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