Rare And Obscure Bob Harrington Albums

 A copy of Vibraphone Fantasy in Jazz by Bob Harrington on the Imperial label would represent a find of great importance in the used record pile, setting off shock waves through the vinyl icons. The side would be especially dear to fans of modern jazz vibraphone, yet Harrington himself would have been capable of delivering the sound of an entire rhythm section if necessary, not just good vibes. He was proficient as well on piano and drums, both related to the vibraphone on the instrumental family tree. Nonetheless, Harrington's finest playing may have been as part of a band after all, not just any band but the legendary Jazzpickers featuring cellist Harry Babasin.

Harrington experienced plenty of music in his family, as his father was a violinist. The son started to become known on the jazz scene in the early '50s as a pianist for bandleader Charlie Barnet; Harrington had also studied bass in high school. He performed and recorded through the decade with Georgie Auld, Buddy DeFranco, and Vido Musso, but when working with both Red Nichols and Bud Freeman in the mid-'50s was seated behind the drums. In the latter part of the '50s he could be heard as both an accompanist and arranger for vocalist Ann Richards as well as in a straight-out swing context with magnificent tenor saxophonist Ben Webster. Harrington continued recording through 1970. *Eugene Chadbourne*

Bob Harrington

Rare and Obscure Jazz Albums

Pianist, vibraphonist, composer, and arranger Bob Harrington (1912-1983) was a gifted yet underappreciated musician whose career spanned over four decades in the jazz scene. Despite working with legends like Vido Musso, Charlie Barnet, and Stan Kenton, he never gained widespread recognition, even though his melodic sensibility and instrumental versatility set him apart.

In 1957, Harrington recorded Vibraphone Fantasy In Jazz, his debut album as a leader, showcasing a modern, relaxed vibraphone style influenced by Red Norvo. Harrington's playing is melodic, demonstrating a keen awareness of the instrument's full capabilities. He brings vitality to up-tempo tunes and is equally adept at pausing for a meaningful ballad. A highlight of the album is the excellent guitar work of Jimmy Wyble, paired with the solid rhythmic foundation laid down by bassist Bob Carter and drummer Lloyd Morales.

A few years later, in 1961, he returned to the piano for Jazz À La Carte. On this new album, he brought a refreshing conception and skill, playing a collection of tunes with varied tempos, in a session again featuring guitarist Jimmy Wyble and Red Wooten on bass. Beyond his instrumental work, Harrington was also a sought-after vocal coach, mentoring renowned singers such as June Christy, Peggy Lee, and Ann Richards.

Throughout his career, he split his time between Los Angeles, Santa Fe, and Hawaii, performing in small clubs until his final days. Though his recorded output was limited, his music remains a testament to an artist of remarkable sensitivity and talent. *Jordi Pujol*

1 - Mountain Dew

(Bob Carter)

2 - Ticklish Situation

(Bob Harrington)

3 - Patio Pavanne

(Bob Harrington)

4 - I've Never Been In Love Before

(Bob Harrington)

5 - Let's Have Some Ribs

(Bob Harrington)

6 - Gone Nuclear Fishin'

(Bob Harrington)

7 - How Long Has This Been Going On?

(George and Ira Gershwin)

8 - Three-Fourths

(Bob Carter)

9 - Little Circumstances

(Bob Harrington)

10 - Indecision

(Bob Harrington)

11 - Wally Ballew

(Bob Harrington)

12 - Hulla Ballew

(Bob Harrington)

13 - Little Boy Ballew

(Bob Harrington)

14 - Ben Ballew

(Bob Harrington)

15 - Baby Ballew

(Bob Harrington)

16 - Emma Ballew

(Bob Harrington)

17 - Bob Ballew

(Bob Harrington)

18 - V.S. Ballew

(Bob Harrington)

 #1 to #10: from the LP Vibraphone Fantasy in Jazz (Imperial LP-90)

Bob Harrington (vibes), Jimmy Wyble (guitar), Bob Carter (bass), Lloyd Morales (drums).

Recorded at Bob Harrington's patio,

Mount Washington, Los Angeles, California, January, 1957

#11 to #18: from the LP Jazz À La Carte (Crown CLP 5388)

Bob Harrington (piano), Jimmy Wyble (guitar), 

Red Wooten (bass), John Markham or Lloyd Morales (drums [alternating]).

Recorded in Hollywood, California, 1961

Fresh Sound Records Note:

Although the front cover of the Imperial album Vibraphone Fantasy in Jazz states "Recorded in stereophonic sound"’ we want to clarify that the recording is monaural and a stereo release never existed. Regarding the Crown album Jazz à la Carte, both a mono version and a pseudo-stereophonic version were released, the latter artificially processed and further distorting the already poor and uneven sound quality. For this edition, we have chosen the mono version, as it provides a more balanced and pleasant listening experience.

Liberty Records • Jazz in Hollywood Series (IX)

Buddy Childers

Sam's Songs

✤Liberty LJH 6009✤

When nominating the top trumpet men in the business, Buddy Childers has been consistently among the leaders. For the past thirteen years, his stiff upper lip has been winning the plaudits of discriminating musicians and fans alike while a member of the bands of Stan Kenton, Woody Herman, Benny Carter, Tommy Dorsey and Charlie Barnet. Except for his stint with Herman in late 1949, however, Buddy has been tied to the lead trumpet chair throughout his career.

"Not that I didn't enjoy blowing lead", he remarked in his rapid, positive manner, "but the fact is I always wanted to play jazz, and the lead book really gets monotonous at times".

Buddy is one of those wonder children of the trumpet who never had musical schooling. He is largely self-taught. Born in St. Louis, Missouri February 12, 1926, he inherited his first horn originally intended for his father "‘who just kept it around the house; he never got around to studying it". Childers played with the high school band in Belleville, Illinois, and at sixteen was auditioning for Stan Kenton in December of '42, an association which continued over an eleven year period. In fact, Buddy's first date was on Kenton's Artistry In Rhythm.

Although Buddy made many records with various bands in small groups during these years, the desire to cut records under his own name, and in his own style, persisted. For eighteen months Buddy worked in the pit band at Hollywood's famous Moulin Rouge. The nightly routine, however, proved too confining and Buddy decided to form his own group so that he "could begin to enjoy playing again!" *John Tynan (liner notes)*

⁂

My reasons for choosing these men [Herbie Steward, Bob Harrington, Harry Babasin and Milt Holland] are twofold. First, they're extremely capable musicians; secondly, they're all close personal friends of mine. Though their names may not be too well known to relative newcomers to jazz music, they’ve all been on the scene for years. Although they all are not now in the so-called main-stream of jazz, I believe they are consistently great performers. After listening to the results, I'm sure you'll agree that they are. *Buddy Childers (liner notes)*

Sam Songs is the first LP by 30-yearold trumpeter Childers, who played lead with Kenton, Woody Herman, T. Dorsey, Carter, and Barnet and jazz horn with Herman in 1949. His sympathetic associates are Herb Steward on tenor instead of his usual lead alto of recent years; pianist Bob Harrington; bassist Harry Babasin; studio drummer Milt Holland, who came out for some air. Unfortunately, due to Liberty's insistence on damaging their squeezing 12 tracks into this one isn't the success been.

The writing (seven by Childers and five by Harrington) is pleasant, with some of the themes quite attractive, but there is no space to develop them, and as a result, a shortened sameness is a post-listening impression. Half as many tunes and some extended blowing and/or more extensive structuring would have made for a higher rating. As it is, Childers blows well and while no giant of jazz trumpet, has taste and a good beat.

It's good to hear Herb, a distinguished ex-Hermanite again. There is some degree of inhibition in Steward's blowing here, perhaps because of his length of time away from the tenor, but his flowing sense of time, good sound, and conception are still evident. Harrington is a swinging, economical pianist and his rhythm section colleagues are effective. The sam-titling is a too extended joke without a punch line. *Nat Hentoff (Down Beat, May 30, 1956)*

Side 1

1 - Honeysuckle Sam

(Buddy Childers)

2 - Sam Metrically

(Buddy Childers)

3 - My Wild Irish Sam

(Buddy Childers)

4 - Sentimental Sam

(Bob Harrington)

5 - Ding Dong, Sam Is Dead

(Buddy Childers)

6 - Sam 'N' Eggs

(Bob Harrington)

Side 2

7 - Deviled Sam

(Bob Harrington)

8 - Wham Sam!

(Buddy Childers)

9 - Thank You, Sam

(Buddy Childers)

10 - Sam's Serenade

(Bob Harrington)

11 - Three Sam's In A Fountain

(Buddy Childers)

12 - Canned Sam

(Bob Harrington)

Buddy Childers (trumpet), Herbie Steward (tenor sax),

Bob Harrington (piano), Harry Babasin (bass), Milt Holland (drums).

Recorded at Western Recorders, Hollywood, California,

November 29 (#2, #3, #4, #8, #9, #12) and December 6 (#1, #5, #6, #7, #10, #11), 1955

Liberty Records • Jazz in Hollywood Series (VII)

Jack Millman Sextet

Shades Of Things To Come

✤Liberty LJH 6007✤

A great lost treasure from the LA scene of the 50s — one of the few albums recorded by trumpeter Jack Millman as a leader, working here with a well-named set of "all stars" that includes Jimmy Giuffre on baritone and clarinet, Buddy Colette on flue and alto, Bob Harrington on piano, Harry Babasin on bass, and Larry Bunker on drums! The set's got a similar feel to other west coast work of the time, but the tracks are tighter, more composed, and a bit more swinging — sort of halfway between swing and the chamber jazz of some of the headier groups. Titles include "The Great Lie", "Along About F", "Butterfingers", "Thinking Of Russ", and "Da Bloosiest Blues". 

*Dusty Groove, Inc.*

Shades of Things To Come, as this is titled, is a consistently attractive, immediately assimilable album by flugelhornist Millman. It's considerably more relaxed and generally imaginative than his recent Decca Jazz Studio 4 set. Everyone blows warmly and with a fine collective, cohesive swing. The musicians include Buddy Collette, flute, alto, and tenor; Jimmy Giuffre, baritone sax and clarinet; Bob Harrington, piano; Harry Babasin, bass and producer of the date; Larry Bunker and Fred Capp, alternating on drums.

The writing throughout is unpretentious, tinged with wit, and quite fresh in places. The notes provide composition and arranging details. The writers involved are Millmann, Carson Smith and Jimmy Hall, Don Peterson, Bunker, Harrington, Charles Deremo, and Collette.

It’s too bad that 12 tracks ar jammed swiftly into this one LP.

When will a&r men realize that the chief virtue of the 12'' LP (aside from added sales) is the breathing space it's capable of providing writers and blowers? Anyway, the set is certainly recommended as an unusually friendly one, a word that really fits this particular context.

Millman on flugelhorn is, by the way, one of the hotter, unabashedly emotional hornmen on the coast. As a writer, Harrington has a commendably easeful touch. This is another good engineering job by John Neal. *Nat Hentoff (Down Beat, May 16, 1956)*

When this session was originally planned, Jack intended to use the late Bob Gordon on bass clarinet and the arrangements were written with Bob specifically in mind.

Bob's untimely passing created a problema — mainly, where to find another swinging bass clarinetist. The answer proved to be a simple one, for Jimmy Giuffre was available and readily stepped in. Although he could play the bass clarinet, he didn't own one! So all arrangements were finally rewritten for regular clarinet. Jimmy’s playing in the low register produced a particularly fine sound.

⁂

This is not Jack Millman's first album, but it is most definitely his "swingin'est". In listening to the crop of upcoming West Coast jazz men, it is increasingly apparent to what degree these young musicians are constantly progressing. With each successive record, it is possible to hear the advancement in ideas, technique and tonal quality. Jack's work on both trumpet and flugelhorn, as with so many of our young jazz men on the West Coast, shows this continuous advancement. 

"SHADES OF THINGS TO COME" offers an intriguing speculation on future jazz.

*Sleepy Stein (liner notes)*

Side 1

1 - Thinking Of Russ

(Millman)

2 - Along About F

(Harrington)

3 - Butterfingers

(Millman)

4 - Polka Dots And Moonbeams

(Van Heusen, Burke)

5 - There Will Never Be Another You

(Warren, Gordon)

6 - The Great Lie

(Hefti)

Side 2

7 - Da Bloosiest Blues

(Millman)

8 - Mother's Whistler

(Harrington)

9 - Gone With The Wind

(Wrubel, Magidson)

10 - Skylark

(Carmichael, Mercer)

11 - It Could Happen To You

(Van Heusen, Burke)

12 - That Old Feeling

(Fain, Brown)

Jack Millman (flugelhorn); Buddy Collette (flute, alto sax, tenor sax);

Jimmy Giuffre (baritone sax, clarinet); Bob Harrington (piano); Harry Babasin (bass);

Frank Capp [#1 to #4, #8, #10, #12], Larry Bunker [#5 to #7, #9, #11] (drums).

Recorded in Hollywood, California, September 1955

Liberty Records • Jazz in Hollywood Series (VI)

Steve White

Jazz Mad

The Unpredictable Steve White

✤Liberty LJH 6006✤

Bucking an age of stultifying conformity, the jazz world has of necessity its generous share of individualists. One otf the most outstanding among these is Steve White. His vigorous, uninhibited playing has identified him on the West Coast these past few years with that rare brand of untrammieled jazz instrumentalists are content to play anywhere just for the sheer joy of blowing jazz. On this, his first LIBERTY album, Steve is allowed absolute freedom. 

Stephen Gaylord White is a jazz musician who exercises his art form passionately in his dedication to complete self-expression. Although he has a background of much big band experience (Butch Stone, Jimmy Dorsey, Alvino Rey), he has never made a name for himself in that area. He has, rather, been content to play in comparative obscurity around the Los Angeles nightspot circuit, winning the admiration of contemporary musicians and a loyal contingent of fans. 

If you enjoy jazz in a modern vein untyped by "school"’ or intellectual classification, then this free-blowing session by "The Unpredictable" Steve White is cut to order for you.

*John Tynan (liner notes)*

Jazz Mad: The Unpredictable Steve White is the LP debut of the 30-yearold Los Angeles tenor who has worked with Butch Stone, Jimmy Dorsey, Alvino Rey, and in L.A. clubs. He is accompanied by a competent rhythm section of pianist Bob Harrington, bassist Harry Babasin, and drummer Boone Stines. On the first and better side, White just plays. He sings the last five titles, and his decision to vocalize is extremely ill-advised for just about every reason ir the book. His own lyrics on "What Makes Me Blue Today?" are the most alarmingly mediocre in my experience.

As for his playing on both sides, White is a modern, Pres-derived tenor with frequent touches of Getz. He does not, however, have the flow of invention and the constant good taste of Getz. His taste, in fact, sometimes lapses and while there are pleasant moments in his work due to a generally good tone, frequent vigor, and fluent technique, he is not especially individual nor is his conception usually fresh.

Other negative aspects of this LP are several too-short tracks and the inexplicable fading at the end of three of the numbers. The writing, moderately attractive for the most part, is, however, also not distinctive. It’s all by White or by White and Harrington.

Hardly recommended for anyone on a record budget since the "singing" ruins almost all of the second side. *Nat Hentoff (Down Beat, May 6, 1956)*

Well, not exactly "mad" as in wild, but this is an excellent — albeit pedestrian — jazz platter. White was fine Tenor sax player, equally adept at free-swinging arrangements such as "Liberty In White" and "Stopped — You See", as well as ballads like "I Only Have Eyes For You" and "Lazy Lady Blues". He is supported on this record by en excellent group consisting of Harry Babasin (bass), Boone Stines (drums) an Bob Harrington (piano). All provide excellent support throughout the entire record. This record features one of the more elaborate and aestheticly pleasing album covers of it's day, an excellent, carnival-esque painting by Ed Graves. *Matthew Greenwald*

Side 1

1 - Liberty In White

(White)

2 - Mister Thing

(White, Harrington)

3 - Musin'

(White, Harrington)

4 - I Only Have Eyes For You

(Warren, Dubin)

5 - Rushin' The Blues

(White, Harrington)

6 - Beside A Sea

(White, Harrington)

7 - Stopped — You See

(White)

Side 2

8 - Lazy Lady Blues

(Moore, Feather)

9 - What Makes Me Blue Today?

(White)

10 - Paper Moon

(Arlen, Rose, Harburg)

11 - Don't Worry 'Bout Me

(Bloom, Koehler)

12 - April Showers

(Silvers, DeSylva)

Steve White (tenor sax, vocals), Bob Harrington (piano),

Harry Babasin (bass), Boone Stines (drums).

Recorded in Hollywood, California, August 1955