Jazz goes to... The Dave Pell Octet

Shortly after it was formed in 1953, the Dave Pell Octet won best new combo of the year in polls conducted by Americas Daily News and Mirror newspapers. Six of its eight members were included in Down Beat magazines 1953 poll of the top musicians in the country. Pell and his group flipped fans everywhere they appeared, specializing in Proms and School Dances, and becoming the first name jazz group ever to play for dancing at one of the top Sunset Strip clubs, The Crescendo, and also the Hollywood Palladium.Its jazz was described variously as tasty, sophisticated, subtle, warm, bright, clean, friendly, inventive, happy, and a complete show and concert rolled into one. One successful Octet approach was to have the crowd gather around the bandstand to watch it play a fast jive number featuring the bands excellent soloists.An essential contributing factor in the Octets success was that Pell hired the West Coasts finest arrangers to write the beguilingly melodic and always attractive, danceable band charts; people of the calibre of Marty Paich, Bill Holman, Shorty Rogers, Jack Montrose, Med Flory, John T. Williams. And it was this canny combination of quality and accessibility that really made the Octets name and gave the music its enduring flavour. In Dave's own words: Heres hoping you enjoy our combined dance-and-jazz Campus Hop! *Jordi Pujol*

Dave Pell was a saxophonist who worked in Les Brown's band on the American West Coast from 1947 to 1955. In 1953 he formed his octet, which included some musicians who had played for Les Brown, such as Don Fagerquist and Ray Sims. Dave Pell won considerable popularity by playing in colleges and for high school proms, concentrating on jazz which was suitable for dancing. The music was of high quality, thanks especially to the talented arrangers that Pell employed, including Bill Holman, Marty Paich, Shorty Rogers and Jack Montrose.

The Octet made two LPs called Jazz Goes Dancing, the first in 1956 sub-titled Prom to Prom and the second in 1957 subtitled Campus Hop. They consist of tight, disciplined arrangements which make the most of the eight musicians. Each track contains a good deal of ensemble writing, leaving limited room for jazz solos. What solos there are seldom last for more than 16 bars. Only four of the dozen tracks on the first LP last for longer than three minutes.

One danger of such short, clean arrangements is that they can seem soulless, but that tendency is kept at bay with interesting treatments of the tunes. For instance, "Let's Face the Music and Dance" is taken at an unusually slow tempo, and "Forty-second Street" is updated from its old-fashioned mood to sound like a cool modern arrangement.

Dave Pell himself had a clipped style on the tenor sax, without much vibrato - somewhat similar to the style of altoist Lee Konitz. The trumpeters on both LPs are excellent, with Jack Sheldon particularly notable on "We're in the Money" and "Would You Like to Take a Walk". Med Flory's solos on baritone sax are well worth hearing.

These albums is certainly well-suited to dancing but also to listening, as it is full of musical subtleties. *Tony Augarde (musicweb-international.com)*

Dave Pell Octet

Jazz Goes Dancing

Prom To Prom

The Dave Pell Octet, which made its first recordings in 1953, came out of the Les Brown big band and was the epitome of a swinging, cool-toned, West Coast-style jazz group. Pell's ensemble at the time consisted of the leader on tenor, trumpeter Don Fagerquist (an underrated great), trombonist Ray Sims, baritonist Marty Berman, pianist Arnold Ross, guitarist Tony Rizzi, bassist Bob Bates and drummer Irv Kluger. In order to increase his audience, Pell went out of his way to play for dancing audiences without altering his music much. This long-out-of-print LP is an excellent example of Dave Pell's music of the era, with a dozen songs (two originals and ten vintage standards) whose titles have something to do with college-age people or dancing. Examples include "Young and Healthy", "The Continental", "When I Take My Sugar to Tea" and "Walkin' My Baby Back Home". Worth exploring. *Scott Yanow*

In the space of practically no time at all, the Dave Pell Octet has come to hold an extremely high reputation in the jazz world and, most recently, in the collegiate and high school orbit of dancing. Its jazz has been described variously as tasty, sophisticated, subtle, warm, bright, clean, friendly, inventive and happy. Be that as it may, there is a feeling of rapport here that is missing in so many other groups, and Pell's Octet always keeps everything swinging, whether lightly or from the heels. The cohesion engendered by the Octet is a natural thing indeed, in that three of its members — tenor saxophonist Dave Pell, trumpeter Don Fagerquist and trombonist Ray Sims — for years were stellar members of the fine Les Brown band. The other little Pells — baritone saxophonist Marty Berman, guitarist Tony Rizzi, bassist Bob Bates, pianist Arnold Ross and drummer Irving Kluger — each has his particular claim to fame, especially Rizzi, who is now on Dinah Shore's TV show; Ross, who was at one time Lena Horne's 

accompanist; and Bates, who was a member of the original Dave Brubeck quartet.

As for Dave Pell himself, he has all the qualities necessary for success in the music business. He's both handsome and personable; he has a complete knowledge of his instrument and knows exactly the manner in which he wants his Octet to play and to perform; he's by way of being a nifty guy with a wonderful sense of humor. On top of all this, he also maintains in Hollywood a thriving photography and publicity business. Our Mr. Pell is one for the record!

*Radio Corporation of America (liner notes)*

1 - Look Who's Dancing

(Arthur Schwartz, Dorothy Fields)

2 - East Of The Sun

(Brooks Bowman)

3 - You

(Walter Donaldson, Harold Adamson)

4 - Young And Healthy

(Warren, Dubin)

5 - The Continental

(Herb Magidson, Con Conrad)

6 - Dance For Daddy

(Dave Pell)

7 - When I Take My Sugar To Tea

(Fain, Kahal, Pierre)

8 - If I Had You

(Shapiro, Campbell, Connelly)

9 - Cheek To Cheek

(Irving Berlin)

10 - Let's Face The Music And Dance

(Irving Berlin)

11 - Prom To Prom

(Dave Pell)

12 - Walkin' My Baby Back Home

(Turk, Ahlert)

Don Fagerquist (trumpet), Ray Sims (trombone), 

Dave Pell (tenor sax), Marty Berman (baritone sax),

Arnold Ross (piano), Tony Rizzi (guitar), Bob Bates (bass), Irving Kluger (drums).

Recorded at Radio Recorders, Hollywood, California, May 28 (#1, #4, #10, #12), 

May 31(#2, #5, #7, #8) and June 4 (#3, #6, #9, #11), 1956

✳✳✳

Dave Pell Octet

Jazz Goes Dancing

Campus Hop

Subtitled "Jazz Goes Dancing" (which was the name of an earlier album), this LP (which was last reissued by the Spanish Fresh Sound label) features the Dave Pell Octet playing a dozen songs written by Harry Warren. The danceable music swings and features fine short solos from the members of the octet, which at the time were trumpeter Jack Sheldon, valve trombonist Bob Enevoldsen, Pell on tenor, baritonist Med Flory, pianist Paul Moer, guitarist Tom Tedesco, bassist Buddy Clark and drummer Mel Lewis. The West Coast all-stars perform arrangements by Marty Paich, Bill Holman, Shorty Rogers, Flory and John Williams to such songs as "You're My Everything", "Forty-Second Street", "Lulu's Back In Town" and "I'll String Along With You".

*Scott Yanow*

Listening to the Dave Pell Octet is like hearing music played all over again for the first time. The joyful abandon of the arrangements and the carefree style of the musicians make this a delightful album.

I have heard my music played by the Memphis Five in the beginning of the jazz era and, continuing through the years, by all the great bands up to the present day. Truthfully, I thought that I had heard about everything and that the end had been reached, but Dave Pell proves there is no end. 

I could go on and on singing the praises of these wonderful musicians and orchestrators, but if you just lend an ear you'll see why I heartily recommend this album to the young and the young in heart. *Harry Warren (liner notes)*

1 - Java Junction

(Harry Warren)

2 - You're My Everything

(Warren, Young, Dixon)

3 - Forty-Second Street

(Harry Warren, Al Dubin) 

4 - By The River Saint Marie

(Harry Warren, Edgar Leslie) 

5 - I Know Why And So Do You

(Harry Warren, Mack Gordon)

6 - We're In The Money

(Harry Warren, Al Dubin)

7 - Cheerful Little Earful

(Warren, Gershwin, Rose)

8 - Would You Like To Take A Walk

(Warren, Rose, Dixon)

9 - Lulu's Back In Town

(Harry Warren, Al Dubin)

10 - I'll String Along With You

(Harry Warren, Al Dubin)

11 - Remember Me

(Harry Warren, Al Dubin)

12 - Summer Night

(Harry Warren, Al Dubin)

Jack Sheldon (trumpet), Bob Enevoldsen (valve trombone), 

Dave Pell (tenor sax), Med Flory (baritone sax),

Paul Moer (piano), Tommy Tedesco (guitar), Buddy Clark (bass), Mel Lewis (drums). .

Recorded at Radio Recorders, Hollywood, California, November 12 (#4, #5, #6, #7),

November 14 (#2, #3, #11, #12) and November 27 (#1, #8, #9, #10), 1957

Ronnie Lang: Underrated modern jazzman

Ronnie Lang And His All-Stars

Modern Jazz

Ronnie Lang (sometimes spelled Ronny) born Ronald Langinger in Chicago, Illinois, July 24, 1927. His professional début was with Hoagy Carmichael's Teenagers. He also played with Earle Spencer (1946), Ike Carpenter, and Skinnay Ennis (1947). Lang gained attention during his two tenures with Les Brown's Orchestra (1949–50 and 1953–56). He recorded with the Dave Pell Octet in the mid-1950s. During this time he attended Los Angeles State College of Applied Arts and Sciences studying music and woodwinds. 

He lost interest in jazz in the early 70's and was mainly active in recordings for films and TV productions.

In 1958 he became a prolific studio musician in Los Angeles, often employed by Henry Mancini, and he played the iconic sax melodic line in Bernard Herrmann’s score for the movie Taxi Driver (1976). Lang also recorded with Pete Rugolo (1956), Bob Thiele (1975), and Peggy Lee (1975).

MODERN JAZZ features some of the greatest progressive jazz musicians in the business and Ronny Lang, who heads the group, is one of the truly outstanding new talents in the country. Each of the men who accompany him are featured soloists in their own right. Up to now, circumstances have prevented the group from ever having played 

together as a unit. This album has finally given them their long-awaited opportunity. 

In Ronny's own words, "We have tried in our first TOPS album to express how we really feel about modern jazz. Good progressive jazz has many moods and expresses 

itself in many ways. Our choice of tunes reflects our attempts to capture as much of the real sound and spirit as one record permits. After being a side man for many years and conforming to the musical discipline of big bands, I welcomed the freedom that's only possible with a small but great group such as this. Additionally, the chance to pick the tunes, tempos, and arrangers, made this album a completely enjoyable experience for all of us".

We know the listening public will find MODERN JAZZ an equally enjoyable listening experience.

*(from the liner notes)*

A workmanlike collection of standards and originals ("Basie Street" and "Cantara") highlighting Lang's alto with spurts of flashing piano by Paich, "Basie Street" achieves a  Count Basie mood, with Paich leading the way and Envoldsen blowing his best in the set. The three horns are heard only on the first six tracks. The other six are all Lang with rhythm, except "'S Wonderful", which is a baritone solo. It’s probably Pell. "Cantara", featuring Lang on flute, is a wild, Latin American flavored piece. The six sextet sides ar brightly arranged with pretty routine solos. The quartet sides, with exception of "Cantara", are rather straight melodic vehicles.

*Dom Cerulli (Down Beat, February 20, 1957)*

Side 1

1 - Devil And The Deep Blue Sea

(H. Arlen, T. Koehleer)

2 - How About You

(B. Lane, R. Freed)

3 - They Can't Take That Away From Me

(G. and I. Gershwin)

4 - I'll Be Around

(Alec Wilder)

5 - Basin Street

(Ronny Lang)

6 - Taking A Chance On Love

(V. Duke, J. Latouche)

Side 2

7 - Skylark

(H. Carmichael, J. Mercer)

8 - Midnight Sun

(L. Hampton, S. Burke, J. Mercer)

9 - 'S Wonderful

(G. and I. Gershwin)

10 - A Foggy Day

(G. and I. Gershwin)

11 - Cantara

(Ronny Lang)

12 - Lullaby In Rhythm

(E. Sampson, C. Profit, B. Goodman, W. Hirsh)

#1 to #6: Ronnie Lang Sextet 

Ronnie Lang (alto sax), Dave Pell (tenor sax, baritone sax), Bob Enevoldsen (valve trombone),

Marty Paich (piano), Ray Leatherwood (bass), Johnny Loais (drums).

Recorded in Los Angeles, California, 1956

#7 to #12:  Ronnie Lang Quartet

Ronnie Lang (alto sax, baritone sax [#9], flute [#11]), Marty Paich (piano),

Ray Leatherwood (bass), Johnny Loais (drums).

Recorded in Los Angeles, California, 1957

Note: Although the back cover of the LP lists Ronnie Lang as the tenor saxophonist, 

on these recordings he plays alto sax, flute, and baritone sax.

Les Brown's Men

On June 15, 1955, Down Beat magazine profiled the members of Les Brown's orchestra in an article titled "Here's The Lineup Of The Les Brown Ork". The four protagonists of the album presented below were introduced as follows:

RONNY LANG [a.k.a. Ronnie Lang], 25, alto sax, was bom in Chicago, but first started playing in Los Angeles with Hoagy Carmichael's Teenagers. Ronny also worked with Earle Spencer, Dick Pierce, Ike Carpenter, and Skinnay Ennis. He joined Les in 1949 and played with him for a year before being drafted. Ronny rejoined Les in 1953. He is married, has one child, and stays in shape by playing tennis and golf.

RAY SIMS, 34, trombone, started playing at 15. Ray, brother of Zoot Sims, worked for Don Briggs, then with Giggie Royse in Honolulu until the war. He was in the army

three years. Ray also played for Jerry Wald, Bobby Sherwood, and Benny Goodman, before joining Les. "I love to watch and play baseball", says Ray.

DAVE PELL, 30, tenor sax, bass clarinet, oboe, and English horn, played with the bands of Bob Astor, Bobby Sherwood, and Tony Pastor before going to the coast to join the Bob Crosby show. Dave had a small group around L.A. for a few years, and recorded an album for Trend Records with an octet made up of the nucleus of the Brown band which proved to be a big success. Since then, the group recorded two more albums for Trend and one for Atlantic Records. When the Les Brown band has open dates, Dave has no trouble booking the group for jazz concerts and teenage dances. In his "spare time", Dave maintains a photography studio and an advertising and publicity office in Hollywood. He is married, and his wife is expecting a child.

DON FAGERQUIST, 28, trumpet, started his career in music back in his home town, Worcester, Mass. Don studied with local teachers and played in his high school band. He has been associated with the following orchestras: Mal Hallett, Gene Krupa, Artie Shaw, Woody Herman, and a small combo with Anita O'Day, before joining Les Brown.

Don enjoys his record collection, and keeps in trim by swimming. He has two children: Tom, 8, and Donna June, 2.

Ronny Lang • Ray Sims • Dave Pell • Don Fagerquist

The Les Brown All Stars

The Les Brown All Stars are actually three groups — the Dave Pell Octet, Ronny Lang Saxtet and Don Fagerquist Nonet — comprised for the most part of members or alumni of Brown's popular and long-lived Band of Renown and encircling on this anthology from the mid-'50s three numbers by Zoot Sims' older brother, trombonist Ray, with string section. Pell's group, the precursor to the others, is heard on three tracks, as are the Fagerquist and Lang groups.

Pell, who joined Brown's band in 1948, formed his crowd-pleasing octet five years later. While the first group was made up entirely of personnel from the Band of Renown, others soon were enlisted, such as baritone saxophonist Bob Gordon, pianist Paul Smith and bassist Joe Mondragon, who are among the performers here. Pell is the common denominator in all three groups, manning the front line with Gordon and tenor giants Sims and Bill Holman in Fagerquist's nine-piece ensemble, with altos Lang and Bob Drasnin in the former's Saxtet.

The music, much of it taken from the Great American Songbook and neatly arranged by the likes of Holman, Marty Paich, Shorty Rogers and Wes Hensel, never strays far from Brown's dance-oriented philosophy (as Pell says, music that was "danceable and yet still had a jazz feel ). It's cheerful music that swings breezily along behind buoyant solos by Pell and the others. Pell, a remarkably durable musician who made his professional debut in 1941 plays a "happy tenor" that would put a smile on almost anyone's face. If you've heard Zoot or Bob Cooper, the tenors who perhaps came closest to Pell in style and temperament, if not in sound, you'll know what I mean.

*Jack Bowers (allaboutjazz.com)*

Four of Les Brown's most talented stars... leading four gifted groups through stimulating jazz performances! 

You may, quite rightfully, be bothered about the title "All-Stars" being applied to almost every musical group of more than four pieces. And then along comes a unit which has every right to use the title, and all of a sudden you feel sorry for the ones that try to bluff.

Such a group is the entire Les Brown Orchestra — a facile, skilled, sharpshooting gang of musicians who know what to do when jazz time rolls around.

A number of Brown's men lead bands in this album, augmented by a few sturdy West Coast jazzmen who are in complete rapport with them. See if you don't agree that this collection puts the phrase "All-Stars" back in the position where it belongs — a signification of strength and quality that corresponds to "sterling" on silver. *Jack Tracy (liner notes)*

Side 1

1 - Mike's Peak

(Shorty Rogers)

2 - Thou Swell

(Richard Rodgers, Lorenz Hart)

3 - The Way You Look Tonight

(Jerome Kern, Dorothy Fields)

4 - You Don't Know What Love Is

(Don Raye, Gene De Paul)

5 - The Man I Love

(George and Ira Gershwin)

6 -Sorta Moonlight

(Wes Hensel, Ronny Lang)

Side 2

7 - Love Is Just Around The Corner

(Lewis E. Gensler, Leo Robin)

8 - Klump Jump

(Marty Paich)

9 - My Funny Valentine

(Richard Rodgers, Lorenz Hart)

10 - Love Me Or Leave Me

(Walter Donaldson, Gus Kahn)

11 - Let's Fall In Love

(Harold Arlen, Ted Koehler)

12 - Poopsie

(David Pell)

#1, #8, #12: Dave Pell Ensemble

Dave Pell (tenor sax), Bob Gordon (Baritone sax), Ray Sims (trombone),

Don Fagerquist (trumpet), Tony Rizzi (guitar), Paul Smith (piano),

Joe Mondragon (bass), Ralph Peña (bass [#8]), Jack Sperling (drums).

Recorded at Capitol Melrose Studios, Hollywood, California,

June 15 (#1, #12) and June 17 (#8), 1955

#2, #6, #10: Ronny Lang Saxtet

Ronny Lang, Bob Drasnin (alto saxes); Dave Pell, Abe Aaron (tenor saxes);

Butch Stone (baritone sax); Donn Trenner (piano); Buddy Clark (bass); Bill Richmond (drums).

Recorded at Capitol Melrose Studios, Hollywood, California, June 23, 1955

#3, #5, #7: Don Fagerquist Nonette

Don Fagerquist (trumpet); Bill Holman, Dave Pell, Zoot Sims (tenor saxes);

Bob Gordon (baritone sax); Vernon Polk (guitar); Donn Trenner (piano);

Buddy Clark (bass); Bill Richmond (drums).

Recorded at Capitol Melrose Studios, Hollywood, California, June 21, 1955

#4, #9, #11: Ray Sims With Strings

Ray Sims (trombone, vocal [#11]), Ronny Lang (flute), Corky Hale (harp),

Donn Trenner (piano), Buddy Clark (bass), Bill Richmond (drums).

[String section led by Les Brown but unidentified personnel]

Recorded at Capitol Melrose Studios, Hollywood, California, June 27, 1955

Dave Pell: From Dixie to Cool

Dave Pell Octet

The Old South Wails

In a considerably cooler climate than is usually found below the Mason-Dixon Line, the Dave Pell Octet swings solidly through the South with their smooth, danceable stylings of Dixieland favorites. Bringing a new, modern sound to this fine collection of Dixie chestnuts is the inventive writing of no less than six different arrangers, who have up-dated such two-beat classics as "Ballin' The Jack" and "Sugar Foot Strut" to suit the "soft-swing" style that characterizes the music of Dave Pell. Many of the tunes begin in traditional Dixieland fashion, then make a subtle switch from hot to cool, as in "Jazz Me Blues" and Bill Holman's swinging, uptempo arrangement of "Oh, Didn't He Ramble" which opens with a slow and stately intro that's reminiscent of a solemn Bourbon Street processional. Still another highlight is the famous jazz spiritual "When The Saints Go Marching In", which is treated to a brilliant modern arrangement by Marty Paich, a Dave Pell colleague of long standing. Here Dave is featured on tenor sax, along with Jack Sheldon, trumpet; Harry Betts, trombone; Med Flory, baritone. Marty Paich and Johnny Williams share piano duties, heading a rhythm section that includes Lyle Ritz, bass; Tommy Tedesco, guitar; and Frankie Capp on drums.

*(From the liner notes)*

The final recording by the Dave Pell Octet until 1984 is a bit of a departure, for the 12 numbers are mostly Dixieland standards, including "Shim-Me-Sha-Wabble", "Ballin' the Jack", "Jazz Me Blues", and even "The Saints". The arrangements (by Med Flory, Marty Paich, Bill Holman, Harry Betts, Bob Florence and John Williams), however, are more modern, very much in the 1950s West Coast jazz style championed by Pell. The Octet (which includes Pell on tenor, trumpeter Jack Sheldon, trombonist Harry Betts, baritonist Flory, Paich or Williams on piano, guitarist Tommy Tedesco, bassist Lyle Ritz and drummer Frankie Capp) plays the charts well, swinging lightly, and the key musicians take plenty of short solos. Although there are hints of Dixieland in spots, this is mostly a cool jazz session and serves as the swan song for the fine group. It is a pity that so few of Dave Pell's recordings (including this one) have yet to be reissued on CD. *Scott Yanow*

This is a great example of the Dave Pell group. The jazz improv here is of the "brief" variety and the arrangements do interesting things...each one has its own eccentricities, and they all change around constantly. The style would probably qualify as "cool jazz", since the octet format has a number of different sound colors and the approach is not strictly bebop, but rather modern jazz as it was done in LA around the late fifties and early sixties.

This album takes tunes that would have been known in colleges and especially in the South, and sticks them into the jazz octet world of Dave Pell. All the tunes give plenty of soloing time, assuming you are not insistent upon extended form soloing like that of Miles and Trane.

If you are already familiar with the Jazz at the Lighthouse or the Shelly Manne and his friends style of jazz, then you will seriously dig this album.

I especially enjoyed hearing trombonist Harry Betts. Harry is also a great, great arranger and he plays great bone. Since I am a trombone player, I like to hear him.

*Christopher Tune (Amazon customer)*

Side 1

1 - Shi-Me-Sha-Wabble

(Spencer Williams)

2 - When The Saints Go Marching In

(Traditional, Arr. by Marty Paich)

3 - Sugar Foot Strut

(Pierce, Schwab, Myers)

4 - Ballin' The Jack

(Chris Smith, Jim Burris)

5 - There'll Be Some Changes Made

(Higgins, Overstreet)

6 - Paper Doll

(Johnny S. Black)

Side 2

7 - Jazz Me Blues

(Tom Delaney)

8 - Oh, Didn't He Ramble

(Handy, Arr. by Bill Holman)

9 - Blues (My Naughty Sweety Gives To Me)

(Swanstone, McCarron, Morgan)

10 - Manhattan

(Richard Rodgers, Lorenz Hart)

11 - Ida! Sweet As Apple Cider

(Leonard, Munson, Arr. by Mary Paich)

12 - Tishomingo Blues

(Spencer Williams)

Dave Pell (tenor sax); Jack Sheldon (trumpet); Harry Betts (trombone);

Med Flory (baritone sax); John Williams, Marty Paich (piano);

Lyle Ritz (bass); Tommy Tedesco (guitar); Frank Capp (drums).

Recorded in Los Angeles, California, 1961

The Dave Pell Octet - The Complete Trend And Kapp Recordings

The success of the Dave Pell Octet was one of the fairy-tale stories of the West Coast jazz of the Fifties. Founded by Pell in 1953, this small jazz group, drawn from the nucleus of Les Brown's orchestra, was among the most popular jazz outfits in Southern California within months. The Octet's first library had the stimulating and ingeniously voiced arrangements of Shorty Rogers and Wes Hensel, which gave this group the feel of a big band. "We used the guitar as a voice in unison with trumpet", Pell explained, "and so the Octet sound had a successful formula which allowed us to play a tempo that was danceable and yet still had a jazz feel".

Bill Brown, Daily News jazz columnist wrote: "Pell and his group have flipped fans everywhere they've appeared. It's a skilled and interesting group and one you should hear". The Octet's cohesion was remarkable, and additional scores by such talented arrangers as Marty Paich, Johnny Mandel, and Bill Holman, helped establish its sound and personality.

All of the Octet's recordings for the labels Trend (1953-1954) and Kapp (1956), which epitomize its smooth sophistication; with their tightly scored ensembles, the deft styling concealed some excellent musicianship, and they all contain highly individualistic contributions by its stellar soloists, Don Fagerquist, Ray Sims, Ronny Lang, and the airy, swinging tenor of Dave Pell, who said, simply: "We play jazz for dancing. That's our forte". *Jordi Pujol*

Mine is not the approach of a jazz musician who goes into the recording studio to play 40 minutes of completely improvised jazz. Our projects are carefully planned. I feel that our music should be well designed, interesting yet easy to follow. We find it best to state the melody first, then come the spots for the blowing. But even behind a jazz chorus I want backgrounds going at the same time to give an overall big band sound. The restatement of the melody, in one form or another, in the closing completes the pattern. *Dave Pell*

The Dave Pell Octet

The Complete Trend And Kapp Recordings

1953 ~ 1956

Back in the 1950s, a group of guys from New York and Philadelphia moved to Hollywood to get steady work in the nascent TV and movie recording industry and developed a sound called "West Coast Cool". Essentially, is was a reaction to the torrid tempos and harmonics of bebop; a kinder, gentler sound, more adaptable to cruising along Pacific Coast Highway in your convertible while wearing your Hawaiian shirt. The softer and more arranged sounds have been denigrated by some, but they have surprisingly aged well, especially when the music was in the capable hands of Pres-inspired tenor saxist Dave Pell, who faithfully carried the lighter than sound air and kept it popular until it was finally taken over by the cacophonous shrieks and wails by the barbarians at the gates in the late 50s and early 60s.

This two disc set has the soft and sleek toned tenorist with fellow Angelenos including Don Fagerquist, Ray Sims, Ronny Lang, Jeff Clarkson, Don Trenner, Claude Williamson, Tony Rizzi, Rolly Rundock, Bill Richmond and Jack Sperling. The polished chrome arrangements are by the likes of Marty Paich, Shorty Rogers, Johnny Mandel, Med Flory, and Bill Holman among others. The themes of the three albums produced here give tributes to composers Irving Berlin, Rodgers & Hart and Burke & Van Heusen.

Vocalist Lucy Ann Polk gives girl next door versions of daiquiri-flavored "Like Someone In Love", "Polka Dots and Moonbeams" and "Aren't  You Glad You're You". Pell himself is lithe and warm as he coos on "I'm Putting All My Eggs in One Basket" and "Kate". Pell adds some rich harmonics as he switches to the English horn on "Russian Lullaby" and Ronny Lang wisps on the flute during "It Never Entered My Mind" and "Darn that Dream". The team is light enough to swing with soft shoes, but thick enough to show some muscle in the process, and the creative charts keep the music concise, coherent and clever.

The liner notes include all of the studio info, as well as some great background on a period when a jazzer could make a good living and buy a house in the Valley just by blowing his horn. Any complaints? *George W. Harris*

The Dave Pell Octet was one of the definitive cool jazz groups of the 1950s. Tenor saxophonist Pell played with Les Brown's big band during 1948-56 and started to record with an octet drawn from the orchestra in 1953. His first project was a set of a dozen Irving Berlin tunes, and the results are quite memorable. The swinging and subtle ensembles, concise and emotionally restrained solos, and excellent musicianship would be trademarks of the band. Consisting of Pell; trumpeter Don Fagerquist; trombonist Ray Sims; Ronny Lang on baritone, alto, and flute; pianist Jeff Clarkson; guitarist Tony Rizzi; bassist Rolly Bundock; and drummer Jack Sperling, the octet plays arrangements by Shorty Rogers, Jerry Fielding, and Wes Hensel. Recommended.

The Rodgers & Hart set was one of the group's most famous recordings, with classic renditions of "Mountain Greenery", "The Blue Room", "Spring Is Here" and "Ten Cents a Dance" being among the highpoints. The arrangements (by Marty Paich, Wes Hensel, Shorty Rogers, and Johnny Mandel) practically define the idiom, as do the cool-toned solos. A gem.

This release reissues the band's two Johnny Burke/Jimmy Van Heusen albums. Lucy Ann Polk sings eight of the 16 selections, and she is a major asset, displaying a relaxed, straightforward, basic, and winning approach, warmly uplifting each song. The arrangements are by Shorty Rogers, Wes Hensel, Bill Holman, Bob Enevoldsen, Jack Montrose, Med Flory, Jim Emerson, and Buddy Bregman. The octet sounds at its best on "But Beautiful", "Suddenly It's Spring", "It's Always You", "Aren't You Glad You're You", "It Could Happen to You", and "Imagination". Timeless music. *Scott Yanow*

*CD 1*

1 - I'm Putting All My Eggs In One Basket

2 - Change Partners

3 - Love And The Weather

4 - Russian Lullaby

5 - Kate

6 - Say It With Music

7 - I Used To Be Color Blind

8 - Let's Have Another Cup Of Coffee

9 - Better Luck Next Time

10 - They Say It's Wonderful

11 - This Year's Kisses

12 - He Ain't Got Rhythm

13 - Why Do You Suppose?

14 - Have You Met Miss Jones?

15 - You Are Too Beautiful

16 - Mountain Greenery

17 - A Ship Without A Sail

18 - The Blue Room

19 - I've Got Five Dollars

20 - Sing For Your Supper

21 - It Never Entered My Mind

22 - The Lady Is A Tramp

23 - Spring Is Here

24 - Ten Cents A Dance

(#1 to #12: All compostions by Irving Berlin)

(#13 to #24: All compostions by Richard Rodgers and Lorenz Hart)

*CD 2*

1 - But Beautiful

2 - My Heart Is A Hobo

3 - Like Someone In Love

4 - Swinging On A Star

5 - Suddenly It's Spring

6 - It's Always You

7 - What Does It Take

8 - Aren't You Glad You're You

9 - All This And Heaven Too

10 - It Could Happen To You

11 - Just My Luck

12 - Imagination

13 - When Is Sometime

14 - Darn That Dream

15 - Humpty Dumpty Heart

16 - Polka Dots And Moonbeams

(All compositions by Johnny Burke and Jimmy Van Heusen, except #14 by Johnny Burke, Jimmy Van Heusen and Eddie De Lange)

#1 to #12 (CD1):

Don Fagerquist (trumpet), Ray Sims (trombone, vocals [#10]), Ronny Lang (baritone sax, alto sax [#6, #11], flute [#4]), Dave Pell (tenor sax, English horn [#4], Jeff Clarkson (piano), Tony Rizzi (guitar), Rolly Bundock (bass), Jack Sperling (drums).

Recorded at Radio Recorders, Hollywood, California, April 22 (#3 to #6) and May 28, (#8 to #11), 1953; May 14 (#1, #2, #7, #12), 1956 

#13 to #24 (CD1):

Don Fagerquist (trumpet), Ray Sims (trombone), Ronny Lang (baritone sax, flute [#21]), Dave Pell (tenor sax, bass clarinet [#23]), Donn Trenner (piano, celeste [#15]), Tony Rizzi (guitar), Rolly Bundock (bass), Bill Richmond (drums).

Recorded at Capitol Studios, Hollywood, California, June 11, 21 and 24, 1954

#1 to #16 (CD2):

Don Fagerquist (trumpet), Ray Sims (trombone), Ronny Lang (baritone sax, flute [#6, #14, #16]), Dave Pell (tenor sax, English horn [#6, #14, #16]), Claude Williamson (piano, celeste [#14, #16]), Tony Rizzi (guitar), Rolly Bundock (bass), Jack Sperling (drums), Lucy Ann Polk (vocals [#1, #4, #6, #8, #10, #12, #14, #16]).

Recorded at Radio Recorders, Hollywood, California, December 18 (#1, #4, #6, #8, #10, #12, #14) and December 28 (#16), 1953; May 7 (#2, #3, #5, #7, #9, #11, #13) and May 21 (#15), 1956

#1, #2, #7 and #12 (CD1): from "The Dave Pell Octet Plays Irving Berlin" (Kapp KL-1036)

#3 to #6 and #8 to 11 (CD1):  "The Dave Pell Octet Plays Irving Berlin" (Trend TL-1003)

#13 to #24 (CD1): "The Dave Pell Octet Plays Rodgers & Hart" (Trend TL-1501, reissued as Kapp KL-1025)

#1, #4, #6, #8, #10, #12, #14 and #16 (CD2): "Dave pell Octet · Lucy Ann Polk" (Trend TL-1008)

#2, #3, #5, #7, #9, #11, #13 and #15 (CD2): "The Dave Pell Octet Plays Burke & Van Heusen" (Kapp KL-1034) 

Pete Rugolo - Rugolo Plays Kenton

In this period of the development of music, when many know how to orchestrate but few are gifted with the ability to also compose, Pete Rugolo stands as one of the rare. 

His thorough training in the technique of creating music has given him the knowledge to build music of rich harmonic content. The years spent in close association with Pete have been some of the most rewarding in my career. As well as contributing to my orchestra to a tremendous extent, in being able to work with him in collaboration, he also became my teacher. 

Today the Rugolo influence on music is heard everywhere. His voicings, phrasings, harmonic progressions, and technique in general are copied by all of us. 

In spite of all he has done, I feel his greatest is yet to come. I'm grateful and flattered that Pete Rugolo felt enough for some of my music to devote this album to it. *Stan Kenton (liner notes)*

Most of these fine 1958 recordings are re-creations of some of the great instrumentals made famous by the Stan Kenton orchestra of the Forties, with all writing done by Stans former chief arranger, Pete Rugolo. Describing Petes musical talents, Kenton declared: His thorough training in the technique of creating music has given him the knowledge to build music of rich harmonic content. The years spent in close association with Pete have been some of the most rewarding in my career. As well as contributing to my orchestra to a tremendous extent, in being able to work with him in collaboration, he also became my teacher. Its no surprise that The Pete Rugolo Orchestra plays compositions introduced by Stan Kenton is a challenging and stimulating album. *Jordi Pujol*

Since Pete Rugolo came to fame for his many arrangements for the Stan Kenton Orchestra and this was one of his last important jazz albums before he became largely a full-time writer for the studios, it seems only proper that the date finds Rugolo paying tribute to his former boss. Rugolo rearranged a dozen numbers originally recorded by Stan Kenton, including four —"Minor Riff", "Theme to the West", "Artistry in Boogie", and "Capitol Punishment"— he had co-written with Kenton. Using a big band that includes such Kenton alumni as trumpeter Buddy Childers, trombonists Milt Bernhart and Frank Rosolino, altoist Bud Shank, tenor saxophonist Bob Cooper, and drummer Shelly Manne, Rugolo does not merely re-create the past but instead comes up with fresh variations to such songs as "Eager Beaver", "Concerto to End All Concertos", "Artistry in Rhythm" and "Southern Scandal". *Scott Yanow* 

Side 1

1 - Eager Beaver

(Stan Kenton)

2 - Painted Rhythm

(Stan Kenton)

3 - Minor Riff

(Stan Kenton, Pete Rugolo)

4 - Concerto For Doghouse

(Stan Kenton)

5 - Sunset Tower

(Stan Kenton)

6 - Concerto To End All Concertos

(Stan Kenton)

Side 2

7 - Artistry In Rhythm

(Stan Kenton)

8 - Southern Scandal

(Stan Kenton)

9 - Opus In Pastels

(Stan Kenton)

10 - Theme To The West

(Stan Kenton, Pete Rugolo)

11 - Artistry In Boogie

(Stan Kenton, Pete Rugolo)

12 - Capitol Punishment

(Stan Kenton, Pete Rugolo)

#1, #7, #12:

Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist (trumpets); Milt Bernhart, Frank Rosolino, Harry Betts (trombones); Kenny Shroyer (bass trombone); Bud Shank, Harry Klee (flute, alto sax); Bob Cooper, Dave Pell (tenor saxes); Chuck Gentry (baritone sax); Claude Williamson (piano); Howard Roberts (guitar); Don Bagley (bass); Red Callender (tuba); Shelly Manne (drums).

Recorded at Capitol Studios, October 25, 1958.

#2 to #6 and #8 to #11:

Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist (trumpets); Milt Bernhart, Frank Rosolino, Dick Nash (trombones); Kenny Shroyer (bass trombone); Bud Shank, Harry Klee (flute, alto sax); Bob Cooper, Dave Pell (tenor saxes); Chuck Gentry (baritone sax); Claude Williamson (piano); Howard Roberts (guitar); Don Bagley (bass); Red Callender (tuba); Shelly Manne (drums).

Recorded at Capitol Studios, October 26, 1958.

Arranged and directed by Pete Rugolo