Five-Star Collection... The Concert Jazz Band (I)

In late 1960, Gerry Mulligan shaped one of the most ambitious projects of his career: the Concert Jazz Band, an orchestra that, in the midst of the economic decline of big bands, openly defied the market conditions of the jazz scene at the time. Far from any retrospective gesture, the ensemble proposed a reformulation of modern orchestral language, transferring to the expanded format the principles of textural clarity, counterpoint, and interaction that Mulligan had developed in his pianeless formations since the early 1950s.

The initial support of the project was made possible thanks to an agreement with Norman Granz, producer of Verve Records, who guaranteed the financial backing necessary to keep an orchestra of these characteristics active. Within this framework, and in a remarkably brief span of time —between May 1960 and December 1961—, the Concert Jazz Band established the complete core of its discographic production.

In chronological order, this corpus can be reconstructed from five titles that are considered the main body of work of the orchestra:

The Concert Jazz Band — sessions from May and July 1960 in New York, Gerry Mulligan and the Concert Jazz Band on Tour — recordings from the October–November 1960 tour in the United States and Europe, Gerry Mulligan and the Concert Jazz Band at the Village Vanguard — recorded on December 11, 1960 in New York, Gerry Mulligan Presents a Concert in Jazz — sessions from July 1961 at Webster Hall, and Gerry Mulligan '63 — recorded in December 1962.

Viewed in this way, the project appears as a complete arc that coordinates studio, tour, and live documentation, allowing one to follow the evolution of the ensemble from its initial formulation to its point of maximum elaboration.

This artistic development, however, was abruptly interrupted by non-musical factors. Granz's sale of Verve to MGM put an end to the financing scheme that made the orchestra viable, forcing its dissolution shortly after the 1961 sessions, at the very moment when the group had reached its highest degree of cohesion and aesthetic definition.

Contemporary critical reception not only accompanied this process, but also consecrated it. In the pages of DownBeat magazine, three of these recordings obtained the maximum rating of five stars: the debut album The Concert Jazz Band, reviewed by Don DeMicheal in the December 8, 1960 issue; the live recording at the Village Vanguard; and Gerry Mulligan '63, whose assessment underscores the level of integration achieved by the orchestra in its final stage. Read together, these reviews trace a sort of critical arc that accompanies the trajectory of the group: from the initial affirmation of its viability, through the confirmation of its effectiveness live, to its consecration as one of the most accomplished orchestral achievements of modern jazz.

In that sense, the Concert Jazz Band asserts itself as one of the most unique orchestral formulations of its time, and one of the last great reformulations of the big band language in 20th-century jazz; although its existence was brief, the recordings it left behind still allow us today to perceive, with remarkable clarity, the creative impulse that gave it birth.

Without prejudice to focusing later on the two remaining productions that complete this corpus, let us dedicate the next three entries to examining the albums from this pentalogy that were honored by DownBeat magazine with its highest rating...

Gerry Mulligan

The Concert Jazz Band

In deciding on the instrumentation for the new band that makes its album debut here, Gerry Mulligan says: "I wanted the same clarity of sound and interplay of lines that I had in the smaller groups. 

"We have a clarinet in the reed section, not primarily for a clarinet-lead effect but for a sound contributing to the ensemble in general. As for the soloists, I wanted to use just a few men for the bulk of the solo work, so that they would be heard enough for the audience to become familiar to their styles."

What he has built, says Gerry, is essentially a concert band —a jazz band for listening— and it was on this premise that the band's first tour was arranged by Norman Granz for the fall of 1960. 

Further words are unnecessary. The album delivers its own exciting message: that this is the best new jazz orchestra of the year. *Leonard Feather (from the liner notes)*

Big bands in jazz have generally been of two sorts. The first reflects the thinking of such men as Fletcher Henderson and Don Redman, that of three sections –brass, reeds, rhythm –working as individual units within the whole, sometimes together, other times in opposition or in response to each other. While this concept is definitely tied to early jazz, it has stronger affiliations with brass bands and European music; and while there is room for individual contributions in the form of solos, the main emphasis is on group cohesion. The arranger is the controller. The major function of such bands is to provide dance music.

The other big-band concept stems from the thinking of Duke Ellington. The three sections are present as in the other, and the arranger is still important. But the individual members are not subservient to either section or pen. The part must fit the man, not vice versa. The spirit is that of a small jazz group, although the context is that of a big band. The brilliance and colors of numerous instruments can be achieved when desired, but –and this is the crucial difference between the two concepts –the creativity, freedom, and interaction of individuals found in small groups is retained. Such bands produce music the primary function of which is to stimulate the listener's ear, not his feet.

The Mulligan band is firmly in the Ellington camp. It is not an Ellington imitation, though Sweet and Low is a deep bow in Duke's direction, but reflects the feel, the spirit of Ellington –the feel, the spirit of small group jazz.

More specifically, it is an extension and expansion of Mulligan's concept as we've come to know it through his quartet and sextet: the combination of extremes –simplicity with complexity, cool intellectualism with hot-blooded emotion, sophistication with guts.

Because of these many facets and of the variety of emotional experience the band offers, I feel this is the most important big band in jazz today. (In person the impact of the band is even greater than on this album. It is unfortunate that Mulligan intends to disband, but the band is scheduled to reorganize later in 1961.)

It is not a blasting band; in many ways it is reminiscent of the Claude Thornhill Band when Gil Evans was writing for it. Attention is paid to blend, control, and dynamics. By using another baritone in the sax section, Mulligan retains fulness behind his solos. The brass is usually voiced close, giving it a subdued, almost muffled sound. Even in the shout choruses the brass keeps it head and depth.

Lewis and Clark, the rhythm section on all but one track and the one that toured with the band, are superlative. The rhythm is always firm yet never too tight. These two are the source of the band's relaxation. They push the whole band but do it unobtrusively. What Lewis plays fits so well and logically that at times the listener might miss his contribution, but on careful listening, you realize he's kicking everybody. Lewis is the Dave Tough of his time –a drummer felt more than heard.

The main soloists on the record are Mulligan, Brookmeyer, and Sims.

Mulligan builds his solos with more care than he has in some time. Each phrase relates to the next; each solo is like a story. He plays well on all tracks, but his most touching work is on Valentine and the lovely Django Reinhardt ballad Manoir de Mes Reves.

Brookmeyer's playing is the best I've heard him do. He seems to have found his true element in this band. Wit and melodiousness he always had, but here there's a fire that wasn't burning so brightly in the past. He has a gusty, burry, wonderful solo on his own arrangement of Advantage; in one place his fill over the saxes is nothing but a breathy slur –no brass sound, just breath.

Sims hasn't as much blowing room on the record as he has in person –he doesn't play in the section but is featured on a couple of tunes each set –but he has a meaty solo on Bweebida Bobbida.

This is one of the best records of 1960.

*Don DeMicheal (Down Beat, December 8, 1960 [5 stars])*

Side 1

1 - Sweet And Low

(Harry Warren, Al Dubin)

2 - Bweebida Bobbida

(Gerry Mulligan)

3 - Manoir De Mes Rêves (Django's Castle)

(Django Reinhardt)

4 - You Took Advantage Of Me

(Richard Rodgers, Lorenz Hart)

Side 2

5 - Out Of This World

(Harold Arlen, Johnny Mercer)

6 - My Funny Valentine

(Richard Rodgers, Lorenz Hart)

7 - Broadway

(Henry Woode, Teddy McRae, Bill Bird)

8 - I'm Gonna Go Fishin'

(Duke Ellington, Peggy Lee)

Gerry Mulligan (baritone sax); Don Ferrara, Conte Candoli, Nick Travis (trumpets [#1 to #7]);

Don Ferrara, Danny Stiles, Phil Sunkel (trumpets [#8];

Wayne Andre (trombone); Alan Raph (bass trombone);

Bob Brookmeyer (valve trombone); Dick Meldonian (alto sax); Gene Quill (alto sax, clarinet);

Zoot Sims[#1 to #7], Jim Reider [#8] (tenor saxes); Gene Allen (baritone sax, bass clarinet); 

Buddy Clark [#1 to #7], Bill Tackus [#8] (basses):

Mel Lewis [#1 to #7], Dave Bailey [#8] (drums).

Recorded at Plaza Sound Studios, New York City, May 21 [#8],

July 25 [#1 to #4] and July 27 [#5 to #7], 1960

✤✤✤✤

For those who prefer the digital version of the Concert Jazz Band's debut album, there are several options. One of them is the one presented by the Poll Winners Records label titled The Concert Jazz Band • The First Album.

This edition brings together the complete original Gerry Mulligan LP, The Concert Jazz Band (Verve V6-8388), which marked the discographic debut of this extraordinary big band formation. Its tracks feature the presence of stellar figures such as Zoot Sims, Bob Brookmeyer, Conte Candoli, Gene Quill, Mel Lewis, and, of course, Mulligan himself. As a bonus, the disc incorporates all surviving tunes from the band’s second studio session —recorded in between the three sessions that made up the original LP—, as well as three tracks recorded live in Milan, four months after completing the album.

Gerry Mulligan

The Concert Jazz Band

The First Album

1 - Sweet And Low

(Harry Warren, Al Dubin)

2 - Bweebida Bobbida

(Gerry Mulligan)

3 - Manoir De Mes Rêves (Django's Castle)

(Django Reinhardt)

4 - You Took Advantage Of Me

(Richard Rodgers, Lorenz Hart)

5 - Out Of This World

(Harold Arlen, Johnny Mercer)

6 - My Funny Valentine

(Richard Rodgers, Lorenz Hart)

7 - Broadway

(Henry Woode, Teddy McRae, Bill Bird)

8 - I'm Gonna Go Fishin'

(Duke Ellington, Peggy Lee)

9 - I Know, Don't Know How

(Gerry Mulligan)

10 - Barbara's Theme

(Johnny Mandel)

11 - Sweet And Slow (first version)

(Harry Warren, Al Dubin)

12 - Out Of This World (first version)

(Harold Arlen, Johnny Mercer)

13 - Go Home (live in Milan, 1960)

(Ben Webster)

14 - Apple Core (live in Milan, 1960)

(Gerry Mulligan)

15 - Barbara's Theme (live in Milan, 1960)

(Johnny Mandel)

#1 to #8:

Gerry Mulligan (baritone sax); Don Ferrara, Conte Candoli, Nick Travis (trumpets [#1 to #7]);

Don Ferrara, Danny Stiles, Phil Sunkel (trumpets [#8]);

Wayne Andre (trombone); Alan Raph (bass trombone);

Bob Brookmeyer (valve trombone); Dick Meldonian (alto sax); Gene Quill (alto sax, clarinet);

Zoot Sims[#1 to #7], Jim Reider [#8] (tenor saxes); Gene Allen (baritone sax, bass clarinet); 

Buddy Clark [#1 to #7], Bill Tackus [#8] (basses):

Mel Lewis [#1 to #7], Dave Bailey [#8] (drums).

Recorded at Plaza Sound Studios, New York City, May 21 [#8],

July 25 [#1 to #4] and July 27 [#5 to #7], 1960

#9, #10, #11, #12:

Gerry Mulligan (baritone sax); Don Ferrara, Danny Stiles, Phil Sunkel (trumpets);

Wayne Andre (trombone); Alan Raph (bass trombone); Bob Brookmeyer (valve trombone);

Dick Meldonian (alto sax); Gene Quill (alto sax, clarinet); Jim Reider (tenor sax);

Gene Allen (baritone sax, bass clarinet); Bill Tackus (bass); Dave Bailey (drums).

Recorded at Plaza Sound Studios, New York City, June 1, 2 and 3, 1960

#13, #14, #15:

Gerry Mulligan (baritone sax); Don Ferrara, Conte Candoli, Nick Travis (trumpets);

Wayne Andre (trombone); Alan Raph (bass trombone); Bob Brookmeyer (valve trombone);

Bob Donovan (alto sax); Gene Quill (alto sax, clarinet); Zoot Sims, Jim Reider (tenor saxes);

Gene Allen (baritone sax, bass clarinet); Buddy Clark (bass): Mel Lewis (drums).

Recorded live at Teatro Lirico, Milan, Italy, November 14, 1960

Lighthouse All-Stars Collection XXV ★ with Gerry Mulligan

Gerry Mulligan

Swing House

Gerry Mulligan On The West Coast 

Rare Ands Unissued Recordings • 1952

✤✤

More Mulligan at The Lighthouse

At the end of 1951, fleeing police pressure in New York, Gerry Mulligan embarked on a journey to the West Coast that would permanently reshape his career and the sound of modern jazz. Freshly arrived in Los Angeles, the saxophonist split his creative focus between commercial discipline—crafting dance arrangements for the Stan Kenton Orchestra—and the absolute freedom of the local club scene. It was in these informal settings that the passion and tape recorder of Bob Andrews captured, on an amateur yet historically invaluable basis, the very jam sessions that document Mulligan's transition toward worldwide acclaim and the birth of his legendary piano-less quartet. This crucial historical testament is beautifully captured by Ken Poston in the original liner notes:

At the end of 1951 Gerry Mulligan decided to leave New York and head west to Los Angeles. The vice squad had started putting heavy pressure on jazz musicians and Gerry didn’t want to put up with it any longer. His girlfriend, Gale Madden, had paved the way for Gerry to write arrangements for Stan Kenton once they got to Los Angeles. In the middle of the winter they left Manhattan and hitchhiked all the way to the west coast.

Once there they moved into the Harvey Hotel and Gerry fulfilled his writing assignment for Kenton. He also began sitting in around town at whatever jam sessions he could find. There were three places in particular that he frequented; the Showtime, in the San Fernando Valley, the Lighthouse in Hermosa Beach and the Haig in the mid-Wilshire district.

Most of the recordings on this collection were made by Bob Andrews, jazz fan, record store owner and amateur recording engineer. In 1952 he had just started to take his tape recorder to local jazz clubs and although nothing has materialized from the Showtime he did capture Gerry Mulligan several times at the Lighthouse and the Haig. In addition to the jam session recordings we’ve included a few of the lesser heard dance arrangements he wrote for Kenton in 1952.

This is an important historical document because it captures Gerry just a few months after his arrival in Los Angeles and follows his progress up to the point he forms the piano-less quartet. Although he had many accomplishments by the time he came to Los Angeles, he was far from a household name in the jazz world. By the end of the year he had gained world wide attention and was instrumental in establishing the west coast jazz phenomenon.

*Ken Poston (from the liner notes)*

1 - Indiana

(James F. Hanley, Ballard MacDonald)

This is the earliest of the Bob Andrews recordings that captured Gerry Mulligan sitting in around Los Angeles. This was actually recorded on a Saturday night and features Mulligan joining the Lighthouse rhythm section.

Gerry Mulligan (baritone sax), Frank Patchen (piano)

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

Recorded live at the Lighthouse, Hermosa Beach, May 10, 1952

2 - Robbins' Nest

(Illinois Jacquet, Sir Charles Thompson)

"Robbins' Nest" features Mulligan sitting in with the Lighthouse All Stars at one of the legendary Sunday sessions at the Lighthouse.

Gerry Mulligan (baritone sax); Shorty Rogers (trumpet);

Jimmy Giuffre, Bob Cooper (tenor saxes); Frank Patchen (piano);

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

Recorded live at the Lighthouse, Hermosa Beach, June 1, 1952

3 - Tiny's Blues

(Tiny Kahn)

Two nights later Mulligan was running the off-night jam session at the Haig and on this occasion Gerry played the tenor as opposed to the baritone. Tiny's Blues has been issued a few times over the years but always with the incorrect date. This recording comes from Bob Andrews original reel which has the recording date documented on the box.

Gerry Mulligan, Dave Pell (tenor saxes), Ted Ottison (trumpet);

Paul Smith (piano); Joe Mondragon (bass); Billy Wilson (drums).

Recorded live at The Haig, Los Angeles, June 3, 1952

4 - Rose Room

(Art Hickman, Harry Williams)

Bob Andrews captured Gerry once again the following week at the Haig. Gerry ran things from the bandstand but it was an open session for anyone who wanted to play. On this particular occasion both Conrad Gozzo and Gene Roland dropped by.

Gerry Mulligan (baritone sax); Conrad Gozzo, Gene Roland (trumpets);

Jimmy Rowles (piano); Howard Roberts (guitar); Joe Mondragon (bass); Unknown (drums).

Recorded live at The Haig, Los Angeles, June 10, 1952

5 - It's Sand Man

(Ed Lewis)

The jam sessions at the Lighthouse worked a little different than those at the Haig. Howard Rumsey invited specific guests although he did allow others to sit in throughout the day. This is the working Lighthouse All Stars with Andy Lambert subbing for Rumsey.

Gerry Mulligan (baritone sax), Shorty Rogers (trumpet),

Jimmy Giuffre (tenor sax), Milt Bernhart (trombone),

Frank Patchen (piano), Andy Lambert (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 14, 1952

6 - Between The Devil And The Deep Blue Sea

(Harold Arlen, Ted Koehler)

More from the June 14 session. Aaron Sachs and Tommy Potter were both in town with Earl Hines band and Howard recruited them to come down for the session.

Gerry Mulligan (baritone sax), Aaron Sachs (clarinet),

Jimmy Giuffre (tenor sax), Frank Patchen (piano),

Tommy Potter (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 14, 1952

7 - Get Happy / Utter Chaos

(Harold Arlen, Ted Koehler / Gerry Mulligan)

Red Norvo came in as the featured attraction and the house piano was put into storage. Instead of continuing the jam session format on Tuesday nights Gerry formed his own group and the "piano-less quartet" was born. Gerry handpicked the group from musicians he had played with around town and included Chet Baker at the suggestion of Bob Whitlock. This recording was not made by Bob Andrews, but by another fan that sent the tape to Mulligan many years later. August 1952 is the date written on the tape box although it's possible it comes from a bit later. If it is August of 1952 it would be right at the beginning of the quartet.

Gerry Mulligan Quartet:

Gerry Mulligan (baritone sax), Chet Baker (trumpet),

Bob Whitlock (bass), Chico Hamilton (drums).

Recorded live at The Haig, Los Angeles, August, 1952

8 - Bweebida Bobbida

(Gerry Mulligan)

In October of 1952 Shorty Rogers had been a regular member of the Lighthouse All Stars for a year. Shorty had recorded under his own name, separate from the All Stars, and was really beginning to make a name for himself. Howard Rumsey used to allow him to take nights off from the Lighthouse so he could lead his own band for special engagements. During the fall Shorty formed a super group that included both Mulligan and Chet Baker as well as Art Pepper and Wardell Gray. The Mulligan group had completed their first engagement at the Haig and recorded their first sides for the new Pacific Jazz label. This Shorty Rogers group did at least two engagements. The first was a Gene Norman concert at The Rendezvous Ballroom, which was released on two LAJI members only CDs. This engagement took place at the 5-4 Ballroom in south central Los Angeles.

Shorty Rogers and His Giants:

Shorty Rogers, Chet Baker (trumpets); Art Pepper (alto sax);

Wardell Gray (tenor sax); Gerry Mulligan (baritone sax);

John Graas (french horn); Hampton Hawes (p);

Joe Mondragon (bass); Lawrence Marable (drums).

Recorded live at 5-4 Ballroom, Los Angeles, October 10, 1952

9 - Too Marvelous For Words

(Richard A. Whiting, Johnny Mercer)

"Too Marvelous for Words" was featured a few times by the Kenton Orchestra including this 1952 broadcast of the Bob Snydor Show. The original handwritten score is dated February 4, 1952.

Stan Kenton Orchestra:

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets);

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones);

George Roberts (bass trombone);  Dick Meldonian, Vinnie Dean (alto saxes);

Lee Elliott, Bill Holman (tenor saxes); Bob Gioga (baritone sax);

Stan Kenton (piano); Sal Salvador (guitar) Don Bagley (bass) Stan Levey (drums).

Bob Snydor Show, Bristol, Connecticut, July 13, 1952

10 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

"All the Things You Are" was featured regularly during the New Concepts of Artistry in Rhythm period and was a feature for Buddy Childers. This recording comes from a Concert in Miniature broadcast from September of 1952. The original score is dated March 9, 1952.

Stan Kenton Orchestra:

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets);

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones);

George Roberts (bass trombone); Lee Konitz, Vinnie Dean (alto saxes);

Bill Holman, Richie Kamuca (tenor saxes); Bob Gioga (baritone sax);

Stan Kenton (piano); Sal Salvador (guitar); Don Bagley (bass); Stan Levey (drums).

Concert in Miniature, Fort Sheridan, Illinois, September 2, 1952

11 - Dancing In The Dark

(Arthur Schwartz, Howard Dietz)

"Dancing in the Dark" wasn't played often but had stayed in the book for many years. It was one of the earliest arrangements Gerry wrote not long after his arrival in Los Angeles. The original score is dated January 19, 1952.

Stan Kenton Orchestra:

Jack Sheldon, Frank Higgins, Billy Catalano, Bob Ojeda, Bud Brisbois (trumpets);

Billy Smiley, Archie LeCoque, Kurt Larsen, Jim Amlotte, Bob Olson (trombones);

Steve Perlow, Bill Perkins, Lennie Niehaus, Bill Trujillo, Bill Robinson (reeds);

Stan Kenton (piano); Red Kelly (bass); Jerry McKenzie (drums).

Holiday Ballroom, Chicago, Illinois, October 10, 1958

12 - Where Or When

(Richard Rodgers, Lorenz Hart)

"Where or When" is another dance arrangement that stayed in the book for a long time. The original score is dated January 19, 1952.

Stan Kenton Orchestra:

Frank Huggins, Bud Brisbois, Rolf Ericson, Joe Burnett, Roger Middleton (trumpets);

Archie LeCoque, Kent Larsen, Jimmy Knepper (trombones);

Jim Amlotte, Bill Smiley (bass trombones); Lennie Niehaus (alto sax);

Bill Trujillo, John Bonnie (tenor saxes); Billy Root, Sture Swenson (baritone saxes);

Stan Kenton (piano); Scott LaFaro (bass); Jerry McKenzie (drums).

County Fair Building, Ukiah, California, February 26, 1959

13 - Begin The Beguine

(Cole Porter)

The original score to "Begin the Beguine" is dated March 1952. Gerry never said much about his dance charts for Kenton other than joking he was given "dogs work." He did however make special note of Begin the Beguine since Artie Shaw was one of his early idols.

Stan Kenton Orchestra:

Bud Brisbois, Dalton Smith, Bill Chase, Danny Nolan, Rolf Ericson (trumpets);

Bob Fitzpatrick, Kent Larsen, Bill Smiley (trombones);

Jim Amlotte, Bob Knight (bass trombones); Lennie Niehaus (alto sax);

Bill Trujillo, Ronnie Rubin (tenor saxes); Jack Nimitz, Marvin Holladay (baritone saxes);

Stan Kenton (piano); Peter Chivily (bass); Jimmy Campbell (drums); Mike Pacheco (percussion).

Enlisted Mens Club, Barstow, California, January 30, 1960

Lighthouse All-Stars Collection XXIV ★ Rarities at The Lighthouse

Los Angeles Jazz Institute 

Presents

West Coast Rarities

✤✤

Gerry Mulligan, Lennie Niehaus and Bud Shank at The Lighthouse

Apart from the unitary and official recordings that have been presented within the Lighthouse All-Stars collection, there are many stray private recordings that are gradually becoming known. One of them is this compendium with unreleased recordings compiled from original sources from the Los Angeles Jazz Institute archive.

Specifically, there are only three live recordings at the Lighthouse Cafe, although the others are of equal importance as they involve equally famous settings related to the West Coast Jazz movement of the 1950s.

Through this valuable material, which spans from 1952 to 1958, we witness the birth and consolidation of a vibrant musical scene in Southern California. The audio testimonies show us the inner history of its protagonists at key moments, such as a Gerry Mulligan newly arrived in the city and about to revolutionize the genre with his pianoless quartet, or the debut of Shorty Rogers' Big Band during an early morning television charity telethon.

The album also functions as a cartographic journey through the night spots that defined the era, taking the listener beyond the Lighthouse to enter jazz temples as legendary as The Haig, the Rendezvous Ballroom in Balboa, Zardi's, or the Peacock Lane, and even singular events like the grand opening of a record store. Likewise, the document highlights the close camaraderie and spirit of collaboration among West Coast musicians, fostering spontaneous summits where figures of the stature of Stan Getz joined established groups.

It is also worth noting the enormous logistical and historical value of some of these tracks, which document the famous off-nights at the Lighthouse, when on Mondays and Tuesdays the club opened its doors to guest ensembles such as the Lennie Niehaus Quintet. It should be noted that the recordings contained on this compact disc come from a variety of sources, some of which were recorded under non-professional conditions; however, the editors have rightly considered that the extreme rarity and unique character of these performances preclude and compensate for any flaws that the quality of the original sound may present.

1 - Elevation

(Gerry Mulligan)

At the time of this recording, Gerry Mulligan had been in Los Angeles for about five months but had yet to find regular work. He wrote some arrangements for Stan Kenton and participated in jam sessions all over town. This rare recording finds Mulligan, prior to the formation of his "pianoless" quartet, sitting in on one of the Sunday sessions at The Lighthouse.

Howard Rumsey's Lighthouse All-Stars:

Shorty Rogers (trumpet), Jimmy Giuffre (tenor sax), Bob Cooper (tenor sax),

Gerry Mulligan (baritone sax), Frank Patchen (piano),

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

Recorded live at the Lighthouse, Hermosa Beach, June 1, 1952

2 - Move

(Denzil Best)

"Move" was recorded live at The Haig during one of the first appearances of the new Gerry Mulligan Quartet. The group played the four Tuesdays in August while the Red Norvo Trio was the featured attraction throughout the week. It was during these first Tuesday nights that the Quartet became a sensation prompting the formation of Pacific Jazz Records. Before long both Mulligan and Chet Baker would become major jazz stars.

The Gerry Mulligan Quartet:

Gerry Mulligan (baritone sax), Chet Baker (trumpet),

Bob Whitlock (bass), Chico Hamilton (drums).

Recorded live at the Haig, Los Angeles, August, 1952

3 - Short Snort

(Shorty Rogers)

This live concert, recorded at the Rendezvous Ballroom in Balboa, features a dream line-up put together by Shorty Rogers specifically for this date. A true summit meeting of the giants of West Coast jazz.

Shorty Rogers and His Giants:

Shorty Rogers, Chet Baker (trumpets); Art Pepper (alto sax);

Wardell Gray (tenor sax); Gerry Mulligan (baritone sax);

Bob Enevoldsen (valve trombone); Hampton Hawes (piano);

Joe Mondragon (bass); Lawrence Marable (drums).

Recorded live at the Rendezvous Ballroom, Balboa Beach, September 28, 1952

4 - Short Stop

(Shorty Rogers)

This television broadcast from 1953 marked the debut of Shorty Rogers Big Band. It comes from a 25 hour Cerebral Palsy telethon hosted by Jack Webb. The show began at 11pm on Friday night and continued until midnight Saturday. Jazz fans had to stay up late if they wanted to see Shorty's new big band. The jazz segment didn't get underway until 3 o'clock in the morning.

Shorty Rogers Big Band:

Shorty Rogers, Conrad Gozzo, Tommy Reeves, Reuben McFall (trumpets);

Jack Dulong, Bud Shank, Bill Perkins, Don Davidson (reeds);

Herbie Harper, Harry Betts, Bob Enevoldsen (trombones);

John Graas (french horn); Paul Sarmento (tuba);

Marty Paich (piano); Joe Mondragon (bass); Shelly Manne (drums)

Cerebral Palsy Telethon, KBCA Channel 7, Los Angeles, June 6, 1953

5 - The Goof and I

(Al Cohn)

"The Goof and I " was recorded live at the Grand Opening of Larsen's Record Room in El Segundo and features the swinging 1955 version of the All-Stars with that great front line of Candoli, Shank, Cooper and Rosolino.

Howard Rumsey's Lighthouse All-Stars:

Conte Candoli (trumpet), Bud Shank (alto sax),

Bob Cooper (tenor sax), Frank Rosolino (trombone),

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

Recorded live at Larsen's Record Room, El Segundo, March 4, 1955

6 - Topsy

(Edgar Battle, Eddie Durham)

By 1955, Shorty Rogers was a very busy man. In addition to his ever growing studio work, the Giants had recently started recording for Atlantic Records and had also begun a long engagement at Zardi's Jazz Club on Hollywood Blvd. Shorty's boyhood friend from the Bronx, Stan Getz, was in Los Angeles at the time and is found here sitting in with the Giants.

Shorty Rogers and His Giants with Stan Getz:

Shorty Rogers (trumpet), Jimmy Giuffre (clarinet), Stan Getz (tenor sax),

Pete Jolly (piano), Ralph Pena (bass), Shelly Manne (drums).

Recorded live at Zardi's, Hollywood, August 4, 1955

7 - Everybody Moan

(Ernie Wilkins)

Maynard Ferguson had spent the latter part of 1956 in New York with his Birdland Dream Band. After the Birdland engagement and subsequent recordings for Vik records he returned to Los Angeles and re-formed the West Coast Dream Band. That band was booked for the holidays at the Peacock Lane Club which was located at Hollywood Blvd. and Western Ave.

Maynard Ferguson and His Orchestra:

Maynard Ferguson, Ed Leddy, Joe Burnett, Tom Slaney (trumpets);

Herb Geller, Richie Kamuca, Nino Tempo, Willie Maiden (reeds);

Bob Fitzpatrick, Bob Burgess (trombones);

Paul Moer (piano); Red Kelly (bass); Mel Lewis (drums).

Recorded live at Peacock Lane, Hollywood, January 4, 1957

8 - Just Friends

(John Klenner, Sam M. Lewis)

By the late 1950s, The Lighthouse All-Stars worked Wednesday - Saturday plus the Sunday Concerts. Mondays and Tuesdays featured groups booked specifically for the off-nights. During the summer of 1957, the off night group was The Lennie Niehaus Quintet. This rare recording was made from the audience on one of those Monday or Tuesday nights.

The Lennie Niehaus Quintet:

Lennie Niehaus (alto sax), Bill Perkins (tenor sax),

Paul Moer (piano), Buddy Clark (bass), Mel Lewis (drums).

Recorded live at the Lighthouse, Hermosa Beach, July, 1957

9 - Do Nothin' Till You Hear From Me / Theme

(Duke Ellington / Bud Shank)

During the holiday season of 1957-58 Bud Shank returned to the familiar surroundings of the Lighthouse this time leading his own successful Quartet. The quartet was captured here for the KMLA "Nightlife" program.

Bud Shank Quartet:

Bud Shank (alto sax), Claude Williamson (piano),

Don Prell (bass), Chuck Flores (drums).

KMLA "Nightlife" Broadcast

Recorded live at the Lighthouse, Hermosa Beach, January 1, 1958

Lighthouse All-Stars Collection XXIII ★ with Zoot Sims (II)

Zoot Sims

Lover Man

Zoot Sims On The West Coast • 1954

The tireless search for recordings that complete the historical puzzle of the Lighthouse All-Stars occasionally yields major surprises. Although the bulk of this volume takes us to an intimate and domestic setting, its inclusion in our Lighthouse All-Stars Collection series is fully justified by an exceptional historical rescue: the presence of Zoot Sims, as a stellar guest, on the stage of the mythical club in Hermosa Beach.

Once again, the miracle is due to Bob Andrews, who, equipped with his now-famous home recorder and a single microphone, managed to record a unique moment in the history of West Coast Jazz. We find ourselves specifically on the night of March 9, 1954. That evening already possessed a historical character for the group itself, as it marked the debut of the legendary drummer Stan Levey in the lineup, occupying the seat just vacated by Max Roach. The All-Stars performed with one of their most powerful incarnations: the horn section aligned Bob Cooper, Bud Shank, Frank Rosolino, and Stu Williamson, complemented by Claude Williamson on piano and the indefatigable Howard Rumsey on double bass.

Andrews set up his microphone and recorded the session. In fact, our previous blog post covered the album Zoot Sims with The Lighthouse All-Stars • 1954, which captured the official session recorded the very next day. Toward the end of the night, Zoot Sims took the stage with his tenor sax to join the band.

Regarding this valuable piece, which appears in this edition under the title "Lighthouse Days," the producer of the release, Toshinari Shiroshita, offers us a fascinating chronicle of its nature and execution in the liner notes:

The titles of the songs performed changed depending on the occasion at the jam session, adopting names like "Groovy Eyes" or "Goof and I". For this edition, we preferred to use the title "Lighthouse Days", just as Andrews originally noted it in his personal memorandum.

The structure of the piece treats us to an impressive succession of solos in a strict order: it begins with Zoot Sims himself, followed by Stu Williamson, Bud Shank, Frank Rosolino, Bob Cooper, and finally, Claude Williamson on piano. The dynamism of the performance reaches its peak in the final chorus, where an extremely interesting exchange of bars breaks out between the drums and each of the soloists, preventing the piece from falling into a simple improvisation routine. Stan Levey's intervention, with a short but highly sharp and precise drum solo, is irrefutable proof that we are dealing with a first-rate instrumentist.

In terms of the five pieces that complete this album, while the Lighthouse recording is the magnet for completists of the series, the rest of the tracks that round out this volume do not envy its historical importance at all. These five instrumental tracks take us to a much more exclusive setting whose exact date remains a mystery, cataloged simply on an unknown day of that same year, 1954: the intimacy of the home.

As Toshinari Shiroshita himself comments in the insert notes:

This is a valuable record of a very unusual rehearsal session, recorded when Zoot Sims (1925–1985), whose activities took place mainly on the East Coast, returned to his parents' home in California (a town near the Los Angeles International Airport). This rehearsal session was released on LP in 1991 by the Norma label under the title Pinky and Zoot, but the 5 tracks with the addition of vocalist Pinky Winters were released on CD in 2010 as "Pinky +12". This Lover Man being released now is composed of the purely instrumental tracks (without Pinky's vocals) from that session, and includes an unreleased track that was not included in the Norma LP.

Regarding the musicians participating in tracks #1 to #5 at Zoot's house, isn't it true that, except for Zoot, they are musicians who have hardly been heard of? For Zoot, whose activities took place mainly on the East Coast, a session on the West Coast in the mid-1950s like this one is extremely rare, but the reality of the L.A. scene runs deep. It is said that musicians like Heale and Inosencio played in top-tier big bands such as those of Benny Goodman or Woody Herman... His tenor sax style is in the line of Lester Young, and his talent was not only recognized by West Coast musicians but also enjoyed high popularity in Europe.

Pianist Timmy Inosencio was a music teacher at an L.A. high school in his later years and, according to Pinky Winters, was the band instructor at the high school Pinky's eldest daughter attended around 1970. He was a talented jazz musician who, since his high school days, aspired to be a professional jazz pianist and had acquired a solid technique and a great sense of swing. It seems he was a gifted musician who confirmed early on that 'you can't make a living from jazz' and chose that path. Trumpeter Marvin 'Tricky' Heale was Zoot's cousin. John Dorman was erroneously credited on the Norma LP as a trombonist, but Pinky testifies that he was a bass trumpet player and had no blood relation to Irving. Bassist Jim Wolf was Pinky's husband at the time.

1 - Dancing On The Ceiling

(Richard Rodgers, Lorenz Hart)

2- Popo

(Shorty Rogers)

3 - These Foolish Things (Remind Me Of You)

(Jack Strachey, Harry Link)

4 - I'll Remember April

(Don Raye, Gene DePaul, Pat Johnston)

5 - Lover Man

(Jimmy Davis, Roger Ramirez, Jimmy Sherman)

6 - Lighthouse Days

(Frank Patchen)

#1 to #5:

Zoot Sims (tenor sax), Marvin "Tootie" Hale (trumpet), John Dorman (bass trumpet),

Timothy "Timmy" Inocencio (piano), Jim Wolf (bass), Gary Hale (drums).

Recorded during a rehearsal at Zoot Sims' home, Inglewood, California, 1954

#6:

Zoot Sims, Bob Cooper (tenor saxes); Bud Shank (alto sax); 

Stu Williamson (trumpet); Frank Rosolino (trombone);

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

Recorded live at The Lighthouse, Hermosa Beach, California, March 9, 1954

Lighthouse All-Stars Collection XXII ★ with Zoot Sims (I)

Zoot Sims

With

The Lighthouse All-Stars • 1954

As we near the end of our "Lighthouse All-Stars Collection" jazz series, which brings together official albums and exclusive private recordings of the emblematic ensembles led by Howard Rumsey, it is now the turn of Zoot Sims, the absolute protagonist of this album.

Although musical historiography frequently links him to the West Coast jazz movement, Sims developed the bulk of his activity in New York during the 1950s. In those years, the jazz environment humorously ironized that he only traveled to the West Coast when he ran out of money in New York. Regardless of these anecdotes, his figure consolidated an exceptional respect and affection among the public and jazz fans in Japan. This discographic record constitutes a magnificent testimony of one of his most successful historic collaborations alongside the Lighthouse All-Stars.

Released on February 25, 2009, this album represents the world premiere CD release of a precious and previously unreleased documentary document. The Lighthouse All-Stars comprised the musicians who had established themselves as regulars at the long-running California jazz club, centered around bassist Howard Rumsey. The recording captures a brilliant improvisation session (jam session) in which Zoot Sims intervenes as a special guest, integrating with the regular lineup. It is an indispensable sound document that preserves with absolute fidelity the vibrant energy, spontaneity, and swing characteristic of a golden era for jazz, standing out as a rare West Coast performance where the special guest takes the first solo on every single track. The album's track list is integrated by three tracks: Frank Patchen's original composition "Goofy Eyes", an impeccable reading of the standard "All The Things You Are", and Milt Jackson's iconic "Bags Groove".

1 - Goofy Eyes

(Frank Patchen)

2 - All The Things You Are

(Oscar Hammerstein II, Jerome Kern) 

3 - Bags Groove

(Milt Jackson)

Zoot Sims, Bob Cooper (tenor saxes); Bud Shank (alto sax);

Stu Williamson (trumpet [#2]); Frank Rosolino (trombone);

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

Recorded live at The Lighthouse, Hermosa Beach, California, March 10, 1954