Bob Tulley
Quintet featuring Nash Maez
Recorded in Hollywood in 1954, this album captures the fresh, hard-driving sound of the Bob Tulley Quintet, featuring tenor saxophonist Nash Maez. Praised for its originality and strong musical personality, the group delivers eight tracks marked by energy, confidence, and a modern approach to jazz. Distinctive arrangements by Willie Maiden transform a classic quintet lineup — trumpet, tenor sax, piano, bass, and drums — into something strikingly new. Performed by a young yet seasoned group active on the Los Angeles jazz scene, this release stands as a vivid example of inventive mid-century jazz and a promising moment in the musicians' careers.
The Bob Tully Quintet comprised Bob Tulley on trumpet, Nash Maez on tenor sax, Hunky Page on piano, Paul Binning on bass, and Hank Milo on drums is a bit of a mystery group. Almost certainly recorded some time in 1954, it does not appear on the American Federation of Musicians (AFofM) logs for Skylark Records. The liner notes for the two EPs, Skylark EPs 106 and 107 credit most of the group's noteworthiness to the "arrangements" created by tenor sax man and arranger Willie Maiden, a name better known to most than any of the other members of the group.
In fact, the liner notes indicate that this group was working with Maynard Ferguson around Hollywood and Los Angeles at the time the recording date takes place. While this is possible, Maynard Ferguson was in Los Angeles during most of 1954, there are no recordings which feature any of these players with Maynard Ferguson at any time (with the exception of Willie Maiden, who does not actually play on this recording).
We know very little about Bob Tulley, himself. He is not credited on any other recordings. Bob Scherman, in his liner notes, uses many superlatives, so he was certainly impressed. The other members of the group are a tad less obscure. Nash Maez, after Willie Maiden, the best known musician on the date, had played and recorded with Perez Prado, both before and after this date, where he most likely came to know Willie Maiden. He also played with Rene Bloch's Orchestra after this date. He went on to play with various Latin groups and was on Danny Beher's 1992 California Salsa album released on his Sea Breeze label.
Paul Binning and Hank Milo are more obscure. They both appear on an Earl Hines date for Nocturne Records from July/August, 1954 which helps date this recording since it is referred to in the liner notes. Willie Maiden was the arranger for Hines' Los Angeles recording session. Binning and Milo also accompany Earl Hines on the trio portion of the Nocturne Records session that takes place in New York on August 21, 1954. However, apart from that session or group of sessions, nothing exists other than the instant recording as evidence of their musical history.
Hunky Page is a bit more famous, though he may not have recorded even as extensively as Paul Binning and Hank Milo. Hunky Page is best known for being the house pianist at the American Hotel for over 20 years in Sag Harbor, NY, and for teaching actor Chevy Chase how to play jazz piano. He seems to have had an outstanding reputation as a jazz pianist.
The original liner notes suggest that the leader in fact is Willie Maiden. He seems to have arranged all of the tunes and composed the originals. Most of the original liner notes are about him and he is described as a member of the group. His career included writing and playing for Perez Prado, an extensive career with Maynard Ferguson, a stint during the mid-60's with Charlie Barnet, and several years with Stan Kenton during the 1970's. He never recorded as leader.
The selections are all straight ahead, relatively short pieces, that do showcase the arrangements. The set includes four original compositions and four standards. All perform well, with some exuberance on the part of Bob Tulley leading to unintended turnarounds and minor clams. Nevertheless, this is a pretty nice set with some choice 1954 West Coast jazz similar in style and feel to other hi-fi recordings released by Skylark, Nocturne, Pacific Jazz and other small Hollywood labels. *magnebit.xeran.com*
Hall Daniels
Septet featuring Zoot Sims
Trumpeter Hall Daniels leads a finely balanced septet of top West Coast musicians on this 1955 session, recorded in Hollywood. Free of rigid "East Coast Vs. West Coast" labels, the music stands out for its clarity, swing, and solid musical substance. Daniels, an accomplished studio arranger known for his work with Les Baxter, contributes two original compositions alongside fresh arrangements of familiar standards. The ensemble features outstanding soloists including Dick Nash on trombone, Zoot Sims on tenor sax, and Bob Gordon on baritone, supported by a tight and experienced rhythm section. This recording captures a moment when Los Angeles studio musicians combined technical excellence with modern jazz expression, marking an early and confident step by JUMP Records into the modern jazz field.
You may have noticed that recently there has been much discussion and several articles have appeared concerning "East Coast" vs "West Coast" ideas in modern music. Since these sides were recorded in Hollywood, they must, of course, be in the West Coast idiom. We lean toward the theory that no matter where a recording is made, or which "school" it belongs to, that is bound to be interesting if it is good. We think that these efforts are very good.
It is fortunate that so much of the best recording equipment and so many of the best young modern musicians are concentrated in this area. That does create a problem — just which man to use on which instrument! This is the type of problem we should have more of. It's like looking at a tray of diamonds and picking seven to match.
The key diamond in this case is Hall Daniels, a top studio arranger and musician. Besides writing scores for motion pictures he is also noted for his work with Les Baxter. Hall composed two originals for this session, and then dressed up two familiar standards to showcase the wonderful artistry of the rest of the musicians in the group.
Hall is heard on trumpet on these sides, while on trombone is Dick Nash, brother of the famous Ted Nash and one of the most flawless artists we have ever heard. Zoot Sims is on tenor sax, and well known as a leader and as a side man with Woody Herman and Stan Kenton. The baritone sax is handled by Bob Gordon whom you have heard with Kenton, Pete Rugolo, Chet Baker and others. The piano man is Paul Atkerson, a Los Angeles Conservatory product better known for his solo work in the top night spots about Southern California. The rest of the rhythm section are ex-Les Brown men. In this small group you can really hear them and what they can do. Jack Sperling is on drums, Rolly Bundock on bass and Tony Rizzi on guitar.
This is a JUMP Record first venture into the Modern field, and it was a real pleasure for me to be entrusted with setting up the date. If you like this, there will be more, because there are lots of diamonds still on the tray out there. *Cliff Foottit (from the liner notes)
Bob Tulley and Hall Daniels
Rare And Obscure Jazz Albums
1 - Aladdin's Dilemma
(Bob Tulley)
2 - Jeepers Creepers
(Warren, Mercer)
3 - Imagination
(Van Heusen, Burke)
4 - Jazz Mambo
(Bob Tulley)
5 - Jaywalker
(Tulley, Maiden)
6 - Mood Indigo
(Ellington, Bigard, Mills)
7 - Skylark
(Carmichael, Mercer)
8 - Midnight Romp
(Tulley, Maiden)
9 - The Way You Look Tonight
(Jerome Kern)
10 - Nash-Ville
(Hall Daniels)
11 - You Don't Know What Love Is
(Raye, DePaul)
12 - Compatibility
(Hall Daniels)
13 - The Way You Look Tonight (alternate take)
(Jerome Kern)
14 - Nash-Ville (alternate take)
(Hall Daniels)
15 - You Don't Know What Love Is (alternate take)
(Raye, DePaul)
16 - Compatibility (alternate take)
(Hall Daniels)
#1 to #8:
from the 10-inch Bob Tulley Quintet (Skylark SKLP 16)
Bob Tulley Quintet Featuring. Nash Maez on Tenor Sax
Bob Tulley (trumpet), Nash Maez (tenor sax),
Hunky Page (piano), Paul Binnings (bass), Hank Millo (drums).
Recorded at Radio Recorders, Hollywood, California, August 1954
#9 to #16:
from the 10-inch>Hall Daniels' Septet (Jump JL-9)
Hall Daniels’ Septet Feat. Zoot Sims on Tenor Sax
Hall Daniels (trumpet), Dick Nash (trombone),
Zoot Sims (tenor sax), Bob Gordon (baritone sax),
Paul Atkerson (piano), Tony Rizzi (guitar),
Rolly Bundock (bass), Jack Sperling (drums).
Recorded at Radio Recorders, Hollywood, California, February 14, 1955
