With this post, a new series begins, bringing together a selection of celebrated compilations from the world of Cool Jazz and West Coast Jazz. These albums, featuring recordings by various artists, offer different perspectives on one of the most distinctive and enduring chapters of modern jazz.
The journey will take us beyond the American scene that gave birth to these styles, reaching compilations issued in different parts of the world — from North America to Sweden, France and Germany — where the sound, spirit and aesthetics of Cool and West Coast Jazz found their own echoes and interpretations.
Much of the music featured here may already be familiar, and some recordings may even appear more than once across different volumes. But that is not really the point. The purpose of this series is to bring together these compilations as objects in their own right — coveted pieces of a collector's world, valued not only for the music they contain, but for the way that music was brought together, presented and preserved. Often elusive today, these records offer a fascinating view of the way Cool Jazz and West Coast Jazz have been rediscovered, celebrated and kept alive through carefully assembled collections issued over the years.
Jazz West Coast
An Anthology Of California Music
Jazz West Coast: The Pacific Jazz JWC Series
Pacific Jazz was a small but remarkably important jazz label. It recorded many major artists and left behind a large body of music of great significance. Among the musicians who recorded early for Pacific Jazz were Chet Baker, Chico Hamilton, Bill Perkins, Jim Hall, Russ Freeman, Bob Gordon, Richie Kamuca, Joe Pass, and Clare Fischer—an impressive roster. The fact that many of the musicians appearing in the six albums of the Jazz West Coast series, now being issued commercially for the first time, come from this group illustrates the important role the label played in the jazz world.
The company that officially held the label, Pacific Jazz Enterprises, released records under three imprints: Pacific Jazz, World Pacific, and Jazz West Coast. Of these, Jazz West Coast was primarily used for special projects. However, there appears not to have been any strict division regarding which recordings—whether previously unreleased material or selections from the catalog—would appear on which label. That flexible approach is reflected in this Jazz West Coast series as well. Volumes 1 through 3 were produced under the Jazz West Coast imprint, while Volumes 4 and 5 appear under World Pacific.
The history of Pacific Jazz is, to a considerable extent, the history of its founder, Richard Bock. From 1949 to 1951 Bock worked as a promotion assistant at Discovery Records, helping launch early recordings by Mark Murphy and Art Pepper. After leaving Discovery and returning to Los Angeles in 1951 following his military service, his enthusiasm for jazz only grew stronger. During that summer he worked as a publicity assistant at The Haig, a jazz club located on the corner of Wilshire Boulevard and Kenmore Street in Hollywood.
Eventually he persuaded the club's owner, John Bennett, to allow him to produce Monday night jam sessions when the club was otherwise closed. Around that same time Gerry Mulligan arrived from New York. Having just come to the West Coast, Mulligan was asked by Bock to lead the jam sessions while Bock continued working at the club.
Bock borrowed a trailer and a tape recorder from Roy Harte, the owner of the Drum City music shop. On June 10, 1952, he recorded several performances by the early Gerry Mulligan Trio. Mulligan met Chet Baker on June 16 during one of the Monday night jam sessions at The Haig. Mulligan and Baker immediately began playing together, and by July 7 they had already completed their first recording session.
On August 9 Bock again borrowed Harte's trailer and recorded two numbers by the Mulligan Quartet with trumpet at a bungalow Mulligan was renting in the Hollywood Hills. These performances were released in the fall as Pacific Jazz's forty-fifth single release, marking the label's first step into the recording business.
The overwhelming success of that single enabled the Mulligan Quartet to secure a regular engagement at The Haig, where the group ultimately performed six nights a week for half a year. Bock happened to be in the right place at the right time, but his success was not simply a matter of luck. Even before the music had been labeled "West Coast Jazz", he sensed that it represented something distinctive. He possessed the insight, imagination, and entrepreneurial energy necessary to recognize and capture the essence of this new style.
Together with Roy Harte, who ran the Drum City instrument shop, Bock established a temporary office in September 1952 inside the store at 6124 Santa Monica Boulevard in Hollywood. Soon afterward, after receiving advance payment from the first shipment of Mulligan records, he hired Don Woodford as his assistant in February 1953.
The shop occupied the first floor, and the offices of the new record company were set up on the second. In 1954, when street work was completed in front of the building, the editorial offices of Metronome magazine—located directly across the street—moved to 7614 Melrose Avenue.
Meanwhile, the second Mulligan group began recording for Pacific Jazz. After playing for a year with Mulligan's group, Chet Baker formed his own quartet with Russ Freeman on piano. The Baker group's first recording session took place on July 15, and that record also proved highly successful.
In August 1956 Dick Bock, Richard Bock's younger brother, joined Pacific Jazz as vice president. Previously he had operated a record store called Rare Records and had worked as an editor for jazz magazines such as Jazz Review and Tempo, while also producing local jazz concerts.
Recordings by both the Mulligan Quartet and the Chet Baker Quartet continued to sell well, and the emergence of long-playing LP records further boosted the company's growth. In 1956 Pacific Jazz moved its offices to 8258 Sunset Boulevard. In 1959 it relocated again to 8715 West Third Street, which became its final office location. In 1966 the company was sold to Liberty Records, and both Richard and Dick Bock moved there along with the label.
The Jazz West Coast series, an anthology of recordings from that era, was originally planned as a special set intended to introduce the outstanding artists associated with Pacific Jazz. Rather than restricting itself solely to the label's own musicians, however, the series also included performances by artists from other companies.
One difficulty arose with Volume 1, which contained alternate takes and material that had not previously been released. For listeners who purchased the anthology to play at home, it was often difficult to determine which performances were previously issued and which were not.
To avoid confusion among collectors and discographers—for example, a solo from one take being mistaken for another take—it was ultimately decided that the series should not include previously unreleased material.
Volume 1 of Jazz West Coast carries the subtitle Anthology of California Music, accompanied by an explanatory note stating:
"The music collected here represents the true essence of the jazz being created on the West Coast. By presenting representative performances by each artist, the album aims to offer both devoted jazz fans and general listeners a varied program that conveys the best of contemporary jazz".
The album could also be enjoyed as background music for the photographic book Jazz West Coast, published in 1955 by Lear Publications, an affiliate of Pacific Jazz, which featured some of William Claxton’s finest photographs.
The book included ten photographs in a portfolio measuring approximately 10.5 by 13.5 inches (27 by 34 centimeters). By sending two dollars directly to Pacific Jazz, listeners could obtain a copy.
However, the cost of printing Claxton's photographs turned out to be higher than expected, and Pacific Jazz neglected to include postage in the price. As a result, the project ended up producing a considerable financial loss.
Another innovative sales strategy introduced by Pacific Jazz was the "World Pacific 3 for 1" plan. Inside World Pacific's 12-inch albums there was a coupon printed on the inner sleeve. By collecting three coupons and sending them in along with one dollar to cover packaging and postage, listeners could receive one of twelve specially prepared albums from the label.
Thanks to this sales plan, many records that were otherwise difficult to obtain unexpectedly found their way into the hands of jazz fans, and the program was very well received.
The author of these notes also obtained several Pacific Jazz, World Pacific, and Jazz West Coast albums through this method—including the third volume of Jazz West Coast, which contained famous performances of "Old Devil Moon" and "Little Girl" that at the time were nearly impossible to find.
Thus this complete Jazz West Coast collection, offering a panoramic view of the Los Angeles jazz scene from 1953 to 1959 from the perspective of Pacific Jazz, is a set that will surely provide new pleasures and discoveries even for the most knowledgeable jazz fans.
Please enjoy listening to it. *Todd Selbert (from the Japanese liner notes)*
Jazz West Coast
Volume 1
(Pacific Jazz JWC-500)
The music enclosed here gathers together a sampling of the cream of the West Coast crop, presenting them in selections that typify their finest efforts, and offering the jazz follower—dedicated or casual—a varied program of current jazz at its best. This anthology of West Coast jazz was compiled both as a companion piece for the book of photographs called JAZZ WEST COAST and as a progress report on California jazz activity as it stands in 1955.
Jazz on the West Coast in the first half of the 'fifties has enjoyed a status it has seldom experienced in any time or any city. It's probably unnecessary to enlighten most non-coastal residents as to this boom, but for those few still foggy about what has been happening on the western front, reference is made to the introduction of the picture book JAZZ WEST COAST which outlines at greater length the causes and characteristics of this internationally recognized movement. (Portions of that introduction were adapted for use here).
Very nearly every key figure in West Coast jazz (and JAZZ WEST COAST, the book) is represented here. While it is interesting to speculate as to whether these musicians can be grouped into a musical school of thought, that is not one of the limitations placed on selection. The chances are, history will reveal that there is a West Coast School; a group of musicians playing calmer, gentler jazz, placing at least as much emphasis on writing as on soloing. But the task of definitive summation is left to later years or less biased observers. It is hoped that by disclaiming any restrictions of School we may by-pass much of the clamor about presumptuous inclusion of musicians commonly associated with other areas. Easterners will spot many of their old stand-bys; the fact remains that this music was recorded in Los Angeles by musicians in residence here, and to that extent the label "Jazz West Coast" is meaningful.
Wherever possible—happily, in every case but one—new performances were used to represent the groups. In many instances of course, the arrangements themselves have been offered before, but as even the newest jazz listener knows, the essence of jazz is in the soloing, and where material does overlap that simply adds a bonus opportunity for comparison of soloist approach.
Wherever possible—happily, in every case but one—new performances were used to represent the groups. In many instances of course, the arrangements themselves have been offered before, but as even the newest jazz listener knows, the essence of jazz is in the soloing, and where material does overlap that simply adds a bonus opportunity for comparison of soloist approach.
*Will MacFarland (from the liner notes)*
1 - Bockhanal
(Jack Montrose)
Chet Baker Ensemble
Chet Baker (trumpet), Herb Geller (alto sax),
Jack Montrose (tenor sax), Bob Gordon (baritone sax),
Russ Freeman (piano), Joe Mondragon (bass), Shelly Manne (drums).
Recorded on December 14, 1953
2 - Soft Shoe
(Gerry Mulligan)
Gerry Mulligan Quartet
Jon Eardley (trumpet), Gerry Mulligan (baritone sax),
Red Mitchell (bass), Chico Hamilton (drums).
Recorded on November 12, 1954
3 - Tiny Capers
(Clifford Brown)
Clifford Brown Ensemble
Clifford Brown (trumpet), Stu Williamson (valve trombone),
Zoot Sims (tenor sax), Bob Gordon (baritone sax),
Russ Freeman (piano), Carson Smith (bass), Shelly Manne (drums).
Recorded on August 13, 1954
4 - I'll Remember April
(Gene DePaul, Don Raye, Patricia Johnson)
Zoot Sims Quartet
Zoot Sims (tenor sax), Bob Brookmeyer (piano),
Red Mitchell (bass), Larry Bunker (drums).
Recorded on December 14, 1954
5 - Wailing Vessel
(Bob Cooper)
Bud Shank And 3 Trombones
Bob Enevoldsen (valve trombone), Maynard Ferguson (valve trombone),
Stu Williamson (valve trombone), Bud Shank (alto sax),
Claude Williamson (piano), Joe Mondragon (bass), Shelly Manne (drums).
Recorded on June 22, 1954
6 - Happy Little Sunbeam
(Russ Freeman)
Chet Baker Quartet
Chet Baker (trumpet), Russ Freeman (piano),
Carson Smith (bass), Larry Bunker (drums).
Recorded in July 1953
7 - It Had To Be You
(Isham Jones, Gus Kahn)
Bill Perkins And Bud Shank
Bill Perkins (tenor sax), Bud Shank (tenor sax),
Hampton Hawes (piano), Red Mitchell (bass), Mel Lewis (drums).
Recorded on May 2, 1955
8 - Low Life
(Johnny Mandel)
Bud Shank And Bob Brookmeyer
Bob Brookmeyer (valve trombone), Bud Shank (alto sax),
Claude Williamson (piano), Buddy Clarke (bass), Larry Bunker (drums).
[and strings]
Recorded on January 7, 1955
9 - There Will Never Be Another You
(Harry Warren, Mack Gordon)
Chet Baker Quintet
Chet Baker (trumpet), Jimmy Giuffre (clarinet),
Russ Freeman (piano), Carson Smith (bass), Bob Neel (drums).
Recorded on February 15, 1954
10 - Lotus Bud
(Shorty Rogers)
Bud Shank And Shorty Rogers
Shorty Rogers ( flugelhorn), Bud Shank (flute),
Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drums).
Recorded in March 1954
11 - Darn That Dream
(James Van Heusen, Eddie De Lange)
Gerry Mulligan Quartet
Chet Baker (trumpet), Gerry Mulligan (baritone sax),
Carson Smith (bass), Larry Bunker (drums).
Recorded in April 1953
12 - Speak Low
(Ogden Nash, Kurt Weil)
Laurindo Almeida Quartet
Bud Shank (alto sax), Laurindo Almeida (guitar),
Harry Babasin (bass), Roy Harte (drums).
Recorded on April 22, 1954
13 - Two Can Play
(Jack Montrose)
Bob Gordon And Jack Montrose
Jack Montrose (tenor sax), Bob Gordon (baritone sax),
Paul Moer (piano), Joe Mondragon (bass), Billy Schneider (drums).
Recorded on May 27, 1954
14 - Oh, Lady Be Good
(George and Ira Gershwin)
Lee Konitz With Gerry Mulligan Quartet
Chet Baker (trumpet), Lee Konitz (alto sax), Gerry Mulligan (baritone sax),
Joe Mondragon (bass), Larry Bunker (drums).
Recorded on June 10, 1953
◈◈◈
Jazz West Coast
Volume 2
(Pacific Jazz JWC-501)
AT THE BEHEST OF THE INTERNATIONAL JAZZ CUSTOMER, Pacific Jazz puts together another anthology of choice music by its grand stable of recording artists. The album turns out to be something of a windfall, for several reasons:
There's been a growing impatience on the part of collectors generally with over-grown single-artist jazz albums. With twice twelve inches to fill, the charms of even the most versatile jazzman tend to pall. Right off the bat this album, being an anthology, eliminates >that< problem.
A second advantage is that the collection isn't a "retrospective"; it's the "sampler" type, made up of new music. All the selections are from albums concurrent with this one. In other words, some of the tracks represent albums release just ahead of this one, and for the rest of the tracks, the first airing. So the collection can serve as a sort of treasure map to some worthwhile issues which might otherwise give you the slip, what with the present market's glut.
Then too, the general high quality of the sides bespeaks an admirable depth-on-the-bench that the company has built up when it comes to well-recorded, high-spirited performances. The album emerges—in the last analysis, and source-book qualities aside—as a highly absorbing and useful amalgam of good music by some of the cleverest of today's jazzmen.
*Will MacFarland (from the liner notes)*
1 - Bag Of Blues
(Bob Cooper)
Bud Shank Quartet
Bud Shank (alto sax), Claude Williamson (piano),
Don Prell (bass), Chuck Flores (drums).
Recorded on January 25, 1956
2 - Summertime
(George Gershwin, D. B. Heyward)
Chet Baker Quartet
Chet Baker (trumpet), Gerard Gustin (piano),
Jimmy Bond (bass), Bert Dale (drums).
Recorded on November 24, 1956
3 - Topsy
(E. Durham, E. Battle)
Chico Hamilton Quintet
Buddy Collette (tenor sax), Jim Hall (guitar),
Carson Smith (bass), Fred Katz (cello), Chico Hamilton (drums).
Recorded on February 13, 1956
4 - Easy Living
(L. Robin, R. Rainger)
Bill Perkins Quintet
Bill Perkins (tenor sax), John Lewis (piano),
Jim Hall (guitar), Percy Heath (bass), Chico Hamilton (drums).
Recorded on February 10, 1956
5 - Line For Lyons
(Gerry Mulligan)
Gerry Mulligan Quartet
Bob Brookmeyer (valve trombone), Gerry Mulligan (baritone sax),
Red Mitchell (bass), Frank Isola (drums).
Recorded on June 1, 1954
6 - Song Of The Islands
(Charles King)
Bill Perkins Octet
Stu Williamson (trumpet), Carl Fontana (trombone), Bud Shank (alto sax),
Bill Perkins (tenor sax), Jack Nimitz (baritone sax),
Russ Freeman (piano), Red Mitchell (bass), Mel Lewis (drums).
Recorded on February 9, 1956
7 - I Hear Music
(Frank Loesser, B. Lane)
Hampton Hawes Trio
Hampton Hawes (piano), Red Mitchell (bass), Mel Lewis (drums).
Recorded on May 2, 1955
8 - Bojangles Of Harlem
(Jerome Kern, Dorothy Fields)
Russ Freeman Quartet
Bud Shank (alto sax), Russ Freeman (piano),
Carson Smith (bass), Shelly Manne (drums).
Recorded on February 19, 1956
9 - Contour
(Kenny Drew)
Jack Sheldon Quintet
Jack Sheldon (trumpet), Joe Maini (alto sax), Kenny Drew (piano),
Leroy Vinnegar (bass), Lawrence Marable (drums).
Recorded on November 18, 1955
10 - It's Sand'Man
(E. Lewis)
Cy Touff Quintet
Cy Touff (trumpet), Richie Kamuca (tenor sax),
Pete Jolly (piano), Leroy Vinnegar (bass), Chuck Flores (drums).
Recorded on December 5, 1955
◈◈◈
Jazz West Coast
Volume 3
(Pacific Jazz JWC-507)
The term "West Coast Jazz" began (and no one at this point seems willing to assume credit) rather surreptitiously several years ago as a somewhat confusing means of identifying a group of jazz musicians whose base of operations was, more often than not, the Los Angeles area. It took but a slight twist to make this "Jazz West Coast", and at the same time the name of a record label. The purpose was less to exploit jazz from Hollywood than to exploit the already overexploited term. Or to put it more directly, "West Coast Jazz" (or Jazz West Coast if you prefer) had been bandied about to the degree that it had become a familiar, and therefore useful, phrase. Useful, I might add, in expanding favor for contemporary jazz in general. If you are occasionally bewildered to find a musician from Cleveland or Chicago performing in the company of some "west coast" musicians, and worse still, under the banner of a record label that further substantiates your suspicions, be not dismayed — it's simply the spirit of American Free Enterprise manifesting itself.
But seriously, by far the most important consideration in all cases is the quality of the performances regardless under what or whose banner they appear. The play's the thing! With this in mind and pigeon holes temporarily plugged, JAZZ WEST COAST VOLUME THREE brings the music fan another collection of hand picked performances, each one a favorite of ours held in reserve until now. Aside from that, they appear here because of a special satisfying quality they have in common. These ten performances were not, as is generally the case, recorded for this album specifically. Instead they are the highlights from an assortment of record dates that were produced during the past year, performances that in retrospect have held their luster when viewed from the distance of many months.
It would be misleading and altogether dictatorial to firmly announce that these are the best we have to offer, the most challenging, or the most likely to succeed. One man's meat is still another man's poison, as the saying goes. But the antidote here is repeated and careful listening. They are among the most difficult to forget — and this, after all, may very well be the real test of good music. *Woody Woodward (from the liner notes)*
1 - There Will Never Be Another You
(Gordon, Warren)
Gerry Mulligan Sextet
Jon Eardley (trumpet), Bob Brookmeyer (valve trombone), Zoot Sims (tenor sax),
Gerry Mulligan (piano), Red Mitchell (bass), Larry Bunker (drums).
Recorded on December 14, 1954
2 - Mr. Smith Goes To Town
(Carson Smith)
Chico Hamilton Quintet
Paul Horn (clarinet), John Pisano (guitar),
Fred Katz (cello), Carson Smith (bass), Chico Hamilton (drums).
Recorded in October 1956
3 - Polka Dots And Moonbeams
(Burke, Van Heusen)
Bud Shank Quartet
Bud Shank (flute), Claude Williamson (piano, celeste),
Don Prell (bass), Chuck Flores (drums).
Recorded in November 1956
4 - Old Croix
(Art Pepper)
Art Pepper Quartet
Art Pepper (alto sax), Pete Jolly (piano),
Leroy Vinnegar (bass), Stan Levey (drums).
Recorded on July 28, 1956
5 - Little Girl
(Henry, Hyde)
Chet Baker Sextet
Chet Baker (trumpet), Art Pepper (alto sax), Richie Kamuca (tenor sax),
Pete Jolly (piano), Leroy Vinnegar (bass), Stan Levey (drums).
Recorded on July 28, 1956
6 - Love Nest
(Hirsch, Harback)
Russ Freeman • Chet Baker Quartet
Chet Baker (trumpet), Russ Freeman (piano),
Leroy Vinnegar (bass), Shelly Manne (drums).
Recorded on November 6, 1956
7 - Sweet Georgia Brown
(Bernie, Casey, Pinkard)
Bud Shank • Bob Brookmeyer Quintet
Bud Shank (flute), Bob Cooper (oboe),
Howard Roberts (guitar), Don Prell (bass), Chuck Flores (drums).
Recorded on November 29, 1956
8 - Things Ain't What They Used To Be
(Mercer, Ellington)
Jim Hall Trio
Carl Perkins (piano), Jim Hall (guitar), Red Mitchell (bass).
Recorded in January 1957
9 -Too Marvelous For Words
(Whiting, Mercer)
Phil Urso • Bob Burgess Quintet
Phil Urso (alto sax), Bob Burgess (trombone),
Bobby Timmons (piano), James Bond (bass), Peter Littman (drums).
Recorded on October 18, 1956
10 - Brother Can You Spare A Dime
(Harburg, Gorney)
Russ Freeman • Bill Perkins Quintet
Bud Shank (alto sax), Bill Perkins (tenor sax),
Russ Freeman (piano), Carson Smith (bass), Shelly Manne (drums).
Recorded on February 15, 1956
◈◈◈
Jazz West Coast
Volume 4
(Pacific Jazz JWC-510)
Another admirable anthology of the best from the West. Nine tracks led by Art Pepper, Chet Baker, Chico Hamilton, Bud Shank, Bill Perkins et al. Though it's often alleged tha some of the Californians' sounds and souls have shriveled and shrunk under the Pacific sun, many retain a commendable vigor. Best tracks are Five Minutes More featuring F. Gambrell's piano; Jersey Bounce by the Mulligan Quartet; and a cut-down version, from his Street Swingers album, of Bob Brookmeyer's Musicale Du Jour, recorded in that fabulous West Coast city, New York. No liner notes an adequate tabulation of data. *Leonard Feather (Hi-Fi Music At Home, January 1959)*
Anthologies of this sort are difficult to appraise and rate, primarily because of the disparate approaches involved. The rating indicates the over-all level of artistic merit present, in terms of the high and low points among the 10 tracks.
The opener, Shorty Rogers' Popo by Art Pepper's Nine is generally light and pleasant, with solos of value from Pepper, Holman, and Freeman. The Baker quintet performs Urso's attractive Extra Mild in appealing fashion; Urso and Timmons contribute effective solos. The Perkins quartet is perfunctory in its approach to Dime. The Mulligan quartet, with Baker, offers an inconsistent Bounce. The Mariano-Dodgion Till We Meet Again is poor.
Cooper and Shank present a superficial Romantic Guy. The Brookmeyer track, a Street Swingers performance, is excellent, containing wit and meaning. On the Hamilton trio track, Gambrell manifests considerable potential, although he appears hampered by a rhythm background that is not consistently compatible. Shank, on tenor, offers a lovely interpretation of Rainbow. The Mastersounds conclude the set with a pulsating Paradise, which includes several pointed solos.
The Pepper, Baker, Brookmeyer, Gambrell, and Mastersounds tracks are worth hearing. And Jimmy Rowles does much to enhance the value of the tracks on which he appears; I’d like to hear a solo album by him. In general, this is an adequate sampling of contemporary jazz, manifesting the flaws and virtues inherent in it, regardless of coastal location.
*Don Gold (Down Beat, November 13, 1958)*
1 - Popo
(Shorty Rogers)
The Art Peppet Nine
Don Fagerquist (trumpet), Stu Williamson (valve trombone),
Art Pepper (alto sax), Bill Holman (tenor sax),
Bud Shank (baritone sax), Red Callendar (tuba),
Russ Freeman (piano), Monty Budwig (bass), Shelly Manne (drums).
Recorded on August 12, 1957
2 - Extra Mild
(Phil Urso)
The Chet Baker Quintet
Chet Baker (trumpet), Phil Urso (tenor sax),
Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums).
Recorded on July 25, 1956
3 - Ain't Got A Dime To My Name
(Burke, Van Heusen)
The Bill Perkins Quartet
Bill Perkins (tenor sax), Jimmy Rowles (piano),
Leroy Vinnegar (bass), Mel Lewis (drums).
Recorded in May 1958
4 - Jersey Bounce
(Fayne, Plater, Johnson)
The Gerry Mulligan Quartet
Chet Baker (trumpet), Gerry Mulligan (baritone sax),
Henry Grimes (bass), Dave Bailey (drums).
Recorded in December 1957
5 - Till We Meet Again
(Egan, Whiting)
The Mariano • Dodgion Sextet
Charlie Mariano (alto sax), Jerry Dodgion (alto sax), Jimmy Rowles (piano),
Victor Feldman (vibes), Monty Budwig (bass), Shelly Manne (drums).
Recorded in December 1957
6 - A Romantic Guy, I
(Frank Stanton)
Bud Shank • Bob Cooper Quintet
Bud Shank (alto sax, flute), Bob Cooper (tenor sax, oboe),
Claude Williamson (piano), Don Prell (bass), Chuck Flores (drums).
Recorded on February 19, 1958
7 - Musicale Du Jour
(Bob Brookmeyer)
Bob Brookmeyer Quintet
Bob Brookmeyer (valve trombone, piano), Jim Hall (guitar),
Jimmy Raney (guitar), Bili Crow (bass), Osie Johnson (drums).
Recorded in December 1957
8 - Five Minutes More
(Cahn, Styne)
The Chico Hamilton Trio
Freddie Gambrell (piano), Ben Tucker (bass), Chico Hamilton (drums).
Recorded in March 1958
9 - Over The Raibow
(Arlen, Harburg)
The Bud Shank Quartet
Bud Shank (tenor sax), Claude Williamson (piano),
Don Prell (bass), Chuck Flores (drums).
Recorded in November 1957
10 - Stranger In Paradise
(Wright, Forrest)
The Mastersounds
Riche Crabtree (piano), Buddy Montgomery (vibes), Wes Montgomery (guitar),
Monk Montgomery (Fender electric bass), Benny Barth (drums).
Recorded on April 22, 1958
◈◈◈
Jazz West Coast
Volume 5
(Pacific Jazz JWC-511)
The "Jazz West Coast" series has, since the summer of 1955, served as a sort of annual report of jazz activities in America’s western-most extremity. This is the fifth in that series and while no one record company can presume to represent every artist and every aspect of regional activity, we do believe that this series is successful in supplying a kind of musical thumb-nail-sketch of the recent trends and development on the West Coast.
Not all (few in fact) of the artists here represented are native to California. Just as jazz is a migratory occupation, so too are most of its practitioners migratory. The artists heard here have come from all over the United States (one, Annie Ross was born in Surrey, England—another, Laurindo Almeida, is from Brazil). Regardless of their birth place or their present state allegiance, all have contributed recently to the California jazz scene and therefore qualify to be included here.
If the variety of performance and styles seem broader than before, it is because "West Coast Jazz" has lost some of its more stylized aspects and gained in individuality. It is more difficult to pigeon-hole "West Coast Jazz" now that it involves a large number of performers than when it represented a half-dozen or so. The size of the groups range from the quartets of The Mastersounds, Freddie Gambrell, Bud Shank, Paul Horn and Russ Freeman to the sixteen piece Buddy Bregman band. The styles span the gamut from the familiar Shorty Rogers' arrangement (Art Pepper Nine) and the Chico Hamilton Quintet sound to the fresh and invigorating words-set-to-jazz phenomenon that is Jon Hendricks, Dave Lambert and Annie Ross. Their "Airegin" closes the album leaving the listener with the distinct suspicion that jazz is best when it is fun.
If any broad generality can be made, it is that jazz from the West Coast is hardly ever humorless—even when it’s performed by Easterners. Maybe it's the smog.
*Woody Woodward (from the liner notes)*
1 - Power Duff
(Shorty Rogers)
The Art Pepper Nine
Don Fagerquist (trumpet), Stu Williamson (valve trombone),
Art Pepper (alto sax), Bill Holman (tenor sax),
Bud Shank (baritone sax), Red Callendar (tuba),
Russ Freeman (piano), Monte Budwig (bass), Shelly Manne (drums).
Recorded on August 12, 1957
2 - You're Driving Me Crazy
(Walter Donaldson)
The Zoot Sims • Russ Freeman Quintet
Zoot Sims (tenor sax), Russ Freeman (piano),
Billy Bean (guitar), Monte Budwig (bass), Mel Lewis (drums).
Recorded in March 1959
3 - Stompin' At The Savoy
(Goodman, Webb, Sampson)
The Mastersounds
Richie Crabtree (piano), Buddy Montgomery (vibes),
Monk Montgomery (Fender electric bass), Benny Barth (drums).
Recorded on April 11, 1959
4 - Hot Toddy
(Benny Carter)
The Freddie Gambrell Quartet
Freddie Gambrell (piano), Ben Tucker (bass),
Ray Mosca (drums), Armando Peraza (conga drums).
Recorded in 1959
5 - It's All Right With Me
(Cole Porter)
The Buddy Bregman Band
Buddy Bregman (arranger, leader), Al Porcino (trumpet), Ray Triscari (trumpet),
Stu Williamson (trumpet), Conti Candoli (trumpet), Frank Rosolino (trombone),
Joe Howard (trombone), George Roberts (trombone), Lloyd Ulate (trombone),
Bob Cooper (alto sax), Richie Kamuca (tenor sax), Bill Holman (tenoir sax),
Bill Perkins (baritone sax), Russ Freeman (piano), Jim Hall (guitar),
Monte Budwig (bass), Mel Lewis (drums).
Recorded in 1959
6 - 'Round About Midnight
(Monk, Hanighen, Williams)
The Bud Shank Quartet
Bud Shank (flute), Laurindo Almeida (guitar),
Garry Peacock (bass), Chuck Flores (drums).
Recorded in March 1958
7 - Joe's Tune
(Joe Narren)
The Paul Horn Four
Paul Horn (flute), Gene Estes (vibes),
John Pisano (guitar), Lyle Ritz (bass).
Recorded in 1959
8 - Invitation To The Blues
(Roberts, Fisher, Gershwin)
The Russ Freeman Quartet
Russ Freeman (piano), Billy Bean (guitar),
Monte Budwig (bass), Mel Lewis (drums).
Recorded in March 1959
9 - "A" Train & Perdido
(Strayhorn, Tizol, Drake, Lengsfelder)
The Chico Hamilton Quintet
Paul Horn (alto sax), Buddy Collette (tenor sax), Jim Hall (guitar),
Fred Katz (cello), Carson Smith (bass), Chico Hamilton (drums).
Recorded in January 1959
10 - Airegin
(Hendricks, Rollins)
Lambert, Hendricks And Ross
Jon Hendricks, Dave Lambert, Annie Ross (vocals);
Zoot Sims (tenor sax); Russ Freeman (piano);
Freddie Green (guitar); Ed Jones (bass); Sonny Payne (drums).
Recorded in March 1959
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https://mega.nz/file/t9kXDKbA#UDVv5SRjn5oElhEgHuBET42691jre_lcZJ7OLOUv4xA
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