Gigi Gryce: Jazz with Purpose

Gigi Gryce

Orchestra And Quartet

There are few musicians as well qualified from both the standpoints of academic training and "gigging" in jazz who also are as intensely dedicated as Gigi Gryce. He is a warm, human person whose writing and playing have the love, happiness, sadness and pain which any jazzman with a heart and soul will impart to his listeners. Gigi has paid dues to the union called life. 

Although Gigi has participated in a number of LP recordings both writing and playing, this is the first one under his own name where he is carrying out his own ideas in a manner which he most desired. 

Today, with the 12 inch LP the dominant vehicle for the recorded presentation of jazz, much more space is available to the musician. Unfortunately there are too many 10 inch LPs being stretched beyond the satiation point to appease a merchandising trend. In this LP Gigi has used his talent together with the knowledge of how to utilize it. There is a definite purpose achieved in the contrast and pacing; the two different groups, different in size and spirit with the flexibility and blowing freedom of the quartet on one side, and the synthesis of writing, blowing and singing on the band side. 

The orchestra's personnel will remind those of you who are perceptive of the short lived Miles Davis group of 1949 which made such a deep impression on the jazz of the Fifties but which was never physically used again. Gigi felt that this instrumentation should not be neglected because of its tremendous possibilities of different tonal colors, dynamics, ranges and voicings. He wanted to get away from the brassy sound of the usual jazz band of this size. Gigi was consciously striving for something that every type of listener could enjoy, something that would not all fall into any one category. 

Gigi describes (the quartet sessions) as one of the most relaxed recording sessions in which he has ever played. After setting up the themes, everything was spontaneous even to the length of the solos. There is much to be gleaned, as always, from Monk's originals and the one which Gigi contributed is up to his usual high standard. 

The interplay between Gigi and Monk creates much excitement. In many instances, they take turns at carrying the harmony.Monk's presence alone was inspiring to Gigi. They first met in Boston in 1949 when they played together at the Hi Hat. Since then they have stayed in touch musically and socially. *Ira  Gitler (from the liner notes)*

On the first six, Gigi heads a unit consisting of Art Farmer, trumpet; Eddie Bert, Jimmy Cleveland, trombones; Danny Bank, Cecil Payne, baritones; Gunther Schuller, Julius Watkins, French horns; Bill Barber, tuba; Horace Silver, piano; Oscar Pettiford, bass; Art Blakey, Kenny Clarke, drums; and on two, Ernestine Anderson, vocalist. The only weak band is Gigi's ballad, "The One I Love". It's rather routine melodic profile and surprisingly cliche-filled lyrics don't belong in this set although the attractively sounding Miss Anderson does the best she can. She is better served by Gigi's "Social Call", to which Jon Hendricks had added apt lyrics.

The remainder of the side is marked by the freshness of Gigi’s writing (and of the one Horace Silver original), the quality of the solos, and the swinging ensemble empathy of all concerned. (Listen to the band especially on "Smoke Signal").

The differently exciting second side consists of a quartet date with Gigi, Thelonious Monk, Percy Heath, and Art Blakey. The first three characteristic originals are by Monk while the last is Gigi's. On both sides, Gigi blows some of his best alto on record. He has learned to discipline his improvising imagination while retaining his swinging passion. Monk is in fine, relaxed, incisive form. Heath is excellent and Blakey constantly cooks (and solos well in "Nica's Tempo").

As is Signal’s custom, the album is very well recorded, lucidly annotated (by Ira Gitler), and faced with a distinguished cover (by Harold Feinstein). Strongly recommended.

*Nat Hentoff (Down Beat, March 7, 1956)*

Side 1

The Gigi Gryce Orchestra

1 - Speculation

(Horace Silver)

2 - In A Meditating Mood

(Gigi Gryce)

3 - Social Call

(G. Gryce, J. Hendricks)

4 - Smoke Signal

(Gigi Gryce)

5 - (You'll Always Be) The One I Love

(Gigi Gryce)

6 - Kerry Dance

(J. Molloy)

Side 2

The Gigi Gryce Quartet

7 - Shuffle Boil

(Thelonious Monk)

8 - Brake's Sake

(Thelonious Monk)

9 - Gallop's Gallop

(Thelonious Monk)

10 - Nica's Tempo

(Gigi Gryce)

#1, #2, #4, #6:

Gigi Gryce (alto sax), Art Farmer (trumpet), Jimmy Cleveland [as "James Van Dyke"] (trombone),

Gunther Schuller (french horn), Bill Barber (tuba), Danny Bank (baritone sax),

Horace Silver (piano), Oscar Pettiford (bass), Kenny Clarke (drums).

#3, #5: 

Gigi Gryce (alto sax), Art Farmer (trumpet), Eddie Bert (trombone),

Julius Watkins (french horn), Bill Barber (tuba), Cecil Payne (baritone sax),

Horace Silver (piano), Oscar Pettiford (bass), Art Blakey (drums), Ernestine Anderson (vocals).

#7 to #10: 

Gigi Gryce (alto sax), Thelonious Monk (piano), Percy Heath (bass), Art Blakey (batería).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey,

October 15 (#7 to #10) and October 22 (#1 to #6), 1955.