Gigi Gryce: Jazz with Purpose

Gigi Gryce

Orchestra And Quartet

There are few musicians as well qualified from both the standpoints of academic training and "gigging" in jazz who also are as intensely dedicated as Gigi Gryce. He is a warm, human person whose writing and playing have the love, happiness, sadness and pain which any jazzman with a heart and soul will impart to his listeners. Gigi has paid dues to the union called life. 

Although Gigi has participated in a number of LP recordings both writing and playing, this is the first one under his own name where he is carrying out his own ideas in a manner which he most desired. 

Today, with the 12 inch LP the dominant vehicle for the recorded presentation of jazz, much more space is available to the musician. Unfortunately there are too many 10 inch LPs being stretched beyond the satiation point to appease a merchandising trend. In this LP Gigi has used his talent together with the knowledge of how to utilize it. There is a definite purpose achieved in the contrast and pacing; the two different groups, different in size and spirit with the flexibility and blowing freedom of the quartet on one side, and the synthesis of writing, blowing and singing on the band side. 

The orchestra's personnel will remind those of you who are perceptive of the short lived Miles Davis group of 1949 which made such a deep impression on the jazz of the Fifties but which was never physically used again. Gigi felt that this instrumentation should not be neglected because of its tremendous possibilities of different tonal colors, dynamics, ranges and voicings. He wanted to get away from the brassy sound of the usual jazz band of this size. Gigi was consciously striving for something that every type of listener could enjoy, something that would not all fall into any one category. 

Gigi describes (the quartet sessions) as one of the most relaxed recording sessions in which he has ever played. After setting up the themes, everything was spontaneous even to the length of the solos. There is much to be gleaned, as always, from Monk's originals and the one which Gigi contributed is up to his usual high standard. 

The interplay between Gigi and Monk creates much excitement. In many instances, they take turns at carrying the harmony.Monk's presence alone was inspiring to Gigi. They first met in Boston in 1949 when they played together at the Hi Hat. Since then they have stayed in touch musically and socially. *Ira  Gitler (from the liner notes)*

On the first six, Gigi heads a unit consisting of Art Farmer, trumpet; Eddie Bert, Jimmy Cleveland, trombones; Danny Bank, Cecil Payne, baritones; Gunther Schuller, Julius Watkins, French horns; Bill Barber, tuba; Horace Silver, piano; Oscar Pettiford, bass; Art Blakey, Kenny Clarke, drums; and on two, Ernestine Anderson, vocalist. The only weak band is Gigi's ballad, "The One I Love". It's rather routine melodic profile and surprisingly cliche-filled lyrics don't belong in this set although the attractively sounding Miss Anderson does the best she can. She is better served by Gigi's "Social Call", to which Jon Hendricks had added apt lyrics.

The remainder of the side is marked by the freshness of Gigi’s writing (and of the one Horace Silver original), the quality of the solos, and the swinging ensemble empathy of all concerned. (Listen to the band especially on "Smoke Signal").

The differently exciting second side consists of a quartet date with Gigi, Thelonious Monk, Percy Heath, and Art Blakey. The first three characteristic originals are by Monk while the last is Gigi's. On both sides, Gigi blows some of his best alto on record. He has learned to discipline his improvising imagination while retaining his swinging passion. Monk is in fine, relaxed, incisive form. Heath is excellent and Blakey constantly cooks (and solos well in "Nica's Tempo").

As is Signal’s custom, the album is very well recorded, lucidly annotated (by Ira Gitler), and faced with a distinguished cover (by Harold Feinstein). Strongly recommended.

*Nat Hentoff (Down Beat, March 7, 1956)*

Side 1

The Gigi Gryce Orchestra

1 - Speculation

(Horace Silver)

2 - In A Meditating Mood

(Gigi Gryce)

3 - Social Call

(G. Gryce, J. Hendricks)

4 - Smoke Signal

(Gigi Gryce)

5 - (You'll Always Be) The One I Love

(Gigi Gryce)

6 - Kerry Dance

(J. Molloy)

Side 2

The Gigi Gryce Quartet

7 - Shuffle Boil

(Thelonious Monk)

8 - Brake's Sake

(Thelonious Monk)

9 - Gallop's Gallop

(Thelonious Monk)

10 - Nica's Tempo

(Gigi Gryce)

#1, #2, #4, #6:

Gigi Gryce (alto sax), Art Farmer (trumpet), Jimmy Cleveland [as "James Van Dyke"] (trombone),

Gunther Schuller (french horn), Bill Barber (tuba), Danny Bank (baritone sax),

Horace Silver (piano), Oscar Pettiford (bass), Kenny Clarke (drums).

#3, #5: 

Gigi Gryce (alto sax), Art Farmer (trumpet), Eddie Bert (trombone),

Julius Watkins (french horn), Bill Barber (tuba), Cecil Payne (baritone sax),

Horace Silver (piano), Oscar Pettiford (bass), Art Blakey (drums), Ernestine Anderson (vocals).

#7 to #10: 

Gigi Gryce (alto sax), Thelonious Monk (piano), Percy Heath (bass), Art Blakey (batería).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey,

October 15 (#7 to #10) and October 22 (#1 to #6), 1955.

James Moody - Septet 1951~1955

 

James Moody (1925-2010), born in Savannah, Georgia, and raised in Newark, New Jersey, developed a passion for music during his teenage years. At 16, he received an alto saxophone and began practicing tirelessly. It was over a year later that he discovered his fondness for the tenor saxophone. While serving in the Army from 1943 to 1946, Moody received musical training and learned the rudiments of the instrument. Shortly after being discharged in the summer of 1946, Moody joined Gillespie's big band. His talent as a soloist garnered attention, blending the innovative styles of Parker and Gillespie with his own approach. However, despite making his recording debut as a leader in 1948, his career seemed to stall.
Early in 1949, quite discouraged, Moody decided to head to Paris, where he found success as a recording artist and collaborated with notable musicians like Miles Davis and Max Roach. He also traveled to Stockholm, recording with Swedish musicians. After his European experience, Moody returned to the US in 1951, signing with Mercury Records and embarking on extensive tours of one-night performances, playing a pivotal role in broadening jazz's appeal among the general public. Ralph Gleason, writing for the San Francisco Chronicle, described Moody’s band as "one of the best small groups in the country, a tightly knit yet loosely swinging unit".
Moody's first recordings with Mercury and subsequent albums for Prestige Records from 1951 1955 showcased his leadership, musical prowess, and his versatility and skill on both alto and tenor saxophones. His septet with musicians like Dave Burns, Pee Wee Moore, and singers Babs Gonzales and Eddie Jefferson resulted in memorable performances. Moody's records captured not just the danceable rhythms but also delved into intricate jazz arrangements, catering to a more discerning audience. Despite facing challenges in gaining recognition from critics and being labeled as a rhythm and blues musician, these Moody's recordings reveal a modern and robust swinging sound reminiscent at times of the Gillespie-Tadd Dameron style, constantly captivating and attracting attention. *Jordi Pujol*

James Moody

The Moody Story

The Complete Mecury, Emarcy & Prestige Recordings

Making his name associated with his mentor Dizzy Gillespie, James Moody carved his own niche as one of the most bebopping sax and flute players of modern jazz. This three disc set covers his more obscure year on the Mercury, Emarcy and Prestige labels, and they are a joyous treat.

The first CD focuses his sessions from 1951-1954, starting with a swinging team of Moody with Cecil Payne/bsax, John Grimes/tp and Johnny Acea/p in a septet session with Moody's alto swooning on "Serenade In Blue" and his tenor digging into "Wiggle waggle". Moody has a bit of Lester Young in his sound on a 1952 reading with "Hey Jim" and "St. Louis Blues" while his alto is reminiscent of Johnny Hodges during "Hey Jim". Moody even sings a bit on "The James Moody Story" while his alto sounds California Cool on "Feelin Low". Bop vocalist Eddie Jefferson gets hip on "Workshop" and in 1955 returns for a loose blues of "Disappointed" and flexible "I Got The Blues". Bassist John Latham is hip on "Blues In The Closet" and some thick textures get into an Afro Cuban mood for "Mambo With Moody". The team shuffles with vocalist Iona Wade on "That Man O’Mine" and the Moody digs in deep for Benny Golson's "Blue Walk".

Golson's pen continues to be heard on a 1955 session with Moody's tenor gorgeously breathy on "The Nearness of You" and jamming with a JATP feel with Dave Burns/tp, William Shepherd/tb, Numa Moore and Jimmy Boyd on "Jammin' With James" and Moody’s alto preaching it on "Wail Moody Wail". The boxed set also includes two informative booklets about the recordings as well as well researched studio info. This is the music that made modern jazz, well, MODERN! When did it start sounding so old, as it does today? *George W. Harris*

The Fresh Sound label from Barcelona, Spain has during the past couple of decades put out hundreds (probably thousands at this point) of superior jazz reissues, most from the 1945-1965 period. Thanks to the diligence of Jordi Pujol, a countless number of sessions have been saved from obscurity and been given the attention and packaging that they deserve.

Recent reissues include a pair of box sets featuring American saxophonists who first emerged during the classic bebop era. One of them dedicated to James Moody (1925-2010). He was a lovable character on stage, playing tenor, flute and (earlier in his career) alto in a forward-looking bebop style. He worked with the Dizzy Gillespie Big Band during 1946-48 and was in Europe for a few years where his recorded alto solo on "I’m In The Mood For Love" became the basis for Eddie Jefferson's vocalese classic "Moody’s Mood For Love". Moody was part of the Dizzy Gillespie Quintet for a long period in the 1960s and spent his later years as a leader and freelancer.

Often overlooked is that Moody, after returning from Europe, led a regular septet during 1951-55. While the 1950s are thought of as one of jazz's golden eras, Moody would not have been able to keep his group together if he did not pay close attention to what his audiences wanted. In addition to bop-oriented jams, he caressed the melodies of ballads, included some spirited riff-based romps inspired by early rhythm & blues, and keep solos short, particularly those of his sidemen.

The three-CD set James Moody Septet 1951-1955 has all of Moody’s recordings as a leader during that period of time. Originally released by Mercury and Prestige, these sessions feature Moody leading a group consisting of his tenor and alto (flute would come slightly later), trumpet (usually Dave Burns), trombone, baritonist Pee Wee Moore, and a rhythm section that sometimes included Argonne Thornton or Jimmy Boyd on piano. There are also two vocals from Babs Gonzales, three from Eddie Jefferson, and one from the long-forgotten Iona Wade. Among the arrangers are Quincy Jones and Benny Golson. The music alternates swinging numbers with ballads and features James Moody (the dominant soloist) very much in his early prime whether on tenor or alto.

This box set has extensive and definitive liner notes from Jordi Pujol along with superior sound.

Highly recommended. *Scott Yanow*

*CD 1*

Mecury / Emarcy & Prestige Recordings

1 - Serenade In Blue

(Warren, Gordon)

2 - Margie

(Davis, Conrad, Robinson)

3 - Moody's Home

(James Moody)

4 - Wiggle Waggle

(James Moody)

5 - Until The Real Thing Comes Along

(Holiner, Nichols, Cahn, Chaplin)

6 - Hey Jim

(James Moody)

7 - Moody's Theme

(James Moody)

8  - My Ideal

(Robin, Whiting, Chase)

9 - The Bite

(James Moody)

10 - Poor Butterfly

(Golden, Hubble)

11 - My Ideal

(Robin, Whiting, Chase)

12 - St. Louis Blues

(W.C. Handy)

13 - The James Moody Story

(James Moody)

14 - And Now Moody Speaks

(James Moody)

15 - Feelin' Low

(Parrish, Smith, Bishop)

16 - Wail Bait

(Quincy Jones)

17 - N.J.R. (I'm Gone)

(Quincy Jones)

18 - A Hundred Years From Today

(Young, Washington)

19 - Keepin' Up With Jonesy

(Quincy Jones)

20 - Workshop

(Walter Fuller)

#1 to #4:

John Grimes (trumpet), Bob Range (trombone), James Moody (alto sax, tenor sax), 

Cecil Payne (baritone sax), Johnny Acea (piano), Larry Goins (bass), Chink Williams (drums).

Recorded at Fulton Studios, New York City, October 1951

#5 to #8:

Dave Burns (trumpet), Donald Cole (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano), Larry Goins (bass),

Teddy Stewart (drums), Babs Gonzales (vocal #6).

Recorded at Fulton Studios, New York City, May 21, 1952

#9 to #12: 

Dave Burns (trumpet), [Unknown] (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano),

Larry Goins (bass), Teddy Stewart (drums).

Recorded at Fulton Studios, New York City, June 6, 1952

#13 to #16:

Dave Burns (trumpet); Donald Cole, Bennie Green [added on #13,#14] (trombones);

James Moody (alto sax, tenor sax, vocal #13); Numa "Pee Wee" Moore (baritone sax);

Argonne Thornton (piano); John Latham (bass);

Teddy Stewart (drums); Babs Gonzales (vocal #13).

Recorded at Fulton Studios, New York City, June 15, 1953

#17 to #20:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano),

John Latham (bass), Joe Harris (drums), Eddie Jefferson (vocal #20).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, January 8, 1954

*CD 2*

Prestige Recordings

1 - That Man O'Mine

(Wade, Jones, Newbolt)

2 - Over The Rainbow

(Arlen, Harburg)

3 - Jack Raggs

(James Moody)

4 - Mambo With Moody

(Quincy Jones)

5 - It Might As Well Be Spring (take1)

(Rodgers, Hammerstein II)

6 - It Might As Well Be Spring (take 2)

(Rodgers, Hammerstein II)

7 - Blues In The Closet

(Oscar Pettiford)

8 - Moody's Mood For Blues

(Moody, Jones)

9 - Nobody Knows The Trouble I’ve Seen

(Traditional)

10 - I've Got The Blues

(Eddie Jefferson)

11 - Blue Walk

(Benny Golson)

12 - Faster James

(Quincy Jones)

13 - There Will Never Be Another You

(Warren, Gordon)

14 - Disappointed

(Eddie Jefferson)

15 - Hard To Get

(Jack Segal)

16 - Little Ricky

(Johnny Acea)

#1 to #4:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Joe Harris (drums), Iona Wade (vocal #1).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, April 12, 1954

#5 to #16:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Clarence Johnston (drums),Eddie Jefferson (vocal #10, #14) 

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, September 29 (#5 to #8), 1954;

January 28 (#9 to #12), 1955 and August 23 (#13 to #16), 1955

*CD 3*

Prestige Recordings

1 - Big Ben

(Benny Golson)

2 - Little John

(John Lathan)

3 - Show Eyes

(Johnny Acea)

4 - And You Called My Name

(Benny Golson)

5 - Jammin' With James

(Moody, Burns)

6 - The Golden Touch

(Quincy Jones)

7 - The Nearness Of You

(Carmichael, Washington)

8 - Donkey Serenade

(Stothart, Friml, Forrest, Wright)

9 - Moody's Blue Again

(Quincy Jones)

10 - The Strut

(Benny Golson)

11 - A Sinner Kissed An Angel

(David, Joseph)

12 - Wail Moody, Wail

(Moody, Burns)

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Clarence Johnstons (drums).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey,

August 24 (#1 to #5) and December 12 (#6 to #12), 1955

Matthew Gee - Jazz By Gee!

Matthew Gee (1925-1979), who belatedly had the opportunity to record this album, Jazz by Gee!, his first and only one as a leader, in 1956, was one of many talented jazzmen who earned the solid and lasting respect of his peers without ever achieving the public recognition they clearly deserved. Leonard Feather described Gee as one of the "best and most underrated of bop-influenced trombonists".

Gee was first influenced—not only in style but in his decision to play the trombone—by hearing Trummy Young, who was playing ahead-of-his-time trombone with the Jimmie Lunceford band. After attending Alabama State College, where he built a musical reputation, Gee arrived in New York. His first big band job was with Erskine Hawkins's band. After military service, he worked with Dizzy Gillespie in 1946, the Gene Ammons-Sonny Stitt group, Count Basie, and Illinois Jacquet, before freelancing in the New York area. From 1959 to 1963, he played intermittently with the Duke Ellington Orchestra. Later, in the 1960s, he played in small groups with Paul Quinichette and Brooks Kerr, and in big bands with Sonny Stitt and Johnny Griffin.

Gee's favorite trombonists were J.J. Johnson and Benny Green, and some of his admiration for them could be heard in his work. But there was even more in his driving, plunging style that was uniquely Gee; and it was high time that a lot more people appreciated just how much jazz that was.

The supporting cast here rated his "star" billing. In the septet numbers, tenor sax Frank Foster, trumpet Kenny Dorham, and baritone sax Cecil Payne stood out. The quintet featured Ernie Henry, one of those few altos with a defined sound and his own ideas, in addition to the inevitable debt to Charlie Parker. The rhythm section in both sessions was driven by Art Taylor. Joe Knight, a young pianist from Brooklyn, provided remarkably solid support throughout. Bass was shared by formidable veteran John Simmons and respected Chicago newcomer Wilbur Ware.

Matthew Gee's limited discography as a leader prompted us to add five bonus tracks from albums by other artists, featuring Matthew as a soloist and sideman. *Jordi Pujol*

Trombonist Matthew Gee was primarily a section player and a valuable sideman, but as this CD reissue shows, he could have been a significant soloist too. The two sessions (Gee's only two as a leader) feature him in an unusual quintet with altoist Ernie Henry (the trombone-alto blend has a unique sound) and at the head of a septet also including trumpeter Kenny Dorham, tenorman Frank Foster, and baritonist Cecil Payne. The music is quite bop-oriented and mixes together standards with three swinging Gee originals. An underrated and generally overlooked gem by a forgotten trombonist. *Scott Yanow*

Trombonist Matthew Gee was a sideman on a couple of dozen recording sessions but only one as a leader, Jazz by Gee, for Riverside, in July and August 1956. Between 1946 and 1975, Gee recorded with Gene Ammons, Erskine Hawkins, Sonny Stitt, Count Basie, Coleman Hawkins, Nat Pierce, Dizzy Gillespie, Johnny Griffin, Archie Shepp and many others. And yet, he made just one album under his own name. A terrible oversight by record labels at the time.

Today, Gee is barely known. As a sideman, his trombone was an ingredient in other artists' creations, so he never became a household name. What's interesting about his trombone is that he played with a zesty bark. A bebopper, Gee was able to push a rich sound through his horn and keep his improvisation bouncy and dance-like.

Now, Fresh Sound has released Jazz by Gee!  Matthew Gee All Stars that includes Gee's sole leadership album as well as sideman recordings leading up to that session. The bonus tracks are Gee with three different ensemble, led by Lou Donaldson, Illinois Jacquet and Joe Newman. Of particular note about Jazz by Gee! are Gee's sidemen on the two leadership sessions. They were indeed all-stars. *Marc Myers*

1 - Out Of Nowhere

(Green, Heyman)

2 - I'll Remember April

(Raye, dePaul, Johnston)

3 - Joram

(Bill Massey)

4 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

5 - Lover Man

(Davis, Ramirez, Sherman)

6 - Gee!

(Matthew Gee)

7 - Kingston Lounge

(Matthew Gee)

8 - The Boys From Brooklyn

(Matthew Gee)

9 - Moe's Bluff

(Elmo Hope)

10 - Caracas

(Lou Donaldson)

11 - The Stroller

(Lou Donaldson)

12 - On Your Toes

(Illinois Jacquet)

13 - Close Quarters

(F. Foster, J. Newman)

#1 to #8, from the album Jazz by Gee (Riverside RLP 12-221)

#1 to #5:

Matthew Gee (trombone), Ernie Henry (alto sax),

Joe Knight (piano), Wilbur Ware (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, August 22, 1956

#6 to #8:

Kenny Dorham (trumpet), Matthew Gee (trombone),

Frank Foster (tenor sax),Cecil Payne (baritone sax),

Joe Knight (piano), John Simmons (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, July 19, 1956

#9 to #11, from the album Lou Donaldson Sextet, vol.2 (Blue Note BLP-5055)

Kenny Dorham (trumpet), Matthew Gee (trombone), Lou Donaldson (alto sax),

Elmo Hope (piano), Percy Heath (bass), Art Blakey (drums).

Recorded at Van Gelder Studio, Hackensack, NJ, August 22, 1954

#12, from the album Illinois Jacquet Septet - Jazz by Jacquet (Clef MG C-167)

Russell Jacquet (trumpet), Matthew Gee (trombone),

Illinois Jacquet (tenor sax), Cecil Payne (baritone sax),

Raymond Acea (piano), Al Lucas (bass), Shadow Wilson (drums).

Recorded in New York City, December 11, 1953

#13, from the album Joe Newman and His Band (Vanguard VRS 8007)

Joe Newman (trumpet), Matthew Gee (trombone),

Frank Wess (tenor sax, flute), Frank Foster (tenor sax),

Johnny Acea (piano), Eddie Jones (bass), Osie Johnson (drums).

Recorded in New York City, March 9, 1954

Benny Golson - Stockholm Sojourn

The International Jazz Orchestra

Under The Direction Of Benny Golson

Stockholm Sojourn

In recent years Benny Golson has been known — aside from his excellent tenor playing — for his small group writing. It should not be forgotten that he first attracted attention as an arranger through his work for Dizzy Gillespie's big band. The years since then have seen a constant accretion of his skills. In this album, a return to a big band format (23 men in all), we can see, or rather hear, how much his talent has grown. 

It is an album of tightly-woven textures. He uses an instrumentation of four trumpets, three trombones, four French horns, flutes, clarinets, alto flutes, oboes, English horns, a bass clarinet, a baritone saxophone, bass and drums. The voicings are often unusual. "A lot of times", he said, "I wanted a blanket effect-like a crazy quilt".

Listening to the tape, he added, "You'll notice I had the bass recorded a little heavy. That's because there's no piano, and the two rhythm have 21 men sitting on top of them". Fortunately, the bassist is Roman Dylag, the young Pole whose work was gaining repute even before he slipped out under the Iron Curtain and took up residence in Sweden.

Sweden has proved a haven for many jazzmen, including some Americans. One of these is the brilliant trumpeter Benny Bailey, who plays lead and a number of the solos in this recording. The majority of the musicians, however, are Swedish, residents of Stockholm, where this LP was recorded.

Though Benny Golson is one of the most gifted of the younger composers to come out of jazz, his writing exceeds the scope of what current cant considers to be jazz, which has become too often a term of narrowing, of cramping, of littleness. It is to be hoped that the context in which he writes can continue to grow broader apace with his talent. *Gene Lees, February 1965 (liner notes)* 

Although the International Jazz Orchestra (which was arranged and conducted by Benny Golson) recorded their parts for this album on July 14, 1964, some of the soloists were dubbed in later that year. Golson, who does not play at all on this set, seemed inspired by the large instrumentation — a full orchestra with trumpets, trombones, French horns, several English horns doubling on oboes, five reeds, up to six additional flutes and a pianoless rhythm section — and his charts (six of his originals and three standards) are both inventive and full of subtle surprises. Among the many highlights are Golson's reworkings of "Are You Real", "Waltz for Debby" and "I Remember Clifford". This underrated set is recommended. *Scott Yanow*

Side 1

01 - Stockholm Sojourn

02 - Tryst

03 - Are You Real

04 - Goodbye

Side 2

05 - Waltz For Debby

06 - My Foolish Heart

07 - A Swedish Villa

08 - I Remembered Clifford

(All compositions by Benny Golson)

[Note: On the 1997 CD edition, a bonus track is added ("The Call") that does not appear on the original LP]

The International Jazz Orchestra:

Benny Bailey, Bengt-Arne Wallin, Bosso Broberg, Bertil Lövgren, Maffy Falay (trumpets); Åke Persson, Georg Vernon, Jörgen Johansson, Eje Thelin, Grachan Moncur III (trombones); Bengt Olsson, Carl Nyström, Elis Kårvall, William Foch (French horns); Rune Ericksson (euphonium); Alf Nilsson, Ingvar Holst, Lars Skoglund, Erik Björkhager (English horns, oboes); Bengt Christiansson, Nils Wahrby, Börje Marelius, Yngve Sandström, Gösta Ströberg, Ulf Bergström (flutes); Arne Domnérus (clarinet, alto sax); Cecil Payne (baritone sax); Rune Falk (clarinet baritone sax); Torsten Wennberg, Claes Rosendahl (clarinet, saxes); Bjarne Nerem (tenr sax); Rune Falk (baritone sax, clarinet); Jan Johansson (piano); Roman Dylag (bass); Egil Johansen (drums).

Recorded in Stockholm, Sweden, July 14, 1964.

Arranged and conducted by Benny Golson with solos by Benny Bailey, Cecil Payne, Grachan Moncur III, Bengt-Arne Wallin, Eje Thelin, Rune Falk, Bo Broberg and Roman Dylong.

[The parts of Grachan Moncur III and Cecil Payne were dubbed in New York during autumn 1964. Same was done with the solo parts of Persson, Thelin, Domnérus and Nerem who were dubbed in on August 1964 in Stockholm].

Kenny Dorham - Afro-Cuban

McKinley Howard Dorham is a trumpet player who was taken for granted. 

For several years, mainly the halcyon years of the bop movement, Kenny was Mr. Available for every trumpet chair in every band and combo. If Dizzy wasn't around and Howard McGhee was out of town, there was always Kenny. And so it went from about 1945 to '51, always in the shadow of those who had been first to establish themselves in the vanguard of the new jazz. 

Slowly, in the past few years, Kenny has emerged from behind this bop bushel to show the individual qualities that were ultimately to mark him for independent honors. Numerous chores as a sideman on record dates for various small companies led to his inclusion in the important Horace Silver Quintet dates for Blue Note, and, as a result of his fine work on these occasions, to the signing of an exclusive Blue Note contract and his first date for this label as a combo leader on his own. 

For this session with its Afro-Cuban rhythmic motif, Kenny says "I tried to write everything so that the rhythm would be useful throughout and would never get in the way". As a consequence, the Cuban touch sounds as if it is a part of the whole, rather than something that has been superimposed on a jazz scene, as is sometimes the case.

Kenny Dorham's Blue Note debut as a leader marks an important phase in his career. After hearing these sides, the fans who for so long had been only vaguely aware of his real capabilities will learn that here is a soloist and a composer whose sound and pen are destined from now on to play a lively and stimulating role on the jazz stage. *Leonard Feather*

There are good names here, and an often exciting brand of jazz over a mostly Cuban rhythm. Dorham is a fine modern trumpeter and then there are J. J. Johnson, trombone; Hank Mobley, tenor; Horace Silver, piano; Oscar Pettiford, bass; Art Blakey, drums, etc., all of whom have plenty to say. If pushed, this could sell nicely to modern. *Billboard, November 5, 1955*

Considered Kenny Dorham's finest recording of his all-too-short career, this re-reissue has been newly remastered and presumably now includes all of the takes from these nonet and sextet sessions of 1955. Considering the time period, this date remains way ahead of the Latin-tinged and hard bop music that would follow. It would be difficult to assess the sextet being a step below the larger group effort, but only because it is much less Afro-Cuban. Nonetheless the unmistakable drumming of Art Blakey powers the combo through the blisteringly swinging "La Villa" with unison horns (Hank Mobley, tenor sax; Cecil Payne, baritone sax). The other easy swinging pieces "K.D.'s Motion", "Venita's Dance", and "Echo of Spring/K.D.'s Car Ride" display great group empathy and seem effortless, though they're not. It's the Latin-based music that really differentiates this band from all others of this era, save Dizzy Gillespie's. Payne's robust bari ignites the hip call-and-response motif of "Afrodisia", while his horn in tandem with pianist Horace Silver backs the up-front horns, supplemented by trombonist J.J. Johnson, for the heated mambo-ish hard bopper "Basheer's Dream". Two takes of "Minor's Holiday" are, curiously enough, exactly the same time at 4:24, both super cooking with Dorham's clear-as-a-bell trumpet leading the other horns, which practically act as backup singers. Percussionist Carlos "Patato" Valdes is the perfect spice added to this dish. The lone ballad, "Lotus Flower", is remarkable in that its marked tender restraint feels on the brink of wanting to cut loose, but never does. A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers. *Michael G. Nastos*

Title is only half true, for one side of this collection spots straight jazz blowing with a quintet running thru fleet, if boppish. Dorham originals. Trumpeter Dorham is in fine form thruout; more colorful within Afro-Cuban rhythmic frame. These tracks spot Blakey, J. J. Johnson, Mobley, etc. Latter have been released before; quintet sides are new. Worth price for solo and rhythmic. Should be able to find buyers among both Latin and jazz clientele. *Billboard, May 20, Mayo 1957*

1 - Afrodisia

(Kenny Dorham)

2 - Lotus Flower

(Kenny Dorham)

3 - Minor's Holiday

(Kenny Dorham)

4 - Basheer's Dream

(Gigi Gryce)

5 - K.D.'s Motion

(Kenny Dorham)

6 - La Villa

(Kenny Dorham)

7 - Venita's Dance

(Kenny Dorham)

8 - Echo Of Spring (aka K.D.'s Cab Ride)

(Kenny Dorham)

9 - Minor's Holiday (alternate take)

(Kenny Dorham)

Kenny Dorham (trumpet); J.J. Johnson (trombone [#1 to #4, #9]); Hank Mobley (tenor sax); Cecil Payne (baritone sax); Horace Silver (piano); Oscar Pettiford [#1 to #4, #9], Percy Heath [#5 to #8] (basses); Art Blakey (drums); Carlos "Patato" Valdes (congas [#1 to #4, #9]); Richie Goldberg (cowbell [#1 to #4, #9]).

Recorded at Van Gelder Studio, Hackensack, New Jersey, January 30 (#5 to #8) and March 29, 1955 (#1 to #4, #9). 

Art Blakey's Jazz Messengers - Play Lerner And Loewe

"This was a tough session. Some of those tunes were really rough. But we just wanted to stay in there and do it right. Nobody wanted to give up".

That's Art Blakey speaking. The 37-year-old drummer and leader of the Jazz Messengers started recording this album about 10 p.m. on March 13, and wrapped it up at 6:30 a.m. the next day. 

"At first, we didn’t really know what to do. We had figured out some arrangements, but show tunes are so strange. We started right in reworking the arrangements. We figured out some ideas of our own, all five of us, and things began to shape up".

The set comes off as a good distillation of the style of the Jazz Messengers. Starting with a melody, or even a scrap of one, the Messengers work out among themselves the unison opening and closing, then fit their solos into the framework. Behind it all is Blakey, highlighting, underlining, pushing and commenting with his battery of drums.

The tunes, now familiar to anyone with ears, are by Alan Jay Lerner and Frederick Loewe, and are from their three substantial stage successes, "My Fair Lady", "Brigadoon" and "Paint Your Wagon".

The transition from show tune to jazz vehicle did happen overnight. Says Blakey, "This was like a challenge. The guys cooperated well together. The group was like a family. This is the kind of thing I’d like to do again. A challenge, but the kind we now know we can lick".

*Dom Cerulli (liner notes)* 

One of the rarest of all Art Blakey records, this LP finds the Jazz Messengers (featuring new member Johnny Griffin on tenor and trumpeter Bill Hardman) performing jazz versions of six show tunes by Lerner & Loewe, including three ("Almost Like Being in Love", "I Could Have Danced All Night", and "On the Street Where You Live") that would soon become standards. Despite some of the musicians' unfamiliarity with the songs, this date is quite successful. *Scott Yanow*

The music of Alan Jay Lerner and Frederick Loewe — composers usually associated with the Broadway stage, brought into a whole new light here by the late 50s Jazz Messengers! The album's one of Art Blakey's more unusual outings — part of that great 1957 run away from Blue Note — but it cooks strongly with a lineup that includes Jackie McLean on alto, Johnny Griffin on tenor, and Bill Hardman on trumpet — all players who bring an unusual degree of bite to these tunes, while still reflecting the lyrical beauty within! The group sparkles and shines with the sort of brilliance and energy that Blakey's leadership brings to the group, completely transforming tunes that include "I Could Have Danced All Night", "Almost Like Being In Love", "On The Street Where You Live", and "There But For You Go I". *dustygroove.com*

1 - I Could Have Danced All Night

2 - On The Street Where You Live

3 - There But For You Go I

4 - They Call The Wind Maria

5 - I Talk To The Trees

6 - Almost Like Being In Love

7 - A Night At Tony's (take 3) 

8 - A Night At Tony's (take 4) 

9 - Social Call (take 4) 

10 - Social Call 

11 - Off The Wall (take 5)

12 - Couldn't It Be You?

(All compositions by Alan Jay Lerner and Frederick Loewe)

#1 to #6: from Art Blakey's Jazz Messengers - Selections From Lerner And Loewe's...

Bill Hardman (trumpet), Johnny Griffin (tenor sax), Sam Dockery (piano), Spanky DeBrest (bass), Art Blakey (drums).

Recorded at Webster Hall, New York City, March 13, 1957.

#7 to #12: *bonus tracks*

Bill Hardman (trumpet), Lee Morgan (trumpet [#7 to #10]), Melba Liston (trombone [#7 to #10]), Cecil Payne (baritone sax [#7 to #10]), Johnny Griffin (tenor sax [#7 to #12]), Sahib Shihab (alto sax [#7 to #10]), Wynton Kelly (piano [#7 to #10]), Jackie McLean (alto sax [#11, #12]), Sam Dockery (piano [#11, #12]), Spanky DeBrest (bass), Art Blakey (drums).

Recorded at RCA Studio 3, New York City, April 2 (#7 to #10) and April 8 (#11, #12), 1957.