Dick Marx - Delicate Savagery

One of the primary requisites of jazz improvisation is the ability to play the right notes, with the right sound, in the right sequence at the right time. Not until all four of these elements have been blended in the imagination of a creative artist and expressed through the medium of a sensitive instrument can we hear a perfect demonstration of what might best be called musical marksmanship, or the skill of hitting one's musical aims right on the bull's-eye. 

Marxmanship, as we might call it in the particular instance of this LP, can be found in abundance as Dick Marx seeks a particular musical formula and finds it with the help of two sidemen no less adequately equipped in this subtle art of perfect timing. 

Dick is one of the minority of jazz musicians that have managed to plant firm footprints on the sands of rythmic time without taking either foot very far from Chicago. Since at least 90% of today's big name musicians have spent much of their careers rooted either in New York or Los Angeles, twin meccas of most of the radio, recording, and general business activity for jazz, it is all the more remarkable that he has built up a firm following nationally while during the past six years he has enjoyed a series of two-year stretches respectively at three Chicago clubs, the Lei Aloha, Cloister Inn and Mr. Kelly's.

Dick names Art Tatum, Oscar Peterson and Billy Taylor as his favorite performers and, presumably, major influences. "I found myself playing in a different style from what I’m used to", Dick comments. "As a rule I don’t play many single-note passages, but with such a strong rhythm section it was fun to let them swing while I played little "tinkly" things. My intention with most of these performances, aside from the ballads, was to swing. I didn't use any really fast tempos because I was aiming for that middle tempo that seems to me to be most conducive to real swinging. And most of the tunes we selected were things that had not been recorded too often, so that they would be a little fresher to the majority of listeners".

After listening to these sides we feel you will agree with us that Dick was well-advised to change the pace a little by adding drums for this moving set of performances. The result is an interestingly different demonstration of the delicate art of Marxmanship. *Leonard Feather (liner notes)*

Side 1

1 -How Could You Do A Thing Like That To Me

(Tyree Glenn, Alan Roberts)

2 - Ding Dong–The Witch Is Dead

(Harold Arlen, E. Y. Harburg)

3 - Shenandoah

(Traditional)

4 - Joey, Joey, Joey

(Frank Loesser)

5 - The Breeze And I

(Ernesto Lecuona, Al Stillman)

6 - Midnight Sun

(Lionel Hampton, Sonny Burke)

Side 2

7 - Waitin' For Debbie

(Dick Marx, John Frigo)

8 - Change Partners

(Irvin Berlin)

9 - Blue Safari

(Lou Stein)

10 - Here I Am In Love Again

(Moose Charlap, Chuck Sweeney)

11 - (Love Is) The Tender Trap

(J. V. Heusen, S. Cahn)

Dick Marx (piano); Johnny Frigo (bass); Norm Jeffries [#4, #5, #7, #8], Cy Salzberg [#1, #2, #3, #6, #9, #10 #11] (drums).

Recorded in Chicago, Illinois, May 5 (#4, #5, #7, #8) and 6 (#1, #2, #3, #6, #9, #10 #11), 1957. 

Dick Marx - Marx Makes Broadway

In recent years, a young Chicago pianist —without ever leaving his native city— has become a subject for musicians’ backstage conversation from coast-to-coast.

His name is Dick Marx and "you ought to hear Dick" is almost a cliche now. But Marx cannot be enjoined to go out on a road trip. It was an unusual thing for him to accept Omega’s invitation to come to Los Angeles and make this stereo recording.

Dick Marx is a serious, studious musician (not that his personality or music lacks humor; it’s just that music is his life and he’s serious about it) who has developed a naturally flexible piano technique into one of the most formidable piano styles of modern jazz. Pianist Billy Taylor, one of the top musicians in modern Jazz, has said, "Marx uses modern harmonic devices exceptionally well and because of excellent technical facility can execute many interesting polyphonic ideas... his touch is firm and sure and he can toss off a bravura passage with the ease that comes only from a solid pianistic background". 

Dick Marx began playing the piano at 5, and at 13 was accompanist to a dancing class. He studied music at DePaul University, and since 1948 has worked steadily in the Chicago area at such swank supper clubs as the Streamliner, the Pump Room and Mr. Kelly’s. He has arranged for a variety of singers, including Eydie Gorme, Eartha Kitt and Lurlean Hunter, and for numerous radio and TV shows. He has recorded several LPs for Coral and Brunswick with his bass-playing sidekick, John Frigo. He’s also heard as accompanist for Jeri Southern and for Johnny Desmond on recent LPs. In between night club and recording chores, he doubles as a vocal coach and piano teacher in Chicago, where he is much in demand. Dick is heard either in trio or with a quartet of the best jazz men in Hollywood. It required a particularly deft jazz musician to handle the gossamer melodies of the best Broadway show tunes to retain their intrinsic beauty without losing the jazz feeling. On this date Dick’s friends are Buddy Collette, flute; Carson Smith, bass; Frankie Capp, drums; and Irving Ashby, guitar. On the five numbers you'll hear Red Mitchell on bass, and on three Howard Roberts replaces Ashby on guitar. *Ralph J. Gleason (liner notes)*

This LP is one of the more obscure sessions reissued by V.S.O.P. and was originally cut for the Omega label. Dick Marx was a Chicago-based bop-oriented pianist brought to Los Angeles for these sessions. He gives a variety of show tunes melodic yet swinging treatment with the assistance of flutist Buddy Collette, either Howard Roberts or Irving Ashby on guitar, Red Mitchell or Carson Smith on bass and drummer Frank Capp. All ten of the tunes (which include "All of You", "Too Close for Comfort", "If I Were a Bell" and "Just in Time") are still remembered; it is a pity that this program (at 34 minutes) is so brief and that little has been heard of Dick Marx since. *Scott Yanow*

Side 1

1 - Joey, Joey

(Loesser)

2 - Why Can't You Behave

(Cole Porter)

3 - All Of You

(Cole Porter)

4 - Cool

(Leonard Bernstein)

5 - Too Close For Comfort

(Holofocner, Weiss)

Side 2

6 - If I Were A Bell

(Loesser)

7 - Baubles, Bangles And Beads

(Forrest, Wright)

8 - A Sleepin' Bee

(Loesser)

9 - Guys And Dolls

(Loesser)

10 - Just In Time

(Comden, Green, Styne)

Dick Marx (piano); Buddy Collette (flute); Howard Roberts, Irving Ashby (guitars); Carson Smith, Red Mitchell (basses); Frank Capp (drums).

Recorded in Los Angeles, California, 1958.