Five-Star Collection... Teddy Charles

Teddy Charles Quartet

New Directions

Volume 3

New Directions Volume 3 comes as a direct outgrowth of considerable playing along the new lines indicated in Volumes 1 and 2. On the West Coast during the summer of 1953, Teddy Charles had the opportunity to work with a group of serious and sympathetic musicians, putting into practice the theoretical material and its consequent discoveries initiated in the earlier works by Hall Overton and himself. The fortunate combination of this experience with the talents of "Jolly Roger", Shelly Manne, and Curtis Counce has produced very effective, swinging jazz within a strikingly different medium. It is not a radical departure from what has become conventional jazz playing but is rather an evolution to a jazz style more controlled with regard to form, unity of materials and development while generating through this medium a greater freedom for solo and group improvisation. The restricting of materials to circumscribed limits permits a freedom impossible where all players pull in completely independent directions. Teddy believes by using materials unfamiliar to conventional jazz playing, using conventional materials in unfamiliar ways and using compositional techniques in treating these materials, a cohesive jazz environment is produced which at once liberates the soloist.(...)

Hall Overton's statement, "The challenge of the new materials serves as a spur to greater excitement", has been borne out by the vibrant, electric quality of the music and Teddy Charles through his playing and writing has clearly established himself as one of the important figures of the post bop transition period. *Ira Gitler (from the liner notes)*

This deserves background notes by the musician chiefly responsible for the west coast addition to the Teddy Charles writes: "...In Variations I took the characteristic left hand figure that Bud plays in fast tempos for freeing his right hand for melodic exploration. We used this to negate the usual chord progression, to give instead superimposed tonalities. I used the usual bridge for relief on this familiar pattern... Note bass behind second trumpet chorus — note melodic freedom generated by shifting tonal centers thus allowing the line to go all over...

"Wailing Dervish is by Jolly Roger, also using the tonal center idea with progression on the bridge for contrast and free rhythmic patterns in the interludes. The intro and ending are entirely improvised by the ensemble, and the contrapuntal idea persists throughout.

"Further Out is a composition making use of polytonal lines and chords moving contrapuntally and utilizing the trumpet sound. The elements of the piece are combined to form an harmonic background, suggested linear-wise for the blowing, with a polyphonic bridge. The first short trumpet solo and the two short vibes sections have polytonal environs (note results) and a brief coda resolves the piece.

"Etudiez le Cahier... is linear white-note music (fixed scale idea) with a strong chromatic middle section... In all these the written parts serve only to create the musical environment and as a point of departure for the blowing... The blowing's the thing... There also emerge here individual textures — not a 'blend' which I'm against. Note presence of drums, more lifelike instead of the usual drums-in-the-barrell and bass-overload sound..."

Teddy wrote all but Dervish. Other musicians on the date were Shelly Manne, bassist Curtis Counce and Jolly Roger on trumpet. The rating is for the careful daring of the approach and the excellence of the musicianship. It's another important step. There's still stiffness in the written sections but that's to be expected. Most important, it's valuably challenging to both musicians and lay listeners. And the extraordinary trumpet by Jolly Roger all the way alone merits the stars.

*Nat Hentoff (Down Beat, March 10, 1954 [5 stars])*

Side 1

1 - Variations On A Motive By Bud

(Teddy Charles)

2 - Wailing Dervish

(Shorty Rogers)

Side 2

3 - Further Out

(Teddy Charles)

4 - Etudiez Le Cahier

(Teddy Charles)

Teddy Charles (vibes), Shorty Rogers [as Jolly Roger] (trumpet),

Curtis Counce (bass), Shelly Manne (drums).

Recorded in Los Angeles, California, August 21, 1953

✳✳✳

For those who prefer the digital version, there are several CD editions containing this music. One of them is the 2006 release by the Barcelona-based label Fresh Sound, titled Adventures in California, with some of the best early 1950s modern jazz — recordings that really shook things up on the coast. The bulk of the CD is from Collaboration West, formed from two 10" LP sessions by Charles, both in small-group formations with Shorty Rogers on trumpet, Curtis Counce on bass, and Shelly Manne on drums, plus Jimmy Giuffre on tenor sax on a few bonus tracks. The tunes have more of a West Coast groove than some of Charles's later 1950s work, but their tone and approach still keep things enjoyable and cutting-edge, and honestly, this might well be one of the most impactful pieces of work from 1953 that any of the other musicians were involved in! Titles include "Variations On A Motive By Bud", "Etudiez Le Cahier", "Free", "Evolution", "Wailing Dervish", "Further Out", "Boabalob 1 & 2", and "Margo". Added to those 8 tracks are 4 more that are even more interesting — a bit more hardbop in orientation, and featuring Charles' vibes in a group with Frank Morgan on alto sax, Wardell Gray on tenor, Sonny Clark on piano, and Lawrence Marable on vibes — a real meeting of modernists on tracks that include "So Long Broadway", "Paul's Cause", "The Man I Love", and "Lavonne".

Teddy Charles And The Westcoasters

Adventures in California

In 1952, Teddy Charles, one of the foremost vibists in the jazz scene at the time, became one of the leaders in a new movement away from the cluttered closets of bop to a new and more serious development — a synthesis of jazz and "serious" music. Early in 1953 he moved to the West Coast where he soon had ample opportunity to watch musical developments in the Coast and discover younger players like Frank Morgan, Sonny Clark and Lawrence Marable, who worked together for the first time on these recordings.

Later, the fortunate combination of Charles' experience with the talents of Shorty Rogers, Shelly Manne, and Curtis Counce produced very effective, swinging jazz within a strikingly different medium. Hall Overton said: "The challenge of the new materials serves as a spur to greater excitement". Charles reached a major achievement with these performances, that clearly established him as one of the important figures of the post bop transition period. *freshsoundrecords.com*

1 - So Long Broadway

(Teddy Charles)

2 - Pauls Cause

(Teddy Charles)

3 - The Man I Love

(Davis, Sherman, Ramirez)

4 - Lavonne

(Sonny Clark)

5 - Variations On A Motive By Bud

(Teddy Charles)

6 - Wailing Dervish

(Shorty Rogers)

7 - Further Out

(Teddy Charles)

8 - Etudiez Le Cahier

(Teddy Charles)

9 - Free

(Teddy Charles)

10 - Evolution

(Teddy Charles)

11 - Margo

(Teddy Charles)

12 - Bobalob

(Teddy Charles)

#1 to #4: Teddy Charles Sextet

from the Prestige 7-inch EP "Teddy Charles' West Coasters" (PR EP 1307)

Teddy Charles (vibes), Frank Morgan (alto sax), Wardell Gray (tenor sax),

Sonny Clark (piano), Dick Nivison (bassa), Lawrence Marable (drums).

Recorded in Los Angeles, February 20, 1953

#5 to #8: Teddy Charles Quartet

from the Prestige EP "New Directions 3" (PR LP 164)

Teddy Charles (vibes), Shorty Rogers (trumpet), Curtis Counce (bass), Shelly Manne (drums).

Recorded in Los Angeles, August 21, 1953

#9 to #12: Teddy Charles Quintet

from the Prestige EP "New Directions 4" (PR LP 169)

Teddy Charles (vibes, piano[#11]), Shorty Rogers (trumpet),

Jimmy Giuffre (tenor sax, baritone sax), Curtis Counce (bass), Shelly Manne (drums).

Recorded in Los Angeles, August 31, 1953

Five-Star Collection... Don Ellis

The Don Ellis Quintet

New Ideas

It was my intention to present in this album a variety of moods, settings and approaches. These are all separate pieces but they were chosen with the effect of the album as a whole in mind. All five musicians do not play on every composition. Certain moods and ideas are more effective in different settings. There is no reason why, just because you have five members of a group, you have to keep five musicians playing all the time.

I believe in making use of as wide a range of expressive techniques as possible. I have been working to develop my playing, writing and personality to this end. Jazz is supposed to be expressive. Why place limits on expressiveness? Why not endeavor to make music as interesting as possible for the performer and listener? All the players here have a thorough control over their respective instruments and the techniques of "standard" jazz improvising (playing on chord progressions) and they are able as well to create without chord progressions and on tone clusters and tone rows. They are not limited in their approach to a mere ignoring of the changes to sound "far out", but have the ability to control both the horizontal and vertical elements of the music. I do not believe that lack of technique and/or knowledge gives "freedom" in improvising, but rather, the more technique and knowledge we have — the more choices are open to us in our improvising — and therefore the "freer" we are, because we are less limited. *Don Ellis (from the liner notes)*

Some seven months elapsed after the recording of Ellis' controversial first album, How Time Passes (Candid 8004), before this Prestige/New Jazz collection was done. Ellis' work here is, if anything, even more stimulating and exhilarating — certainly it's thorny enough! — than his provocative writing and improvising in the earlier collection.

There are several reasons for this. For one, this disc attempts a far-wider-ranging program of moods and effects than did the Candid. It seems to me that they're brought off more successfully here, too.

As far as the technical means used to achieve these effects are concerned, this collection is more ambitious in scope and realization and, in this sense, is more truly representative of Ellis' sure mastery of several disciplines. These range from near-conventional improvising (Natural H.) through atonal and serial techniques (Tragedy and Imitation), on to a wholly improvised ensemble piece based on indeterminacy principles (Despair to Hope), and a lengthy extemporized trumpet Solo that is completely effective.

This collection I find brilliant in every respect. Ellis' compelling music warrants complete attention if only for the freshness, ingenuity, and striking originality of its conception. The five-star commendation might legitimately be awarded for this reason alone.

Yet, beyond this, the execution of the music is itself particularly stunning. The five men play together remarkably well, as if with a single mind, reflecting a unity of conception, a rapport, and a desire to serve the best ends of the music. The results certainly rank with the finest jazz of the last decade.

Ellis and vibraharpist Francis, who, with this disc, makes an impressive debut, and pianist Byard are members of the steadily swelling jazz avant garde, leading proponents of the "new thing". They are younger musicians who have come to the fore in the last two years and who, it has been said, are breaking with traditional jazz practices in their explorations. This album offers a gripping illustration that what Ellis, at least, is doing hardly constitutes a break with jazz' past but, rather, represents a brilliantly logical development of jazz conventions and practices.

There is no reason why a jazz musician should not bring the whole of his musical sensibility, the totality of his musical experience, to bear on his jazz writing and playing.

This is what Ellis has done here, and he brings to his jazz work a thorough understanding and appreciation of contemporary "serious" music concepts and practices, precepts that have been unselfconsciously, inevitably, and totally assimilated into his playing and writing approaches, so much so that they have become his natural mode of expression. "Natural" is the crucial word here, for were these classical influences merely grafted on, his music would ring false and pretentious. Such is not the case. Ellis works from within them. They are integral components of his fully shaped approach.

On first listening, the music in this collection might appear a bit forbidding or bewildering. After a few plays, however, it loses much of its strangeness, and one begins to absorb Ellis' rationale. The best piece with which to begin is Natural H., his fleet, coruscating reworking of Sweet Georgia Brown and the one piece in the album nearest to a conventional jazz performance, with its easily followed harmonic framework.

From this, one might proceed to the blues Uh-Huh and the sprightly trio piece Four and Three with its attractive alternation of 3/4 and 4/4 rhythms.

Imitation and Tragedy have as their basis the use of tone centers or clusters, and once the ear acclimates itself to their sound, the music is easily grasped and can be appreciated on its own terms. "It is interesting to notice", Ellis writes of the atonal Tragedy, "that after playing on these clusters for a while, they become 'tonal' to the ear, and you hear melodic ideas that can be either close to the sound of the cluster (sonorous) or further away from the sound (more dissonant), so it is actually exactly like improvising on slow moving chords".

The most interesting number in the collection — because of its daring and its success — is Despair, a piece of group improvisation that is based in John Cage's indeterminacy principles.

The selection is wholly extemporized by the quintet and had no guiding framework save an emotional one: the idea of progressing musically from despair to hope. It is largely successful in its evocation of this emotional progression and in its incorporation of certain natural sounds not normally accorded any musical value (for example, human sighs, splintering sounds, toy slide whistle) into the over-all structure of the piece.

This stimulating LP is one in which there are no loose ends, an album motivated by a strong, sure, and wholly unique conception. It has something to say and states it with force, directness, sensitivity, and conviction despite its variance with prevalent "trends" in jazz.

If Ellis' music requires a reorientation of the listener, it more than repays the effort with some of the most forthright, intense, and rewarding jazz listening in some time.

*Pete Welding (Down Beat, February 15, 1962 [5 stars])*

1 - Natural H.

2 - Despair To Hope

3 - Uh-Huh

4 - Four And Three

5 - Imitation

6 - Solo

7 - Cock And Bull

8 - Tragedy

(All compositions by Don Ellis)

Don Ellis (trumpet, piano [#8]), Al Francis (vibraphone),

Jaki Byard (piano), Ron Carter (bass), Charlie Persip (drums).

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, May 11, 1961

Lighthouse All-Stars Collection VI

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 5

★In The Solo Spotlight★

As Dick Williams vividly recounts in the original liner notes for the album, titled A FOGGY NIGHT AT THE HERMOSA BEACH LIGHTHOUSE, reaching The Lighthouse was not always an easy task. On those nights when the coastal fog became as thick as spider webs in a haunted house, hundreds of people — from university students to uniformed sailors — ventured from every corner of Los Angeles to crowd at its doors. 

What they sought was the sound of Howard Rumsey’s ensemble, a group of Stan Kenton alumni who had transformed a nearly empty venue into the true citadel of jazz in Southern California.

The atmosphere of the place was unique: a long, low, and dimly lit room, decorated with impressionistic paintings and photos of legends like June Christy, where jazz was experienced in an informal atmosphere but with impeccable technical quality.

The title of this volume, In the Solo Spotlight, captures that exact essence. Beyond the literal image of a spotlight illuminating a performer in the shadows, the title holds a deep musical and symbolic meaning. It represents the moment when the collective machinery of the All-Stars takes a step back so that each musician can project their own voice. In the language of jazz, the "solo" is the moment of truth, and here it becomes a showcase for the improvisation and individual genius of figures like Rumsey on double bass, Bob Cooper on tenor sax, or Bud Shank on alto. Being "under the reflector" is synonymous with prestige and audacity, allowing the listener to appreciate the unique personality of each member in isolation.

Ultimately, this album is a testament to creative freedom that allows us to feel the sea breeze of Hermosa Beach and see the glimmers of light on the instruments, reminding us that the best way to understand a group is by allowing each of its members to shine, for a moment, under their own spotlight.

Volume 5 of the Lighthouse All-Stars, C 2515, In The Solo Spotlight, would be the last release of the Lighthouse All-Stars on the 10'' LP format for Contemporary Records.  In was recorded in August of 1954 for release later that fall and Les Koenig would release three more albums in the 10'' LP format before adopting the 12'' LP format for releases on his label in 1955. The five Lighthouse regulars who appeared on Volume 4 would be joined by Stu Williamson (Claude’s brother), Bob Enevoldsen and Bob Gordon.

The nine selections on the CD reissue (nearly all the Lighthouse All-Stars' Contemporary recordings are now available in the OJC series) each extensively feature one or two top West Coast jazz players. Bassist Howard Rumsey's group was expanded to an octet, and showcased are trombonist Frank Rosolino ("Funny Frank"), tenor saxophonist Richie Kamuca, trumpeter Conte Candoli, drummer Stan Levey, Bob Cooper on tenor, trumpeter Stu Williamson, valve trombonist Bob Enevoldsen, pianist Claude Williamson, bassist Rumsey (on "Concerto for Doghouse"), and altoist Bud Shank. With the exception of the Rumsey feature (composed by Stan Kenton), all of the music was new, with the arrangements provided by pianist Dick Shreve, Bill Holman, Cooper, and Williamson. An excellent set. *allmusic.com*

Classic '50s California jazz from a legendary band named after a legendary venue. Lighthouse's jazz all-stars carve out swinging solo features, accompanied by tight ensemble support and arrangements that sparkle with creativity.

At one time or another I've owned all the CDs of Howard Rumsey and the lighthouse all stars. They're all spirited recordings of (generally) live sets at the famed Lighthouse cafe in Hermosa Beach, California.

I fell in love with California jazz after being introduced to Rumsey and the all stars. The groups varied in size (usually a quintet or sextet with extras) but produced a very characteristic sound that adhered to bebop but with some the edges smoothed. It sounds... now wait for it... Californian.

Since most were recorded during live sets, often during the famous Sunday afternoon jams, sound quality can vary from pretty good to "you're a member of the audience with a few beers in you already".

This particular CD is quite clear and the remastered sound is excellent. Parts of it were studio recorded, which adds to the clarity but the energy is still there.

This is as good a place as any to start if you're looking for a representative taste of small group jazz in LA during the 50s. Highly recommended. *John K. Gayley (amazon.com)*

1. Funny Frank

(Dick Shreve)

2. That's Rich

(Dick Shreve)

3. If You Are There

(Shreve, Sutton)

4. Stan

(Bill Holman, Stan Levey)

5. Coop

(Bob Cooper)

6. S & B

(Bill Holman)

7. Claude

(Claude Williamson)

8. Concerto For Doghouse [a.k.a Howard]

(Stan Kenton)

9. Bud (The Whippet)

(Claude Williamson)

#1 to #3:

Conte Candoli (trumpet), Frank Rosolino (trombone), Lennie Niehaus (alto sax),

Richie Kamuca (tenor sax), Pepper Adams (baritone sax),

Dick Shreve (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded at Contemporary's Studio, Los Angeles, California, March 12, 1957

#4 to #9:

Stu Williamson (trumpet), Bob Enevoldsen (valve trombone),

Bud Shank (alto sax), Bob Cooper (tenor sax), Bob Gordon (baritone sax),

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded in Los Angeles, California, August 17, 1954

Lighthouse All-Stars Collection V

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 4

★Oboe / Flute★

The Bob Cooper-Bud Shank oboe-flute duets started at The Lighthouse in Hermosa Beach, California, the experimental center of West Coast modern sounds, in December, 1953.

This was the first time the jazz possibilities of the flute and oboe had been explored, and public response was instantaneous and enthusiastic. The popularity of the duets indicated a recording session, and since no suitable body of literature existed for the combination, the performers sat down and wrote six of the eight tunes released in the Spring of 1954 as 10" long-playing C2510. These eight selections: Aquarium, Warm Winds, Night In Tunisia, Albatross, Still Life, Bags' Groove, Hermosa Summer, Happy Town, were recorded the afternoons of February 25th and 26th, 1954 with BOB COOPER, oboe & English horn; BUD SHANK, flute & alto flute; CLAUDE WILLIAMSON, piano; HOWARD RUMSEY, bass; and MAX ROACH, drums.

The original album was an unqualified success, and in the three years since its release, the oboe-flute duets have been a fixture at The Lighthouse, and the flute a generally accepted jazz instrument.

By September 25th, 1956, when Waikikian, A Bit Of Basie, Swing House, and Blue Sands were recorded, Bud Shank had left The Lighthouse to form his own group. BUDDY COLLETTE, the versatile master of six woodwinds (see his Contemporary 12" C3522: Man Of Many Parts), took over the flute chair as guest star. SONNY CLARK and STAN LEVEY, both regular members of the All-Stars, were present on piano and drums. *(from the liner notes)*

The oboe and flute duets by Bob Cooper and Bud Shank have become quite a tradition at the Lighthouse, one of the few remaining jazz spots in the Los Angeles area these days. The eight selections by these two, Cooper doubling on English horn, were recorded in 1953 and were previously issued on Vogue LDC 146.

Personally I don't much care about the thin emasculated tone of flutes and oboes as applied to jazz, though I can appreciate the musical worth and fine technique of both players in this instance. All the same, except for "Albatross", which swings neatly with some nice piano from Claude Williamson and "Bags' Groove", it all sounds like arty-crafty film background music.

The remaining selections were recorded in 1956 by Buddy Collette, also on flute, plus rhythm section. Though the conception is similar in some cases to the previous session, I find these very much more acceptable in a jazz sense, and Buddy to be much the most talented musician of the three.

"A Bit of Basie" features Sonny Clark at the piano and both this and "Swing House" reveal Buddy’s considerable technique more than adequately. *Peter Tanner (jazzjournal.co.uk)*

This fascinating record features Bob Cooper and Bud Shank/Buddy Collette (fl, alto-fl) exclusively with piano, bass, and drums. Since the sessions are from two different years, the rhythm section is not completely the same on both. The 1954 session, which comprises most of the album, features the renowned drummer Max Roach and Shank on flute. This album came out of many off the cuff oboe and flute duet improvisations that Cooper and Shank were famous for at The Lighthouse in Hermosa Beach, CA. The album is the epitome of "West Coast" jazz from this era, and the tracks are mostly originals, with a couple of more standard tunes ("Night in Tunisia" and "Bag's Groove") thrown in for good measure. This recording is significant because it is definitely one of the earliest, and possibly the first instance of the oboe taking a leading role in jazz. Prior to Bob Cooper, an oboist might take center stage for part of a tune, or possibly even an entire tune, but never an album devoted to specifically jazz oboe. This recording is also important because it features prominent jazz players who were well known in their own time, and continue to be recognized as influential in jazz. *Kimberly Everett Ganong [from A History and Discography of the Oboe in Jazz])*

1 - Aquarium

(Claude Williamson)

2 - Warm Winds

(Bob Cooper)

3 - A Night In Tunisia

(Dizzy Gillespie, Frank Paparelli)

4 - Albatross

(Max Roach)

5 - Blue Sands

(Buddy Collette)

6 - Swing House

(Gerry Mulligan)

7 - Still Life

(Bob Cooper)

8 - Bags' Groove

(Milt Jackson)

9 - Hermosa Summe

(Bob Cooper)

10 - A Bit Of Basie

(Buddy Collette)

11 - Waikikian

(Bob Cooper)

12 - Happy Town

(Bud Shank)

#1, #2, #3, #4, #7, #8, #9, #12:

Bud Shank (flute, alto flute), Bob Cooper (oboe, english horn),

Claude Williamson (piano), Howard Rumsey (bass), Max Roach (drums).

Recorded at Contemporary's Studios, Los Angeles, California,

February 25 (#1, #2, #3, #4) and 26 (#7, #8, #9, #12), 1954

#5, #6, #10, #11:  

Buddy Collette (flute, alto flute), Bob Cooper (oboe, english horn),

Sonny Clark (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded at Contemporary's Studios, Los Angeles, California, September 25, 1956.

Five-Star Collection... Jimmy Giuffre

Jimmy Giuffre

Jimmy Giuffre

JIMMY GIUFFRE is a quiet and intense young man with a singular creative touch. He has written and played for Woody Herman, Boyd Raeburn, Buddy Rich, Jerry Gray, Stan Kenton, and many more of the nation's leading bandsmen, and now — for the first time — he's on his own, in this album of seven Giuffre gems.

Jimmy has been playing clarinet and tenor sax since he was a lad in Texas, and he approaches composition most naturally as a performer. His work is generally melodic and “linear” in character. "This style of writing", he says, "gives the players the feeling of individuality that’s so important to jazz. Besides, I think it gives the listener more variety. I also use less rhythm section than is usual because I believe that this, too, provides more clarity and less monotony".

Like Jimmy, the performers he has joined together in this album of "chamber jazz" all belong to the vigorous and imaginative West Coast group of topflight modernists that has created such a stir in music circles. The tunes they play here, with the exception of the familiar I Only Have Eyes for You, are all Giuffre originals, one in particular — Four Brothers — having achieved a good deal of success in big-band arrangement.

Among the others are new and carefully fashioned numbers whose free flow and variety of instrumental combinations give them a wonderful improvised sound — though all of >Sultana<, for example, and half of Nutty Pine, are written out. Wrought of Iron is an exciting eight-bar theme and variations, an unusual form featuring ad lib solos by every member of the group.

An odd back-beat rhythm introduces the swinging tempo of Do It! and its fine improvisations on tenor sax, clarinet, trumpet, and piano. All For You is in a brooding ballad style, with trumpet playing gently about the tenor sax melody line. The one "standard" — Eyes — displays Giuffre's instrumental inventiveness at its best in an ad lib baritone sax cadenza, with masterful drum accompaniment, that highlights the six minute production number.

In all, this Jimmy Giuffre album debut shows fine versatility, and is a stimulating contribution to first-rate modern jazz literature. There's fascinating listening enjoyment here for quite a while to come. *(from the liner notes)*

Jimmy's first LP to himself is an absorbing success on which Jimmy scores both as performer (tenor, clarinet, and baritone) and as writer (all six originals are his). As a writer, Jimmy strikes this listener as the most freshly inventive and maturely daring (but unpretentious) of all the writers on the coast. For one thing, several of his works have the melodic strength (Nutty Pine and All for You, for example) to become part of the repertoire of any swinging modern jazz group.

And almost all of his original lines on this and on other albums are really original and fresh. They are not (as so often happens with Shorty Rogers, Bill Holman, and many other writers of "originals") just quick routines that can be enlivened only by the ad lib solos within them but can't stand up for themselves.

Even the more involved Giuffre numbers (like the completely written-out Sultana) are constantly challenging to the ear even if they don't entirely come alive yet. Fine work on the first four by Bud Shank, Jack Sheldon (trumpet), Shorty Rogers (fluegel horn), Bob Enevoldsen (valve trombone, bass), Ralph Pena (bass) and Shelly Manne. The last three have the excellent aid of Sheldon, Manne, Russ Freeman, and Curtis Counce. Cover credit should have been given the fine engineering of John Palladino and to whoever wrote the helpful notes. But the man who rates the full bows and the encores is Giuffre, a major modern jazz talent.

*Nat Hentoff (Down Beat, December 15, 1954 [5 stars])*

1 - Four Brothers

(Jimmy Giuffre)

2 - Sultana

(Jimmy Giuffre)

3 - Nutty Pine

(Jimmy Giuffre)

4 - Wrought Of Iron

(Jimmy Giuffre)

5 - Do It!

(Jimmy Giuffre)

6 - All For You

(Jimmy Giuffre)

7 - I Only Have Eyes For You

(Harry Warren, Al Dubin)

#1 to #4:

Jimmy Giuffre (clarinet, tenor sax, baritone sax), Bud Shank (alto sax),

Jack Sheldon (trumpet), Shorty Rogers (flugelhorn), 

Bob Enevoldsen (valve trombone, bass), Ralph Pena (bass), Shelly Manne (drums).

Recorded at Capitol Studios, Holywood, California, April 15, 1954

#5 to #7:

Jimmy Giuffre (clarinet, tenor sax, baritone sax), Jack Sheldon (trumpet), 

Russ Freeman (piano), Curtis Counce (bass),  Shelly Manne (dums).

Recorded at Capitol Studios, Holywood, February 19, 1954

Five-Star Collection... Tony Scott

Tony Scott

Tony Scott Quartet

These are the first performances by the remarkable Tony Scott Quartet to be recorded under ideal studio conditions. Just a year ago, Brunswick issued a unique collection, "Music After Midnight", featuring the foursome recorded in the course of a night's work at Minton's Playhouse in Harlem. Although the acoustics and equipment were far from ideal then, the recordings drew raves from such esteemed publications as The New Yorker, Saturday Review, Billboard, Hi-Fidelity, Metronome and Downbeat. Here at last was a clarinetist-showman, modern but warm and exciting rather than "cool" and dispassionate. In Tony Scott, clarinet fans at last found the champion who could restore the instrument to the glory it knew during the "swing" era, when a younger Goodman and Shaw held the power to ignite an entire generation. The nation's critics "discovered" Tony in that initial album, and in Downbeat's annual critic's poll voted him "New Star of 1953, Clarinet Division". 

Now these new recordings, with the finest, latest professional equipment, reveal the vital, mature Scott sound and invention in full scope. (...)

Of particular interest in this set are Scott's moody, melodious, intimate interpretations of the ballads "I Cover The Waterfront" and "Goodbye". The latter, long identified as Benny's closing theme, emerges here in an utterly new conception, an intense emotional experience. Scott's improvisation on "Waterfront" should take its place among the classic solos in jazz.

*Bill Simon (from the liner notes)*

Tony's swinging quartet has New Star winner Osie Johnson (drums); New Star winner Percy Heath (bass on four); Earl May (bass on the other four); and pianist-writer Dick Katz. For me, Tony has everything his demanding instrument has long required and seldom received from jazzmen: fine, sensitively full tone; a wailing beat; excellent, never complacent conception; and enough fire of emotion to heat three other musicians as well (and I could name more than three).

There may be a debate as to whether Tony is unsurpassable on up-tempos (though I find him so), but I can't think of anyone remotely near him in his mastery of ballads. This LP is a killer. Good cover portrait by Mike Miller, arranged by Fran Scott. Notes by Bill Simon. And where is Osie Johnson's vocal on You or No One as announced on the label? Good recording but some surface noise on Waterfront. *Nat Hentoff (Down Beat, December 15, 1954 [5 stars])*

1 - Sweet Patootie

(Tony Scott)

2 - I Cover The Waterfront

(Johnny Green, Edward Heyman)

3 - Sweet Lorraine

(Cliff Burwell, Mitchel Parish)

4 - Yesterdays

(Jerome Kern, Otto Harbach)

5 - Blues For Ava — (Part 1 and Part 2)

(Tony Scott)

6 - It's You Or No One

(Jule Styne, Sammy Cahn)

7 - Goodbye

(Gordon Jenkins)

#1, #3, #4, #7:

Tony Scott (clarinet), Dick Katz (piano), Percy Heath (bass), Osie Johnson (drums).

#2, #5, #6:

Tony Scott (clarinet), Dick Katz (piano), Earl May(bass), Osie Johnson (drums).

Recorded in New York City, December 22 (#2, #5, #6) and 23 (#1, #3, #4, #7), 1953

Lighthouse All-Stars Collection IV

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 2

★Sunday Jazz A La Lighthouse • Vol. 2★

This was the first 10-inch LP released by Contemporary, and one of the most popular of the many Lighthouse All-Stars albums from the 1950s. It has been continually requested by fans, but never been reissued on compact disc until now. Recorded as the West Coast movement was kicking into high gear, it captures the enthusiasm of the young players at the center of the Southern California jazz scene, the good-natured encouragement and enjoyment of the Lighthouse audience, and the interaction between musicians and listeners. The original selections feature Howard Rumsey, Shorty Rogers, Russ Freeman, Jimmy Giuffre, Bob Cooper, Milt Bernhart, and Shelly Manne. Three previously unissued performances by a different edition of the All-Stars include Chet Baker sitting in with Rolf Ericson, Bud Shank, Claude Williamson, Max Roach, Cooper, and Rumsey. Musicians and patrons are laughing and grooving, the cash register is ringing, and the atmosphere is full of good feeling. This is West Coast jazz in full bloom. *concord.com*

The first six tracks are the original title album that was recorded live for the Contemporary label at the Lighthouse on May 15, 1953. The front line is comprised of Shorty Rogers on trumpet, Milt Bernhart on trombone, and Bob Cooper and Jimmy Giuffre on tenor sax. The rhythm section features Russ Freeman on piano, Howard Rumsey on bass and Shelly Manne on drums.

Basically this is more of a jam session than a planned recording, and the energy is definitely pouring from this album. I'll admit that the sound quality is not stellar, but it's also not terrible. I still awarded five stars because this is truly the birth of the West Coast jazz sound. However, there is a healthy dose of East Coast influence in the music because the West Coast style was just evolving.

If you are familiar with Shorty Rogers work in the 1950s these tracks are stamped with his signature sound, which seems to dominate any ensemble in which he is playing.

The final three tracks are from a live session at the Lighthouse that was recorded for Contemporary on September 13, 1953. These tracks were intended for albums titled Chet Baker And The Lighthouse All-Stars - Witch Doctor and Howard Rumsey's Lighthouse All-Stars - Mexican Passport, but did not make the release. They feature a front line of Chet Baker and Rolf Ericson on trumpet and Bud Shank on alto sax. The rhythm section features Lorraine Geller (tracks 7 and 9) and Claude Williamson (track 8) on piano, Rumsey on bass and Max Roach on drums. These tracks have a more definite West Coast jazz feel although they were only recorded four months after the first six tracks. *Mike Tarrani (amazon.com)*

1 - Luau

(Shorty Rogers)

2 - Comin' Thru The Rye Bread

(Shorty Rogers)

3 - Taking A Chance On Love

(Duke, Fetter, LaTouche)

4 - The Big Top

(Jimmy Giuffre)

5 - The Duke You Say!

(Jimmy Giuffre)

6 - Sunset Eyes

(Edwards, Wayne)

7 - Glidin' Along

(Jimmy Giuffre)

8 - Beau Boy

(Shorty Rogers)

9 - Four Others

(Jimmy Giuffre)

#1 to #6:

Shorty Rogers [as Name Whithheld] (trumpet); Jimmy Giuffre, Bob Cooper (tenor saxes);

Milt Bernhart (trombone); Russ Freeman (piano);

Howard Rumsey (bass); Shelly Manne (drums).

#7, #8, #9 (previously unreleased):

Chet Baker, Rolf Ericson (trumpets); Bob Cooper (tenor sax); Bud Shank (alto sax);

Lorraine Geller [#7, #9], Claude Williamson [#8] (piano);

Howard Rumsey (bass); Max Roach (drums).

Recorded live at the Lighthouse, Hermosa Beach, California,

May 15 (#1 to #6) and September 13 (#7 to #9), 1953