little — if any — information. It is documented only in the press release published by Billboard on April 13, 1957, which announced:

"In a move to solidify its position in the jazz market, Liberty Records has signed Howard Rumsey to a long-term pact in a dual capacity. Rumsey, credited with being one of the pioneer's of the West Coast jazz movement, will henceforth handle all artist and repertoire chores on all of the company's future jazz efforts, and in adition will record with the Lighthouse All-Stars.

According to Vice President Jack Ames, Rumsey will be given free rein with the Lighthouse series of albums to create and develop new ideas and talent for the firm". 

Bassist Howard Rumsey initiated a jazz program at the Lighthouse Cafe in Hermosa Beach, California, in 1949. His Lighthouse All-Stars performed every night, typically hosting a 12-hour jam session on Sundays. Although Rumsey eventually created his own record label, Lighthouse Records, the primary recording outlet for the Lighthouse All-Stars was Lester Koenig's record company, Contemporary Records.

Hence, the aforementioned partnership between Rumsey and Liberty Records is interesting, given that the "project" only had three volumes released.

It is this rare and obscure trilogy that will motivate the next three OUTLET JAZZ posts.

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Charlie Mariano On Bethlehem

In the 1950s, Charlie Mariano was one of the most promising of the bop-oriented altoists. His personnel here is consistent, with Mariano joined by pianist Claude Williamson, bassist Max Bennett, drummer Stan Levey, trombonist Frank Rosolino, and the cool-toned trumpeter Stu Williamson. The repertoire mixes together fairly basic group originals and swinging standards with many fine solos by the horns. An excellent example of Charlie Mariano's playing in the '50s.

Charlie Mariano

Charlie Mariano Plays

Altoist Charlie Mariano, active since the late Forties playing around his native Boston, became much better known through his stay at Stan Kenton's orchestra (1953-1955). He managed to assert his own individual quality and his own musical importance while keeping a deep-seated devotion to Charlie Parker. On these early sides, recorded in Los Angeles, Mariano blows with a great deal of emotion, authority, bite and consistency, showing why he became one of the most demanded studio sidemen in the West Coast (1953-1957) as well as one of the most important altoists in modern jazz since Charlie Parker.

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The Hollywood studio sessions included in this CD were originally produced and released by Bethlehem Records. In the three of them, Charlie Mariano is backed by the same solidly-swinging rhythm section composed of Stan Levey on drums, Max Bennett on bass and Claude Williamson on piano, one of the more felicitous trios to come from the West Coast. The result of their effort and talent is a driving, swinging and thoughtful beat.

On these recordings Charlie Mariano reached new heights as a musician. In them, we begin hear a change in his style, a style that allowed him to assert his own individual quality and his own musical importance while keeping a deepseated devotion to Charlie Parker. Mariano blows with a great deal of emotion, authority, bite and consistency, showing why he became one of the most demanded studio sidermen in the West Coast as well as one of the most important altoists in modern jazz. *Jordi Pujol (liner notes)*

1 - 'S Nice

(Charlie Mariano)

2 - Chlo-E

(Moret, Kahn)

3 - Three Little Words

(Ruby, Kalmar)

4 - Green Walls

(Charlie Mariano)

5 - My Melancholy Baby

(Burnett, Norton)

6 - You Go To My Head

(Coots, Gillespie)

7 - Slugger

(Claude Williamson)

8 - There Will Never Be Another You

(Warren, Gordon)

9 - Sunday

(Coots, Grey)

10 - Sapphire

(Stu Williamson)

11 - Don't Get Around Much Anymore

(Ellington, Russell)

12 - Strike Up The Band

(G. and I. Gershwin)

13 - Just Max

(Max Bennett)

14 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

15 - I'll Never Smile Again

(Ruth Lowe)

16 - T.K.

(Tiny Kahn)

17 - Rubberneck

(Frank Rosolino)

18 - Jeppers Creepers

(Warren, Mercer)

#1 to #6: from the album Mariano (Bethlehem Records - BCP 1022)

Stu Williamson (trumpet), Frank Rosolino (trombone), Charlie Mariano (alto sax),

Claude Williamson (piano), Max Bennett (bass), Stan Levey (drums).

Recorded in Hollywood, December 21, 1954

#7 to #12: from the album Saphire (Bethlehem Records - BCP 1024)

Stu Williamson (trumpet), Charlie Mariano (alto sax),

Claude Williamson (piano), Max Bennett (bass), Stan Levey (drums).

Recorded in Hollywood, January 18, 1955

#13 to #18: from the album Max Bennett (Bethlehem Records - BCP 1028)

Frank Rosolino (trombone), Charlie Mariano (alto sax),

Claude Williamson (piano), Max Bennett (bass), Stan Levey (drums).

Recorded in Hollywood, January 27, 1955

Herb Geller Quintet

Herb Geller

Stax Of Sax

Herb Geller is a blowing soloist. "STAX OF SAX" is Herb Geller blowing a whole lot of variety and mood and style out of his alto. Add to that solos, tempos and treatments, plus integrated teamwork from five of the best musicians out of the West.

"STAX OF SAX" puts the full style of Herb Geller on display. Here is evidence of the atmosphere and influence, the technical mastery and the assimilation. Here are Herb's statement in rhythm, in melody, in form and in content.

The group accomplish blends and effects in solo and ensemble work that point up the links of understanding from the pulse of the bass and the drums to the improvisations of the alto and the piano and the vibes. There is a unity of expresión and musical idea.

Herb Gelles is a blowing soloist. Herb Geller blows a whole lot of alto in "STAX OF SAX", piling imagination and feeling on esciting technique. *Mort Goode (liner notes)*

This somewhat obscure recording by the bop-oriented altoist Herb Geller features him in a 1958 quintet with vibraphonist Victor Feldman, pianist Walter Norris, bassist Leroy Vinnegar and drummer Anthony Vazley. Other than a session for Atco, this was Geller's last American album until 1993; it would be 1975 before he recorded as a leader again. Geller is in fine form on three of his originals and two standards ("Change Partners" and "It Might as Well Be Spring"). Originally cut for Jubilee, this Fresh Sound CD is part of an extensive series that has brought back many forgotten dates from the 1950s. Bop collectors will enjoy this one. *Scott Yanow*

An incredible album from saxophonist Herb Geller — one that's quite different than his better-known sides for Mercury, and which features Geller blowing in an amazingly evocative tone! The first three tracks on the album are haunting originals by Herb — tunes that have a more open style than some of his more tightly arranged work, and which show the kind of fascination with sound structures that would show up much more heavily in later years. The group features Victor Feldman on vibes, Walter Norris on piano, Leroy Vinnegar on bass, and Anthony Vazley on drums — and the mix of vibes with Geller's horn is an especially nice element, one that adds to the haunting feel of the whole set. Titles include "Nightmare Alley", "A Cool Day", "The Princess", "Change Partners", and "It Might As Well Be Spring". *Dusty Groove, Inc.*

1 - Nightmare Alley

(Herb Geller)

2 - A Cool Day

(Herb Geller)

3 - The Princess

(Herb Geller)

4 - Change Partners

(Irving Berlin)

5 - It Might As Well Be Spring

(Rodgers, Hammerstein)

Herb Geller (alto sax), Victor Feldman (vibes),

Walter Norris (piano), Leroy Vinnegar (bass), Anthony Vazley (drums).

Recorded at Radio Recorders, Hollywood, California, December 12, 1957

[other source gives: Recorded in Los Angeles, 1958]

Rare And Obscure Criteria Jazz Recordings (IV)

The Modern Jazz Orchestra

featuring Kenny Drew

This is the fourth of several VSOP releases of Criteria recordings. Criteria was a small jazz label founded by Mack Emerman that showcased Miami jazz musicians of the late 1950's. All Criteria LPs are extremely rare and highly sought after. The music on this CD is primarily written, orchestrated and directed by Don Vincent. Don who studied at Carnegie Mellon and under Nikolai Lapatnikoff later went on to lead the orchestra at the Sands Hotel in Las Vegas and currently runs a recording studio in Los Angeles. The band is made up of Miami's all stars of the day. It is a fine jazz orchestra. Highly recommended. *magnebit.xeran.com*

The Modern Jazz Orchestra was a stage band that worked a little bit in Florida before breaking up. Its one recording, from 1960, comprises this reissue. Don Vincent contributed five of the eight selections and wrote all the arrangements for the 16-piece ensemble. The only well-known musician on this set is pianist Kenny Drew, although the musicianship is excellent. Despite its potentially forbidding name, the music is essentially bop to hard bop, including versions of "Blue Monk," "A Night in Tunisia," and Miles Davis' "Flamenco Sketches." It is very nice to have this obscurity (originally from the tiny Criteria label) back in print again. *Scott Yanow*

When Billy Ladley (drummer), Joe Galovan (conductor), and Don Vincent (composer and arranger) asked me to write the liner notes for this album I was very pleased to do so. 

The "hanger" came when I started delving into the story behind the album and found, among other things, that the story was actually an epic. For if it wasn't for Billy Ladley's knowledge that such a band could be in Miami or Don Vincent's creative talent giving the band material it needed, or Joe Galovan's dogged insistence upon the formation of such a band, it would have never been realized. But a band without the benefit of the wonderful facilities that Criteria Records offers would have been for naught.

It all started with Joe Galovan. It seems to me that Joe Galovan was born to be a catharsis. At Least that's his function with the MJO.

⁂

 The “Band Idea” hit him in March of 1959, while he was recovering from a year and a half on the road with his friend, Don Vincent.

⁂

Joe asked Don to write some arrangements for a band similar to the MJO. Don wrote them and together they recorded a demonstration album which Joe took to New York. New York received it with mild interest. The recording companies asked where the band was playing, and the clubs asked if the band had recorded. Joe came back to Miami in August and he and Don revamped the band through August and September. But they were met with Miami’s own special brand of apathy, and by December they were ready to throw in the towel or the baton, or just about anything. They had had it. They felt they couldn't get top notch players, and the interest Miami had exemplified was close to a minus point.

In March, Bill Ladley returned to Miami from Las Vegas, and administered a kick in the pants to the two. He showed them that since December, good musicians had been drifting into Miami, and were available for a record date. New plans were made, and in April, Don started building a straight Jazz book. In May they recorded. The men in the band were so enthused that they played their best, and subsequently, most of the cuts are first or second takes.

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As for the band, it's a great first album, and with your help, it will be followed by a second that is greater. Shall we put our collective shoulders to the wheel! *Pat O'Neil (liner notes)*

1 - Black Pits Of Luna

(Don Vincent)

2 - Flamenco Sketches  (or All Blues?)

(Miles Davis)

3 - Eulogy

(Don Vincent)

4 - Waltz For Stephen

(Don Vincent)

5 - Off The Grate

(Don Vincent)

6 - Blue Monk

(Thelonious Monk)

7 - Don's Idea

(Don Vincent)

8 - Night In Tunisia

(Dizzy Gillespie)

Gene Goe, John Georgini, Duke Schuster, Bill Robbins (trumpets); Berry Polger (alto sax, flute); 

Gus Mas, Billy Miller, Jerry Brockman , Jimmy Casals, Kirby Campbell (saxophones);

Lon Norman (trombone); Loren Reichert (french horn); Jim Lawrence (tuba);

Kenny Drew (piano); Bill Christ (bass); Bill Ladley (drums).

Recorded at Criteria Recording Co., Miami, Florida, May 1960 

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[Note: I couldn't find any reference or correction in any review that points out a curiosity: track #2 identified as "Flamenco Sketches" is, in fact, "All Blues". Both compositions are from Miles Davis' iconic Kind Of Blue which (another curiosity) on some vinyl reissues, the label switched the order for the two tracks on side two, "All Blues" and "Flamenco Sketches". *blbs*]

Rare And Obscure Criteria Jazz Recordings (III)

The Lon Norman Sextet

Gold Coast Jazz

(Volume 2)

This is the third of several VSOP releases of Criteria recordings. This 1957 recording exemplifies the high caliber of jazz that made it onto this label. In addition to Miami's finest, this recording features Johnny Williams and Vinnie Tanno.   Lon Norman had started with the U.S Army Field Band in Washington, D.C., and joined the Willis Conover-Joe Timer aggregation, "The Orchestra", for which he wrote charts and filled in on trombone.  He left D.C. in 1957 with Herbie Fields Sextet and settled in with their stady gig at the Fountainbleau Hotel. Later he worked on the Jackie Gleason show and on H.B. Barnum's T.V. show in the 1970s.

This recording is the second of two that Lon Norman led, the first one being "The Octet" Criteria 1.  At various times, Vinnie Tanno takes over this session with his extroverted style. Lon Norman, not to be outdone, provides some very fine trombone and outstanding charts, demonstrating that he is definitely deserving of significant recognition. A fine CD. *magnebit.xeran.com*

"The whole is greater than the sum of its parts". This "truism" applies not only to the world of physics but to the world of music as well. How so? Well, music has its own fascinating physical laws. For example, when more than one musical tone is sounded simultaneously, the blending of overtones of the fundamental sounds creates an extra-dimensional voice. This acoustical phenomenon may be called the blend of sound, and its nature is directly related to the volumen, pitch, and general proportion of the basic tones. Once this "new voice" is created, it takes an active part in shaping and blending the basic tones, working its complex acoustical properties on the original tones. It will enhance one tone and darken another, becoming the master painter in the musical picture. This is scientific fact.

Less scientific, perhaps, but widely-held, is the belief that just as there is a blending of musica tones, so is there a blending of personality overtones among the musicians who créate these sounds -- nad taht this blending of personalities also adds an extra-dimensional ingredient to the music.

Does this happy blend of musical personalities always accur? By no means. A recording sesión, for example, can be a tedious and exasperating experience. Jazz music, after all, is largely a matter of individual interpretation, for even the written note serves only as a general guide to the way the music is to be played. Thus, two men could hold widely divergent opinions on the way a passage should be phrased, and neither one could be accused of being wrong. What happens, then, when musicians of equal skill and reputation disagree violently on the interpretation of an arrangement? Such a dilemma frequently calls for hours of pleanding, cajoling, arbitration and compromiso before a solution is reached that satisfies all "egos" involved. It is probably unnecessary to point out thet a recording waxed under such strained circumstances usually emerges cold, stilted and sterile.

No such catastrophe marred the creation of this album. As a matter of fact, the psychological compass was pointed in exactly the opposite direction. The minds of the individual musicians were in such a state of complete harmony that the harmónica blend of the music itself reflects the presence of this happy extradimension, for the Sextet swings along through Lon Norman's intrincate arrangements as though all the sidemen had been fused into a single vibrant personality. The resulting musical porridge that is served up, hot, contains a savory blend of elements that will please the particular palate of the jazz gourmet. *Val Machen (liner notes)*

1 - Fu-Dunk

(Lon Norman)

2 - Evelina

(Harold Arlen)

3 - I Remember You

(Schertzinger, Marcus)

4 - Lons-On-Ya

(Lon Norman)

5 - How Deep Is The Ocean

(Irving Berlin)

6 - Star Eyes

(De Paul, Raye)

7 - Everything Happens To Me

(Adair, Dennis)

8 - Pu-Dah

(Lon Norman)

Lon Norman (trombone), Vinnie Tanno (trumpet), Gus Moss (tenor sax),

John Williams (piano),  Al Simi (bass), Bill Ladley (drums).

Recorded at Criteria-Reela Studios, Miami, Florida, August 1957

Rare And Obscure Criteria Jazz Recordings (II)

The Herbie Brock Trio

"Herbie's Room"

This is the second of several VSOP releases of Criteria recordings. All Criteria LPs are extremely rare and highly sought after. This recording by Herbie Brock's trio reveals that some great jazz was being played in and around Miami during the late 1950's. Herbie Brock is a blind piano virtuoso steeped in the tradition of Art Tatum and Teddy Wilson, but also influenced by Horace Silver and others, who melds a strong classical background with exciting and instinctively astute improvisational ideas. He recorded three albums during the late 1950's. Two very seasoned Miami pros, Bill Ladley and Bruce Caperton, help showcase Herbie's prodigious talent. While Herbie Brock has fallen into obscurity in recent years, this unfortunate situation should be remedied by the release of this very worthwhile CD. A great piano trio recording, showcasing a major underapreciated talent. Highly recommended. *magnebit.xeran.com*

The music that you first hear on this record is not produced by Herbie Brock, but is the final record of an intermission-Juke Box. Next, you will perceive a moment of musi 

cal silence penetrated by the faint sound of clinking glasses and the restrained laughter of happy people. These happy people are in "Herbie's Room", and as you listen further, the reason for their happiness becomes apparent. For it is here that the great "Herbie Brock Trio" holds forth until the infant hours of the morning. Unhappily, you are not there now, but if you will unloosen for a moment the shackles of your mind, perhaps the image of.

"Herbie's Room" can drift into the field of your imagination. You hear next the swish of a brush on the snare drum, it is Bill Ladley, and the trio is on the stand, then a soft cascading run of piano notes--this would be Herbie, as his fingers, following the dictates of his subconscious mind, ramble over the keys in an apparently aimless exploration. 

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The room quiets as Herbie probes the piano keyboard for the tune that will suit his mood of the moment. His chord changes and modulation continues briefly and then suddenly, without warning, they are into the tune. Drums and bass have caught the split second, unspoken cue on the first chord and the trio is off and swinging. You are a part of it now, the lifting jazz, the happy chatter of the crowd, the aura of subdued excitement generated by the entire setting-you are in "Herble's Room" (and if your imagination serves you well, this record will transport you there any time you desire). 

CRITERIA has always felt strongly that a taping of jazz "on the spot" captures an element of spontaneity and freshness that is frequently lacking in studio recordings. The 

audience was deliberately kept unaware of the recording process, because we wanted in a sense to "bottle up" for you the total live atmosphere of Herbie's Room — as is. *Val Machen (liner notes)*

1 - Jim And Andy

(Lou Stein)

2 - Tenderly

(Walter Gross)

3 - Polka Dots And Moonbeams

(J. Burke, J. Van Heusen)

4 - My Funny Valentine

(Rodgers, Hart)

5 - Doxy

(Sonny Rollins)

6 - Laura

(David Raskin)

7 - Johnny Jaguaar

(Lennie Niehaus)

8 - A Foggy Day

(George and Ira Gershwin)

Herbie Brock (piano), Brooks Caperton (bass), Bill Ladley (drums).

Recorded live at Herbie's Room, Miami, Florida, August 1957

Rare And Obscure Criteria Jazz Recordings (I)

 

Recording engineer and producer Mack Emerman formed Criteria Records in Miami, Florida, in 1957.  He had just moved to Miami, himself and having been a jazz trumpeter he wanted to work with jazz musicians.  He was impressed with the work of Rudy Van Gelder and sought to achieve a similar sound.  He formed Criteria Studios the following year.   Criteria Records released five titles by 1960, when the label folded.  However, Criteria Studios went on to become the most successful studio in Miami, recording over 250 gold or platinum hit records by such aritsts as  Eric Clapton, The Eagles, Aerosmith, AC/DC, The Bee Gees, Crosby Stills and Nash, Fleetwood Mac, Chicago and many many more.  Today it is The Hit Factory at 1755 NE 149th Street.

V.S.O.P. Records has released the only four jazz recordings that came out on Criteria Records and OUTLET JAZZ will present them in the next four posts...

The Lon Norman Octet

"The Octet"

Gold Coast Jazz

(Volume 1)

This is the first recording released on Criteria and the fourth of several VSOP releases of Criteria recordings. Criteria was a small jazz label by Mack Emerman that showcased Miami jazz musicians of the late 1950's. Hundreds of gold, platinum, and diamond singles and albums have been recorded, mixed or mastered at Criteria, for many notable artists and producers.

All Criteria LPs are extremely rare and highly sought after. This 1957 recording exemplifies the high caliber of jazz that made it onto this label. The Octet played straight ahead West Coast style jazz in the Shorty Rogers, Marty Paich manner. The arrangements by Lon Norman are excellent. The solos by Berry Poger, Marvin Marvin, Eddie Gralka and Jerry Marshall are top notch. This is very fine music, and compares most favorably with Hollywood sessions of the day. *magnebit.xeran.com*

This was the first recording released on the Criteria label in 1957. While The Octet was modeled on the Dave Pell Octet, Lon Norman's arrangements were totally original. This stereo recording puts on display Miami's finest musicians of the time, including Bill Ladley, Jerry Marshall, Eddie Gralka, Marvin Marvin, Berry Poger, Paul Sarmento, Joe Black & Frank DeFabio. Criteria founder Mac Emerman, who produced and engineered this date, went on to become a legendary recording engineer and studio owner. This session sounds and feels like it was recorded in Hollywood. The musicians are no slouches and the charts are excellent. *ccmusic.com*

When you blend two ingredients such as Lon Norman's drive to create new dimensions in ensemble sound, and Mack Emerman's imaginative organizational skills, the result could well illustrate the heights to which modern jazz music can be carried. And this is Mack Emerman's dream: to harness the skill and talent of Miami music on Criteria records, and to weld these creative elements into a powerful musical force. Perhaps the lush fertility of tropical Florida combined with Yankee-style skill and inventiveness, can provide the seeds for a new modern sound that must be reckoned with by the jazz — the Gold Coast Sound. 

One point we should like to strongly make, if we haven't made it so far, is the fact that the Octet and this album are truly a cooperative effort. We must pay tribute to the following wonderful guys who are part of all this. They are LON NORMAN, of course, who is the cohesive force behind all of this, for it is Lon's arranging, his musical directorship, his fine trombone playing that are the true highlights of this album. *Val Machen (liner notes)*

1 - Saturday Comes 'Round

(Lon Norman)

2 - Don't Blame Me

(Jimmy Mchugh)

3 - Potsdam

(Lon Norman)

4 - Blue Moon

(Rodgers, Hart)

5 - If I Should Lose You

(Rainger, Robin)

6 - Dark Horse

(Lon Norman)

7 - Scott Free

(Lon Norman) 

Lon Norman (trombone); Jerry Marshall (trumpet); Berry Poger (alto sax, tenor sax, flute);

Eddie Gralka (baritone sax, tenor sax); Marvin Marvin (tenor sax);

Joe Black [#1, #2, #3, #6, #7], Frank DeFabio [#4, #5] (pianos);

Paul Sarmento (bass); Bill Ladley (drums).

Recorded at Criteria-Reela Studios, Miami, Florida, August 1957

Rare And Obscure Argo Recordings (XXX)

 Axel Ivar Rune Öfwerman was born on Christmas Eve in 1933 in a small village outside Stockholm called Vingaker. He started taking piano lessons at the age of six but lost interest after a couple of years. A few years later, he heard some boogie-woogie records and again became interested in the piano. During his college years in Stockholm he organized a band which soon became very popular. After his school years, Rune decided to become a professional musician.

Played with nearly all the modern jazz musicians in Scandinavia amongst them Rolf Ericson (1952), Carl-Henrik Norin (1954), Hacke Bjørksten (1956), Ove Lind (1957) and Lars Gullin. Became co-owner of the Gazell Record Company and supervised most of the sessions held for this label. 

As a pianist, he lists the late Nat "King" Cole and Clarence "Pinetop" Smith among his strongest influences.

Rune Öfwerman

Cool • Piano With Voices

Altough jazz has been appreciated and played in Europe almost as long as it has in America, it continually amazes one to discover another kindred talent from there. In the northern European or Scandinavian section, musicians of superior worth have been on the modern jazz scene almost from the very beginning. Till now, Bengt Hallberg and Rheinhold Svensson have been the outstanding Nordic pianists. With the emergence of Rune Öfwerman, the field now enlarges. 

⁂

All in all, just from listening to these few offerings by Rune Öfwerman, it seems as though American pianists now have a new talent with which to contend. So also do the pop composers, for Rune's bossa novas are very beautiful, and his "Bobsled" and "M-83" are unusual and interesting. Yes, talented and versatile Rune Öfwerman should be highly successful in the music business, for, as the title of this album indicates, he is very "COOL"! *Joe Segal (liner notes)*

A strange one for Argo, and certainly not in keeping with their usual soul jazz roster of recordings — but also a cool moody session recorded in Scandinavia, and which features the icy piano of Rune Öfwerman, backed by a chorus of voices, for a floating dreamy sound that slightly hints at the Singers Unlimited, and other European vocal groups from the 60s. Titles include "Mellow Cool", "Bossa Nova Sueca", "Ortego Bossa Nova", and "M-83".  *Dusty Groove, Inc.*

Side 1

1 - Whatcha Gonna Do

(Nat "King" Cole)

2 - Amen

(Donald Byrd)

3 - Bobsled

(Rune Öfwerman)

4 - Gospel Walk

(Rune Öfwerman)

5 - Mellow Cool

(Åke Hallgren)

6 - Helen's Theme

(George Riedel)

Side 2

7 - Bossa Nova Sueca

(Rune Öfwerman)

8 - M-83

(Rune Öfwerman)

9 - The Man From Potter's Crossing

(Jimmy Woode)

10 - Ortego Bossa Nova

(Rune Öfwerman)

11 - King's Men

(Rune Öfwerman)

#1 to #6:

Rune Öfwerman (piano), Erik Moseholm (bass), Nils-Bertil Dahlander (drums),

Allan Botschinsky (trumpet #2),  Rolf Billberg (alto sax #2),

unidentified vocal choir directed by Gunnar Lunden-Welden.

Recorded in Copenhagen, Denmark, January 17, 1961

#7, #8, #10:

Rune Öfwerman (piano), Sture Nordin (bass), Egil Johansen (drums),

Rune Gustafsson (guitar #7),  Bjarne Nerem (latin rhythm #7).

Recored in Stockholm, Sweden, November 21, 1961

#9, #11:

Rune Öfwerman (piano), Jimmy Woode (bass), Art Taylor (drums).

Recorded at Europa Film AB, Stockholm, Sweden, February 15, 1961

Rare And Obscure Argo Recordings (XXVIII & XXIX)

 Eldee Young & Co. - Just For Kicks

An early solo album cut by Eldee Young, back in the days when he was Ramsey Lewis' bassist, and before he formed the Young-Holt trio. The record's a good example of the strong humor that Eldee would later display in the Young-Holt group, and it's got a great batch of groovy tracks that have a tight soulful sound, with lots of nice tricks and surprises. The group includes Leo Wright, Mal Waldron, Redd Holt, and Richard Evans, who plays bass on some tracks while Eldee picks up the cello. The album's got a great version of Oscar Brown's "Mr. Kicks", plus the tracks "Just For Kicks", "Truly", "Big Brother", and "When Johnny Comes Marching Home", done in a very groovy way! *Dusty Groove, Inc.*

Red Holt - Look Out!! Look Out!!

Red Holt led this album for Arco in December 1961. It's essentially the Ramsey Lewis Trio (Lewis on piano, Eldee Young on bass and Holt on drums) with a guitarist named Roland Faulkner backing Floyd Marvin on trombone and Wallace Burton on alto sax.

The music is straight ahead jazz with 1960s pop interwoven — a format that Ramsey Lewis perfected — with an easy swing that is more like the West Coast variant of jazz that was popular during that era than the Chicago flavored music that this really is.

Most of the tracks are typical standards, but the inclusion of "Ghost Riders" is interesting. That was a popular song with country and western connotations that had been covered by a number of groups and vocalists. It seems to have been inserted into the mix for popular appeal. Another interesting track is "Sanctified Indian" that sounds suspiciously like Wilbur de Paris' 1958 recording titled "In A Persian Market" (it's a 1920 composition by Albert William Ketelbey).

Overall this is a foot tapping album that is easy to listen to without having to concentrate on the music to enjoy. In that respect it is atypical of most jazz, but it still swings and does not cross over into gratuitous pop. Kudos to the producer for that. *Mike Tarrani*

Eldee Young & Co. - Just For Kicks

And

Red Holt - Look Out!! Look Out!!

Bassist Eldee Young and drummer Issac Red Holt were founding members of the hugely successful Ramsey Lewis Trio in 1956, and made their first sessions as leaders with the two fine albums included here.

Recorded in Chicago in December 1961, they feature two warmly delivered sets of originals and standards. As he shows in Just for Kicks, Young was a competent bassist, direct and forceful, with a pleasing flair for lighthearted drama. This dates prime musical asset is, perhaps, altoist and flutist Leo Wright, who plays well throughout, and stunningly (on alto) on "Cry Me a River". Young also plays soul cello on several numbers, providing moments of real beauty as flute and cello blend. Under the blunderbuss performances of Young and Wright, pianist Mal Waldron keeps much of his work simple and basic, always to the point.

On Holts Look Out!! Look Out!! the Ramsey Lewis trio is intact, augmented by the almost barrel-house trombonist Floyd Marvin on "Ghost Riders", and by altoist Wallace Burton and guitarist Roland Faulkner on the rest of the album, excluding both drum-and-bass Look Out tunes. Burton shows flawless intonation and instinctively good phrasing, while Faulkner is strongly blues-rooted on a session swung hard by the rhythm section, with Ramsey Lewis adding his solo strength consistently to the mix. *Jordi Pujol*

1 - When Johnny Comes Marching Home

(Patrick Gilmore)

2 - Goodbye

(Gordon Jenkins)

3 - Crazy She Calls Me

(Russell, Sigman)

4 - Big Brother

(Eldee Young)

5 - Cry Me A River

(Arthur Hamilton)

6 - Truly

(Eldee Young)

7 - Mr. Kicks

(Oscar Brown, Jr.)

8 - Motherless Child

(Trad. Arr. Eldee Young)

9 - Just For Kicks

(Eldee Young)

10 - John Henry

(Trad. Arr. Eldee Young)

11 - Look Out No. 3

(Red Holt)

12 - Little Liza Jane

(Trad. arr.: Redd Holt)

13 - My Favorite Things

(Rodgers, Hammerstein II)

14 - Red Sails In the Sunset

(Kennedy, Williams)

15 - Drum Drunk

(Red Holt)

16 - Soul Mist

(Holt, Lewis, Young)

17 - Ghost Riders

(Edward J. Kay)

18 - Stella by Starlight

(Young, Washington)

19 - Sanctified Indian

(Red Holt)

20 - I Cover the Waterfront

(Green, Heyman)

21 - Tonight

(Leonard Bernstein)

22 - Look Out No. 1

(Red Holt)

#1 to #10: from the album Just For Kicks (Argo LPS 699)

Leo Wright (alto sax, flute), Mal Waldron (piano), 

Eldee Young (bass [#1 to #5], cello [#6 to #10], vocals [#7]),

Richard Evans (bass [#6 to #10]), Issac "Red" Holt (drums).

Recorded at Ter-Mar Recording Studio, Chicago, Illinois, December 28, 1961

#11 to #22: from the album Look Out!! Look Out!! (Argo LPS 696)

Floyd Marvin (trombone), Wallace Burton (alto sax), Ramsey Lewis (piano),

Roland Faulkner (guitar), Eldee Young (bass), Issac "Red" Holt (drums).

Recorded at Ter-Mar Recording Studio, Chicago, Illinois, December, 1961