Lighthouse All-Stars Collection XXVI ★ Richie Kamuca

Richie Kamuca

West Coast to East Coast

Live Recordings 1957-1966

Back in action, Outlet kicks off the second half of the year by resuming its series dedicated to Howard Rumsey's Lighthouse All-Stars and the live recordings made at the legendary Lighthouse club.

This time, the focus is on saxophonist Richie Kamuca and the quintet he co-led with trumpeter Conte Candoli in 1957. These recordings were previously released by the Xanadu label under the title Bebop Revisited, Volume 5 in 1985.

For this post, we've chosen the recent release from the Barcelona-based label Fresh Sound Records, featuring notes by its owner, Jordi Pujol:

Richie Kamuca (1930–1977) was one of the finest tenor saxophonists of his generation, though never granted the full recognition his artistry deserved. Rising to prominence with Stan Kenton and Woody Herman in the early 1950s, he settled in Los Angeles in 1956 and soon became a leading voice on the West Coast scene, recording and performing with Chet Baker, Shelly Manne, Bill Perkins, Conte Candoli, and many others. Equally at home in big bands, studios, and small groups, Kamuca blended the cool lyricism of Lester Young with the fluent drive of Stan Getz and Zoot Sims, ultimately forging a highly personal style.

This collection brings together live performances from the Lighthouse in 1957, from the celebrated Stars of Jazz television show of that same year, and from his New York period in inspired Half Note sessions with the Roy Eldridge Quintet in 1965–66. Warm-toned, inventive, and deeply melodic, Kamuca is heard here at full maturity: an unjustly overlooked master of the tenor saxophone.

After arriving in Los Angeles in the summer of 1956, Richie Kamuca joined Howard Rumsey's All-Stars at the famed Lighthouse club in Hermosa Beach. He spent a month there replacing Bob Cooper, who was vacationing in Hawaii with June Christy at the time.

He soon established a strong association with the West Coast jazz scene, receiving calls from record producers and fellow musicians alike to appear as a sideman on numerous sessions led by artists such as Chet Baker, Johnny Richards, Marty Paich, Bill Perkins, Stan Levey, Gus Mancuso, Mel Lewis, and Bill Holman. He also spent a brief period with the Med Flory–Al Porcino band, rejoined Stan Kenton for the orchestra's 1956 summer European tour, and later joined Maynard Ferguson after Kenton disbanded following a series of Bay Area engagements in November. Ferguson's saxophone section featured Herb Geller on alto, Kamuca and Nino Tempo on tenors, and Willie Maiden on baritone.

In April 1957, Kamuca returned to the Lighthouse to perform with the house band, which included Conte Candoli on trumpet, Dick Shreve on piano, Stan Levey on drums, and Red Mitchell on bass, replacing Howard Rumsey. Mitchell, who had originally played piano, switched to bass while working with Chubby Jackson in 1949. By then he had earned a formidable reputation as a member of pianist Hampton Hawes's outstanding trio, which also included Kenny Burrell on guitar. Earlier, Mitchell had worked with singer Jackie Paris and guitarist Mundell Lowe, and in 1956 he released his first album as a leader.

During the Lighthouse session that opens this CD, the group stretched out on two standout performances, "Allen's Alley" (also known as "Wee"), by Denzil Best, and Candoli's own "Counting", both of which showcased the band's remarkable cohesion and inventiveness. Kamuca displayed a strong Zoot Sims influence, moving confidently and fluently through the changes with his characteristically relaxed tone, while Candoli matched him with assured solos full of wit and imagination, including a quotation from "The Jeep Is Jumpin'". Shreve and Kamuca supplied effective supporting riffs, and Shreve contributed tasteful, economical solos in a Basie-like manner. Red Mitchell proved indispensable throughout, his rock-solid walking bass lines constantly drawing the ear, and he also delivered an outstanding solo that confirmed his place in the lineage of great bassists such as Jimmy Blanton, Oscar Pettiford, and Ray Brown.

The atmosphere remained relaxed yet highly energized, particularly on "Counting", a blues that allowed Kamuca to unfold one of his most fluent statements while Candoli's phrasing reflected his roots in the Dizzy Gillespie tradition. Both performances also highlighted the band's love of rhythmic exchanges, with Kamuca, Candoli, and Levey trading eights, fours, and even altered subdivisions, demonstrating both technical command and a playful sense of swing. These extended performances capture a group thoroughly enjoying itself while operating at a very high musical level. *Jordi Pujol (from the liner notes)*

1 - Allen's Alley

(Denzil Best)

2 - Counting

(Conte Candoli)

3 - Too Close For Comfort

(Jerry Bock, Larry Holofcener, George David Weiss)

4 - What's New

(Bob Haggart, Johnny Burke)

5 - Just Friends

(John Klenner, Sam M. Lewis)

6 - Sweet Sue

(Will J. Harris, Victor Young)

7 - Comin' Home Baby

(Herbie Mann)

8 - Stompin' At The Savoy

(Benny Goodman, Chick Webb, Edgar Sampson)

9 - Hackensack

(Thelonious Monk)

10 - Take The "A" Train

(Billy Strayhorn)

11 - In A Mellotone

(Duke Ellington)

#1 and #2

The Conte Candoli~Richie Kamuca Quintet:

Conte Candoli (trumpet), Richie Kamuca (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

Recorded live at the Lighthouse, Hermosa Beach, California, April 17, 1957

#3 #4, #5

The Richie Kamuca~Leroy Vinnegar Quintet:

Richie Kamuca (tenor sax), Carl Perkins (piano),

Leroy Vinnegar (bass), Tony Bazley (drums).

Recorded at "Stars of Jazz" TV show,

ABC Studios, Los Angeles, California, October 21, 1957

#6 to #11

Roy Eldridge~Richie Kamuca Quintet:

Roy Eldridge (trumpet); Richie Kamuca (tenor sax); Dick Katz (piano);

Tommy Potter [#10], Don Moore [#11] (basses); Eddie Locke (drums).

Recorded live at the Half Note, New York City,

August 20, 1965 (#6 to #9) and March, 25, 1966 (#10, #11)

Richie Kamuca Quartet

When jazz scholars make a thumbnail appraisal of musical talent, they invariably begin with influences. This fact of analysis is at times readily apparent; at other times quite obscure. It's purpose, basically, is to trace the thread of originality back to a known source, and then to compare what the younger man has done with the thought schemes developed by his forerunners.

In Richie Kamuca, the young tenor player featured on this LP, we find a clearcut example of present-day tenor techniques firmly rooted in the accepted traditions of jazz playing for that instrument. Throughout his performance, Richie demonstrates the shifting patterns of contemporary music woven over the firmly established departure lines.

Programming for an LP is always a challenge to the artist, and Richie took particular pains and delight in assembling the tunes heard here.

Once around the turntable, and the listener will find convincing proof that in Richie Kamuca, we have a strong link between the schools in the art form he represents. This quartet recording — his first for any label — is a noteworthy equation to the high standards of that art.

*Joe Quinn (liner notes)*

Considering his talent, it is very surprising that tenor saxophonist Richie Kamuca led so few record dates throughout his career — just three during 1956-58 and three for Concord in 1977. This quartet set (a MOD LP reissued by V.S.O.P. on CD) features the excellent cool-toned tenor in a quartet with pianist Carl Perkins, bassist Leroy Vinnegar and drummer Stan Levey. Only the brief playing time (just over 30 minutes) keeps this set from getting a higher rating, for Kamuca is in prime form. Highlights include "Just Friends", "What's New" and "Cherokee". *Scott Yanow*

Pure genius from tenor saxophonist Richie Kamuca — a magical exercise in tone and balance, played by Richie with that warm and raspy style that we love so much in his work! Kamuca's probably best known for his bigger group work of the 50s, but on a session like this he steps out as a marvelously creative soloist — working at a good bop-inspired clip, but also taking the time to explore deeper, more personal ideas through his well-voiced solos on the set. Even on more familiar numbers, Richie steps out with a sense of personality that transforms the tunes to his own way of thinking — and he's very well aided in this work by a crack rhythm section that includes Carl Perkins on piano, Leroy Vinnegar on bass, and Stan Levey on drums. *dustygroove.com*

1 - Just Friends

(Klenner, Lewis)

2 - Rain Drain

(Richie Kamuca)

3 - What's New

(Haggart, Burke)

4 - Early Bird

(Carl Perkins)

5 - Nevertheless

(Kalmar, Ruby)

6 - My One and Only Love

(Wood, Mellin)

7 - Fire One

(Carl Perkins)

8 - Cherokee

(Ray Noble)

Richie Kamuca (tenor sax), Carl Perkins (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded at Radio Recorders, Hollywood, California, June 1957.

Quincy Jones - Go West, Man!

In Southern California the evenings are cool, as many an Easterner has found out to his discomfort. But periodically the sequence of chilly dusks is broken by a hot, dry, sometimes rather nervous wind, that sweeps from the interior and changes the entire atmosphere of the area. Then you see the retired Idaho farmers sitting on their verandahs rocking back and forth and watching the traffic. 

They call this wind a Santa Ana. This album is NOT called a Santa Ana, but it does bring a warm, almost hot breeze to Southern California, or West Coast, jazz which shows that it need not always be cool. 

And it’s time some real effort was made to demonstrate to the world that everything recorded in the Hollywood studios is not more Brooks Brothers tan Madison Avenue and not more emotionally restrained than a London native in a room full of Americans. As Betty Roche wroje to Jimmy Lyons, whose nightly KNBC, San Francisco eee has been a breath of warmth in what has sometimes seemed a wilderness of cool sounds, "it's good to hear the swingers". 

Quincy Jones, who produced this album, selected the personnel, picked the instrumentation and arrangers, is a West Coast product himself — he’s from Chicago originally but settled in Seattle when he was 10 and was raised there. For that matter, most of the so-called West Coast musicians are originally from the East, or at least not the West, and they don't always play in that tight little style that has become known as West Coast. They can get pretty funky, especially, as Shelly Manne says, "if they’ve eaten enough in those all-night hamburger joints". 

In ten years of writing on jazz for Down Beat and in the San Francisco Chronicle, I have never known what "West Coast" was, really, except in terms of individuals and only then for a specific time and a specific performance. This album will do considerable good if it makes people realize, as I hope it does, that all winds do not blow cool on the Pacific Coast. Sometimes they blow hot, too. *Ralph J. Gleason (liner notes)*

There is a bit of mis-information surrounding this album, and I’ve seen more than one inaccurate review, so to clear up a few things first, Go West Man! is not a big band album and the arrangements on here are not by Quincy Jones. Although there is some good music on here, in some ways, this second album in Quincy Jones’ young career is somewhat of a disappointment. Jones’ first album was a great success and revealed a young big band arranger with some fresh new sounds, so I would imagine his new fans were disappointed to find out that Jones only served as a conductor and producer, not arranger, on his follow-up LP. There are three different mid-sized groups that Jones works with on here, including two groups led by saxophone summits and one group led by a trumpet quartet. All three groups have a piano, bass and drums rhythm section. Each of the three groups is given three songs which leads to nine songs total on the album if you are keeping score at home.

All three of these groups are very talented, but possible top honors goes to an all-star sax five-some that includes Art Pepper and Charlie Mariano. The west coast sax players are known for their silky smooth ensemble work, and this group is a good example. The liner notes claim the other sax group is made up of three tenors, but there is quite clearly a fourth man on baritone, and one of the supposed tenors sounds suspiciously high. The arrangements for the nine tracks were provided by Jimmy Giuffre, Lennie Niehaus and Charlie Mariano. “London Derriere”, with its striking sounds made up of trumpets with Harmon mutes, is the arrangement that sounds the most like Quincy. This album is recommended for fans of west coast jazz, there so much great saxophone playing on here, both in ensemble and in solos, but Quincy Jones fans may be disappointed by the somewhat misleading presentation and slap together nature of this album. *jazzmusicarchives.com*

Quincy turns his soul jazz arranging style to a band filled with West Coast players, and he gets them to groove a lot more than you'd expect! Players include Herb Geller, Art Pepper, Charlie Mariano, Bill Perkins, and Walter Benton. The tracks are short, with tight solo space, and most of them were written and arranged by West Coasters like Jimmy Giuffre, Lennie Niehaus, and Johnny Mandel. Titles include "Be My Guest", "London Derriere", "Kings Road Blues", "The Oom Is Blues", and "Bright Moon".  *dustygroove.com*

1 - Dancin' Pants

(Jimmy Giuffre)

2 - Blues Day

(Jimmy Giuffre)

3. Bright Moon

(Jimmy Giuffre)

4 - No Bones At All

(Johnny Mandell)

5 - The Oom Is Blues

(Charlie Mariano)

6. Be My Guest

(Lennie Niehaus)

7 - Medley: 

•What's New?

(Haggart, Burke)

•We'll Be Together Again 

(Fischer, Laine)

•Time On My Hands

(Adamson, Youmans, Gordon)

•You Go To My Head

(Coots, Gillespie)

•Laura

(Mercer, Raksin)

8 - London Derriere

(Johnny Mandel)

9 - Kings Road Blues

(Lennie Niehaus)

Conte Candoli, Pete Candoli, Harry "Sweets" Edison, Jack Sheldon (trumpets [#2, #4, #8]); Benny Carter, Herb Geller, Charlie Mariano, Art Pepper (alto saxes [#1, #6, #9]); Pepper Adams (baritone sax [#3, #5, #7]); Walter Benton, Buddy Collette, Bill Perkins (tenor saxes [#3, #5, #7]); Lou Levy [#1, #6, #9], Carl Perkins [#2 to #5, #7, #8] (pianos); Red Mitchell [#1, #6, #9], Leroy Vinnegar [#2 to #5, #7, #8] (basses); Shelly Manne [#1, #3, #5, #6, #7, #9], Mel Lewis [#2, #4, #8] (drums).

Jimmy Giuffre, Johnny Mandel, Charlie Mariano, Lennie Niehaus (arrangements); Quincy Jones (conductor).

Recorded in Los Angeles, California, February 25, 1957.

Chet Baker & Art Pepper - Playboys

The music of Chet Baker and Art Pepper has been heard and appreciated all over the world, thanks to three elements which probably have meant more to the musical history of the Twentieth Century than is yet fully realized. I am thinking of radio, the phonograph and the faster means of communication available. There have been many form of music, but none other than jazz has experienced such a rapid growth and in so little time has seen the birth of so many different schools and contrasting styles. Jazz is by its very nature a typical Twentieth Century phenomenon; it gives the individual musician and the listener an emotional outlet and an esthetic experience, while they are at the same time a stable part of a group of people. The collective spirit and teamwork which is so typical of good jazz rhythm section, the complete collaboration between human beings who still can retain their identity, is one of the happiest examples of thought and theory which have been with us last hundred years.

Of course, it is impossible for everybody to be completely different from everyone else in all aspects, and everyone has to belong to a certain time, enviroment, and style of living, talking and playing. The true artist take advantage of these facts, not necessarily consciously, and uses them to accentuate his own personality while expressing himself in the style which is most fitting for what he wants to say.

The combination of a trumpeter and an altoist always seems to be stimulting, teams like Dizzy Gillespie-Charlie Parker or Parker-Miles Davis, Clifford Brown-Lou Donaldson or Art Farmer-Gigi Gryce having produced some of the most worthwhile jazz ever recorded. This album is the first recorded example of Chet Baker and Art Pepper playing together, and their collaboration is indeed a fruitful one. The consistency of playing and the never-failing inspiration on these sides is a joy to hear. *Lars Werner (LP's liner notes)*

In the relatively short history of jazz on record, many an album has been produced with the thinking that, if one star soloist can make great music, two can make greater music. This thinking is logical but frequently the music produced by such starry affairs does not ignite. Either one musician has no positive feeling for the other's playing or their styles are incompatible. But occasionally the pairing of two stars produces music of a higher order — music sparked by mutual inspiration and rapport. Such was the case with Chet Baker - Art Pepper PLAYBOYS session for Pacific Jazz.

At the time, October 31, 1956, both Baker and Pepper were at their peaks, which is to say that each was playing as much or more on his instrument than anyone in jazz. But their playing alone is not what elevates this recording; they were also inspired by and, in turn, inspired the other members of the sextet — Phil Urso, Carl perkins, Curtis Counce, and Lawrence Marable. Everything clicked this day.

Here is an all-star session that succeeds on all levels. This particular combination of great musicians and excellent material served to produce visceral playing and lasting music. Sometimes it works. *Todd Selbert (CD's liner notes)*

These 1956 Pacific Jazz sides appeared in 1961 under the title Playboys. Myth and rumor persist that, under legal advice from the publisher of a similarly named magazine, the collection would have to be retitled. It was renamed Picture of Heath, as more than half of the tracks are Jimmy Heath compositions. Regardless, the music is the absolute same. These are the third sessions to feature the dynamic duo of Art Pepper (alto sax) and Chet Baker (trumpet). Their other two meetings had produced unequivocal successes. The first was during a brief July 1956 session at the Forum Theater in L.A. Baker joined forces with Pepper's sextet, ultimately netting material for the Route LP. Exactly three months to the day later, Pepper and Baker reconvened to record tracks for the Chet Baker Big Band album. The quartet supporting Baker and Pepper on Playboys includes Curtis Counce (bass), Phil Urso (tenor sax), Carl Perkins (piano), and Larance Marable (drums). Baker and Pepper have an instinctual rapport that yields outstanding interplay. The harmony constant throughout the practically inseparable lines that Baker weaves with Pepper drives the bop throughout the slinky "For Minors Only". The soloists take subtle cues directly from each other, with considerable contributions from Perkins, Counce, and Marable. With the notorious track record both Baker and Pepper had regarding other decidedly less successful duets, it is unfortunate that more recordings do not exist that captured their special bond. These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.

*Lindsay Planer*

1 - For Minors Only

(Jimmy Heath)

2 - Minor – Yours

(Art Pepper)

3 - Resonant Emotions

(Jimmy Heath)

4 - Tynan Tyme

(Art Pepper)

5 - Picture Of Heath

(Jimmy Heath)

6 - For Miles And Miles

(Jimmy Heath)

7 - C.T.A.

(Jimmy Heath)

Chet Baker (trumpet), Art Pepper (alto sax), Phil Urso (tenor sax), Carl Perkins (piano), Curtis Counce (bass), Larance Marable (drums).

Recorded at Radio Recorders, Hollywood, California, October 31, 1956.

Curtis Counce - Carl's Blues

While it lasted, The Curtis Counce Group was one of the most exciting ever organized in Los Angeles. Counce picked four men who almost immediately achieved a togetherness only long-established bands seem to have. Today, Carl Perkins is dead, and the members of the group have gone off in different directions — Harold Land to form his own group, Jack Sheldon to the trumpet section of the Kenton orchestra, and Frank Butler to gigging around Los Angeles. It would be difficult under the best of conditions to recapture the feeling of the 1957 quintet. Without Perkins, whose unique piano style was basic to the group’s special sound, it is impossible. 

Contemporary recorded a third Counce album just before Perkins died — the last we shall have of this great jazz group, and one of the most gifted modern jazz pianists. Listening to the forty minutes of pure jazz in the set, it is a source of wonder and regret that the group did not succeed. Lack of work, indifference of the critics, and personal problems within the group helped destroy it. But their music in this, and their previous albums, stands. The evidence is all there — on the record. *(Liner notes)*

Some of my happiest moments were working with these talented musicians. The freedom of each member to express himself fully was the foundation of the group, and our secret was the ability of each to communicate with one another, spontaneously and with good taste.

This album is dedicated to the memory of Carl Perkins. His music will always live in the hearts of those who knew him. As was his music, so was he. *Curtis Counce*

Side 1

1 - Pink Lady

(Jack Sheldon)

2 - I Can't Get Started

(Vernon Duke & Ira Gershwin)

3 - Nica's Dream

(Horace Silver)

Side 2

4 - Love Walked In

(George & Ira Gershwin)

5 - Larue

(Clifford Brown)

6 - The Butler Did It

(Frank Butler)

7 - Carl's Blues

(Carl Perkins)

Gerald Wilson, Jack Sheldon [#3] (trumpets); Harold Land (tenor sax); Carl Perkins (piano); Curtis Counce (bass); Frank Butler (drums).

Recorded at Contemporary Records’, Los Angeles, April 22 [#1, #4], August 29 [#3] 1957 and January 6 [#2, #5, #6, #7] 1958.