Jazz For The Screen & Five-Star Collection ★ Sonny Rollins

Sonny Rollins

Original Music From The Score

Alfie

About the film:

Alfie tells the story of an egocentric womanizer in 1960s London who lives entirely devoted to hedonism and emotional detachment. Starring Michael Caine in his iconic, star-making role, the film features a notable supporting cast including Shelley Winters, Millicent Martin, Jane Asher, and Julia Foster. Speaking directly to the camera and breaking the fourth wall, Caine's character endlessly justifies his promiscuous lifestyle and his utilitarian approach toward women.

However, after a series of unforeseen events—including an unacknowledged fatherhood, an illness, and the painful impact of his actions on those around him—his façade of carefree indifference unravels, confronting him with a profound crisis of loneliness and existential emptiness. Interestingly, the role was turned down by several leading British actors of the era—including Terence Stamp and Anthony Newley—who hesitated to play a character involved in taboo subjects like illegal abortion. Caine stepped in, delivering a performance that earned him his first Academy Award nomination for Best Actor and cemented the film as a cultural touchstone of Swinging London.

About the music:

The Score... Movie vs. Impulse! album

The story behind the music of Alfie is a fascinating tale of spontaneous creation and two distinctly different recordings. It all began when director Lewis Gilbert commissioned Sonny Rollins to compose the score. In October 1965, Rollins gathered at London's Twickenham Studios with a stellar group of British jazz musicians, including Tubby Hayes, Ronnie Scott, Keith Christie, Phil Seaman, and pianist Stan Tracey—who is credited with composing the track "Little Malcolm Loves His Dad". As bassist Rick Laird later recalled, there were no written charts for these sessions; the musicians played blind, improvising live to the scenes projected on the studio screen based on a few core themes provided by Rollins. These original cues, which amounted to a mere 11 minutes of music in the final film cut, were never officially released on record.

Three months later, in January 1966, Rollins decided to expand upon that initial experiment and craft a standalone work. He entered Rudy Van Gelder's studio in New Jersey alongside producer Bob Thiele and a formidable American nonet featuring Phil Woods, J.J. Johnson, and Kenny Burrell. Enhanced by Oliver Nelson's sleek orchestral arrangements, Rollins transformed those London sketches into a half-hour suite, giving life to the acclaimed album released on Impulse! that ultimately defined the music of the film.

◈◈◈

This is Sonny Rollins' first score for a motion picture, and as you'll hear, there are bound to be many more because Sonny's acutely relevant sense of the dramatic—always evident in his improvising—has been transferred to the challenge of film scoring with commanding ease and warmth. 

In January, 1965, while appearing at Ronnie Scott's club in London, Sonny was approached to write the music for Alfie, a picture starring Michael Caine (of The Ipcress File) and featuring Shelley Winters. The idea intrigued him. He had always wanted to try a film score, and the picture itself was provocative. 

"It's the story", says Sonny, "of a playboy sort of guy who has no respect for conventional married life and that sort of thing. As he grows older, however, his girl friends begin to leave him for younger men, and at the end of the picture, he's no longer nearly so sure that his is as fulfilling a way of life as he had thought". In a sense, Alfie is about the involuntary education of a hipster. 

Sonny worked closely with producer-director Lewis Gilbert, a man he describes as having "a very good understanding of music without knowing all the technical aspects of it. If the score is a success, he deserves a large share of the credit". For the soundtrack, Sonny arranged his music for a nine-piece group and he too is heard throughout the picture. Oliver Nelson's arrangements for this recording of the score are based on Sonny's original charts. 

"Oliver", says Sonny, "kept pretty close to those, adding a little here and there and editing. But this is basically the sound we got in the picture. Working with Oliver, incidentally, is enlightening. He's not only thoroughly qualified musically, but personally he is so easy to work with that he got the best out of all of us". (...) 

The film, Alfie, has been chosen, Sonny relates with pleasure, as England's entry in the Cannes Film Festival. Whether Sonny's score for it wins any official prizes in any competition, I expect that it will attract other movie producers who are weary of conventional lush music backgrounds or of the more recent but already hackneyed melodramatically pounding scores. As films themselves become increasingly scoured of superfluity and rhetoric (both visual and written), the music for them will be more accurately reflective of the rhythms and textures of life as it is now lived. And, as has been evident to jazz listeners for a long time, jazz does indeed tell where it's at, where we're at. 

"I hope to compose for more films", says Sonny, "because I've been wanting to work in explicitly dramatic areas for a long time. Not only motion pictures, but the theatre too. After all, it's all part of the same thing—finding and expressing yourself through music and finding links to yourself in the experiences of others".

Finally, it seems to me that unlike most albums of film scores, this one will not fade into limbo after the picture has had its run. The reason is that although Sonny was faithful to the spirit and thematic patterns of the picture, he was also faithful to himself. And therefore this music can—and does—stand on its own. *Nat Hentoff (from the liner notes)*

Sonny Rollins is a genius!

He squeezes every last drop out of a melody. There is nothing left to be done with it when he is through. He can turn it around this way and that way and turn it upside down and stretch it out. He is endlessly inventive. I could listen to him forever.

When he splits notes or honks, he doesn't sound as if he's trying to prove something philosophically or socially or racially. It is only artistic, a part of him—like a sneeze.

He wrote the score to this picture, and it is beautiful, although nobody else could play it—it is scored for a solo Sonnyphone.

There is nothing wrong with what he does, and he does everything: hard, sweet, loud, soft, fast, slow. A complete experience.

The film Alfie received only mediocre reviews, but the score is so much better than mediocre that I suspect any director hip enough to use it would have to make a product a lot superior to mediocre.

Frankie Dunlop is an underestimated drummer, and it would be difficult to overestimate his swing on this. Walter Booker too. Phil Woods' lead alto is impeccable. There is nothing peccable on Impulse 9111. *Michael Zwerin (Down Beat, November 3, 1966 [5 stars])*

Side 1

1 - Alfie's Theme

2 - He's Younger Than You

Side 2

3 - Street Runner With Child

4 - Transition Theme For Minor Blues Or Little Malcolm Loves His Dad

5 - On Impulse

6 - Alfie's Theme Differently

(All compositions by Sonny Rollins)

Sonny Rollins (tenor sax); J.J. Johnson [#1, #2], Jimmy Cleveland [#3 to #6] (trombones);

Phil Woods (alto sax); Robert Ashton (tenor sax); Danny Bank (baritone sax);

Roger Kellaway (piano); Kenny Burrell (guitar); Walter Booker (bass);

Frankie Dunlop (drums); Oliver Nelson (arranger, conductor).

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, January 26, 1966

Five-Star Collection... Thomas Talbert

Thomas Talbert

Bix • Duke • Fats

Leon Beiderbecke, Edward Ellington and Thomas Waller were three card-holding musicians, getting their money every Friday, playing a cornet and a couple of pianos, and writing their compositions. They are known in the jazz world's casual I-want-to-be-one-of-the-gang style, as Bix, Duke and Fats. Where the aficionados gather, no further identification is necessary. Bix did most of his writing in the latter twenties. Fats swung right up to his death in 1943. Some of his last work, written for the show, Early To Bed, was his best. Duke Ellington is still very much on the scene and working constantly. The thirties and early forties were a highly creative period for him.

(...)

Fats led a small group of good men. They were mainly a foil for his contagious, exuberant and slyly humorous personality. Bix worked through the Midwest with many small combinations. He played in Gene Goldkette’s bands. Except for recording with small pickup groups, he played his last years with Paul Whiteman. It is said that Henry Busse received the larger share of the hot chair parts. Duke Ellington has been a leader from the beginning, composing and arranging for his own band in prolific quantity.

But they all worked the country's saloons where jazz grew up. This is a world apart from the Broadway, West End or Hollywood composer who has only the current show on his mind. And with the lyricist to carry the day if the tune goes false. They were right in the midst of the instruments that were making the pulse that jazz is all about. And there's the tie-in for an album such as this. Three styles, yes... but all stemming from the same background. *Thomas Talbert (liner notes, 1956)*

The world has changed so much since this music was recorded but the beauty of the compositions has remained constant. I spent a lot of time selecting the material for the album and then the arrangements were written in four late summer weeks. Bond Street, the first, was  finished August 19 and the last, Orange Bright on  September 13. The final recording, the  Ellington tune with ten men, was September 14. There was an individual session for each composer as I used a different instrumentation to enhance how I heard each of their voices.

I remember the warm fall evening, after the Beiderbecke session, as my friend and copyist George Green and I walked west on Forty-second Street. It was not as bizarre a  locale then and we were going to meet Joe Wilder at Dixon's on Eighth Avenue for an early dinner. I was filled with satisfied accomplishment as we quietly spoke of the chamber-music recording challenge and of Joe's marvelous playing. It was a good day and the Wilder solos still soar.

They all did. What a joy it is for an arranger to have his writing, his  dream, played with such verve and empathy. New York had a shine on it in the '50s and it was exhilarating to be part of it.

*Thomas Talbert (liner notes, 1993)*

This is a stunning piece of work by all concerned. Talbert's writing is fresh and moody, and the performances, particularly the solo work, are firstrate.

There is a smooth blend of the horns, spiced by some bright brass figures, in the arranged passages. As for the solos, it's difficult to describe them without using hand motions or including a copy of the record in the magazine.

Wilder emerges as a trumpet man of stature and delicacy. His taste and flexibility are particularly evident on the Beiderbecke pieces, Mist, Candlelight, and Dark. Galbraith also is heard soulfully on the Bix tracks. Cleveland and Bert split the trombone solo spots, with Jimmy percussively exciting and Bert blowing warmly and with restraint.

The Talbert original, Green Night, is a moody, impressionistic work with actually none of the flavor of the three men to whom homage is paid by this album, but rather a logical extension of the mood created by the compositions.

This album is no tribute in style to Bix, Fats, and Duke. Rather, it is a collection of creations based on their works, The closest to a literal reading is Duke's Koko, which smacks of period Ellington in the rich opening ensemble prodded by Pettiford's throbbing bass.

One final word should be said about Wallington, whose presence is a vital thing, and whose solos and fills are a delight to hear.

Packaging is handsome, with the cover perhaps the most attractive jazz cover presented in many months. Talbert's notes are literate and illuminating, a fine argument for having musicians or leaders write the words about their music.

This is a great record, conceived and executed with taste and artistry.

*Dom Cerulli (Down Beat, June 27, 1957 [5 stars])*

1 - Clothes Line Ballet

(Fats Waller)

2 - In A Mist

(Bix Beiderbecke)

3 - Bond Street

(Fats Waller)

4 - Prelude To A Kiss

(Duke Ellington, Irving Gordon, Irving Mills)

5 - Green Night & Orange Bright

(Thomas Talbert)

6 - Black And Blue

(Fats Waller, Andy Razaf, Harry Brooks)

7 - Candlelights

(Bix Beiderbecke)

8 - Keepin' Out Of Mischief Now

(Fats Waller, Andy Razaf)

9 - In The Dark

(Bix Beiderbecke)

10 - Do Nothin' Till You Hear From Me & Ko-Ko

(Duke Ellington, Bob Russell) & (Duke Ellington)

Thomas "Tom" Talbert (arrangements, conductor)

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

Joe Wilder, Nick Travis (trumpets); Eddie Bert, Jimmy Cleveland (trombones);

Aaron Sachs (tenor sax, clarinet); George Wallington (piano);

Oscar Pettiford (bass); Osie Johnson (drums).

Recorded in New York City, August 24, 1956

#2, #7, #9:

Joe Wilder (trumpet), Jim Buffington (french horn), Joe Soldo (flute),

Danny Bank (clarinet, bass clarinet), Harold Goltzer (bassoon), Barry

Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, September 7, 1956

#4, #5, #10:

Joe Wilder (trumpet), Eddie Bert (trombone), Jim Buffington (french horn),

Herb Geller (alto sax), Joe Soldo (alto sax, fute), Aaron Sachs (tenor sax, clarinet),

Danny Bank (baritone sax, bass clarinet), Claude Williamson (piano [#5]),

Barry Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, September 14, 1956

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.

Aaron Sachs - Quintet, Sextet And Octet Ensembles

Aaron Sachs (1923-2014) was a native New Yorker who grew up in the Bronx. After studying clarinet with private teachers, in 1941, still in his teens, Sachs landed his first job with Babe Russin, playing clarinet and alto saxophone, the latter through self-training. That same year, he joined vibraphonist Red Norvo's Septet, alongside fellow Bronx musicians Shorty Rogers and Eddie Bert. After a brief period with the Van Alexander orchestra in 1943, Aaron rejoined Norvo in January 1944, solidifying his reputation as a skilled clarinetist and earning the prestigious Esquire "New Star" award in 1945.

Between 1945 and 1946, he performed both instruments with Benny Goodman, Buddy Rich, and Charlie Ventura bands. In 1946, Sachs formed his quintet, Aaron Sachs and his Manor Re-bops, establishing himself as the first jazz musician to embrace bebop on the clarinet, preceding Tony Scott and John LaPorta.

In 1948 Aaron married singer Helen Merrill, a union that lasted only a few years, as they divorced in 1956.

His tenure with the Earl Hines sextet from 1952 to 1953 allowed him to develop his talent as a tenor saxophonist. He admitted, "I enjoy playing both instruments, but I am disappointed that the clarinet isn't used more, both in jazz and pop records today." Sachs had Lester Young as his main influence, and that's how he wanted to play both tenor sax and clarinet. Subsequently, Aaron led his own combo at Cafe Society in New York for a period. Later, he worked as a freelancer in commercial recording sessions, primarily playing the tenor saxophone. Sachs cited Lester Young as his main influence for both instruments.

Leonard Feather once remarked, "Aaron has proved that he can bring to both instruments the taste, style, and musicianship that bespeak artistry rather than mere versatility for its own sake."

This CD compilation features three albums recorded by Aaron between 1954 and 1957, showcasing his talent as an instrumentalist and composer alongside some of the finest jazz musicians from the New York scene. The arrangements of these recordings were skillfully crafted to provide a supportive backdrop for either clarinet or tenor saxophone, highlighting Sachs' versatility and artistry. *Jordi Pujol*

There was such a surfeit of great sax players in the 1950s that it’s understandable that many got overlooked. Here’s a chance to see what you’ve been missing with this rich reissue from Fresh Sound Records.

Aaron Sachs is not a household name, but he was with a number of important artists such as Shorty Rogers and Red Norvo. This single disc set finds him with some impressive company, giving his ideas to mostly originals in a sound that has “LA Cool” written all over for it, even though it was all recorded in The Big Apple.

He plays both a Lester Young-Zoot Sims inspired tenor, and a stripped down Buddy DeFranco styled clarinet, in quintet, sextet and octet settings, mixing and matching with Urbie Green/tb, Barry Galbraith-Jimmy Raney-Dick Garcia/g, Aaron Bell-Clyde Lombardi/b, Nat Pierce Hall Overton/p, Joe Roland/vibes and Osie Johnson/dr. Sachs blows like a West Coaster on "One Track" and is gorgeously fluffy on "Aaron’s Blues", fluttering on "Conversations" and sublime on "Why Shouldn’t I?" while digging in on the Basie-ish "Wiggins". His licorice stick is cool for "Kingfish" and flexible for "Gorme Has Her Day" with a nice bounce for "You're My Thrill". Warm and breezy.

*George W. Harris*

1 - One Track

(Sachs, Johnson)

2 - Helen

(Sachs, Johnson)

3 - Kingfish

(Quincy Jones)

4 - Conversation

(Sachs, Galbraith)

5 - The Bullfrog

(Quincy Jones)

6 - If You Are But A dream

(Jaffe, Fulton, Bonx)

7 - Aaron's Blues

(Aaron Sachs)

8 - You're My Thrill

(Gorney, Clare)

9 - Platter Pie

(Aaron Sachs)

10 - Why Shouldn't I?

(Cole Porter)

11 - Ah! The Pain

(Billy Ver Plank)

12 - Rondo Blues

(Phil Sunkel)

13 - Just Sick Blues

(Billy Ver Plank)

14 - Mona's Kimona

(Nat Pierce)

15 - Conversation

(Sachs, Galbraith)

16 - Blue Sophisticate

(Benny Golson)

17 - Countryfied

(Phil Sunkel)

18 - Wiggins

(Billy Ver Plank)

19 - Gorme Has Her Day

(Aaron Sachs)

20 - I Can't Believe

(Aaron Sachs)

21 - Hall's Loft

(Aaron Sachs)

22 - Nancy

(Van Heusen, Silvers)

#1 to #6, from the album Aaron Sachs Sextette (Bethlehem BCP-1008)

Aaron Sachs (clarinet [#3, #6], tenor sax [#1, #2, #4, #5]),

Urbie Green (trombone), Danny Bank (baritone sax),

Barry Galbraith (guitar), Clyde Lombardi (bass), Osie Johnson (drums).

Recorded in New York City, November 1954

#7 to #11, from the album Jazzville Vol.3 (Dawn DLP1114)

Aaron Sachs Sextet

Aaron Sachs (clarinet [#8, #19, #11), tenor sax (#7, #9),

Jimmy Cleveland (trombone), Joe Roland (vibes),

Dick Garcia (guitar), Aaron Bell (bass), Osie Johnson (drums)

Recorded in New York City, 1956

#12 to #22, from the album Clarinet and Co. (Rama RLP1004)

#12 to #18: Aaron Sachs Octet

Aaron Sachs (clarinet [#14, #17], tenor sax [#12, #13, #15, #16, #18]),

Phil Sunkel, Bernie Glow (trumpets), Frank Rehak (trombone), Gene Allen (baritone sax),

Nat Pierce (piano), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, February 18 and 21, 1957

#19 to #22: Aaron Sachs Quintet

Aaron Sachs (clarinet [#19-21] & tenor sax [#22]), Hall Overton (piano),

Jimmy Raney (guitar), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, March 4, 1957

The Amazing Sound Of Toots Thielemans

Jean Toots Thielemans arrived in the U.S. from his native Belgium in 1951. His first works in jazz were as a guitarist, instrument on which he achieved recognition as soon as he joined the George Shearing Quintet in late 1952. However, he was also a skilful harmonica player.

The present selection was intended to introduce the several facets of the instrument as exposed by Toots Thielemans thorough musicianship, his swing, and his unique achievements in versatility. For him, the ingredients of jazz are the beat (the motor) and sound, melody, and harmony (the intelligence). In this collection you will find Toots playing harmonica on every track, and even overdubbing guitar solos on four of them. With feats like this, not only he proved that jazz is a music of many moods, but he also brought a new perspective to the use of the harmonica in the jazz field; because one thing is certain: he can make it swing! *Jordi Pujol*

Jean "Toots" Thielemans

The Amazing Sound Of "Toots" Thielemans

This CD contains the music from two old long-playing records by Toots Thielemans. This concerns The Sound and Time out for Toots from 1955 and 1958 respectively.

Our man was initially mainly active as a guitarist in the United States. I think everyone will be familiar with his role in the George Shearing Quintet of the 1950s. Gradually the harmonica came into more and more action, often in unison with the guitar. That is also the case here. Guitar and harmonica are often heard together. However, the guitar part here was played later. The harmonica is definitely the center of attention.

Thanks to Toots, the small instrument gained a serious place in jazz. When listening to this material it immediately becomes clear what appealed to people about this music at the time. Everything testifies to an unmistakable swing and an indomitable zest for life. The choice of repertoire may lead some people to suspect that it is easy listening pop music from the old days. Nothing is less true. What we hear is jazz of the highest order from the time when jazz was still a mainstream music direction and not a somewhat obscure niche for connoisseurs. It is pleasantly listenable, accessible, modern jazz with a touch of bop here and there. Fans of good guitar playing, refined harmonica playing and Toots in general will find much to enjoy here. He explained the success of his way of playing the harmonica in an interview in Down Beat in 1953 as follows: "The basic thing is that I play the harmonica as an instrument, not a toy". *Jo Beckers*

If this collection proves that jazz is music of many moods, it also proves that jazz is a music which knows no boundaries... of nations of instruments.

It brings a new perspective to that mush-maligned instrument, the harmonica. And adds a new dimension to Thielemans, who can cerrainly make it swing. *Dom Cerulli*

1 - On The Alamo

(Kahn, Jones)

2 - Don't Be That Way

(Goodman, Sampson, Parish)

3 - I Put All The Eggs In One Basket

(Berlin)

4 - Sophisticated Lady

(Ellington, Parish, Mills)

5 - Scotch On The Rocks

(Thielemans)

6 - I Let A Song Go Out Of My Heart

(Ellington, Nemo, Redmond, Mills)

7 - Stars Fell Of Alabama

(Parish, Perkins)

8 - Diga Diga Doo

(McHugh, Fields)

9 - So Rare

(Sharpe, Herst)

10 - Skylark

(Carmichael, Mercer)

11 - Sonny Boy

(Brown, Henderson, DeSylva, Jolson)

12 - Cocktails For Two

(Coslow, Johnston)

13 - The Nearness Of You

(Carmichael, Washington)

14 - In A Sentimental Mood

(Ellington, Kustz, Mills)

15 - You Took Advantage Of Me

(Rodgers, Hart)

16 - Cool And Easy

(Thielemans)

17 - Body And Soul

(Green, Sour, Heyman, Eaton)

18 - The Cuckoo In The Clock

(Donaldson, Mercer)

19 - Tangerine

(Mercer, Schertzinger)

20 - Early Autumn

(Burns, Herman, Mercer)

21 - Them There Eyes

(Pinkard, Tracey, Tauber)

22 - A Handful Of Stars

(Shapiro, Lawrence)

23 - Can't Lovin' Dat Man

(Kern, Hammerstein II)

24 - Clap Yo' Hands

(G. and I. Gershwin)

#1 to #12 from the 12" album The Sound (Columbia CL658)

Toots Thielemans (harmonica) with:

#3, #6, #10, #12:

Lou McGarity, Al Godlis, Billy Rauch, Jack Satterfield (trombones); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#1, #4, #7, #9:

Toots Mondello, Artie Beck (alto sax, clarinet); Carl Prager (baritone sax, clarinet); George Berg (tenor sax, clarinet); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#2, #5, #8, #11

Ray Bryant (piano), Wendell Marshall (bass), Bill Clark (drums).

Recorded in New York City, April 1955.

#13 to #24 from the 12" album Time Out For Toots (Decca DL9204)

Toots Thielemans (harmonica, guitar [#18, #20, #21, #22]) with:

#14, #16, #19, #23: 

Hank Jones (piano), Doug Watkins (bass), Art Taylor (drums).

Recorded in New York City, January 22, 1958.

#13, #17, #18, #22:

Urbie Green, Billy Byers, Chauncey Welsch, Santos Russo (trombones); Hank Jones (piano); Bucky Pizzarelli (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

#15, #20, #21, #24:

Al Cohn, Zoot Sims (tenor saxes); Al Epstein, Danny Bank (baritone saxes); Hank Jones (piano); Barry Galbraith (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

George Handy - "X" Sessions

George Handy (born George Joseph Hendleman in January 1920) was an American jazz arranger, composer and pianist whose musical beginnings were fostered under the tutelage of composer Aaron Copland. While he had an impressive career as a pianist, he is best known in retrospect for his bebop arrangements.

Born in New York City, Handy first worked professionally as a swing pianist for Michael Loring in 1938, but soon was drafted into the United States Army in 1940. From 1944 to 1946 he became a member of the Boyd Raeburn Orchestra, composing and performing on piano. This was during a time when many big bands were transforming their musical tendencies toward bebop. He did leave the orchestra briefly to do work for Paramount Studios, but returned to Raeburn quickly. During this period he entered one of his most creative periods, doing arrangements of older standards with a distinctly bebop quality. Just as he was entering his prime, however, he had a falling out with Raeburn and left the group. While he continued to arrange for other musicians in his later career, it is that 1944–1946 period for which he is remembered most. AllMusic noted that "He was pianist with Zoot Sims' combo during 1956–1957 but mostly worked outside of jazz during his last four decades, although he did spend some time as a Down Beat critic during the latter half of the 60s.

Handy died in Harris, New York, in January 1997 at the age of 76, from heart disease. *wikipedia.org*

***

One of the most advanced arrangers of the mid-1940s, George Handy's radical charts gave the Boyd Raeburn Orchestra its musical personality while also probably making it impossible for the big band to work steadily. He originally learned piano from his mother but later studied at Julliard, New York University, and with Aaron Copland. Handy played with Raymond Scott in 1941 but made his reputation with Raeburn (1944-1946), whose orchestra he turned from a dance band into an ensemble more advanced in its own way than Stan Kenton's. "Tonsillectomy" and "Dalvatore Sally" were two of Handy's more notable (or infamous) originals but even his arrangements of standards (such as "Body and Soul" and "Temptation") that featured singers David Allyn and Ginnie Powell were quite dissonant and full of surprising explosions. Unfortunately, a personality conflict resulted in Handy only being with Raeburn for a little less than two years. Although he wrote for other bands (including those of Alvino Rey, Ina Ray Hutton, and Herbie Fields) and spent time working in the studios, Handy ended up being quite obscure. He was pianist with Zoot Sims' combo during 1956-1957 but mostly worked outside of jazz during his last four decades, although he did spend some time as a Down Beat critic during the latter half of the '60s. As a leader, George Handy was captured privately on six numbers with a quartet in 1945 (released by Onyx), made two studio sides with the Vivien Garry Trio (for Studio & Art in 1945), recorded a specially commissioned piece for Norman Granz in 1946 ("The Bloos"), and headed two little-known albums during 1954-1955 for the RCA subsidiary "X". *Scott Yanow*

George Handy

Handyland U.S.A.

[originally Handyland U.S.A. - "X" (LXA 1004)]

June 13, 1954, saw the return of George Handy to the musical world. He promptly began writing anew with unabashed fury, love and stoic realism. To those of us Handy-ites who had always felt that George was THE Giant of this decade it was anthralling news. Now, at last, a potencial that was virtually untapped was ready to yield a musical geyser.

Ed Kissack of label "X" and myself conceived the idea of recording George Handy running the gamut of jazz expressions. Hence the first of his musical feelings, basic jazz, is clearly attested to in this album. This, of course, is only the start of a free slowing musical flotsam, the Handy current, that will eventually culminate in a ocean of startling sharps and flats.

Thus it was avid interest that inner sanct of the musical realm looked forward to...

August 16, 1954, a hot, sultry evening in Manhattan. The site, Webster Hall, a large meeting place usually used for weddings and social functions. Its hallowed walls encompass acoustical quality second to none.

Assembled were some of the top musicians in the world. This was a hand-picked aggregation, men who had carved their niche in the immortal archives of swingdom.

Because of other commitments no rehearsal was possible. At about a quarter of ten at the night we started. We finished at six thirty that dawn. Needless to say there were interim periods of complete fatigue, high spirits, moroseness, verbosity, and Gemütlichkeit. Therefore, in spite of the unusual procedure of this recording session, it does reflect a complete stratum of feeling, both by the musicians and the composer; the only unwavering high quality was in the recordings.

Since most record dates are done in sterile surroundings, we decided to change matters. We invited a group of friends and music aficionados who we knew would lend a natural feeling to the recording. Of course they beame quite weary after a while and, since the next day was a work day, had to leave for the most part by one or two A.M., and after that quiet reigned as you'll notice in the recordings. *H. J. Morrison (liner notes)*

1 - Recoil

2 - A Tight Hat

3 - Noshin'

4 - Sprong

5 - Rainbow

6 - Pegasus

7 - Lean To

8 - Blinuet

9 - Case-Ace

10 - Crazy Lady

11 - Zonkin'

12 - Footnotes

(All compositions by George Handy)

Ernie Royal (trumpet), Kai Winding (trombone), Dave Schildkraut (alto sax), Allen Eager (tenor sax), Danny Banks (baritone sax), George Handy (piano), Vinnie Burke (bass), Art Mardigan (drums).

Recorded at Webster Hall, New York City, August 16 and 17, 1954.

***

George Handy

Pensive

[originally By George - "X" (LXA-1032)]

George Handy who became known as one of the most adventurous arrangers in progressive jazz between 1944 and 1948, before disappearing from the scene, returned to the music field in the summer of 1954.

Handys most remarkable early works were mainly big band arrangements that he did mostly for the Boyd Raeburn and Alvino Rey orchestras. However, in this new stage of his career, he focused more on his work as a leader of his own small band, recording two 12 albums. This is the second and, by far, the rarest one, reissued now for the first time since its 1955 release.

The band here plays a whole library of Handy originals, which he introduces as tone poems. The intricately woven orchestrations reflect many classical influences in the arranged passages, and some moments suggest Bartók and Stravinsky. But improvisation is never discarded, and there are three frequently featured soloists — Sherman, Rehak or Byers, and Schildkraut — whose warm contributions prevent the whole enterprise from losing contact with jazz.

Despite the tempo changes and a great deal of complexity in the writing, the music often swings. The violin is ingeniously used, usually playing a theme while one or two other lines are juxtaposed against it contrapuntally. *Jordi Pujol*

1 - Heavy Hands

2 - Pulse

3 - Tender Touch

4 - Foolish Little Boy

5 - The Sleepwalker

6 - A Wooden Sail In A Wooden Wind

7 - Maretet

8 - Pensive

9 - Of Gossamer Sheen

10 - Stream Of Consciousness

11 - The Flatterer

12 - Knobby Knees

(All compositions by George Handy)

#1 to #8:

Dick Sherman (trumpet), Gene Orloff (trumpet, violin), Frank Rehak (trombone), Dave Schildkraut (alto sax), Ray Beckenstein (flute, alto sax), Tommy Mace (oboe, tenor sax), Danny Bank (baritone sax), Tony Aless (piano), Buddy Jones (bass), Osie Johnson (drums).

Recorded in New York City, April 13 (#1 to #5) and April 14 (#6 to #8), 1955.

#9 to #12: 

Charle Panelli (trumpet), Gene Orloff (trumpet, violin), Billy Beyers (trombone), Dave Schildkraut (alto sax), Ray Beckenstein (flute, alto sax), Tommy Mace (oboe, tenor sax), Danny Bank (baritone sax), Tony Aless (piano), Buddy Jones (bass), Osie Johnson (drums).

Recorded in New York City, April 22, 1955.

Cannonball Adderley - In The Land Of Hi-Fi

Julian "Cannonball" Adderley fired his first shot, a salvo heard throughout the entire world of jazz, when his initial album (MG 36043) was released less than a year ago. Soon after, he was featured in a quintet session under the leadership of his brother, Nat , on the Wing label; more recently, "Cannonball" was featured with a string ensemble, arranged and conducted by Richard Hayman, in an impressive set of performances on standard tunes, (MG 36063). These albums, further implemented by guest appearances with Sarah Vaughan and other visitors to the Land of Hi Fi, succeeded in their objective of establishing "Cannonball' as a major new jazz talent.

With the present excursion of the Adderley brothers and their cohorts to the Land of Hi Fi, "Cannonball" returns approximately to the same format and setting featured on his first album. Ernie Wilkins served as conductor and arranger. Like Quincy Jones, who was the musical director on the first Adderley session, Ernie recently returned from a tour of the Middle East, during which he played in the all-star band sponsored by the State Department and led by Dizzy Gillespie. On returning home, he put down the saxophone, picked up the pen and went promptly to work on this album, recorded in June, 1956 with the following participants: Nat Adderley, cornet; Ernie Royal, trumpet; "Cannonball" Adderley, alto sax; Jerome Richardson, tenor sax and flute; Danny Bank, baritone Sax; Jimmy Cleveland and Bobby Byrne, trombones; Junior Mance, piano; Charlie "Specs" Wright, drums; Keeter Betts, bass.

Most of the tunes heard on these sides had never been recorded before.

To sum up, this is a lively, swinging session of unpretentious modern jazz that will serve further to consolidate "Cannonball's" reputation as one of the big guns in contemporary music. *(Liner notes)*

He's got a whole freakin' orchestra in this one sounds like. It is a pretty big ensemble compared to most hard bop artists. But it sounds damn good. He's got some sweet hard bop swinging sounds. There's one original tune here and the rest are penned by some other famous jazz and standard writers. I highly recommend this release. ✤ Stylistically, somewhere between Miles Davis' "Birth of the Cool" recordings and Doc Severinsen. The arrangements are mostly fairly restrained, and then Cannonball jumps in and tears the place apart. Around this time, Miles noticed Cannonball and recruited him into his group shortly thereafter. ✤ A set of short but VERY potent swinging songs that Cannonball just has a blast improvisiing over. The overall style tends more towards the West Coast style of jazz but still has plenty of fire, with very colorful and bright-hued arrangements. The major departure from this style occurs on the gruff bluesy "I Don't Care", which features the snide, growling sarcastic flute of one Jerome Richardson, one of my favorite tracks actually. Very recommended. *rateyourmusic reviews*

The title's a bit of a mouthful, but a good description of the way Cannonball was presented in the years before his soul jazz groove firmly kicked in! The "hi fi" is a bit overstated -- as the album's pretty much of a straight jazz record, featuring Cannon blowing lead solos in a large group arranged and directed by Ernie Wilkins. Bother Nat's on cornet, and other players include Jerome Richardson, Junior Mance, and Jimmy Cleveland. Titles include "Junior's Tune", "Blues For Bohemia", "Dog My Cats", "T's Tune", and "Casa De Marcel".  *dustygroove.com*

Side 1

1 - Dog My Cats

(Ernie Wilkins)

2 - I'm Glad There Is You

(Madeira, Dorsey)

3 - Blues For Bohemia

(Julian and Nat Adderley)

4 - Junior's Tune

(Junior Mance)

5 - Between The Devil And The Deep Blue Sea

(Koehler, Arlen)

Side 2

6 - Casa De Marcel

(Marcel Daniels)

7 - Little Girl Blue

(Rodgers, Hart)

8 - T's Tune

(Thomas Turrentine)

9 - Broadway At Basin Street

(Wayne, Frisch)

10 - Just Norman

(Wright)

11 - I Don't Care

(Ray Bryant)

Julian "Cannonball" Adderley (alto sax); Nat Adderley (cornet); Danny Bank (baritone sax); Jerome Richardson (tenor sax, flute); Ernie Royal (trumpet); Jimmy Cleveland, Bobby Byrne (trombones); Junior Mance (piano); Keeter Betts (bass); Charlie "Specs" Wright (drums), Ernie Wilkins (conductor and arranger).

Recorded at Capitol Studios, New York City, June 8 (#5, #7, #9, #10), June 16 (#1, #2, #4, #6) and June 18 (#3, #8, #11), 1956.

The RCA Victor Jazz Workshop #6

The Arrangers

RCA Victor Jazz Workshop

The next release in RCA Victor’s Jazz Workshop series was led by John Carisi. The three recording sessions in April, May, and June of 1956 were assigned a release number, LPM-1371, but it remained in the vault until 1988 when Executive Producer Steve Backer tapped veteran jazz producer Ed Michel to put together a CD release of sessions from the Jazz Workshop series. Michel was given a free hand to select tracks for the compilation.

John Carisi started composing seriously during World War II, while stationed with Glenn Miller's Air Force Band on the Yale campus. "I'd run around and find out who wasn’t going into New York for the weekend and write for whoever was left— whether it was a cello and a French horn, or a piano and a tuba. Two people —we had a band", he remembers.

I asked Ed if he found any alternates from the Jazz Workshop series while producing the album: "No alternates surfaced.  I was motivated by a desire to get the Gil Evans stuff out, and fascinated by the Carisi stuff (the parallel versions under his name and Miles' Birth of the Cool).  Lewis' Jazz Workshop stuff was a wonderful idea.  I have no real data, but have to assume that RCA suits wanted bigger sales numbers.  I note that while I was working on BMG reissues, the head of the music division was formerly in charge of refrigerators for Gil Evans". 

This compilation focuses refreshingly on the arrangers. It has selections from Hal McKusick's and John Carisi's Jazz Workshop albums, offering overlooked scores by Evans, George Russell and Carisi. It is rounded out by the work of Rod Levitt, a trombonist and commercial arranger who occasionally worked with Evans in the '60's. His charts, excerpts from his mid 60's recordings for RCA, make full use of the experimental ideas that the Miles Davis's Birth of the Cool crowd had ushered in years before. *James Harrod*

A lot of unusual music appears on this Bluebird CD. Altoist Hal McKusick (with arrangmeents contributed by George Russell and Gil Evans) performs five numbers (including a version of "Blues for Pablo" that was cut a year before Miles Davis's recording) with a variety of musicians including trumpeter Art Farmer and trombonist Jimmy Cleveland. Arranger John Carisi (heard here on trumpet) interprets seven previously unreleased numbers with an octet and trombonist Rod Levitt performs five of his arrangements with his own advanced octet. Although these performances would have little influence on future developments in jazz (the free jazz movement of the 1960s overshadowed the trend toward using elements of modern classical music in charts), the music still sound quite fresh and unpredictable today. *Scott Yanow*

~Hal McKusick - The RCA Victor Jazz Workshop~

1 - Blues for Pablo

(Evans)

2 - Jamblange

(Evans)

3 - Miss Clara

(Russell)

4 - The Day John Brown Was Hanged

(Russell)

5 - Lydian Lullaby

(Russell)

Hal McKusick (alto sax [#1, #2, #3, #4]); Art Farmer (trumpet [#1, #3]); Jimmy Cleveland (trombone [#1, #3]); Gene Allen (baritone sax [#1, #3]); Bill Barber (tuba); Jimmy Raney [#1, #2]), Barry Galbraith (guitars); Milt Hinton (bass); Osie Johnson (dums); George Russell (tambourine [#1], drums ([#4]).

Recorded at Webster Hall, New York City, April 4 (#1, #2, #3), and March 3 (#4, #5), 1956.

~John Carisi - The RCA Victor Jazz Workshop~

6 - Honeysuckle Rose

(Razaf, Waller)

7 - Springsville

(Carisi)

8 - Israel

(Carisi)

9 - Lestorian Mode

(Carisi)

10 - Barry's Tune

(Carisi)

11 - How About You

(Freed, Lane)

12 - Hips

(Carisi)

John Carisi (trumpet, arranger); Eddie Wasserman (tenor sax); Ray Beckenstein (alto sax, clarinet); Urbie Green (trombone); Sol Schlinger, Danny Bank [#8] (baritone saxes); Barry Galbraith (guitar [#8]); Milt Hinton, Russ Saunders [#8] (basses), Osie Johnson, Herb Wasserman [# 8] (drums).

Recorded at Webster Hall, New York City,  April 21 (#8), May 5 (#6, #9, #10),  and June 11 (#7, #11, #12), 1956.

~The Rod Levitt Orchestra~

13 - Vera Cruz

(Levitt)

14 - Holler N°3

(Levitt)

15 - Morning In Montevideo

(Levitt)

16 - Greenup

(Levitt)

17 - Mr. Barrelhouse

(Levitt)

Rod Levitt (trumpet, arranger), Rolf Ericson (trympet, flugelhorn), Buzz Renn (flute, clarinet, alto sax), George Marge (piccolo, flute, alto flute, clarinet, tenor sax, oboe), Gene Allen (baritone sax, clarinet, bass clarinet), Sy Johnson (piano), John Beal (bass), Ronnie Bedford (drums, whistle).

Recorded at RCA Studio "C", New York City, December 10 (#13), December 11 (#14), 1964, and July 7 (#16), July 8 (#15, #17), 1965.