Liberty Records • Jazz in Hollywood Series (VI)

Steve White

Jazz Mad

The Unpredictable Steve White

✤Liberty LJH 6006✤

Bucking an age of stultifying conformity, the jazz world has of necessity its generous share of individualists. One otf the most outstanding among these is Steve White. His vigorous, uninhibited playing has identified him on the West Coast these past few years with that rare brand of untrammieled jazz instrumentalists are content to play anywhere just for the sheer joy of blowing jazz. On this, his first LIBERTY album, Steve is allowed absolute freedom. 

Stephen Gaylord White is a jazz musician who exercises his art form passionately in his dedication to complete self-expression. Although he has a background of much big band experience (Butch Stone, Jimmy Dorsey, Alvino Rey), he has never made a name for himself in that area. He has, rather, been content to play in comparative obscurity around the Los Angeles nightspot circuit, winning the admiration of contemporary musicians and a loyal contingent of fans. 

If you enjoy jazz in a modern vein untyped by "school"’ or intellectual classification, then this free-blowing session by "The Unpredictable" Steve White is cut to order for you.

*John Tynan (liner notes)*

Jazz Mad: The Unpredictable Steve White is the LP debut of the 30-yearold Los Angeles tenor who has worked with Butch Stone, Jimmy Dorsey, Alvino Rey, and in L.A. clubs. He is accompanied by a competent rhythm section of pianist Bob Harrington, bassist Harry Babasin, and drummer Boone Stines. On the first and better side, White just plays. He sings the last five titles, and his decision to vocalize is extremely ill-advised for just about every reason ir the book. His own lyrics on "What Makes Me Blue Today?" are the most alarmingly mediocre in my experience.

As for his playing on both sides, White is a modern, Pres-derived tenor with frequent touches of Getz. He does not, however, have the flow of invention and the constant good taste of Getz. His taste, in fact, sometimes lapses and while there are pleasant moments in his work due to a generally good tone, frequent vigor, and fluent technique, he is not especially individual nor is his conception usually fresh.

Other negative aspects of this LP are several too-short tracks and the inexplicable fading at the end of three of the numbers. The writing, moderately attractive for the most part, is, however, also not distinctive. It’s all by White or by White and Harrington.

Hardly recommended for anyone on a record budget since the "singing" ruins almost all of the second side. *Nat Hentoff (Down Beat, May 6, 1956)*

Well, not exactly "mad" as in wild, but this is an excellent — albeit pedestrian — jazz platter. White was fine Tenor sax player, equally adept at free-swinging arrangements such as "Liberty In White" and "Stopped — You See", as well as ballads like "I Only Have Eyes For You" and "Lazy Lady Blues". He is supported on this record by en excellent group consisting of Harry Babasin (bass), Boone Stines (drums) an Bob Harrington (piano). All provide excellent support throughout the entire record. This record features one of the more elaborate and aestheticly pleasing album covers of it's day, an excellent, carnival-esque painting by Ed Graves. *Matthew Greenwald*

Side 1

1 - Liberty In White

(White)

2 - Mister Thing

(White, Harrington)

3 - Musin'

(White, Harrington)

4 - I Only Have Eyes For You

(Warren, Dubin)

5 - Rushin' The Blues

(White, Harrington)

6 - Beside A Sea

(White, Harrington)

7 - Stopped — You See

(White)

Side 2

8 - Lazy Lady Blues

(Moore, Feather)

9 - What Makes Me Blue Today?

(White)

10 - Paper Moon

(Arlen, Rose, Harburg)

11 - Don't Worry 'Bout Me

(Bloom, Koehler)

12 - April Showers

(Silvers, DeSylva)

Steve White (tenor sax, vocals), Bob Harrington (piano),

Harry Babasin (bass), Boone Stines (drums).

Recorded in Hollywood, California, August 1955