Five-Star Collection... Thomas Talbert

Thomas Talbert

Bix • Duke • Fats

Leon Beiderbecke, Edward Ellington and Thomas Waller were three card-holding musicians, getting their money every Friday, playing a cornet and a couple of pianos, and writing their compositions. They are known in the jazz world's casual I-want-to-be-one-of-the-gang style, as Bix, Duke and Fats. Where the aficionados gather, no further identification is necessary. Bix did most of his writing in the latter twenties. Fats swung right up to his death in 1943. Some of his last work, written for the show, Early To Bed, was his best. Duke Ellington is still very much on the scene and working constantly. The thirties and early forties were a highly creative period for him.

(...)

Fats led a small group of good men. They were mainly a foil for his contagious, exuberant and slyly humorous personality. Bix worked through the Midwest with many small combinations. He played in Gene Goldkette’s bands. Except for recording with small pickup groups, he played his last years with Paul Whiteman. It is said that Henry Busse received the larger share of the hot chair parts. Duke Ellington has been a leader from the beginning, composing and arranging for his own band in prolific quantity.

But they all worked the country's saloons where jazz grew up. This is a world apart from the Broadway, West End or Hollywood composer who has only the current show on his mind. And with the lyricist to carry the day if the tune goes false. They were right in the midst of the instruments that were making the pulse that jazz is all about. And there's the tie-in for an album such as this. Three styles, yes... but all stemming from the same background. *Thomas Talbert (liner notes, 1956)*

The world has changed so much since this music was recorded but the beauty of the compositions has remained constant. I spent a lot of time selecting the material for the album and then the arrangements were written in four late summer weeks. Bond Street, the first, was  finished August 19 and the last, Orange Bright on  September 13. The final recording, the  Ellington tune with ten men, was September 14. There was an individual session for each composer as I used a different instrumentation to enhance how I heard each of their voices.

I remember the warm fall evening, after the Beiderbecke session, as my friend and copyist George Green and I walked west on Forty-second Street. It was not as bizarre a  locale then and we were going to meet Joe Wilder at Dixon's on Eighth Avenue for an early dinner. I was filled with satisfied accomplishment as we quietly spoke of the chamber-music recording challenge and of Joe's marvelous playing. It was a good day and the Wilder solos still soar.

They all did. What a joy it is for an arranger to have his writing, his  dream, played with such verve and empathy. New York had a shine on it in the '50s and it was exhilarating to be part of it.

*Thomas Talbert (liner notes, 1993)*

This is a stunning piece of work by all concerned. Talbert's writing is fresh and moody, and the performances, particularly the solo work, are firstrate.

There is a smooth blend of the horns, spiced by some bright brass figures, in the arranged passages. As for the solos, it's difficult to describe them without using hand motions or including a copy of the record in the magazine.

Wilder emerges as a trumpet man of stature and delicacy. His taste and flexibility are particularly evident on the Beiderbecke pieces, Mist, Candlelight, and Dark. Galbraith also is heard soulfully on the Bix tracks. Cleveland and Bert split the trombone solo spots, with Jimmy percussively exciting and Bert blowing warmly and with restraint.

The Talbert original, Green Night, is a moody, impressionistic work with actually none of the flavor of the three men to whom homage is paid by this album, but rather a logical extension of the mood created by the compositions.

This album is no tribute in style to Bix, Fats, and Duke. Rather, it is a collection of creations based on their works, The closest to a literal reading is Duke's Koko, which smacks of period Ellington in the rich opening ensemble prodded by Pettiford's throbbing bass.

One final word should be said about Wallington, whose presence is a vital thing, and whose solos and fills are a delight to hear.

Packaging is handsome, with the cover perhaps the most attractive jazz cover presented in many months. Talbert's notes are literate and illuminating, a fine argument for having musicians or leaders write the words about their music.

This is a great record, conceived and executed with taste and artistry.

*Dom Cerulli (Down Beat, June 27, 1957 [5 stars])*

1 - Clothes Line Ballet

(Fats Waller)

2 - In A Mist

(Bix Beiderbecke)

3 - Bond Street

(Fats Waller)

4 - Prelude To A Kiss

(Duke Ellington, Irving Gordon, Irving Mills)

5 - Green Night & Orange Bright

(Thomas Talbert)

6 - Black And Blue

(Fats Waller, Andy Razaf, Harry Brooks)

7 - Candlelights

(Bix Beiderbecke)

8 - Keepin' Out Of Mischief Now

(Fats Waller, Andy Razaf)

9 - In The Dark

(Bix Beiderbecke)

10 - Do Nothin' Till You Hear From Me & Ko-Ko

(Duke Ellington, Bob Russell) & (Duke Ellington)

Thomas "Tom" Talbert (arrangements, conductor)

#1, #3, #6, #8:

Joe Wilder, Nick Travis (trumpets); Eddie Bert, Jimmy Cleveland (trombones);

Aaron Sachs (tenor sax, clarinet); George Wallington (piano);

Oscar Pettiford (bass); Osie Johnson (drums).

Recorded in New York City, August 24, 1956

#2, #7, #9:

Joe Wilder (trumpet), Jim Buffington (french horn), Joe Soldo (flute),

Danny Bank (clarinet, bass clarinet), Harold Goltzer (bassoon), Barry

Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, September 7, 1956

#4, #5, #10:

Joe Wilder (trumpet), Eddie Bert (trombone), Jim Buffington (french horn),

Herb Geller (alto sax), Joe Soldo (alto sax, fute), Aaron Sachs (tenor sax, clarinet),

Danny Bank (baritone sax, bass clarinet), Claude Williamson (piano [#5]),

Barry Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, September 14, 1956

Five-Star Collection... Michel Legrand

Michel Legrand

With Thirty-One American's Greatest Jazzmen

Featuring Miles Davis

Legrand Jazz

Among the many members of a diverse (it is international) and loyal (they have bought more than one million of his LP's) I Like Legrand Society, are those jazz musicians and arrangers who have, by chance mostly, come within earshot of Legrand recordings.

This brilliant young Frenchman has, with remarkable skill, charm, invention and wit, refreshingly introduced a new kind of musicianship into that too often banal and staggeringly prolific area of popular art that we categorically label "mood music", and the French, closer to the mark, call musique légère.

In many of his previous collections, Legrand has not only made frequent and startlingly¹ original use of the jazz musician as a soloist, but, by virtue of his dynamic ensemble scoring and happy understanding of what a rhythm section is supposed to do, has often managed to make his large orchestra swing in the best tradition of Basie, Lunceford, Ellington and (big band) Gillespie.

Michel Legrand (a multi-prize-winning graduate of the Paris Conservatoire) loves jazz with none of the tame enthusiasm, tinged with condescension of the academically oriented "serious" composer. His arrangements pointedly avoid the meaningless trickery of those highly skilled (and successful) popular arrangers who, from time to time, invest their work with "jazz feeling". Michel, still in his twenties, loves jazz with an almost boyish enthusiasm, with, if not a firsthand knowledge of its growth and environment, the kind of passionate devotion and astonishing erudition that European fans are wont to have. His feelings for several important jazz figures border on idolatry.

In the past, however, Legrand's jazz activities have been limited by both the nature of the recording assignments he has been given and the fact that in Paris, despite the liveliness of that city's jazz scene, the optimum conditions for producing a large-scale jazz figures border on idolatry.

And so, while on a visit to the United States in May and June of 1958, Michel Legrand recorded his first jazz LP. The writing was done during the first three weeks of June. The repertoire was chosen from the works of eleven important jazz composers, and the musicians, many of them familiar to Legrand only through their recordings, were selected from among the best then in New York.

Each arrangement was created with two major factors taken into consideration: 1) the styles and techniques of the participating instrumentalists and 2) the structure and mood of the original compositions.  

(...)

In almost every sense, Legrand Jazz must be considered "experimental". Yet, with all of its daring, with all of its surprises and moments of flashing virtuosity, it stays within the bounds of jazz. The beat, the spontaneity, the indefinable spirit of jazz is there. This album is the first work of a truly important new voice in a wilderness where new voices are all too often disembodied. We're looking forward to much more from this powerful, sincere and stimulating prodigy.

*Nat Shapiro (liner notes)*

Note ¹ : In the original 1958 liner notes, the word "startingly" appears. This seems to be a typographical error for "startlingly", which has been corrected in later reissues of the album.

The Michel Legrand we knew as the leader of a huge recording band for Columbia Records' mood music series here turns his hand to jazz with excellent, often startling results. The strength is in the soloists, for whom he wrote mostly ensemble heads and tails, and some interesting inside figures. The rest, they blew.

The roster is impressive, covering most of the modern greats and near-greats.

The Miles sides are superb. The writing is imaginative, tinged with the languid air of Gil Evans at his most soulful, and yet with something more. Django is a moving piece, brilliantly scored, and played by Davis with a cry of anguish. Midnight is short and fragile. Wild Man is a truly contemporary treatment of the Jelly Roll tune, rich with modern writing and blowing.

The trombone sides, solo-wise least effective of the lot, are brightened by the prodding masculinity of Webster's horn. He saves Rosetta and is tremendous on Blue And Sentimental. The trombones have Don't Get Around Much to themselves as a choir, with strong overtones of Kenton in the voicing.

The trumpet sides have highs and lows, but in the soloing more than the writing. In A Mist is an extremely curious treatment of the wispy Beiderbecke song, but it has Rehak's best solo on it. The ending is like running into Jack The Ripper in the mist. The trumpet chases in Tunisia almost, but not quite, crackle into open fire.

While hardly experimental writing, Legrand's scoring is more than a wrap-up of the tunes in an acceptable order for X number of horns. Instead, it is extremely skillful probing (with the exception —Mist — noted) of the vitals of a song, and the careful polishing of a setting for the solo horns. There are many, many rewarding moments on the set, and it’s to be hoped that this doesn't comprise all of Legrand jazz. The scene, it appears, can use a dash of continental spice about now.

*Dom Cerulli, (Down Beat, March 19, 1959 [5 stars])*

Side 1

1 - The Jitterbug Waltz

(Thomas Waller)

2 - Nuages

(Django Reinhardt)

3 - Night In Tunisia

(John Gillespie, Frank Paparelli)

4 - Blue And Sentimental

(Mack David, Jerry Livingston, William Count Basie)

5 - Stompin' At The Savoy

(Andy Razaf, Benny Geodman, Chick Webb, Edgar M. Sampson)

6 - Django

(John Lewis)

Side 2

7 - Wild Man Blues

(Louis Armstrong, Jelly Roll Morton)

8 - Rosetta

(William Henri Woode, Earl Hines)

9 - 'Round Midnight

(Thelonius Monk)

10 - Don't Get Around Much Anymore

(Sidney Keith Russell, Duke Ellington)

11 - In A Mist

(Bix Beiderbecke)

#1, #6, #7, #9:

Michel Legrand (conductor, arranger),

Miles Davis (trumpet), Herbie Mann (flute), Betty Glamann (harp),

Barry Galbraith (guitar), John Coltrane (tenor sax), Phil Wood (alto sax),

Jerome Richarson (baritone sax, bass clarinet), Eddie Costa (vibes),

Bill Evans (piano), Paul Chambers (bass), Kenny Dennis (drums). 

Recorded at Columbia 30th Street Studios, New York City, June 25, 1958

#2, #4, #8, #10:

Michel Legrand (conductor, arranger);

Herbie Mann (flute); Ben Webster (tenor sax);

Frank Rehak , Billy Byers, Jimmy Cleveland, Eddie Bert (trombones);

Mayor Holley (bass, tuba); Hank Jones (piano);

George Duvivier (bass); Don Lamond (drums).  

Recorded at Columbia 30th Street Studios, New York City, June 27, 1958

 

#3, #5, #11:

Michel Legrand (conductor, arranger);

Ernie Royal, Art Farmer, Donald Byrd, Joe Wilder (trumpets);

Frank Rehak,y Jimmy Cleveland (trombones); Gene Quill, Phil Woods (alto saxes);

Seldon Powell (tenor sax); Teo Macero (baritone sax); James Buffington (french horn);

Don Elliot (vibes); Nat Pierce (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded at Columbia 30th Street Studios, New York City, June 30, 1958 

Jazz goes to... Morey Feld

Morey Feld's Straight-Ahead Six

Jazz Goes To B'Way

Swing jazz audiences enjoyed the work of Morey Feld (August 15, 1915 – March 28, 1971) during several different periods of clarinet great Benny Goodman's career. As an elder statesman, Morey Feld was associated with several different George Wein festivals and touring projects. Eventually Feld pitched his tent in the mile-high city of Denver, Colorado and became an important spokesman for jazz among the cowboy hats. He came out of the midwest and its fertile breeding ground of bands in the '30s, playing with Ben Pollack, Joe Haymes and others. He first began playing with Goodman near the end of 1944.

The initial period with Goodman lasted a bit more than a year, followed by the beginning of another of the drummer's important relationships, this one with Eddie Condon. Condon would soon crank open his own venue in New York City, dedicated to styles of jazz that were being left behind. As might be expected, the move provided employment for drummers who played these styles with authority. As the '40s progressed, Feld revealed his mastery of various feels in the band of Buddy Morrow, behind many a guest at the Condon club and on a string of often uncredited free-lance recording sessions.

Goodman brought him back in the '50s, a decade when the drummer also held forth with Billy Butterfield, Joe Bushkin, Bobby Hackett and Peanuts Hucko. From 1955 the drummer was on staff as an ABC session player, emerging a bit more into the spotlight in the '60s when he began leading his own group. Feld's trio was well received at the 1964 New York World's Fair but his leadership activities did not prevent him from continuing the relationships with both Condon and Goodman. While working with the latter artist in 1966, Feld opened his own school of drumming. He toured all over the world with George Wein's Newport All Stars, then began trying out new environs. In 1968 he moved to California but skipped over the mountains shortly thereafter and settled in Denver. By 1969 he was well established with a band Hucko was leading out of Denver, and was also playing in a group that casually referred to itself as The World's Greatest Jazz Band. 

Feld died at age 55 while attempting to fight a fire at his Denver home. *Eugene Chadbourne*

The wedding of musical comedy songs with jazz bands, though seemingly incongruous, has survived for several decades, and, in fact, seems to be showing greater compatability than ever. It makes good common sense too, because show melodies, especially when written by such men as George Gershwin, Richard Rodgers, Jerome Kern and Cole Porter, are melodies with much musical merit, with interesting melodic structures and unusual chord changes. Jazz musicians, who play extemporaneously around the melody and the chords, find more meat in such showtunes than in the usual, stereotyped Tin Pan Alley numbers, and so, quite naturally, they prefer to play them.

All of the ten selections in Jazz Goes To B'Way were written by the composers just mentioned. They represent some of the best material from the legitimate and motion picture musical shows, and if the performances sound more than slightly inspired, you can credit the material just as much as the performers. 

Morey Feld, leader of the Straight-Ahead Six, is so fond of all the songs that he cautioned the musicians before the date not to stray too far away from the melody. Said the former Benny Goodman drummer, a product of Cleveland, Ohio, and now a fixture in the ABC network's New York studios, in explaining the purpose of the recordings: "All we were interested in was making some happy, swinging, sounds. We hope it swings and that it makes some people happy!"

*George T. Simon (liner notes)*

When jazz goes to Broadway it taps a rich and rewarding ore of fine tunes. Sticking to the more familiar show music the boys resound with some capable jazz artistry. Morey Feld's group is particularly effective with Cole Porter's great new standard, "It's All Right With Me". For cooler sounds and a much slower arrangement Jerome Kern's "Yesterdays" is a standout. Excellent material and a varied display of jazz tempo could provide successful sales. *Cashbox, January 14, 1956*

Jazz Goes To B'Way, a leader's album by Maury Feld, a drummer who was part of the Benny Goodman Orchestra. An exceptional record. This album features the vibraphone playing of Eddie Costa, the pianist and vibraphonist who died at the age of 31, with a unique improvisational style and a great sense of humor. It would not be an exaggeration to call it Eddie Costa's leader's album. Two years after its release, Eddie was voted Best New Artist in two categories, vibraphone and piano, in Down Beat magazine's international critics' poll. This hidden masterpiece, which predates his first leader's album, Eddie Costa Quintet, recorded with Phil Woods, Art Farmer, Teddy Kotick, and Paul Motian, moves with elegance and a sophisticated sense of white music. The content is a special Broadway collection of masterpieces created by great composers such as George Gershwin, Richard Rodgers, Jerome Kern, and Cole Porter. *recordsurplus.stores.jp*

Side 1

1 - Strike Up The Band

(Gershwin)

2 - Yesterdays

(Kern)

3 - I Didn't Know What Time It Was

(Rodgers, Hart)

4 - Lovely To Look At

(Kern)

5 - All Of You

(Porter)

Side 2

6 - It's All Right With Me

(Porter)

7 - Somebody Loves Me

(Gershwin)

8 - Dancing On The Ceiling

(Rodgers, Hart)

9 - Who Cares

(Gershwin)

10 - There's A Small Hotel

(Rodgers, Hart)

Peanuts Hucko (clarinet, tenor sax); Billy Byers (trombone [#3, #5, #8]); 

Billy Bauer [#1, #4, #6], Al Casamenti [#2, #7, #9, #10], Barry Galbraith [#3, #5, #8] (guitars); 

Don Elliot (mellophone [#1, #2, #4, #6, #7, #9, #10]); Eddie Costa (piano, vibes);

Jack Lesberg [#1, #4, #6], Arnold Fishkind [#2, #3, #5, #7 to #10] (basses), Morey Feld (drums).

Recorded in New York City, December 1955

Sam Most... ★1955★

Sam Most

I'm Nuts About The Most.... Sam That Is!

East Coast Jazz N°9

Here is a modern group with its own sound playing familiar standards. Sam Most had a definitive purpose in mind when he decided upon the clarinet or flute, guitar, baritone sax, and rhythm combination. The result of this wedding is a fresh, sometimes fragile, yet cohesive sound that is modern without being, in the contemporary sense, "far out". It's an easy-to-listen-to sound that could not be offensive even if it were the neophyte's first contact with modern jazz.

*Creed Taylor (liner notes)*

⁂

Just sit back, relax and listen to the inventiveness of each soloist, whose appearance on each piece is varied. We think you will hear jazz improvisation at it best! I would like to express my gratitude to all the musicians who helped make this album for their exellent cooperation and sensitive work. Each one, I'm sure, is well know to every ardent modern jazz admirer. *Sam Most (liner notes)*

Sweet flute work from the great Sam Most — a player who really shone brightly during his 50s recordings for Bethlehem Records — of which this is one of the best! Sam's got a mean, lean quality to his solos — a mode that rivals that of Frank Wess on the instrument at the time, and may well beat Herbie Mann — able to step lively on more boppish numbers, but step back into these soulful lines at just the right moments. The rest of the group has a tight feel too — modern, but a bit playful too — with Marty Flax on baritone, Barry Galbraith on guitar, Billy Triglia on piano, and Oscar Pettiford on bass. Titles include "Deed I Do", "Broadway", "Smiles", "Don't Worry Bout Me", "How Deep Is The Ocean", and "Tea For Two".  *Dusty Groove, Inc.*

1 - Cherokee

(Noble)

2 - Don't Worry 'Bout Me

(Koehler, Bloom)

3 - What A Difference A Day Made

(Grever, Adams)

4 - How Deep Is The Ocean

(Berlin)

5 - Falling In Love With Love

(Rodgers, Hart)

6 - Rose Room

(Williams, Hickman)

7 - Smiles

(Chaplin, Turner, Parsons)

8 - Broadway

(Woode, McRae, Bird)

9 - Tea For Two

(Caesar, Youmans)

10 - 'Deed I Do

(Hirsch, Rose)

Sam Most (flute, clarinet); Marty Flax (baritone sax); 

Barry Galbraith (guitar); Billy Triglia (piano);

Burgher Jones [#1 to #4,  #8], Oscar Pettiford [#5 to #7, #9, #10] (basses);

Bobby Donaldson [#1 to #4,  #8], Osie Johnson [#5 to #7, #9, #10] (drums).

Recorded in New York City, March 29 (#1 to #4,  #8),

and between March/April (#5 to #7, #9, #10), 1955

Sam Most... ★1952 • 1954★

 Sam Most (1930-2003) was born in Atlantic City, NJ, and began making a name for himself in nearby New York City, where his family moved when he was four years old. Sam played several instruments, including piano, saxophone, clarinet, and flute. It was with the last two that he earned a reputation as a trendsetter among modern jazz musicians, and it is these two instruments that are featured here.

Sam's earliest influence and inspiration came from his brother Abe, ten years his senior, who was the star clarinetist in the bands of Les Brown and Tommy Dorsey. At 20, Sam briefly played also with Dorsey, and later with the bands of Shep Fields, Boyd Raeburn, and Don Redman. However, his main claim to fame was the stellar work he did with his own modern groups, where his distinctive clarinet style (notably focusing on the instrument's higher register) and his remarkable agility on the flute blended so superbly.

In the summer of 1952, Sam truly came into his own when he recorded the flute feature "Undercurrent Blues". At the time, jazz flute was little more than a novelty, rarely featured in recordings or performances in the modern bebop style. "Undercurrent Blues" showcased the instrument's potential in a fresh way and, while not a major hit, it caught the attention of many musicians, establishing Sam as the first modern jazz flutist.

Herbie Mann, the first jazz flutist to achieve widespread popularity, once said, "When I started playing jazz on flute, there was only one record out: Sam Most's Undercurrent Blues".

Sam's emergence on the jazz scene was further recognized in 1954 when he won the New Star clarinet division in the Down Beat Critics' Poll.

This CD set brings together, for the first time, Sam Most's earliest recordings as the leader of his sextets from 1952 to 1954. *Jordi Pujol*

Sam Most Sextettes 

Undercurrent Blues

Prestige, Debut And Vanguard Sessions

When LA was truly "La La Land"

Jazz musicians had it nice in LA in the 1950s and 60s, making good money playing in the studios for movies and TV shows and then hitting the clubs at night for hip gigs. And they could all afford to buy a house in the suburbs! What could go wrong?!?

Here is a Fresh Sound Records reissue that prove jazzers didn't have to suffer to be creative.

Playing flute and clarinet, Sam Most made a nice career as a studio stud, still finding time to put out an impressive number of his own albums. These sessions from 1952-54 (ironically recorded in NYC) start with Most with Doug Mttone/tp, Chuck Wayne/g, Dick Hyman/p, Clyde Lombardi/b and Jackie Moffett/dr with the leader's flute sublime on "Undercurrent Blues" and his clarinet bouncy on "Taking A Chance On Love". A larger band brings in Urbie Green/tb, Bob Dorough/p, Percy Heath/b, Mettome/tp and L ouie Bellson/dr for a classy take of "Scroobydoo" and classical "I Hear A Rhapsody". The band further expand with some charts by Quincy Jones on a hip "Skippy" and suave "Open House" with Jones' own "Blues Junction" a nice showcase for Most's licorice stick. Woodwind wonders.

When it was hep to be hip! *George W. Harris*

1 - Undercurrent Blues

(Sam Most)

2 - First With The Most

(Sam Most)

3 - Sometimes I’m Happy

(Youmans, Caesar, Grey)

4 - Takin' A Chance On Love

(V.Duke, J. La Touche)

5 - Scrooby Doo

(Bob Dorough)

6 - I Hear A Rhapsody

(Fragos, Baker, Gasparre)

7 - The Night, We Called It A Day

(M. Dennis, T. Adair)

8 - A Cuss Called Coss

(Sam Most)

9 - Eullalia

(Bob Dorough)

10 - There Will Never Be Another You

(Carl O. Begner)

11 - Notes To You

(Sam Most)

12 - Skippy

(Ronnie Woellmer)

13 - Blues Junction

(Quincy Jones)

14 - Just Tutshen

(Sam Most)

15 - My OId Flame

(Johnson, Coslow)

16 - You'd Be So Nice To Come Home To

(Cole Porter)

17 - Open House

(Ronnie Woellmer)

18 - Give Me The Simply Live

(R. Bloom, H. Ruby)

19 - Everything Happens To Me

(M. Dennis, T. Adair)

#1 to #4: from the album Introducing a New Star: Sam Most (Prestige EP-1322)

Doug Mettome (trumpet), Sam Most (flute, clarinet), Chuck Wayne (guitar),

Dick Hyman (piano), Clyde Lombardi (bass), Jackie Moffett (drums).

Recorded in New York City, June 10, 1952

#5 to #10: from the album Sam Most Quartet Plus Two (Debut DLP-11)

#11: from album Hall of Fame (Design DLP 29)

Doug Mettome (trumpet), Urbie Green (trombone), Sam Most (flute, clarinet), 

Bob Dorough (piano), Percy Heath (bass), Louie Bellson (drums).

Recorded in New York City, December 29, 1953

#12 to #19: from the album Sam Most Sextet (Vanguard VRS-8014)

Sam Most (flute, clarinet), Marty Flax(baritone sax), Bill Triglia (piano), 

Barry Galbraith (guitar), Aaron Bell (bass), Bobby Donaldson (drums).

Recorded in New York City, December 3, 1954

Aaron Sachs - Quintet, Sextet And Octet Ensembles

Aaron Sachs (1923-2014) was a native New Yorker who grew up in the Bronx. After studying clarinet with private teachers, in 1941, still in his teens, Sachs landed his first job with Babe Russin, playing clarinet and alto saxophone, the latter through self-training. That same year, he joined vibraphonist Red Norvo's Septet, alongside fellow Bronx musicians Shorty Rogers and Eddie Bert. After a brief period with the Van Alexander orchestra in 1943, Aaron rejoined Norvo in January 1944, solidifying his reputation as a skilled clarinetist and earning the prestigious Esquire "New Star" award in 1945.

Between 1945 and 1946, he performed both instruments with Benny Goodman, Buddy Rich, and Charlie Ventura bands. In 1946, Sachs formed his quintet, Aaron Sachs and his Manor Re-bops, establishing himself as the first jazz musician to embrace bebop on the clarinet, preceding Tony Scott and John LaPorta.

In 1948 Aaron married singer Helen Merrill, a union that lasted only a few years, as they divorced in 1956.

His tenure with the Earl Hines sextet from 1952 to 1953 allowed him to develop his talent as a tenor saxophonist. He admitted, "I enjoy playing both instruments, but I am disappointed that the clarinet isn't used more, both in jazz and pop records today." Sachs had Lester Young as his main influence, and that's how he wanted to play both tenor sax and clarinet. Subsequently, Aaron led his own combo at Cafe Society in New York for a period. Later, he worked as a freelancer in commercial recording sessions, primarily playing the tenor saxophone. Sachs cited Lester Young as his main influence for both instruments.

Leonard Feather once remarked, "Aaron has proved that he can bring to both instruments the taste, style, and musicianship that bespeak artistry rather than mere versatility for its own sake."

This CD compilation features three albums recorded by Aaron between 1954 and 1957, showcasing his talent as an instrumentalist and composer alongside some of the finest jazz musicians from the New York scene. The arrangements of these recordings were skillfully crafted to provide a supportive backdrop for either clarinet or tenor saxophone, highlighting Sachs' versatility and artistry. *Jordi Pujol*

There was such a surfeit of great sax players in the 1950s that it’s understandable that many got overlooked. Here’s a chance to see what you’ve been missing with this rich reissue from Fresh Sound Records.

Aaron Sachs is not a household name, but he was with a number of important artists such as Shorty Rogers and Red Norvo. This single disc set finds him with some impressive company, giving his ideas to mostly originals in a sound that has “LA Cool” written all over for it, even though it was all recorded in The Big Apple.

He plays both a Lester Young-Zoot Sims inspired tenor, and a stripped down Buddy DeFranco styled clarinet, in quintet, sextet and octet settings, mixing and matching with Urbie Green/tb, Barry Galbraith-Jimmy Raney-Dick Garcia/g, Aaron Bell-Clyde Lombardi/b, Nat Pierce Hall Overton/p, Joe Roland/vibes and Osie Johnson/dr. Sachs blows like a West Coaster on "One Track" and is gorgeously fluffy on "Aaron’s Blues", fluttering on "Conversations" and sublime on "Why Shouldn’t I?" while digging in on the Basie-ish "Wiggins". His licorice stick is cool for "Kingfish" and flexible for "Gorme Has Her Day" with a nice bounce for "You're My Thrill". Warm and breezy.

*George W. Harris*

1 - One Track

(Sachs, Johnson)

2 - Helen

(Sachs, Johnson)

3 - Kingfish

(Quincy Jones)

4 - Conversation

(Sachs, Galbraith)

5 - The Bullfrog

(Quincy Jones)

6 - If You Are But A dream

(Jaffe, Fulton, Bonx)

7 - Aaron's Blues

(Aaron Sachs)

8 - You're My Thrill

(Gorney, Clare)

9 - Platter Pie

(Aaron Sachs)

10 - Why Shouldn't I?

(Cole Porter)

11 - Ah! The Pain

(Billy Ver Plank)

12 - Rondo Blues

(Phil Sunkel)

13 - Just Sick Blues

(Billy Ver Plank)

14 - Mona's Kimona

(Nat Pierce)

15 - Conversation

(Sachs, Galbraith)

16 - Blue Sophisticate

(Benny Golson)

17 - Countryfied

(Phil Sunkel)

18 - Wiggins

(Billy Ver Plank)

19 - Gorme Has Her Day

(Aaron Sachs)

20 - I Can't Believe

(Aaron Sachs)

21 - Hall's Loft

(Aaron Sachs)

22 - Nancy

(Van Heusen, Silvers)

#1 to #6, from the album Aaron Sachs Sextette (Bethlehem BCP-1008)

Aaron Sachs (clarinet [#3, #6], tenor sax [#1, #2, #4, #5]),

Urbie Green (trombone), Danny Bank (baritone sax),

Barry Galbraith (guitar), Clyde Lombardi (bass), Osie Johnson (drums).

Recorded in New York City, November 1954

#7 to #11, from the album Jazzville Vol.3 (Dawn DLP1114)

Aaron Sachs Sextet

Aaron Sachs (clarinet [#8, #19, #11), tenor sax (#7, #9),

Jimmy Cleveland (trombone), Joe Roland (vibes),

Dick Garcia (guitar), Aaron Bell (bass), Osie Johnson (drums)

Recorded in New York City, 1956

#12 to #22, from the album Clarinet and Co. (Rama RLP1004)

#12 to #18: Aaron Sachs Octet

Aaron Sachs (clarinet [#14, #17], tenor sax [#12, #13, #15, #16, #18]),

Phil Sunkel, Bernie Glow (trumpets), Frank Rehak (trombone), Gene Allen (baritone sax),

Nat Pierce (piano), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, February 18 and 21, 1957

#19 to #22: Aaron Sachs Quintet

Aaron Sachs (clarinet [#19-21] & tenor sax [#22]), Hall Overton (piano),

Jimmy Raney (guitar), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, March 4, 1957

The Amazing Sound Of Toots Thielemans

Jean Toots Thielemans arrived in the U.S. from his native Belgium in 1951. His first works in jazz were as a guitarist, instrument on which he achieved recognition as soon as he joined the George Shearing Quintet in late 1952. However, he was also a skilful harmonica player.

The present selection was intended to introduce the several facets of the instrument as exposed by Toots Thielemans thorough musicianship, his swing, and his unique achievements in versatility. For him, the ingredients of jazz are the beat (the motor) and sound, melody, and harmony (the intelligence). In this collection you will find Toots playing harmonica on every track, and even overdubbing guitar solos on four of them. With feats like this, not only he proved that jazz is a music of many moods, but he also brought a new perspective to the use of the harmonica in the jazz field; because one thing is certain: he can make it swing! *Jordi Pujol*

Jean "Toots" Thielemans

The Amazing Sound Of "Toots" Thielemans

This CD contains the music from two old long-playing records by Toots Thielemans. This concerns The Sound and Time out for Toots from 1955 and 1958 respectively.

Our man was initially mainly active as a guitarist in the United States. I think everyone will be familiar with his role in the George Shearing Quintet of the 1950s. Gradually the harmonica came into more and more action, often in unison with the guitar. That is also the case here. Guitar and harmonica are often heard together. However, the guitar part here was played later. The harmonica is definitely the center of attention.

Thanks to Toots, the small instrument gained a serious place in jazz. When listening to this material it immediately becomes clear what appealed to people about this music at the time. Everything testifies to an unmistakable swing and an indomitable zest for life. The choice of repertoire may lead some people to suspect that it is easy listening pop music from the old days. Nothing is less true. What we hear is jazz of the highest order from the time when jazz was still a mainstream music direction and not a somewhat obscure niche for connoisseurs. It is pleasantly listenable, accessible, modern jazz with a touch of bop here and there. Fans of good guitar playing, refined harmonica playing and Toots in general will find much to enjoy here. He explained the success of his way of playing the harmonica in an interview in Down Beat in 1953 as follows: "The basic thing is that I play the harmonica as an instrument, not a toy". *Jo Beckers*

If this collection proves that jazz is music of many moods, it also proves that jazz is a music which knows no boundaries... of nations of instruments.

It brings a new perspective to that mush-maligned instrument, the harmonica. And adds a new dimension to Thielemans, who can cerrainly make it swing. *Dom Cerulli*

1 - On The Alamo

(Kahn, Jones)

2 - Don't Be That Way

(Goodman, Sampson, Parish)

3 - I Put All The Eggs In One Basket

(Berlin)

4 - Sophisticated Lady

(Ellington, Parish, Mills)

5 - Scotch On The Rocks

(Thielemans)

6 - I Let A Song Go Out Of My Heart

(Ellington, Nemo, Redmond, Mills)

7 - Stars Fell Of Alabama

(Parish, Perkins)

8 - Diga Diga Doo

(McHugh, Fields)

9 - So Rare

(Sharpe, Herst)

10 - Skylark

(Carmichael, Mercer)

11 - Sonny Boy

(Brown, Henderson, DeSylva, Jolson)

12 - Cocktails For Two

(Coslow, Johnston)

13 - The Nearness Of You

(Carmichael, Washington)

14 - In A Sentimental Mood

(Ellington, Kustz, Mills)

15 - You Took Advantage Of Me

(Rodgers, Hart)

16 - Cool And Easy

(Thielemans)

17 - Body And Soul

(Green, Sour, Heyman, Eaton)

18 - The Cuckoo In The Clock

(Donaldson, Mercer)

19 - Tangerine

(Mercer, Schertzinger)

20 - Early Autumn

(Burns, Herman, Mercer)

21 - Them There Eyes

(Pinkard, Tracey, Tauber)

22 - A Handful Of Stars

(Shapiro, Lawrence)

23 - Can't Lovin' Dat Man

(Kern, Hammerstein II)

24 - Clap Yo' Hands

(G. and I. Gershwin)

#1 to #12 from the 12" album The Sound (Columbia CL658)

Toots Thielemans (harmonica) with:

#3, #6, #10, #12:

Lou McGarity, Al Godlis, Billy Rauch, Jack Satterfield (trombones); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#1, #4, #7, #9:

Toots Mondello, Artie Beck (alto sax, clarinet); Carl Prager (baritone sax, clarinet); George Berg (tenor sax, clarinet); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#2, #5, #8, #11

Ray Bryant (piano), Wendell Marshall (bass), Bill Clark (drums).

Recorded in New York City, April 1955.

#13 to #24 from the 12" album Time Out For Toots (Decca DL9204)

Toots Thielemans (harmonica, guitar [#18, #20, #21, #22]) with:

#14, #16, #19, #23: 

Hank Jones (piano), Doug Watkins (bass), Art Taylor (drums).

Recorded in New York City, January 22, 1958.

#13, #17, #18, #22:

Urbie Green, Billy Byers, Chauncey Welsch, Santos Russo (trombones); Hank Jones (piano); Bucky Pizzarelli (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

#15, #20, #21, #24:

Al Cohn, Zoot Sims (tenor saxes); Al Epstein, Danny Bank (baritone saxes); Hank Jones (piano); Barry Galbraith (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

John "Johnny" Carisi - His Music And His Orchestras

John Carisi born in Hasbrouck Heights, New Jersey, February 23, 1922, died New York, October 8, 1992. Studied trumpet and theory in high school, composition with Stephan Wolpe (1948-1950), trumpet with Carmine Caruso (1953-1954). Played in his youth with Babe Russin, George Handy, Herbie Fields and joined Glenn Miller's army band in 1943. Played with Skitch Henderson, Claude Thornhill and Charlie Barnet. Aside of that also active in the classical field, writing compositions for chamber groups and also composed a jazz piece called "Israel" that was recorded by Miles Davis. In the 60's he continued to write compositions for jazz as well as classical performers. Three of his compositions were recorded on Impulse with an orchestra under direction of Gil Evans. Carisi himself played on this recording some of the trumpet parts. *Walter Bruyninckx*

Johnny Carisi is destined to be chiefly remembered for composing "Israel," a complex blues that was recorded by Miles Davis' Birth Of The Cool nonet. Otherwise his career was primarily spent in obscurity. Carisi, who was mostly self-taught on trumpet, played early on with little-known groups although he had a stint in 1943 with Glenn Miller's Army Air Force Band. Starting in the mid-40's, Carisi's writing was sophisticated and advanced enough for him to contribute arrangements to the books of Ray McKinley, Charlie Barnet and Claude Thornhill. Never a major soloist, Carisi played trumpet with Claude Thornhill's Orchestra a bit during 1949-1950. Although he worked fairly steadily as a writer, Johnny Carisi recorded only a few albums under his own name. He had an opportunity to remake "Israel" in 1956 for a Bluebird set not released until the CD era, and he utilized a "Guitar Choir" in an unusual reworking of the music from Showboat (playing trumpet on "Nobody Else But Me"). In 1961 Carisi shared an Impulse LP (Into The Hot) with Cecil Taylor and in 1968 he wrote the arrangements for trumpeter Marvin Stamm's Machinations album. Otherwise Johnny Carisi wrote for the studios, was involved part-time with classical music and was a music educator. *Scott Yanow*

Johnny Carisi

The Music Of Johnny Carisi

Israel

One of the most important movements in the late 40s and early 50s jazz, was the conscious effort of well-schooled, classically informed, creative jazz musicians to reflect not only their training but also a greater sense of structure and order in the jazz music they played and improvised on. It was a movement led by writers like Gil Evans, Gerry Mulligan, Ralph Burns, Tiny Kahn and Johnny Carisi, among others. Some, like Mulligan and Kahn, were also celebrated instrumentalists, but they all embraced both large and small group music.

Trumpeter Johnny Carisi (1922-1992), whose name endures as a notable one in this groundbreaking general movement, worked originally for bands such as Ray McKinley's and, more significantly, Claude Thornhill's, in which he also played at a period when the band was famed for its contemporary, boppish book written by Evans and Mulligan.

Appropriately, this compilation contains Carisi's own 1956 recordings as a leader, as well some of his most celebrated compositions and arrangements played by other great groups, all fine examples of his contribution to this development in jazz. But, apart from his extensive and varied background as both player and writer, the one composition that made him a jazz legend is Israel, one of Miles Davis' loveliest record arrangements, and for which Johnny Carisi will always be remembered. *Jordi Pujol*

Johnny Carisi name will always be associated with Israel — his highly original take on the 12-bar form premiered by the ground-breaking Miles Davis nonet in 1949. He revisits it here with his own Jazz Workshop as well as on a chart for Gerry Mulligans CJB. Miles original solo has been transcribed for both ensembles. A few years ago Ray Passman added a lyric which has been recorded by the delightful Meredith d'Ambrosio among others under the title Its Your Dance.

The opening tracks have plenty of Eddie Wassermans fine Prez-inspired tenor especially on "Honeysuckle Rose" and "Lestorian Mode". The latter was also recorded by Brew Moore, Mulligan and Kai Winding in 1949 but it has yet to be reissued on CD. That doyen of the New York recording scene Barry Galbraith shows on "Barry's Tune" just why Mulligan once described him as an altogether beautiful musician. "Springsville" (misspelt on the sleeve) was recorded by the composer a year before Miles Davis and Gil Evans gave it their seal of approval on Miles Ahead. There are also two of Carisis dramatic excursions into 12-tone territory - "Moon Taj" and "Angkor Wat". As a trumpet soloist he has some notable Phil Sunkel-like statements especially on "How About You?" and "Hips".

This comprehensive retrospective of Johnny Carisi — one of the most unsung people in the history of music according to Bob Brookmeyer — is most welcome. It should help focus attention on a vital but sometimes overlooked contributor to the celebrated Birth Of The Cool project. *Gordon Jack*

1 - Israel

(Johnny Carisi)

2 - Honeysuckle Rose

(Razaf, Waller)

3 - Lestorian Mode

(Johnny Carisi)

4 - Barry's Tune

(Johnny Carisi)

5 - How About You?

(Freed, Lane)

6 - Hips

(Johnny Carisi)

7 - Springville

(Johnny Carisi)

8 - Breakfast With Joe

(Johnny Carisi)

9 - Walkin' On Air

(Johnny Carisi)

10 - Little John

(Johnny Carisi)

11 - Springville

(Johnny Carisi)

12 - Plain Bill From Bluesville

(Johnny Carisi)

13 - Israel

(Johnny Carisi)

14 - Angkor Wat

(Johnny Carisi)

15 - Barry's Tune

(Johnny Carisi)

16 - Moon Taj

(Johnny Carisi)

17 - Israel

(Johnny Carisi)

#1 to #7 were recorded for the album RCA Victor Jazz Workshop Johnny Carisi that was scheduled as LPM 1371 but never released.

#1:

Johnny Carisi (trumpet), Urbie Green (trombone), Ray Beckenstein (clarinet, alto sax), Eddie Wasserman (tenor sax), Danny Bank (baritone sax), Barry Galbraith (guitar), Russ Saunders (bass), Herb Wasserman (drums).

Recorded at Webster Hall Studio, New York City, April 21, 1956

#2 to #7:

Johnny Carisi (trumpet), Urbie Green (trombone), Ray Beckenstein (clarinet, alto sax), Eddie Wasserman (tenor sax), Sol Schlinger (baritone sax), Barry Galbraith (guitar), Milt Hinton (bass), Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, May 5 (#2 to #4) and May 11 (#5 to #7), 1956.

#8: Al Cohn Octet, from the album Al Cohn - Mr. Music (RCA Victor LJM1024)

Joe Newman (trumpet); Billy Byers (trombone); Gene Quill (alto sax); Al Cohn, Sol Schlinger (tenor saxes); Sanford Gold (piano); Buddy Jones (bass); Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, December 23, 1954.

#9: Tony Scott Tentet, from the album The Touch of Tony Scott (RCA Victor LPM 1353)

Johnny Carisi, Joe Wilder (trumpets); Jimmy Cleveland, Urbie Green (trombones); Tony Scott (clarinet); Danny Bank (baritone sax); Bill Evans (piano); Barry Galbraith (guitar); Milt Hinton (bass); Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, July 5, 1956.

#10 to #12, from the album All About Urbie Green and His Big Band (ABC-Paramount ABC137)

#10:

Johnny Carisi, Nick Travis, Joe Wilder (trumpets); Urbie Green, Jack Green, Chauncey Welsch (trombones); Bill Barber (tuba); Ray Beckenstein, Hal McKusick (alto saxes); Al Cohn (tenor sax); Sol Schlinger (baritone sax); Dave McKenna (piano); Jack Lesberg (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, August 5, 1956.

#11, #12:

Doc Severinsen, Phil Sunkel, Johnny Carisi (trumpets); Urbie Green, Lou McGarity, Rex Peer (trombones); Bill Barber (tuba); Ray Beckenstein, Hal McKusick (alto saxes); Al Cohn (tenor sax); Danny Bank (baritone sax); Dave McKenna (piano); Vinnie Burke (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, August 23, 1956.

#13: Gerry Mulligan And The Concert Jazz Band, from the album A Concert in Jazz (Verve V6-8415)

Don Ferrara, Nick Travis, Doc Severinsen (trumpets); Bob Brookmeyer (valve trombone); Willie Dennis (trombone); Alan Raph (bass trombone); Gene Quill, Bob Donovan (alto saxes); Gerry Mulligan, Gene Allen (baritone saxes); Bill Crow (bass); Mel Lewis (drums); John Carisi (arranger).

Recorded at Webster Hall Studio, New York City, July 10, 1961.

#14 to 16: Johnny Carisi And His Orchestra, from the Gil Evans' album Into the Hot (Impulse AS-9)

[Note: Though Gil Evans's Out Of The Cool for Impulse in late 1960 was well-received by critics, he decided to leave the new label when Impulse founder Creed Taylor left to head Verve. In addition, Evans didn't have enough material for a followup, so he turned over his remaining Impulse recording dates to Carisi and Cecil Taylor. Here are Carisi's three beautiful compositions that he arranged and conducted for the album, which came out under Gil Evans's name anyway in 1962.]

#14:

Johnny Carisi, Johnny Glasel, Doc Severinsen (trumpets); Urbie Green (trombone); Jimmy Buffington (French horn); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Milt Hinton (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, September 14, 1961.

#15:

Johnny Carisi, Johnny Glasel, Clark Terry (trumpets); Urbie Green (trombone); Bob Brookmeyer (valve trombone); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Art Davis (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, October 1, 1961

#16: 

Johnny Carisi, Johnny Glasel, Joe Wilder (trumpets); Urbie Green (trombone); Bob Brookmeyer (valve trombone); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Art Davis (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, October 31, 1961.

#17: from the 78 rpm disc Miles Davis And His Orchestra (Capitol 57-60011)

Miles Davis (trumpet), J.J. Johnson (trombone), Sandford Siegelstein (French horn), Bill Barber (tuba), Lee Konitz (alto sax), Gerry Mulligan (baritone sax), John Lewis (piano), Nelson Boyd (bass), Kenny Clarke [aka L.A. Salaam] (drums).

Recorded at WOR Studios, New York City, April 22, 1949.

***

John Carisi

The New Jazz Sound Of Show Boat

Carisi's sole album recorded under his name that gave us a glimpse of his inventive arranging skills and trumpet playing was The New Jazz Sound Of "Show Boat". Recorded for Columbia over three sessions in September 1959, the album featured Carisi arranging, conducting and playing trumpet. What's remarkable about the album is how orchestral it sounds with relatively few instruments featured. At first, too few.

The September 8th recording date was something of a washout. Only one track out of four was accepted by producer Teo Macero —"Nobody Else But Me". The personnel featured Carisi (tp,arr,cond), Barry Galbraith, Jimmy Raney, Billy Bauer, Howard Collins and Allan Hanlon on guitars; Milt Hinton on bass; and Osie Johnson on drums.

Upon hearing the playback, Macero likely felt the album needed a couple of additional horns to give the album greater variety, either because Carisi wasn't a big enough name to drive jazz-album sales or because Carisi's trumpet wasn't flashy enough.

So on September 18, the same group assembled in the studio with the addition of alto saxophonist Phil Woods as the soloist. The tracks were Make Believe, Why Do I Love You? and I Have the Room Above Her. Woods sat out on two of the tracks — "It Still Suits Me" and "Bill".

Then on September 24, the same core group returned but this time valve trombonist Bob Brookmeyer replaced Woods on "Ol' Man River", "Can't Help Lovin' Dat Man" and "I Might Fall Back On You". Brookmeyer sat out on "Life Upon the Wicked Stage".

The three tracks handed over to Carisi by Woods and Brookmeyer gave him three solo trumpet tracks he lost when Macero rejected the three from September 8.

The resulting album is a masterpiece of arranging and among only a handful of jazz interpretations of Broadway musicals that elevated the original scores to something way more interesting.

*Marc Myers*

Side 1

1 - Make Believe

2 - Nobody Else But Me

3 - I Might Fall Back On You

4 - I Have The Room Above Her

5 - Bill

Side 2

6 - Can't Help Lovin' That Man

7 - Life Upon The Wicked Stage

8 - Ol' Man River

9 - Why Do I Love You?

10 - I Still Suits Me

(All compositions by Oscar Hammerstein II and Jerome Kern)

John Carisi And The Guitar Choir:

John "Johnny" Carisi (trumpet, conductor); Phil Woods (alto sax [#1, #4,  #9]); Bob Brookmeyer (valve trombone [#3, #6, #8]); Jimmy Raney, Tommy Kay, Barry Galbraith, Billy Bauer, Howard Collins [#1, #2, #4, #5, #9, #10], Allen Hanlon [#3, #6, #7, #8] (guitars); Milt Hinton [#1, #2, #4, #5, #9, #10], Teddy Kotick [#3, #6, #7, #8] (basses); Osie Johnson [#1, #2, #4, #5, #9, #10],  Mousey Alexander [#3, #6, #7, #8] drums).

Recorded at Columbia Studios, 30th St., New York City, September 8 (#2, #5), September 18 (#1, #4, #9, #10) and September 24 (#3, #6, #7, #8), 1959.

Sam Most Sextet

One of the most difficult feats in modern jazz is the formation of a "new sound", one that will have musical validity as well a commercial acceptance. Every type of instrument, from the harmonica to de harpsichord, has been utilized, and in 1955 the flute is emerging as a favored instrument.

Sam Most is equally at home on the clarinet and flute. His brother, Abe, was for years one of the great jazz clarinetist, with Les Brown and other bands, before settling down to the security of Hollywood studio work. Sam studied at Juillard and played with a variety of orchestras before joining the Mat Matthews Quintet. 

Like many classically-trained younger jazz musicians, Sam Most is primarily concerned with experimental rhythmic and harmonic patterns. He prefers the discipline of arrangements to the usual free-wheeling collective improvisations of the Vanguard jazz sessions. The result is that three of the outstanding composer-arrangers of modern jazz did the writing for this session; Hall Overton, Quincy Jones, and Ronnie Woelmer. *John Hammond (liner notes)*

Side 1

1 - Skippy

(Woelmer)

2 - Give Me The Single Life

(Ruby, Bloom)

3 - My Old Flame

(Johnson, Coslow)

4 - Just Tutshen

(Most)

Side 2

5 - Blues Junction

(Quincy Jones)

6 - You'd Be So Nice To Come Home To

(Porter)

7 - Everything Happens To Me

(Adair, Dennis)

8 - Open House

(Woelmer)

Sam Most (clarinet, flute), Marty Flax (baritone sax), Barry Galbraith (guitar), Bill Triglia (piano), Aaron Bell (bass), Bobby Donaldson (drums).

Recorded in New York City, December 3, 1954. 

The Smith-Glamann Quintette - Poinciana

I've never had the distinction of making a "discovery", so naturally, with this introduction to the music world of the Smith-Glamann Quintet I feel that I am on the verge of doing so. About a year and a half ago, Rufus Smith and Betty Glamann, both of them with a wealth of musical background and experience, brought me the results of their first recording session for the A-V Tape Company. 

After I had played a few of the sides, like "Poinciana", "September Song" and "Lotus Land", I was quite impressed and suggested that they audition their tapes for several recording companies. I was very pleased when Bethlehem Records recognized their worth and invited them to their roster. I am a firm believer in music having a substantial sound, rather than a novel or a new sound. Certainly the harp is acknowledged to be one of the oldest instruments in the world and I'm sure the bass is not far behind. Together with the rest of the quintet composed of guitar, drums and accordion, all fairly common ingredients, this group manages to be most refreshing. And furthermore, it comes up with a genuine substantial musical sound. 

Actually, if you were asked to point out a single factor that sets this quintet apart from others, you would be hard pressed to put your finger on it. There's a lightness, an intermingling, a musical thread that is constantly changing in value and mood. Like the flavors in a delicately seasoned dish, there are flavors implied but never imposed. There is sufficient variety in the choice of tunes to display the range of not only their conception, but also the range of their instruments.

*Al "Jazzbo" Collins (liner notes)*

Side 1

1 - Poinciana

(Simon, Bernier)

2 - Liza

(Gershwin, Kahn, Gershwin)

3 - Laura

(Raskin, Mercer)

4 - Harp Capers

(Smith)

5 - Lotus Land

(Scott)

6 - Now Get Out

(Smith)

Side 2

7 - The Boy Next Door

(Martin, Blane)

8 - Stompin' At The Savoy

(Sampson, Webb, Goodman, Razaf)

9 - September Song

(Weill, Anderson)

10 - Ragtime Mambo

(Smith)

11 - That's All

(Brandt, Haymes)

12 - Pulling Strings

(Smith)

Nick Perito (accordion), Betty Glamann (harp), Barry Galbraith (guitar), Rufus Smith (bass), Frank Garisto (drums).

Recorded in New York City, 1955.

Barry Galbraith - Guitar And The Wind

With this album, guitarist Barry Galbraith, an important but relatively unheralded presence on many jazz recordings on this coast, steps out of his usual role of the supporting, contributing player, and becomes the principal speaker. Equipped to be just that, Galbraith, naturally and with definable grace, makes his instrument sing and swing, issue forth a full yet engagingly personal voice.

Playing an instrument that has a wealth of tradition both in and out of the jazz area, Galbraith shows an awareness of this in his playing, verbally underlining his position during our conversations concerning this album. 

Galbraith, as a person, is. unintrusive yet decisive; unassuming yet authoritative; and like many jazz musicians, his instrument has proven more than an adjunct to his personality, but THE friendly medium through which the flow of his thoughts find most compatible expression.

As some of his colleagues have noted, Galbraith has a "natural" flare that lends the impression of the "easy and everyday" to the musically valuable or difficult. Whether playing at a social gathering, on a job or recording date, he is "inside his horn", fully concentrated, oblivious to extraneous bother.

Self taught, Barry has proceeded through the hallowed halls of the school of experience, remembering and assembling, pointing up, underlining the important along the way.

This album is shaped to delineate a variety of moods in addition to the softer, romantic feeling that has, by constant association, assumed priority in definition of the word, mood.

*Burt Korall (liner notes)*

Barry Galbraith was one of New York's busiest session jazz guitarists in the 1950s and '60s. Between 1941 and the late 1970s, he was on 620 recording dates, a staggering total. How many albums did he record as a leader under his name? Just one — Guitar and the Wind, for Decca. What a shame that Decca didn't record a few more like this one. Recorded in January 1958 over three days, the album is beautifully arranged, swings tastefully and is a gorgeous example of what made Galbraith special. His chord voicings were seductive and his improvised runs were tasty and unbeatable.

*Marc Myers*

A nicely varied set spotlighting the artist in several approaches — all of them effective. When Galbraith has the melody or is improvising, he shows a fresh, inventive style. In backing other instruments, harmonically or percussively, he also shines. His admirers will find this one of his best efforts. His style can be traced to Charlie Christian and Gerge Van Eps. Small combo and larger group selections are done with equal good taste.

*Billboard, April 21, 1958 [Special Merit Jazz Album]*

1 - Bull Market

(Billy Byers)

2 - A Portrait Of Jennie

(Gordon Burdge, J. Russel, Robinson)

3 - Judy's Jaunt

(Al Gilbert)

4 - Nina Never Knew

(Milton Drake, Louis Alter)

5 - Walking (Down)

(Carpenter)

6 - A Gal In Calico

(Robin, Schwartz)

7 - I Like To Recognize The Tune

(Richard Rodgers, Lorenz Hart)

8 - Any Place I Hang My Hat

(Johnny Mercer, Harold Arlen)

9 - Love Is For The Very Young

(David Raksin)

10 - Holiday

(Al Gilbert)

11 - Ya' Gotta Have Rhythm

(Osie Johnson)

12 - What Am I Here For?

(Duke Ellington)

Barry Galbraith (guiar), with:

#1,#4, #8, #12

Urbie Green, Chauncey Welsch, Frank Rehak (trombones); Dick Hixson (bass trombone); Bobby Jaspar (flute, tenor sax); Eddie Costa (piano, vibes); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 16, 1958.

#2, #6, #7, #10 

Bobby Jaspar (flute, tenor sax), Phil Bodner (flute, clarinet, bass clarinet), Romeo Penque (clarinet, flute, English horn), Spencer Sinatra (clarinet, flute); Eddie Costa (piano, vibes), Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 21, 1958.

#3, #5, #9, #11

Bobby Jaspar (flute), Eddie Costa (piano), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, January 28, 1958.