Five-Star Collection... John Graas (II)

In a previous post, we highlighted how producer Tom Mack, in the liner notes of Jazz Studio #3, underscored the pivotal role Jazz Studio #2 played in John Graas's career. This was the album that let listeners hear Graas in a completely new light — as a composer and arranger. His debut as an arranger on this project quickly drew the attention of jazz soloists and record labels, and it set the stage for larger commissions that would define the path of his career.

The story behind the album makes it even more fascinating. In 1954, as Decca expanded its catalog with new 12-inch LPs, Tom Mack turned to the West Coast's finest studio musicians. Graas, already known for his mastery of the French horn, took the lead, assembling an exceptional ensemble: Don Fagerquist, Milt Bernhart, Herb Geller, Jimmy Giuffre, Marty Paich, Howard Roberts, Curtis Counce, and Larry Bunker.

The result was a record that not only showcased impeccable musicianship but also captured the relaxed, sophisticated vibe of 1950s Los Angeles—a snapshot of an era in sound. Jazz Studio #2 became more than an album; it was a gateway for John Graas, opening doors to new opportunities and solidifying a group of musicians who would come to define the West Coast jazz scene.

Although Down Beat awarded it four stars in 1956, the 2004 CD reissue of From Hollywood received a five-star rating from AllMusic, earning it a rightful place in our Five-Star Collection — a recognition that ensures this landmark album continues to reach new listeners today.

John Graas

Jazz Studio #2 • From Hollywood

If there is one word that epitomizes the kind of jazz which has been developing on the West Coast during the past few years, probably that word is "organization". For although the swinging beat, once minimized by purists as a distraction, has happily returned to the scene, with the result that jazz on the Coast now swings with complete freedom, it has done so within the framework of individual patterns which have become organized to considerable degree.

A typical modern jazz group in Hollywood seems to follow nature's principle of tension-and-release, which in music is at least as old as the earliest symphonies, yet, being basic, seems fresh whenever applied to new forms and subjected to new interpretations. Usually the first chorus takes the formidable talents of the performers and constrains them lightly within the bounds of an arrangement which is actually a jumping-off place for what is to follow. During these initial choruses, which are characterized by an interdependence and mutual awareness of the performers, a tension builds to a point where a soloist derives a powerful send-off into his own improvisation. Often contrapuntal, harmonically interesting, these jump ensembles have come to replace almost entirely the unison riff of the early days of jazz. It is not considered bad form for one or more musicians (other than the rhythm section) to chime in with improvised backgrounds to another's solo, thus often giving unusual contrapuntal effects to the soloist's performance.

The word "modern", applied to any kind of music, sometimes makes people expect a preponderance of dissonances, atonality, and harsh sounds. Paradoxically enough, modern West Coast jazz is very melodic, possibly because the arrangers and composers in this medium are more apt to lean upon Bach than Schoenberg. The paradox extends to the basic sound, which is generally a quiet sound, seldom resorting to screaming high notes to achieve the excitement that is jazz. Excitement is generated by a swinging beat, good melodic form, and imaginative writing.

In JAZZ STUDIO 2 we are attempting to offer a representative picture of the kind of jazz which is pretty much indigenous to the West Coast, played by some of the musicians who have contributed notably to this development. It is not intended to set it apart from jazz everywhere, and of course the listener will find a great deal which is not regional. *Tom Mack (liner notes, 1954)*

An absorbing set recorded in Hollywood by Tom Mack. Personel included Herb Geller, Milt Bernhart, John Graas, Don Fagerquist, Marty Paich, Curtis Counce, Howard Roberts, Larry Bunker, and Jimmy Guiffre on tenor and baritone (and I think the tasty clarinet on Lions is his, too). How come, by the way, Jimmy just gets one credit line buried in the notes and no front cover billing?

Anyway, the playing of all involved is just fine. This record, for one thing, should firmly establish Herb Geller as one of the undeniably arrived alto stars. The man has it—ideas, beat, pungent tone, and above all, heart. Herb blows with everything he has; he doesn't try to fit himself into icily studied attitudes. John Graas' French horn comes through freer, more swinging and more inventive than on his Trend sides. Bernhart had a sweepingly relaxed ball on the date judging from his playing. Guiffre and Fagerquist are firstrate and the rhythm section is crisp, light and steady. Howard Roberts' guitar, imagination and tone are highly impressive and it's good to hear full-toned bassist Curtis Counce get some extended solo space.

Almost all of the writing is of better than average consistency and some contains real organic development. Graas wrote Lions and Graas Point and arranged Do It Again. Paich contributed Paicheck and arranged the other two songs. Graas Point has some especially intriguing contrapuntal intersections and there's a swingingly fresh feel to the lines of Lions that isn't as easy to attain as it may sound.

Footnote: Listen to the entrance of Fagerquist and Bernhart in Dream. It must have been a thoroughly sunny California day when this LP was made. This is a distinguished Decca debut for Mr. Mack. Give the man a raise and let him do some more sessions — even if he does think there's such a thing as "west coast jazz". *Nat Hentoff (Down Beat, October 6, 1954 [4 satrs])*

The Jazz Studio series recorded for Decca during the 1950s produced a lot of enjoyable sessions, though many of them were very hard to obtain.

Jazz Studio, Vol. 2, with French horn player John Graas as the leader of this cool-oriented West Coast session, with trumpeter Don Fagerquist, trombonist Milt Bernhart, alto saxophonist Herb Geller, Jimmy Giuffre (who plays clarinet, tenor, and baritone saxes), pianist Marty Paich, guitarist Howard Roberts, bassist Curtis Counce, and drummer Larry Bunker on hand. The mood is considerably more subdued than the bop material recorded by the East Coast musicians heard on Jazz Studio, Vol. 1, but the music has held up very well, with excellent solos and strong charts by Graas and Paich. Highlights include Graas' intricate "Here Come the Lions" and Paich's equally challenging "Paicheck" (note its equally witty title). *Ken Dryden (2004, allmusic.com [5 stars])*

Side 1

1 - Laura

(David Raksin, Johnny Mercer)

2 - Here Come The Lions

(John Graas)

3 - Paicheck

(Marty Paich)

Side 2

4 - Graas Point

(John Graas)

5 - Darn That Dream

(Jimmy Van Heusen, Eddie De Lange)

6 - Do It Again

(George Gershwin)

Don Fagerquist (trumpet), Milt Bernhart (trombone), John Graas (french horn), 

Herb Geller (alto sax), Jimmy Giuffre (clarinet, tenor sax, baritone sax),

Marty Paich (piano), Howard Roberts (guitar), Curtis Counce (bass), Larry Bunker (drums).

Recorded at Decca's Studio 55, Los Angeles, California, June 4, 1954