Jazz For The Screen ★ André Previn

André Previn

Performing Music From

The Subterraneans

The Subterraneans was originally a novel by American writer Jack Kerouac (1922-1969) which, besides being in many ways autobiographical, attempted to portray an element of the new generation called the "beat" movement. Many of the characters in the novel had real life counterparts, much to the chagrin of the affected parties. In fact, Kerouac's publisher convinced him to change the novel's setting from New York (where the real autobiographical facts had taken place) to San Francisco, in order to avoid future legal actions. The Subterraneans is considered to be the first book about the "beat generation", but it was not the only one, and there was a kind of race between Kerouac and his friend John Clellon Holmes to see whose novel would be published first. (Holmes had written his own book about the beat movement, titled Go, in which Kerouac plays a fundamental part and is credited as the inventor of the term "beat".) It must be said, however, that the term "beat generation" was copyrighted by movie producer Albert Zugsmith even before Kerouac tried to do it, and was used in the infamous motion picture "The Beat Generation", in which, ironically, jazz also takes part, as Louis Armstrong and his All Stars play a few numbers surrounded by numerous pop musicians of the period.

Kerouac's response to such an insult was the production of a movie based on his own book, in which the writer himself assumed an acting role. Although the film was made by a top studio and counted many major names in the cast, the result was hardly comparable to the original book. This was largely due to the extreme level of censorship which dominated Hollywood at the time. Many important things in the book had to be changed in order to make it "acceptable". For instance, an interracial relationship had to be omitted and the female African American character was changed to a French white woman played by Leslie Caron. Censorship lasted during most of the beatnik movement's existence, and when it finally disappeared, the beats had been replaced by the hippies. The original beats, and particularly writer and poet Allen Ginsberg, have always denounced the movie because of its obvious concessions to Hollywood's conservative moral standards. However, it was good for Jack Kerouac, who received 15.000 dollars for the rights to his book. He used the money to buy a house in Long Island, the first one he ever owned.

The plot narrated the experiences of a depressed writer (George Peppard), who "goes down" to explore the "subterranean world" of San Francisco's North Beach district in the late fifties, with the hope of finding some kind of soulmate, and falls in love with a French girl (Leslie Caron) who is part of the beatnik movement. Other than the eventual use of beat terms derived from Kerouac's book, little is left from the original novel. Some characters are slightly disguised representations of real people (Frank Carmody is based on William Burroughs, Adam Moorad on Allen Ginsberg, Ariel Lavalerra on Gore Vidal). The dramatic change of the main female character from African American (in the book) to French white (in the movie) has always been the main source of debate. However, not even Kerouac's original literary representation of black culture satisfied African Americans, who felt that it portrayed them in a very superficial manner, without delving into their real culture and social position of that time.

Jazz is central to the novel and, thus, to the movie. The beat movement usually moved around jazz clubs, and its literary grammar owes a lot to jazz's improvisatory language, which is presented as "spontaneous prose". All this grammar is, obviously, absent from the movie, but it survives in the splendid musical soundtrack, which was prepared solely by jazz musicians. Some of them, like Gerry Mulligan, Art Pepper and Carmen McRae, also play colorful characters in the movie.

In conclusion, even if we can say The Subterraneans film is today nothing more than a historical curiosity, with little artistic value, the same cannot be said about its music. What we have here is the complete original soundtrack from the film, carefully composed by pianist André Previn, and performed by some of the most important musicians of its time. In addition to the aforementioned Mulligan, Previn, Pepper and McRae, also Bill Perkins, Jack Sheldon, Art Farmer, Russ Freeman, Bob Enevoldsen, Red Mitchell, Buddy Clark, Shelly Manne and Dave Bailey are heard on this amazing score. *Jordan Stewart*

Side 1

1 - Why Are We Afraid?

 (André Previn, Dory Langdon)

2 - Guido's Blackhawk

(André Previn)

3 - Two By Two

(André Previn)

4 - Bread And Wine

(André Previn)

5 - Coffee Time

(Harry Warren, Arthur Freed)

6 - A Rose And The End

(André Previn)

Side 2

7 - Should I

(Nacio Herb Brown, Arthur Freed)

8 - Look Ma, No Clothes

(André Previn)

9 - Things Are Looking Down

(André Previn)

10 - Analyst

(André Previn)

11 - Like Blue

(André Previn)

12 - Raising Caen

(André Previn)

#1, #3, #6, #8, #10

André Previn (piano, arranger, conductor),Gerry Mulligan (baritone sax),

Jack Sheldon (trumpet), Bob Enevoldsen (valve trombone #1), Art Pepper (alto sax),

Bill Perkins (tenor sax), Red Mitchell (bass), Shelly Manne (drums).

[Unidentified string section, clarinet and oboe]

#4, #9

Art Farmer (trumpet), Bob Enevoldsen (valve trombone), Art Pepper (alto sax),

Gerry Mulligan (baritone sax), Russ Freeman (piano), Buddy Clark (bass), Dave Bailey (drums). 

#2, #5, #7, #11

André Previn (piano), Red Mitchell (bass), Shelly Manne (drums), Carmen McRae (vocals #5).

#12

Jack Sheldon (trumpet), Art Pepper (alto sax),

Russ Freeman (piano), Red Mitchell (bass), Shelly Manne (drums).

Recorded at MGM Studios, Culver City, California,

September 2, 1959 (#2), January 11, 1960 (#5, #7, #8, #9, #11), 

January12, 1960 (#1, #3, #4, #6,#10), and February 3, 1960 (#12)

Cool Blends (I) - A West Coast & Cool Jazz Collection

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 

◈◈◈

Lighthouse All-Stars Collection XXIV ★ Rarities at The Lighthouse

Los Angeles Jazz Institute 

Presents

West Coast Rarities

✤✤

Gerry Mulligan, Lennie Niehaus and Bud Shank at The Lighthouse

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

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

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

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

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

1 - Elevation

(Gerry Mulligan)

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

Howard Rumsey's Lighthouse All-Stars:

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

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

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

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

2 - Move

(Denzil Best)

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

The Gerry Mulligan Quartet:

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

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

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

3 - Short Snort

(Shorty Rogers)

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

Shorty Rogers and His Giants:

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

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

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

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

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

4 - Short Stop

(Shorty Rogers)

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

Shorty Rogers Big Band:

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

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

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

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

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

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

5 - The Goof and I

(Al Cohn)

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

Howard Rumsey's Lighthouse All-Stars:

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

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

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

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

6 - Topsy

(Edgar Battle, Eddie Durham)

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

Shorty Rogers and His Giants with Stan Getz:

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

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

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

7 - Everybody Moan

(Ernie Wilkins)

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

Maynard Ferguson and His Orchestra:

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

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

Bob Fitzpatrick, Bob Burgess (trombones);

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

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

8 - Just Friends

(John Klenner, Sam M. Lewis)

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

The Lennie Niehaus Quintet:

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

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

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

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

(Duke Ellington / Bud Shank)

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

Bud Shank Quartet:

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

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

KMLA "Nightlife" Broadcast

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

Five-Star Collection... Art Pepper

Art Pepper

Art Pepper + Eleven

A Treasury Of Modern Jazz Classics

In a period when the qualifications for having one's own jazz album remains nebulous, it's been all the more astonishing that Art Pepper has been in charge of so few. Pepper has grown remarkably in imagination and emotional depth in the past few years as was hotly clear in Art Pepper Meets The Rhythm Section (Contemporary 3532, Stereo 7018). In this new, uniquely integrated set, Pepper receives a differently challenging framework from Marty Paich than he — or most other soloists — has yet received on records. And Art responds with consistent brilliance.

What Paich has done has been to provide more than just accompaniment for Art. He has integrated the resilient band backgrounds with Art's playing in a way that stimulates Pepper but doesn't obstruct the improvisatory flow of his ideas. Paich was able to accomplish this fusion because he knows Pepper's style well through several years of association, including dates on which Marty was pianist for Art. (...)

The programmatic concept of the album is also challenging to both Pepper and Paich. These are twelve established modern jazz standards — music directly out of the jazz experience, written by jazzmen. They're part of that growing body of thoroughly indigenous jazz material to which player-writers like Jelly Roll Morton, Kid Ory, Duke Ellington, and in more recent years, Horace Silver, Thelonious Monk, John Lewis and others have contributed.

Pepper and Paich collaborated on selecting these twelve songs. "We treated them with a great deal of respect", Paich emphasizes. "The tune itself is there all the time. Unlike, for example, doing jazz versions of Broadway shows, with these jazz standards you don't have to alter and extend the chords and make other changes for jazz purposes". (...)

In essence, Art Pepper + Eleven demonstrates, first of all, how mature a soloist Art Pepper has become. It also reemphasizes how much of their own material jazzmen have to work with, and helps considerably in making known Marty Paich's qualifications as a particularly knowledgeable and sensitive jazz arranger. *Nat Hentoff (from the liner notes)*

This is a highly satisfactory album for which Marty Paich, who conducts and did the arranging, deserves a full measure of credit.

The tunes read like a jazz hit parade of the '40s and '50s, and Paich has treated them with the reverence and seriousness they deserve while still retaining wit and a freshness of view. Pepper, in the context of this group, turns out one of his best performances on record. As an altoist, he immediately assumes his place again in the front rank with the added virtue of successfully escaping the tyranny of Charlie Parker’s spirit and still keeping that full-blown swing. He is surprisingly sensitive and moving on clarinet (Anthropology of all things!), and if he ever gets seriously down to work on that instrument as his major, there's room to believe he might be the one to bring it up to the point of development of the other solo horns.

On tenor he is a solidly swinging, tough-minded soloist, but it is on alto, still, that he shines. The whole album is in excellent taste, the solos by Freeman here and there are a gas, too, and Lewis provides a fine, swinging foundation. 

*Ralph J. Gleason (Down Beat, February 18, 1960 [5 stars])*

1 - Move

(Denzil Best)

2 - Groovin' High

(Dizzy Gillespie)

3 - Opus de Funk

(Horace Silver)

4 - 'Round Midnight

(Monk, Williams)

5 - Four Brothers

(Jimmy Giuffre)

6 - Shaw Nuff

(Gillespie, Parker)

7 - Bernie's Tune

(Leiber, Stoller, Miller)

8 - Walkin' Shoes

(Gerry Mulligan)

9 - Anthropology

(Gillespie, Parker)

10 - Airegin

(Sonny Rollins)

11 - Walkin' (original take)

(Richard Carpenter)

12 - Walkin' (alternate take 1)

(Richard Carpenter)

13 - Walkin' (alternate take 2)

 (Richard Carpenter)

14 - Donna Lee (original take)

(Charlie Parker)

15 - Donna Lee (alternate take)

(Charlie Parker)

Art Pepper (alto sax, tenor sax [#1, #5, #11], clarinet [#9, #12, #13]) with:

Pete Candoli [#3, #4, #8, #10], Jack Sheldon, Al Porcino [#1, #2, #5 to #7, #9, #11 to #15] (trumpets);

Herb Geller [#3, #4, #8, #10], Bud Shank [#2, #6, #9, #14, #15], Charlie Kennedy [#1, #5, #7, #11 to #13] (alto saxes);

Dick Nash (trombone); Bob Enevoldsen (tenor sax, valve trombone); Vincent DeRosa (French horn);

Bill Perkins [#2, #3, #4, #6, #8 to #10, #14, #15], Richie Kamuca [#1, #5, #7, #11 to #13] (tenor saxes);

Med Flory (baritone sax); Russ Freeman (piano); Joe Mondragon (bass); Mel Lewis (drums).

Recorded at Contemporary's Studio, Los Angeles, California, March 14 (#3, #4, #8, #10),

March 28 (#2, #6, #9, #14, #15) and May 12 (#1, #5, #7, #11, #12, #13), 1959.

Five-Star Collection... John Lewis

John Lewis

Grand Encounter:

2° East – 3° West

Grand Encounter is perfect as the title of this album, featuring as it does three grand and eloquent soloists playing together for the first time.

The combination of John Lewis, Bill Perkins, and Jim Hall is absolutely inspired, as they are three of the most lyrical soloists in jazz. In addition to eloquence and lyricism, they share other attributes and similarities. All three have a sound on their instruments that is personal and immediately recognizable, Lewis with his dry, kittenish attack, Perkins with a tone richer than the richest velvet, and Hall with a sound that is clear and bell-like. They all approach improvisation with a seeming trepidation, perhaps an extension of the genuine modesty they manifest as human beings. The three express themselves instrumentally in a spare, pared-down manner; thus, they seem such reflective and unpretentious soloists, as if they had weighed all the possibilities for this specific solo long before and this is precisely what they want to say about this composition at this particular time, and that to say anything more would be excessive. And, lastly, all three are possessors of a romantic bent that makes their lyricism all the more poignant.

Another attribute they share is sensitivity, for this is principally what makes this recording so pleasurable — because everyone listens so well. There is a group feel and interplay that is absent from many other all-star groups assembled for recording purposes only.

This "grand encounter" took place on February 10, 1956. For a pick-up recording, it is unusual in that it contains several firsts and a near-first. It marks John Lewis' first recording as a leader and his first trio recording (on I Can't Get Started), and Hall's first trio recording (on Skylark); Bill Perkins' first record date as a leader took place the day before.

Don't look for 2 Degrees East, 3 Degrees West on the map. It denotes the geographic composition of the quintet — two Easterners and three Westerners. (Hall is from New York and Heath from Pennsylvania; Lewis is from New Mexico and Perkins and Hamilton are from California. However, considering that Lewis and Heath were based in New York with the MJQ at the time, it is likely that Lewis regarded himself and Heath as the two Easterners when he titled his original blues.) Today, all are based in New York City except Perkins, who may be seen on television with the Tonight Show orchestra and in jazz clubs with Shorty Rogers’ quintet.

*Todd  Seibert (from the liner notes of the 2016 reissue)*

Simplicity is deceptive. On the one hand it can mean the artist is limited, and at its best this can be folk art of a high order. On the other, it can mean that the artist, having at his disposal the full range of materials, chose simplicity to best serve his needs. And this is conscious art at its creative best, as in this LP.

Simplicity is the keynote to this album. It is simple, direct, and overwhelmingly effective without ever once shouting at you or waving a flag. Not only are all the soloists at their best here, but perhaps they are at their best because of the high degree of empathy which surrounds the date. Few sessions in recent years — some Vanguards and the first Columbia Buck Clayton come to mind — have had the mark of the era of good feeling to the degree this album has. That is one of its charms.

Another is the rhythm section, in which Percy Heath and Chico Hamilton merge together to produce a compelling beat that is felt on every track. Still another is the way the solo horns — Perkins, Jim Hall and Lewis — pick up the phrases, the nuances, the shadings of the compositions, turn them over carefully and examine them, and then replace them in a different setting.

There is really no high spot to this album, because the performances on all tracks are on a plateau of excellence such as to make further comparison superfluous. It might be worthwhile to credit Perkins with some moving Lesterian moments in which he adds his own touch of individuality to a wailing solo on Love Me, or his Easy Living solo all the way which sets the tune running in your mind for days.

Perhaps John Lewis' majestic I Can’t Get Started or his blue-tinted solo on Three Degrees should be stressed, or Jim Hall's romantic mood on Skylark.

It seems enough to say, however, that this is the sort of album you hope for and seldom get. In common with the Mulligan quartet and the MJQ, this album contains the kind of performances you are forced to think of for hours. You can't help yourself. Is there any stronger praise?

The liner notes by Whitney Balliett are five-star, too.

*Ralph J. Gleason (Down Beat, November 14, 1956 [5 stars])*

1 - Love Me Or Leave Me

(Gus Kahn, Walter Donaldson)

2 - I Can't Get Started

(Ira Gershwin, Vernon Duke)

3 - Easy Living

(Leo Robin, Ralph Rainger)

4 - 2 Degrees East – 3 Degrees West

(John Lewis)

5 - Skylark

(Johnny Mercer, Hoagy Carmichael)

6 - Almost Like Being In Love

(Alan Jay Lerner, Federick Loewe)

John Lewis (piano), Bill Perkins (tenor sax),

Jim Hall (guitar), Percy Heath (bass), Chico Hamilton (drums).

Recorded in Los Angeles, California, February 10, 1956

Liberty Records • Lighthouse Series (III)

Max Roach And Stan Levey

Drummin' The Blues

Lighthouse Series • Volume 3

The art of jazz drumming has come a long way since the day of the bass drum player in the marching bands of ole New Orleans. Today we have come to expect a drummer to be an excellent technician, a well rounded percussionist, capable of improvising as well as any solo instrumentalist in any musical aggregation. It would take a very thick book to discuss the requirements of being a jazz drummer, and even then, it would be necessary to interpret the printed word through skins, sticks, cymbals and mechanical contrivancesin order to express yourself and your feeling for the music.

No doubt about it, drums and drummers are popular subjects; whether you're an avid jazz enthusiast or bandleader, it is always interesting to hear and compare notes on the way different drummers play.

Among my personal favorites are two very good friends — two wonderful guys, each representing the moder idiom in the best possible manner: Max Roach and Stan Levey.

⁂

When they expressed the desire to do this album, it was may great pleasure (and Liberty's) to be able to record it. However this is where the parallel ends, because, although they are the best of friends, great believers in the other's playing, they both display what every good jazz musician strives for — his own distinct musical personality. Care to compare? *Howard Rumsey (liner notes)*

Stan and Max are about as unlikely a pair as you could imagine — both jazz drummers, but one with a cooler, more laidback sound (Levy), the other with a harder, more full-on and bop driven approach (Roach). This set features each drummer alternating track to track — supporting a core group with Bill Perkins on tenor, Conte Candoli on trumpet, and Frank Rosolino on trombone. Given that such a setting is more Levy's territory than Roach's, he actually fits in a bit more with the sound — but even on the Roach tracks, the west coast jazz vibe pervades — so don't expect a super-huge change in the style. Titles include "Breadline Blues", "Facts About Max", "Royal Garden Blues", "The Count's Blues", and "Blues In The Night". *Dusty Groove, Inc.*

1 - Facts About Max

(Marty Paich)

2 - Milano Blues

(Bob Cooper)

3 - Swingin' The Blues

(Count Basie, Eddie Durham)

4 - Breadline Blues

(Dick Shreve)

5 - Bye Bye Blues

(Lown, Gray, Bennett, Hamm)

6 - Blues In The Night

(H. Arlen, J. Mercer)

7 - Royal Garden Blues

(C. Williams, S.Williams)

8 - The "Count's" Blues

(Conte Candoli)

Conte Candoli (trumpet), Bill Perkins (tenor sax [#1, #3, #6, #8]), 

Bob Cooper (tenor sax [#2, #4, #5, #7]), Frank Rosolino (trombone),

Dick Shreve (piano), Howard Rumsey (bass),

Max Roach (drums [#1, #3, #6, #8]), Stan Levey (drums [#2, #4, #5, #7]).

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

Recorded in Los Angeles, California, March, 1957

#2, #4, #5, #7:

Recorded at "The Lighthouse", Hermosa Beach, California, March 1957