Lighthouse All-Stars Collection XXIX ★ Jazz On Television (II)

The relationship between jazz and television enjoyed its golden age in the mid-fifties in Los Angeles. Far from the rushed pace of conventional variety shows, network KABC-TV launched Stars of Jazz in 1956, a pioneering program hosted by pianist and composer Bobby Troup. The show not only offered live performances with sound quality and lighting unprecedented for the time, but it also treated jazz with an almost pedagogical respect—explaining arrangements, introducing the musicians, and documenting the effervescence of the West Coast scene in real time.

However, those broadcasts ran the risk of being forgotten in the television network archives. It was in the mid-seventies when the label Calliope Records took on a fundamental task of sound archaeology: rescuing the audio tapes and transcriptions from the Stars of Jazz broadcasts to release them on vinyl for the first time under the Sessions, Live series.

Through Calliope's catalog, the sessions recorded between 1956 and 1958 on the Hollywood soundstages came to light officially, allowing fans to hear unique takes, exclusive arrangements for television, and reunions of musicians that were never captured on traditional studio albums.

In this second post dedicated to jazz on the small screen, the label's two albums featuring Howard Rumsey's Lighthouse All-Stars—the central leitmotif of this series—will be presented.

◈◈◈◈

Sessions, Live

Lighthouse All-Stars

Julie London

Bud Shank

and

Chris Connor

(Calliope CAL-3030)

THE LIGHTHOUSE ALL STARS were led by Howard Rumsey, a former member of the Stan Kenton organization.

In 1949, Howard walked into a nightclub in Hermosa Beach, Calif. and sold the management on booking his group for a trial basis.

The result was a fifty two week gig for the next nine years.

Former members of the Lighthouse All Stars have included Shelly Manne, Jimmy Giuffre, Gerry Mulligan, Shorty Rogers and Bud Shank.

Featured guest soloists on these sessions were Bob Cooper, oboe; and Bud Shank, flute on The Nearness of You.

Viva Zapata features the trumpet and pen of Shorty Rogers.

Here's the All Stars, a group that epitomized the sound of West Coast jazz during the fifties.

MISS JULIE LONDON is also featured on side one.

Julie made her first singing debut on local radio in California at the age of three. She impersonated Marlene Dietrich singing Falling In Love Again.

In 1947, Life magazine named Julie the most promising young acting find of that year. On February 18, 1957 she made the cover of Life, only this time she was Julie London, singing star.

Julie's biggest hit was Cry Me A River in 1955.

THE BUD SHANK QUARTET kick off side two.

Bud plays alto and baritone sax plus the flute. He was born in Dayton, Ohio on May 27, 1926, and was regarded as the most important West Coast flutist during the late fifties and sixties.

CHRIS CONNOR hails from Kansas City, Missouri and was a former vocalist with Stan Kenton during the fifties. *(original liner notes)*

Side 1

1 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

2 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

3 - Free And Easy

(Henry Mancini, Bobby Troup)

4 - Midnight Sun

(Lionel Hampton, Sonny Burke, Johnny Mercer)

5 - Viva Zapata!

(Shorty Rogers)

#1, #2, #4, #5:

Howard Rumsey's Lighthouse All-Stars:

Conte Candoli (trumpet), Frank Rosolino (trombone), 

Bob Cooper (tenor sax, oboe [#2]), Bud Shank (alto sax, flute [#2])

Vince DeRosa (french horn), Victor Feldman (piano, vibes),

Howard Rumsey (bass), Stan Levey (drums), Jack Costanzo (bongós, percusión [#5])

#3, #4:

Julie London (vocals) with Howard Rumsey's Lighthouse All-Stars

Jimmy Rowles replaces Victor Feldman on piano.

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, May 19, 1958

Side 2

6 - Crazy Rhythm

(Irving Caesar, Joseph Meyer, Roger Wolfe Kahn)

7 - Lover Man

(Jimmy Davis, Ram Ramirez, James Sherman)

8 - 'S Wonderful

(George Gershwin, Ira Gershwin)

9 - Love Walked In

(George Gershwin, Ira Gershwin)

10 - The Lamp Is Low

(Peter DeRose, Bert Shefter, Maurice Ravel)

#6, #7, #10

Bud Shank Quartet:

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

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

#8, #9

Chris Connor (vocals) with The Bud Shank Quartet

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 26, 1956 (#6, #7, #10) and May 27, 1957 (#8, #9)

Off Note:

The dates printed on the original LP liner notes are incorrect. This type of chronological mismatch was very common among independent catalog and reissue labels during the 1970s, such as Calliope Records.

Working with magnetic tapes from television broadcasts and kinescope transcriptions salvaged nearly two decades after their original air date, the label frequently relied on imprecise handwritten notes on the master tape boxes or misplaced production indices from KABC-TV. Lacking the cross-referenced data from the Stars of Jazz production logs known today, Calliope lumped under the wrong date of November 5, 1956, what were actually two completely separate broadcasts recorded months apart (the Bud Shank Quartet set on November 26, 1956, and Chris Connor's set on May 27, 1957). An archival oversight that takes nothing away from the extraordinary historical value of these salvaged sessions.

◈◈◈◈

Sessions, Live

Lighthouse All-Stars

June Christy

and

Jimmy Giuffre

(Calliope CAL-3035)

THE LIGHTHOUSE ALL STARS were led by Howard Rumsey, a former member of the Stan Kenton organization.

In 1949 Howard walked into a nightclub in Hermosa Beach, California and sold the management on booking his group for a trial basis.

The result was a fifty two week gig for the next nine years.

Former members of the Lighthouse All Stars have included Shelly Manne, Jimmy Giuffre, Gerry Mulligan, Shorty Rogers and Bud Shank.

JUNE CHRISTY was the voice of Stan Kenton's band. She replaced Anita O'Day and became one of the most popular female vocalists during the late forties and fifties.

JIMMY GIUFFRE hails from Dallas, Texas and plays clarinet, tenor sax and flute.

He played a major role as clarinetist, saxophonist and personality in the groups of both Shorty Rogers and Shelly Manne during the fifties.

NELLIE LUTCHER started playing the piano around the middle of World War I.

She performed mostly on the West Coast and became a favorite at the Interlude Club on Sunset Strip. *(original liner notes)*

Side 1

1 - Somebody Loves Me

(George Gershwin, Ballard MacDonald, B.G. DeSylva)

2 - Sunday Mood

(Bob Cooper)

3 - I Want To Be Happy

(Vincent Youmans, Irving Caesar)

4 - That's All

(Bob Haymes, Alan Brandt)

5 - Witch Doctor

(Bob Cooper, Bob Gioga)

#1, #2, #5

Howard Rumsey's Lighthouse All-Stars:

Frank Rosolino (trombone), Bob Cooper (tenor sax, oboe [#2]),

Victor Feldman (piano, vibes, conga [#5]),

Howard Rumsey (bass), Stan Levey (drums).

#3, #4

June Christy (vocals) with Howard Rumsey's Lighthouse All-Stars

Lou Levy replaces Victor Feldman on piano.

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, March 3, 1958

Side 2

6 - Gotta Dance

(Jimmy Giuffre)

7 - Four Brothers

(Jimmy Giuffre)

8 - Blue Skies

(Irving Berlin)

9 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

10 - Two Kinds of Blues

(Jimmy Giuffre)

#6, #7, #10

The Jimmy Giuffre Three:

Jimmy Giuffre (tenor sax, clarinet), Jim Hall (guitar), Ralph Peña (bass).

#8, #9

Nellie Lutcher (piano, vocals), Ray Brown (bass), Alvin Stoller (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, January 7, 1957 (#6, #7, #10) and March 18, 1957 (#8, #9)

Off Note:

Once again, the documentation printed on the original Calliope Records cover presents notable discrepancies with the actual content on the tapes. For labels dedicated to rescuing radio and television material during the 1970s, it was common practice to work with broadcast tape duplicates that lacked accurate technical logs or carried confusing handwritten notes on the master boxes.

While Side 1 accurately places the Lighthouse All-Stars and June Christy performance on the March 3, 1958 broadcast, Side 2 suffers from an obvious cataloging oversight. The printed date of February 18, 1957 actually corresponds to an episode of Stars of Jazz featuring James Clay, Toni Harper, and Lorraine Geller—none of whom appear on this LP. Calliope mistakenly lumped under that single date two shows recorded more than two months apart: The Jimmy Giuffre Three session from January 7, 1957, and Nellie Lutcher’s vocal set from March 18, 1957 (backed by the station’s rhythm section rather than Giuffre's trio). An editorial slip that, while requiring historical clarification, does not lessen the magnificent audio testimony of these broadcasts.

◈◈◈◈

John Gamba And Claude Williamson - Rare And Obscure Jazz Albums

 

Mr. Counterpoint

This album took its title from a club in West Orange, N.J., called Counterpoint. The club was owned by pianist John Gamba, making him one of the few jazz musicians to become a club owner. A skilled technician, the pianist managed to infuse his performances with a good deal of unexpected fire. Indeed, there were moments on "In Other Words", "Yesterdays", and "Lullaby Of The Leaves" that sharply suggested the legendary Eddie Costa. Gamba had the strong percussive approach to his instrument that was a hallmark of Costa and displayed a similar concept of time. Don Cinderella kept tightly in the rhythm section and proved to be a sensitive and imaginative soloist of some measure in "Lullaby Of The Leaves", "Things Ain't What They Used To Be", and "In Other Words". Paul Motian, Bill Evans' drummer for the previous three years, made his presence decidedly felt in the group's sound, and his secondary playing was very sensitive and musical, adding color and depth to John Gamba's honest and swinging piano playing. *Jordi Pujol*

The Fabulous Claude Williamson Trio

Claude Williamson (1926-2016) stood out as one of the most prolific jazz pianists on the West Coast in the 1950s. Influenced primarily by Teddy Wilson, later by Al Haig and Bud Powell, he took his first steps as a member of Charlie Barnet's excellent orchestra (1947-1949), showcasing himself as a jazzman with numerous virtues: a burgeoning pianist with a keen sense of emotions and definite instrumental ability. After this initial and enriching experience, Claude accompanied June Christy (1950-1951) and then spent over two years as the resident pianist at the Lighthouse Café, where he solidified his reputation as a soloist with the Howard Rumsey All-Stars. Subsequently, thanks to his exceptional versatility and talent, and until the mid-1960s, Claude played a crucial role not only as the leader of his trio in recordings but also as an accompanist on numerous albums featuring almost all the best jazz performers and orchestras from the Los Angeles scene. In this recording from 1961, Claude leads a trio that delivers a powerful and emotionally charged performance, presenting an excellent selection of standards with many captivating moments. *Jordi Pujol*

1 - Things Ain't What They Used To Be

(Duke Ellington)

2 - In Other Words

(Bart Howard)

3 - In A Sentimental Mood

(Duke Ellington)

4 - Yesterdays

(Jerome Kern)

5 - Green Dolphin Street

(Kaper, Washington)

6 - Wait Till You See Her

(Rodgers, Hart)

7 - Lullaby Of The Leaves

(Petkere, Young)

8 - Secret Love

(Fain, Webster)

9 - Witchcraft

(Coleman, Leight)

10 - A Foggy Day

(G. and  I. Gershwin)

11 - Young At Heart

(Richards, Leigh)

12 - You Make Me Feel So Young

(Myrrow, Gordon)

13 - Nancy

(Van Heusen, Cahn)

14 - The Lady Is A Tramp

(Rodgers, Hart)

15 - Anything Goes

(Cole Porter)

16 - All The Way

(Van Heusen, Cahn)

17 - They Can't Take That Away From Me

(G. and  I. Gershwin)

18 - While We're Young

(Wilder, Palittz, Engvic)

19 - Let There Be Love

(Cole Porter)

#1 to #8:

from the album Mr. Counterpoint – Jazz Impressions by John Gamba (Del Moral LPDM 103)

John Gamba (piano), Don Cinderella (bass), Paul Motian (drums).

Recorded at Bell Sound Studios, New York City, August 1962

#9 to #19:

from the album The Fabulous Claude Williamson Trio (Contract 15001)

Claude Williamson (piano), Duke Morgan (bass), Chuck Flores (drums).

Recorded in Los Angeles, California, 1961

Jerry Coker - Modern Music

Jazz saxophonist and pedagogue Jerry Coker was born in South Bend, Indiana (November 28, 1932). He attended Indiana University in the early 1950s, but left school to become a member of Woody Herman's Herd. Coker eventually earned undergraduate and graduate degrees while he taught jazz at Sam Houston State University (then Sam Houston State Teachers College). He recorded under his own name in the mid-1950s and as a sideman with Nat Pierce, Dick Collins, and Mel Lewis; later that decade he played with Stan Kenton. In 1960 he began teaching and increasingly turned to music education and composition. He taught at Duke University, University of Miami, North Texas State University, and started the Studio Music and Jazz program at the University of Tennessee, where he was a professor of music from the 1980s through the 2000s. *wikipedia.org*

Born in 1932, tenor saxophonist Jerry Coker first emerged as a major talent in Indiana University's brilliant jazz clique of the early '50s. While he was still a student he joined Woody Herman's Third Herd, leading to a year performing, recording and, in the spring of 1954, a European tour. Returning to Indiana that summer, he was at the heart of the university's thriving jazz movement which, in July 1955, recorded his album, Modern Music from Indiana University. Leading some talented students, Coker, as producer, wrote all the arrangements – with echoes of the Four Brothers sax sound – while his solo work revealed an affinity for Lester Young.

In 1956, settled in Oakland, he began to make a name himself as performer, composer and arranger, and joined Rudy Salvini's rehearsal band. He also recorded with them and with his own quartet in November for San Francisco Jazz Records.

While the Kenton band was playing in the Bay Area, Coker briefly replaced the injured Bill Perkins, but, despite his considerable reputation as a soloist, after the spring of 1957 his appearances on concert and on record have been rare. He has since mostly devoted himself to teaching and writing, which has obscured his talents as a player—a pity, as these recordings show just how good he was. *Jordi Pujol*

Jerry Coker

Composes – Arranges – Plays

Modern Music

From Indiana University

And The Bay Area

Jerry Coker should have been a household name (and maybe he will be among readers after this post). A composer, arranger and tenor saxophonist from Indiana, Coker in the 1950s and beyond had a beautiful ear and gorgeous sound. Coker recorded only one album and a few tracks as a leader in 1955. He also recorded as a sideman small groups led by Mel Lewis and Nat Pierce in the mid-'50s as well as a big band led by Rudy Salvini. In the early 1950s, he recorded and toured with Woody Herman's Third Herd and he recorded with Clare Fischer's band in the early 1960s. Except for two albums in the early 1980s (A Re-emergence and Rebirth for the Revelation label), that was pretty much it.

Coker played with Stan Kenton in 1957 and then he spent much of his career as an exceptional educator. He taught at the Monterey Peninsula Junior College in 1963, at Indiana University as head of their jazz program and then, in 1966, at Coral Gables University in Miami, developing first-rate BA and MFA degree programs. He left in 1972.

While in Miami, Coker played gigs for entertainers, including Frank Sinatra and Tony Bennett. Next came Pembroke State College and Duke University before he settled with his wife in Knoxville, Tenn. Over the course of his career, Coker wrote 20 jazz education books and is a member of the International Association of Jazz Educators Hall of Fame. Coker is still with us today.

Fortunately for us, Fresh Sound Records has gathered many of Coker's recordings between 1954 and 1956 on a single CD entitled Jerry Coker: Modern Music From Indiana University and the Bay Area. It is a stunning collection of jazz recordings that will leave your jaw hanging. The sound is a perfect blend of West and East Coast jazz styles during this period, and Coker's composing and arranging was extraordinary. It's highly melodic with tasteful harmony parts and exquisite blowing by everyone on the dates.

The 12 tracks from Modern Music From Indiana University feature a reed ensemble comprised of three different configurations. The first includes Jerry Coker, Bob Cowart and Louis Ciotti (ts) Jack Coker (p) Monk Montgomery (b) and Charlie Mastropaolo (d). The second adds Freddy Fox and Roger Pemberton on baritone sax. And finally Al Kiger (tp) and Jim Hewitt (tb) sit in on selected tracks.

Coker's reed writing was so gorgeous you'll want to cry. Heartfelt and fully maximized, the arrangements have a sensitive passion for the harmonized saxophone sound while the musicians have a nimble Four Brothers feel. The players on the session were all students at Indiana University, where Coker had attended college.

Next are three tracks (Coker's "You'll Stay" and "Giggling Oysters" and Wayne Crabtree's "Water's Edge") that feature Coker in a quartet setting in San Francisco: Al Kiger (tp) Jerry Coker (ts) Eddie Duran (g) and Dean Reilly (b). A Mel Lewis Sextet track, 'Enry 'Iggins 'Ead, composed and arranged by Coker, includes Kentonites Ed Leddy (tp) Jerry Coker and Richie Kamuca (ts) Pepper Adams (bar) John Marabuto (p) Dean Reilly (b) and Mel Lewis (d).

This is followed by a Rudy Salvini Orchestra album called Intro to Jazz, recorded at the Sands Ballroom in Oakland, Calif., in November 1956. The band on these five tracks include Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen and Billy Catalano (tp), Van Hughes, Archie Lecoque, Chuck Etter and Ron Bertuccelli (tb), Charles Martin (as), Jerry Coker, Tom Hart and Howard Dudune (ts), Virgil Gonsalves (bar), John Marabuto (p), Dean Reilly (b) and John Markham (d), with arrangements by Jerry Cournoyer, Jerry Mulvihill and Coker.

There are two bonus tracks recorded in Paris in 1954 with groups that included members of Woody Herman's Third Herd: First, Coker's "Embarkation", with Cy Touff (b-tp), Jerry Coker (ts), Ralph Burns (p), Jimmy Gourley (g), Jean-Marie Ingrand (b) and Chuck Flores (d). And Coker's "Thanks for You", featuring Jerry Coker (ts), Ralph Burns (p), Jean-Marie Ingrand (b) and Chuck Flores (d).

Coker was masterful, and in an ideal, selfish world, he would have moved to Los Angeles, recorded dozens of albums in the studios and written for television. Then again, hundreds of fledgling jazz musicians studying at the various universities where Coker taught would be poorer for it. I'm just thankful we have what we have here. So gorgeous. *Marc Myers*

1 - Limehouse Blues

(Braham, Furber)

2 - Old Crinkletoes

(Jerry Coker)

3 - Opus #1

(Oliver, Garris)

4 - Red Kelly's Blues

(Jerry Coker)

5 - Nancy

(Van Heusen, Silvers)

6 - Kigeria

(Jerry Coker)

7 - You Gotta Show Me

(Brooks, Castle)

8 - It’s You Or No One

(Cahn, Styne)

9 - Jack's Acts

(Jerry Coker)

10 - This Is Always

(Warren, Gordon)

11 - Lost April

(DeLange, Newman, Spencer)

12 - Clare-ity

(Jerry Coker)

13 - You'll Stay

(Jerry Coker)

14 - Water's Edge

(Crabtree)

15 - Giggling Oysters

(Jerry Coker)

16 - 'Enry 'Iggins 'Ead

(Jerry Coker)

17 - Yesterdays

(Kern, Harbach)

18 - Wail For Patrick

(Jerry Coker)

19 - Boot's Boots

(Cournoyer)

20 - Topsy Returns

(Jerome Mulvihill)

21 - Smithsonian

(Jerome Mulvihill)

22 - Embarkation

(Jerry Coker)

23 - Thanks For You

(Hanighen, Wright)

#1 to #12: from the album Modern Music from Indiana University (Fantasy 3-214)

Jerry Coker, Bob Cowart, Lou Ciotti (out on #10) (tenor saxes); Roger Pemberton (baritone sax); Jack Coker (piano); Monk Montgomery (bass); Charles Mastropaolo (drums). 

#2, #3, #5, #6, #8, #9, #11, #12: Freddy Fox (added on baritone sax).

#6, #8: Al Kiger (added on trumpet).

#5, #11: Jim Hewitt (added on trombone).

Recorded at Indiana University, Bloomington, July 1955.

#13 to #15 : Jerry Coker Quartet - from the album Intro to Jazz (San Francisco Jazz JR-1)

Alan Kiger (trumpet), Jerry Coker (tenor sax), Eddie Duran (guitar), Dean Reilly (bass).

Recorded at the Sands Ballroom, Oakland, November 1956.

#16: Mel Lewis Sextet - from the album Got ‘Cha (San Francisco Jazz JR-2)

Ed Leddy (trumpet); Richie Kamuca, Jerry Coker (tenor saxes); Pepper Adams (baritone sax); Johnny Marabuto (piano); Dean Reilly (bass); Mel Lewis (drums).

Recorded at the Sands Ballroom, Oakland, November 20, 1956.

#17 to #21: Rudy Salvini Orchestra - from the album Intro to Jazz (San Francisco Jazz JR-1)

Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen, Billy Catalano (trumpets); Van Hughes, Archie Lecoque, Chuck Etter, Ron Bertuccelli (trombones); Charles Martin (alto sax); Jerry Coker, Tom Hart, Howard Dudune [#17, #19, #20, #21], Charles Peterson [#18] (tenor saxes); Virgil Gonsalves (baritone sax); John Marabuto (piano); Dean Reilly (bass); John Markham (drums).

Recorded at the Sands Ballroom, Oakland, November 1956.

#22: from the album The Third Herdmen Blow in Paris, Vol.2 (Vogue LD.205)

or also The Herdsmen Play Paris (Fantasy 3-201)

Cy Touff (bass trumpet), Jerry Coker (tenor sax), Ralph Burns (piano),  Jimmy Gourley (guitar), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954.

#23: from the album The Third Herdmen Blow in Paris, Vol.1 (Vogue LD.204)

or also The Herdsmen Play Paris (Fantasy 3-201)

Jerry Coker (tenor sax), Ralph Burns (piano), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954. 

The Third Herdmen Blow In Paris

These recording sessions respond to the stir generated in Paris among French fans and record producers by the visits of Woody Herman orchestra during their European tour in 1954. Some of the best band's soloists were engaged to record for the French label Vogue.

The Herdsmen recorded two 10'' albums, with personnel changing from one session to the other. The sessions included trumpeter Dick Collins, bass-trumpeter Cy Touff, tenorists Bill Perkins, Dick Hafer, and Jerry Coker, bassist Red Kelly, drummer Chuck Flores, and pianist Ralph Burns — the featured performer for the band’s European tour. Joining them were leading local jazzmen, such as pianist Henri Renaud, guitarist Jimmy Gourley, bass player Jean-Marie Ingrand and drummer Jean-Louis Viale. The sessions were all improvised, without too much time for preparation, but the recordings captured the freshness of the soloists, who all had a balling time. *Jordi Pujol*.

The Herdsmen

Play Paris

Early in 1954, Woody Herman took his Third Herd to Europe. This was the first time Herman had ever played overseas and it was the first time most of Europe had heard the Third Herd. Up until recently, its only records were on Woody’s own small label, Mars, which was not distributed throughout the continent. 

Dick Collins, the young Berkeley trumpet player who was, and is, one of the stars of the Third Herd was an old friend to Paris. He had gone there after World War II to study on the GI Bill under Darius Milhaud, the French composer with whom Dave Brubeck and other modern jazz men have studied at Mills College in Oakland, California. While Collins was in Paris in 1948 and ’49, he met Charles Delaunay, the French critic, author and recording executive and made several sides for him. So it was only natural that on Collins’ return, Delaunay would renew the acquaintance and take the opportunity to make further records.

For the first date, Delaunay assembled Collins, Cy Touff, Bill Perkins, Dick Hafer and Red Kelly from the Herman band and two French musicians, Henri Renaud and Jean-Louis Viale. Perkins describes the date this way: "Delaunay picked us up at the hotel about an hour after we flew in from Germany and rushed us to a real relaxed little upstairs studio and we went to work with nothing more than a few penciled lead sheets — no harmony parts were written as I remember. Although the French musicians did not speak English and viceversa, I remember that it struck me at the time how well we understood each other when it came to the music part of it. They put Cy up on a box to get the bell of his horn even with the mike". 

The second session was made just before the men left for home some weeks later. Coker was commissioned to write an original ("Embarkation") and Perkins recalls Jerry working hard on it backstage at the Vienna concert. Coker, Touff, drummer Chuck Flores and pianist Ralph Burns, who was on the European tour as a featured performer with the band, flew back to Paris to make the date and were joined by Jimmy Gourley, one of the leading French guitarists, and bassist Jean-Marie Ingrand. Burns, who is among the best known modern jazz arrangers and writers and who has done most of the Herman book including "Summer Sequence", is featured on piano. Burns wrote "Wetback on the Left Bank" for Flores, whose nickname is "Wetback". *Liner notes*

Bassist Red Kelly remembers the Woody Herman Third Herd’s triumphal tour of Europe in 1954: "We weren’t used to that kind of adulation. We were treated like rock stars are today. They tried to get the buttons off of our coats and all that stuff". The fans were not alone in their enthusiasm. The French critic and impresario Charles Delaunay herded several of Herman’s sidemen into a recording studio for two small-group sessions that illuminated the talents of saxophonist Bill Perkins, bass trumpeter Cy Toouff, trumpeter Dick Collins, pianist Ralph Burns, and other solist from the band, along with promiment French musicians. These Paris sessions give us stimulating extracurricular music by some of the talented young musicians Herman assembled during one of his greatest periods. *concord.com*

Side 1

01 - The Gypsy

(Billy Reid)

02 - Wetback On The Left Bank

(Ralph Burns)

03 - Embarkation

(Jerry Coker)

04 - Thanks For You

(Tim Whitton)

Side 2

05 - So What Could Be New?

(Tiny Kahn)

06 - Just 40 Bars

(Henri Renaud)

07 - Palm Cafe

(Henri Renaud)

08 - Pot Luck

(Johnny Mandel)

 #5, #6, #7, #8:

Dick Collins (trumpet); Cy Touff (bass trumpet); Bill Perkins, Dick Hafer (tenor saxes); Henri Renaud (piano); Red Kelly (bass); Jean-Louis Viale (drums).

Recorded in Paris, April, 23, 1954.

#1, #2, #3, #4:

Cy Touff (bass trumpet), Jerry Coker (tenor sax), Ralph Burns (piano), Jimmy Gourley (guitar), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954.

#1, #4, #5, #8 from The Third Herdmen Blow In Paris, Vol. 1

#2, #3, #6, #7 from The Third Herdmen Blow In Paris, Vol. 2