No Strings Sextet And Mannie Klein's Sextet - Rare And Obscure Jazz Albums

 

Peter Matz (1928–2002) was an American musician, composer, arranger, and conductor. His illustrious musical career in film, theater, television, and studio recording spanned five decades, during which he collaborated with several renowned artists, including Marlene Dietrich, Anita Ellis, Noël Coward, and Barbra Streisand. In 1962, he conducted the orchestra for the Broadway show "No Strings" and led the sextet from the production in this jazz-oriented rendition of the musical's songs. The combo performs the songs in a light and breezy style, enhancing the Richard Rodgers tunes with finesse. Matz's fresh and imaginative arrangements of Rodgers' superb "No Strings" score are brought to life by six exceptionally talented wind players and two of the best rhythm musicians in the business. Qualities, which fully highlight the essentially lyrical nature of these songs.

Emmanuel Klein (1908–1994) was an American jazz trumpeter closely associated with the Swing Era. He was active throughout the 1930s, working as a studio musician and performing with bands such as Jimmy and Tommy Dorsey, Benny Goodman and others. In 1937, he moved to California and joined Frank Trumbauer's orchestra, quickly becoming one of the most sought-after trumpet players in Hollywood studios. In this album, he and a group of West Coast jazz musicians perform selections from the highly successful Rodgers and Hammerstein II musical "The Sound of Music" with taste and imagination, resulting in an outstanding recording. The arrangements were crafted by Henry Beau and Bobby Hammack. For this session, Klein assembled a stellar line-up of musicians, including Bobby Hammack on piano, Ronnie Lang on saxophone, Al Hendrickson on guitar (alternating with Bobby Gibbons), Morty Corb on bass, and Frank Flynn (alternating with Irving Cottler) on drums and percussion. *Jordi Pujol*

If you are a fan of the "Cool School" of jazz from the 50s and 60s, you're in for a treat on this disc of some real obscurities. The first album on this single disc is a 1962 session arranged by Peter Matz, who put together a team of oboe, flute, bass clarinet, alto sax, baritone sax, bassoon as well as trumpet and trombone for the pianoless rhythm team of Joe Benjamin/b and Ronnie Bedford/dr-bong. The result is a lithe a floating collection of concise readings of material from the Richard Rogers Broadway production No Strings. There are some richly swinging moments such as on "Eager Beaver" and velvety reed work on "The Sweetest Sounds" and "Be My Host" with solos weaving in and out to n ever overstay their welcome. Amber moods.

Music from The Sound Of Music  is arranged by Heinie Beau and Bobby Hammack as its performed by trumpeter Mannie Klein and his team of Hammack/p, Ronny Lang/as-fl, Al Hendrickson-Bobby Gibbons/g, Morty Corb/b, Irv Cottler/dr and Frank Flynn/vib-perc. The charts here are quite clever, having lives of their own, as on a tropical take of "Climb Every Mountain", a bopping "Sixteen Going On Seventeen" and a deep dig on "Do-Re-Mi". The hills are alive! *George W. Harris*

1 - The Sweetest Sounds

2 - Loads Of Love

3 - The Man Who Has Everything

4 - Be My Host

5 - La-La-La

6 - Love Makes The World Go

7 - An Orthodox Fool

8 - Look No Further

9 - "Maine"

10 - Nobody Told Me

11 - Eager Beaver

12 - No Strings

13 - How Can Our Love Survive

14 - Maria

15 - An Ordinary Couple

16 - Do-Re-Mi

17 - The Lonely Goatherd

18 - My Favorite Things

19 - The Sound Of Music

20 - No Way To Stop It

21 - Climb Every Mountain

22 - Sixteen Going On Seventeen

(All compositions by Richard Rodgers)

#1 to #12, from the album "No Strings" by the No Strings Sextet (Columbia CS-8617)

Music by Richard Rodgers from the Broadway Production "No Strings". Arranged & Conducted by Peter Matz.

Wally Wegner (flute, piccolo, clarinet, bass clarinet, baritone sax), Aaron Sachs (clarinet, alto sax solos), Ernie Mauro (oboe, English horn, clarinet, bass clarinet, saxophone), Wally Kane (bassoon, flute, bass clarinet, baritone sax solos), Jimmy Sedlar (trumpet), Jimmy Dahl (trombone), Joe Benjamin (bass), Ronnie Bedford (drums, bongos).

Recorded in New York City, May 1962.

#13 to #22 from the album "The Sound of Music" by Mannie Klein and His Sextet (Imperial LP 12038)

Music by Richard Rodgers from the Broadway Production "The Sound of Music". Arrangements by Heinie Beau and Bobby Hammack.

Mannie Klein (trumpet); Ronny Lang (alto sax, flute); Bobby Hammack (piano); Al Hendrickson [#13, #15, #19, #21, #22], Bobby Gibbons [#14, #16, #17, #18, #20] (guitars); Morty Corb (bass); Frank Flynn (vibes, percussion, drums); Irv Cottler (drums, bongos). 

Recorded at United Recorders, Hollywood, October 22 (#13, #15, #19, #21, #22) and 23 (#14, #16, #17, #18, #20), 1959.

Shorty Rogers And André Previn - Collaboration

It really seems that West Coast musicians will never cease to surprise us. They had a propensity for launching themselves into the wildest enterprises, taking enormous musical risks, with an air of nonchalance totally their own. The album Collaboration could well be the most impressive of all such carefree excursions; it is, at the very least, unique of its kind. 

The rules of this particular game seem innocuous at the outset, but have an unexpected sting in their tail. Take nine musicians, of whom two — among the best in California — double as instrumentalists and arrangers. Ask this same nonet to perform charts by each of the two arrangers in Strict alternation. Too easy so far, so now impose the condition that for each standard scored by the one, the other must reply with an original composition constructed around the same harmonies! A challenge to which Shorty Rogers and André Prévin respond magnificently.

Milton "Shorty" Rogers symbolises single-handed that magnificent wave of renewal that swept across the West Coast in the early 'fifties. Everything that bore his signature-whether as trumpeter, arranger or supervisor-possessed a certain distinction. His spell as artistic director at RCA produced many quite irreplaceable albums. André Prévin, for his part, is a musician who defies all categorisation. For many years he worked for MGM, composing the music of films such as Vincente Minnelli's "Four Horsemen of the Apocalypse", Ranald McDougall’s "Subterraneans" and Richard Brook’s "Elmer Gantry". Today he reigns triumphant as conductor of some of the world's leading symphony orchestras.

Undaunted by the daring concept of this project, Shorty Rogers and André Prévin set joyously about their task, juggling eagerly with contrasts and camparisons. They humorously nod acknowledgement to classical music: the shadow of Stravinsky glides over "You Do Something to Me", while Bud Shank and Bob Cooper execute a magnificent fugue passage on "Some Antics".

The vitality, invention and sheer mastery exhibited in this album almost obscure the fact that "Collaboration" originated as little more than a lighthearted wager! *Alain Tercinet*

Shorty Rogers And André Previn

Collaboration

For this slightly unusual LP Shorty Rogers and Andre Previn split the arranging chores in a somewhat competitive fashion. Rogers arranges a standard and then that is followed by a Previn original based on the same chord structure. This procedure is followed until the halfway point of the date when they reverse roles. As performed by a nonet featuring Rogers' trumpet, Previn's piano, altoist Bud Shank, Bob Cooper on tenor, baritonist Jimmy Giuffre, trombonist Milt Bernhart and a rhythm section, the result is a dead heat with some fine swinging solos on tunes (and variations) of such songs as "It's DeLovely", "You Stepped Out Of A Dream" and "You Do Something To Me". This will be a difficult album to locate. *Scott Yanow*

Here's a jazz set that should sell at a snappy rate over the next few months. If features, for the first time together, two top arrangers, having a go at each other in a sort of jazz arrangers battle. Shorty Rogers does a take-off on three of André Previn's arrangements, and vice versa. It ends up a stimulating, and oft-times exciting platter. The sidemen, all first-rate modernist, include Bud Shank on alto, Jimmy Giuffre on baritone, Milt Bernhart on trombone and Shelly Manne on drums. The boys turn out some mighty listenable jazz on both Rogers and Previn wear their arranging laurels proudy. Liner notes are good and the cover attractive. Crazy wax this, and a potent release. *Billboard, February 12, 1955*

1 - It's Delovely

(Cole Porter)

2 - Porterhouse

(André Previn)

3 - Heat Wave

(Irving Berlin)

4 - 40.° Below

(André Previn)

5 - You Stepped Out Of A Dream

(Nacio Herb Brown, Gus Kahn)

6 - Claudia

(André Previn)

7 - You Do Something To Me

(Cole Porter)

8 - Call For Cole

(Shorty Rogers)

9 - Everything I've Got (Belongs To You)

(Richard Rodgers, Lorenz Hart)

10 - Some Antics

(Shorty Rogers)

11 - It Only Happens When I Dance With You

(Berlin)

12 - General Cluster

(Shorty Rogers)

Shorty Rogers (trumpet); Milt Bernhart (trombone); Bud Shank (alto sax, flute); Bob Cooper (tenor sax); Jimmy Giuffre (baritone sax); André Previn (piano); Al Hendrickson [#3 to #6, #9 to #12], Jack Marshall [#1, #2, #7, #8] (guitars); Curtis Counce [#4, #6, #10, #12], Joe Mondragon [#1 to #3, #5, #7 to #9, #11] (basses); Shelly Manne (drums).

Recorded at RCA Studios in Hollywood, California, March 30 (#3, #5, #9, #11), June 14 (#4, #6, #10, #12) and September 14 (#1, #2, #7, #8), 1954.

***

and now... time for Punta del Este...

~ will back on December 20 ~

Herbie Harper - Jazz In Hollywood Series

Herbie Harper played for Charlie Barnet, Gene Krupa, and Benny Goodman in the last years of the Swing Era and established himself as a superior trombonist. In 1947, with bands dwindling, he found employement in the film, broadcasting, and recording studios of Holywood. Harper continued his involvement with jazz not only as a player but as an organizer and inspirational force. By 1953, when Los Angeles was becoming the  focal point of so-called West Coast Jazz, Harper was in the thick of it. His recordings for the small Nocturne label featured some of the bright stars of the period. They included the remarkable baritone saxophonist Bob Gordon, pianist Jimmy Rowles, and Bud Shank, heard here on tenor and baritone saxes rather than his customary alto and flute. Harper's horn, by turns quicksilver and blowsy, sets the pace.

Herbie Harper

Nocturne Records • Jazz In Hollywood Series

Although somewhat forgotten today, Herbie Harper was one of jazz's top trombonists of the 1950s. Even with the time he spent doing studio work, Harper was closely involved in the West Coast jazz movement in Los Angeles. This CD has Harper's two Nocturne dates, including the earliest session cut by the label. Harper is heard on a delightfully swinging set with baritonist Bob Gordon, pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte, and on two other sessions with Babasin, Harte and sometimes Bud Shank (on tenor and baritone rather than alto and flute), guitarist Al Hendrickson and/or pianist Marty Paich. The music includes cool renditions of swing-era songs, a few newer originals, and some offbeat material. Recommended. *Scott Yanow*

A great little package that features two rare 10" albums by trombonist Herbie Harper -- both issued by the short-lived Nocturne label in the 50s! Harper's sound here is totally great -- a tightly-crafted approach to his instrument that rivals that of some of his more famous contemporaries on the LA scene, but which is also served up with a bit of grit in the solos -- a slightly earthy feel at times that's a nice contrast to some of the more modern tendencies of the records. The first half of the CD features Harper in a quintet with Bob Gordon on baritone sax, Jimmy Rowles on piano, Harry Babasin on bass, and Roy Harte on drums -- and the Babasin/Harte team return on the second half, which features quartet and quintet sides with Al Hendrickson on guitar, Bud Shank on tenor, and Marty Paich on piano. Titles include "Patty", "Herbstone", "Five Brothers", "The New York City Ghost", "Julie Is Her Name", "Sanguine", "Now Playing", "6/4 Mambo", and "Bananera".  *dustygroove.com*

1 - Jeepers Deepers

(McDougall)

2 - Dinah

(Lewis, Young, Akst)

3 - Five Brothers

(Mulligan)

4 - Herbstone

(Harper)

5 - Summertime

(Gershwin, Gershwin, Heyward)

6 - Jive At Five

(Edison, Basie)

7 - Patty

(Hendrickson, Graas)

8 - The New York City Ghost

(Young, Lee)

9 - Julie Is Her Name

(Troup)

10 - Sanguine

(Paich)

11 - Now Playing

(Hefti)

12 - 6/4 Mambo

(Graas)

13 - Bananera

(Riddle)

14 - Indian Summer

(Herbert)

15 - The Happy Clown

(Paich)

#1 to #6:

Herbie Harper (trombone), Bob Gordon (baritone sax), Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drum).

United Western Recorders, Los Angeles, California, February 27, 1954.

#8, #10, #11, #15:

Herbie Harper (trombone), Bud Shank (tenor and baritone sax), Marty Paich (piano), Harry Babasin (bass), Roy Harte (drums).

United Western Recorders, Los Angeles, California, September 16, 1954.

#7, #9, #12, #13, #14:

Herbie Harper (trombone), Al Hendrickson (guitar), Harry Babasin (bass), Roy Harte (drums).

United Western Recorders, Los Angeles, California, September 27, 1954.