Lighthouse All-Stars Collection XXVI ★ Richie Kamuca

Richie Kamuca

West Coast to East Coast

Live Recordings 1957-1966

Back in action, Outlet kicks off the second half of the year by resuming its series dedicated to Howard Rumsey's Lighthouse All-Stars and the live recordings made at the legendary Lighthouse club.

This time, the focus is on saxophonist Richie Kamuca and the quintet he co-led with trumpeter Conte Candoli in 1957. These recordings were previously released by the Xanadu label under the title Bebop Revisited, Volume 5 in 1985.

For this post, we've chosen the recent release from the Barcelona-based label Fresh Sound Records, featuring notes by its owner, Jordi Pujol:

Richie Kamuca (1930–1977) was one of the finest tenor saxophonists of his generation, though never granted the full recognition his artistry deserved. Rising to prominence with Stan Kenton and Woody Herman in the early 1950s, he settled in Los Angeles in 1956 and soon became a leading voice on the West Coast scene, recording and performing with Chet Baker, Shelly Manne, Bill Perkins, Conte Candoli, and many others. Equally at home in big bands, studios, and small groups, Kamuca blended the cool lyricism of Lester Young with the fluent drive of Stan Getz and Zoot Sims, ultimately forging a highly personal style.

This collection brings together live performances from the Lighthouse in 1957, from the celebrated Stars of Jazz television show of that same year, and from his New York period in inspired Half Note sessions with the Roy Eldridge Quintet in 1965–66. Warm-toned, inventive, and deeply melodic, Kamuca is heard here at full maturity: an unjustly overlooked master of the tenor saxophone.

After arriving in Los Angeles in the summer of 1956, Richie Kamuca joined Howard Rumsey's All-Stars at the famed Lighthouse club in Hermosa Beach. He spent a month there replacing Bob Cooper, who was vacationing in Hawaii with June Christy at the time.

He soon established a strong association with the West Coast jazz scene, receiving calls from record producers and fellow musicians alike to appear as a sideman on numerous sessions led by artists such as Chet Baker, Johnny Richards, Marty Paich, Bill Perkins, Stan Levey, Gus Mancuso, Mel Lewis, and Bill Holman. He also spent a brief period with the Med Flory–Al Porcino band, rejoined Stan Kenton for the orchestra's 1956 summer European tour, and later joined Maynard Ferguson after Kenton disbanded following a series of Bay Area engagements in November. Ferguson's saxophone section featured Herb Geller on alto, Kamuca and Nino Tempo on tenors, and Willie Maiden on baritone.

In April 1957, Kamuca returned to the Lighthouse to perform with the house band, which included Conte Candoli on trumpet, Dick Shreve on piano, Stan Levey on drums, and Red Mitchell on bass, replacing Howard Rumsey. Mitchell, who had originally played piano, switched to bass while working with Chubby Jackson in 1949. By then he had earned a formidable reputation as a member of pianist Hampton Hawes's outstanding trio, which also included Kenny Burrell on guitar. Earlier, Mitchell had worked with singer Jackie Paris and guitarist Mundell Lowe, and in 1956 he released his first album as a leader.

During the Lighthouse session that opens this CD, the group stretched out on two standout performances, "Allen's Alley" (also known as "Wee"), by Denzil Best, and Candoli's own "Counting", both of which showcased the band's remarkable cohesion and inventiveness. Kamuca displayed a strong Zoot Sims influence, moving confidently and fluently through the changes with his characteristically relaxed tone, while Candoli matched him with assured solos full of wit and imagination, including a quotation from "The Jeep Is Jumpin'". Shreve and Kamuca supplied effective supporting riffs, and Shreve contributed tasteful, economical solos in a Basie-like manner. Red Mitchell proved indispensable throughout, his rock-solid walking bass lines constantly drawing the ear, and he also delivered an outstanding solo that confirmed his place in the lineage of great bassists such as Jimmy Blanton, Oscar Pettiford, and Ray Brown.

The atmosphere remained relaxed yet highly energized, particularly on "Counting", a blues that allowed Kamuca to unfold one of his most fluent statements while Candoli's phrasing reflected his roots in the Dizzy Gillespie tradition. Both performances also highlighted the band's love of rhythmic exchanges, with Kamuca, Candoli, and Levey trading eights, fours, and even altered subdivisions, demonstrating both technical command and a playful sense of swing. These extended performances capture a group thoroughly enjoying itself while operating at a very high musical level. *Jordi Pujol (from the liner notes)*

1 - Allen's Alley

(Denzil Best)

2 - Counting

(Conte Candoli)

3 - Too Close For Comfort

(Jerry Bock, Larry Holofcener, George David Weiss)

4 - What's New

(Bob Haggart, Johnny Burke)

5 - Just Friends

(John Klenner, Sam M. Lewis)

6 - Sweet Sue

(Will J. Harris, Victor Young)

7 - Comin' Home Baby

(Herbie Mann)

8 - Stompin' At The Savoy

(Benny Goodman, Chick Webb, Edgar Sampson)

9 - Hackensack

(Thelonious Monk)

10 - Take The "A" Train

(Billy Strayhorn)

11 - In A Mellotone

(Duke Ellington)

#1 and #2

The Conte Candoli~Richie Kamuca Quintet:

Conte Candoli (trumpet), Richie Kamuca (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

Recorded live at the Lighthouse, Hermosa Beach, California, April 17, 1957

#3 #4, #5

The Richie Kamuca~Leroy Vinnegar Quintet:

Richie Kamuca (tenor sax), Carl Perkins (piano),

Leroy Vinnegar (bass), Tony Bazley (drums).

Recorded at "Stars of Jazz" TV show,

ABC Studios, Los Angeles, California, October 21, 1957

#6 to #11

Roy Eldridge~Richie Kamuca Quintet:

Roy Eldridge (trumpet); Richie Kamuca (tenor sax); Dick Katz (piano);

Tommy Potter [#10], Don Moore [#11] (basses); Eddie Locke (drums).

Recorded live at the Half Note, New York City,

August 20, 1965 (#6 to #9) and March, 25, 1966 (#10, #11)

Lighthouse All-Stars Collection VI

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 5

★ In The Solo Spotlight ★

As Dick Williams vividly recounts in the original liner notes for the album, titled A FOGGY NIGHT AT THE HERMOSA BEACH LIGHTHOUSE, reaching The Lighthouse was not always an easy task. On those nights when the coastal fog became as thick as spider webs in a haunted house, hundreds of people — from university students to uniformed sailors — ventured from every corner of Los Angeles to crowd at its doors. 

What they sought was the sound of Howard Rumsey’s ensemble, a group of Stan Kenton alumni who had transformed a nearly empty venue into the true citadel of jazz in Southern California.

The atmosphere of the place was unique: a long, low, and dimly lit room, decorated with impressionistic paintings and photos of legends like June Christy, where jazz was experienced in an informal atmosphere but with impeccable technical quality.

The title of this volume, In the Solo Spotlight, captures that exact essence. Beyond the literal image of a spotlight illuminating a performer in the shadows, the title holds a deep musical and symbolic meaning. It represents the moment when the collective machinery of the All-Stars takes a step back so that each musician can project their own voice. In the language of jazz, the "solo" is the moment of truth, and here it becomes a showcase for the improvisation and individual genius of figures like Rumsey on double bass, Bob Cooper on tenor sax, or Bud Shank on alto. Being "under the reflector" is synonymous with prestige and audacity, allowing the listener to appreciate the unique personality of each member in isolation.

Ultimately, this album is a testament to creative freedom that allows us to feel the sea breeze of Hermosa Beach and see the glimmers of light on the instruments, reminding us that the best way to understand a group is by allowing each of its members to shine, for a moment, under their own spotlight.

Volume 5 of the Lighthouse All-Stars, C 2515, In The Solo Spotlight, would be the last release of the Lighthouse All-Stars on the 10'' LP format for Contemporary Records.  In was recorded in August of 1954 for release later that fall and Les Koenig would release three more albums in the 10'' LP format before adopting the 12'' LP format for releases on his label in 1955. The five Lighthouse regulars who appeared on Volume 4 would be joined by Stu Williamson (Claude’s brother), Bob Enevoldsen and Bob Gordon.

The nine selections on the CD reissue (nearly all the Lighthouse All-Stars' Contemporary recordings are now available in the OJC series) each extensively feature one or two top West Coast jazz players. Bassist Howard Rumsey's group was expanded to an octet, and showcased are trombonist Frank Rosolino ("Funny Frank"), tenor saxophonist Richie Kamuca, trumpeter Conte Candoli, drummer Stan Levey, Bob Cooper on tenor, trumpeter Stu Williamson, valve trombonist Bob Enevoldsen, pianist Claude Williamson, bassist Rumsey (on "Concerto for Doghouse"), and altoist Bud Shank. With the exception of the Rumsey feature (composed by Stan Kenton), all of the music was new, with the arrangements provided by pianist Dick Shreve, Bill Holman, Cooper, and Williamson. An excellent set. *allmusic.com*

Classic '50s California jazz from a legendary band named after a legendary venue. Lighthouse's jazz all-stars carve out swinging solo features, accompanied by tight ensemble support and arrangements that sparkle with creativity.

At one time or another I've owned all the CDs of Howard Rumsey and the lighthouse all stars. They're all spirited recordings of (generally) live sets at the famed Lighthouse cafe in Hermosa Beach, California.

I fell in love with California jazz after being introduced to Rumsey and the all stars. The groups varied in size (usually a quintet or sextet with extras) but produced a very characteristic sound that adhered to bebop but with some the edges smoothed. It sounds... now wait for it... Californian.

Since most were recorded during live sets, often during the famous Sunday afternoon jams, sound quality can vary from pretty good to "you're a member of the audience with a few beers in you already".

This particular CD is quite clear and the remastered sound is excellent. Parts of it were studio recorded, which adds to the clarity but the energy is still there.

This is as good a place as any to start if you're looking for a representative taste of small group jazz in LA during the 50s. Highly recommended. *John K. Gayley (amazon.com)*

1. Funny Frank

(Dick Shreve)

2. That's Rich

(Dick Shreve)

3. If You Are There

(Shreve, Sutton)

4. Stan

(Bill Holman, Stan Levey)

5. Coop

(Bob Cooper)

6. S & B

(Bill Holman)

7. Claude

(Claude Williamson)

8. Concerto For Doghouse [a.k.a Howard]

(Stan Kenton)

9. Bud (The Whippet)

(Claude Williamson)

#1 to #3:

Conte Candoli (trumpet), Frank Rosolino (trombone), Lennie Niehaus (alto sax),

Richie Kamuca (tenor sax), Pepper Adams (baritone sax),

Dick Shreve (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded at Contemporary's Studio, Los Angeles, California, March 12, 1957

#4 to #9:

Stu Williamson (trumpet), Bob Enevoldsen (valve trombone),

Bud Shank (alto sax), Bob Cooper (tenor sax), Bob Gordon (baritone sax),

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded in Los Angeles, California, August 17, 1954

Red Norvo: A hidden gem

Red Norvo

Ad Lib

Featuring Buddy Collette

One of the hippest Red Norvo records ever — a rare outing for Liberty that features Buddy Collette on reeds, bringing in a new level of color to the Norvo group! Red's work on vibes is precise and nicely chromatic — often coming across in waves of sound on the mellower tracks, and with a poppingly melodic quality on the more upbeat ones. Other players include Dick Shreve on piano, Bill Douglass on drums, and either Curtis Counce or Joe Comfort on bass — and titles include "A Few Days After Xmas", "Tar Pit Blues", "Shreve-Port", "The Brushoff", and "Fifth Column". *Dusty Groove, Inc.*

How does the man do it? Year in and year out, Red continues to maintain standards of musicianship and ideational interest that have been associated with him for better than a quarter-century on records. The latest pair of LPs (Ad Lib and Music To Listen To Red Norvo By) will add further luster to Red's reputation; there is little to choose between them except for the added interest of Bill Smith's writing on the second set.

"What Is There to Say?" typifies the Liberty sides (Ad Lib). The melody is neatly rephrased in strikingly effective vibes-flute unison, with accents by brushes and rhythm. Shreve is his usual spare, incisive self; Red, Buddy, and the bassist (why don't they tell us who played on which tracks?) all capture the spirit of the easy tempo and sunny-afternoon mood.

It's the same on most of the other items, with Buddy's clarinet most effective on "Shreve-port" and "School", his alto pleasant on "Waterfront". The latter tends to become rhythmically logey; the piano gets a fine funky sound (or sounds out of tune, whichever way you prefer to look at it). The originals (three by Buddy, two by Dick) are all light and charming, especially "Xmas", Buddy’s "Frenesi"-like, up-tempo blues. *Leonard Feather (Down Beat, September 19, 1957)*

When you cross bridges, combine schools, intertwine the swinging with the cool, you could not choose two better ingredients than Red Norvo and Buddy Collette for the purpose.

Red's great vibe work has been one of jazz's standout commodities for years, whether rocking some small group of his own or backstopping a great vocalist such as the late, great Mildred Bailey. Red's soft tasty beat with the right ideas in just the right places has given his work that individual stamp which defies eras and fads. Red is certainly one of the "jazz greats" of the music world.

Watching him in a session, leading the way with his own ideas, one readily comprehends Red's mastery of his instrument. For Red to come through with continuously brilliant performances have become commonplace.

It is only natural that an artist with the conception of Norvo should reach out and attract artists of equal stature. Such is the case of "The Man of Many Parts", Buddy Collette. This master of the reed family, is a new artist only in the sense of being discovered but lately by the jazz aficionados.

Buddy has long been one of the stalwarts of the West Coast scene. Not only has he shown to advantage with various jazz groups but being a full, well-schooled musician, he has been sought after for the more mundane vocations of the studio orchestra chair and serious musical projects.

However, it is in jazz, obviously Buddy's first love, that he has risen to giant proportions. In Ad Lib, Buddy's and Red's talents blend so beautifully that we are forced to re-evaluate some earlier conceptions of the cool scene. Here, at least, it is not all technique and a nose tilted haughtily at the solid beat. Here, at least — Red, Buddy, and their cohorts manage to interject a feeling of warmth and swinging, listenable, understandable and over-all projection of a wonderful mood in jazz.

Ad Lib showcases Buddy Collette's new discovery. His name's Dick Shreve and his fresh and scintillating pianistic slyle stamps him as a sure-fire bet to join his illustrious compatriot in the Jazz Hall of Fame. *Simon Jackson (liner notes)*

Side 1

1 - What Is There To Say

(Vernon Duke, E. Y. Harburg)

2 - Shreve-Port

(Dick Shreve)

3 - 96th Street School

(Buddy Collette)

4 - Fifth Column

(Dick Shreve)

5 - The Brushoff

(Buddy Collette)

Side 2

6 - I Cover The Waterfront

(Johnny Green, Edward Heyman)

7 - A Few Days After Xmas

(Buddy Collette)

8 - Mad About The Boy

(Noel Coward)

9 - Tar Pit Blues

(Dick Shreve)

Buddy Collette (flute, clarinet [#3, #4, #5, #9], alto sax [#6]);

Red Norvo (vibes); Dick Shreve (piano); Bill Douglass (drums);

Curtis Counce [#1, #5, #6, #7], Joe Comfort  [#2, #3, #4, #8, #9] (basses).

Recorded in Hollywood, California, December 18 [#1, #5, #6, #7], 1956;

December 27 [#2, #3, #4], 1956 and January 4 [#8, #9], 1957

Liberty Records • Lighthouse Series (III)

Max Roach And Stan Levey

Drummin' The Blues

Lighthouse Series • Volume 3

The art of jazz drumming has come a long way since the day of the bass drum player in the marching bands of ole New Orleans. Today we have come to expect a drummer to be an excellent technician, a well rounded percussionist, capable of improvising as well as any solo instrumentalist in any musical aggregation. It would take a very thick book to discuss the requirements of being a jazz drummer, and even then, it would be necessary to interpret the printed word through skins, sticks, cymbals and mechanical contrivancesin order to express yourself and your feeling for the music.

No doubt about it, drums and drummers are popular subjects; whether you're an avid jazz enthusiast or bandleader, it is always interesting to hear and compare notes on the way different drummers play.

Among my personal favorites are two very good friends — two wonderful guys, each representing the moder idiom in the best possible manner: Max Roach and Stan Levey.

⁂

When they expressed the desire to do this album, it was may great pleasure (and Liberty's) to be able to record it. However this is where the parallel ends, because, although they are the best of friends, great believers in the other's playing, they both display what every good jazz musician strives for — his own distinct musical personality. Care to compare? *Howard Rumsey (liner notes)*

Stan and Max are about as unlikely a pair as you could imagine — both jazz drummers, but one with a cooler, more laidback sound (Levy), the other with a harder, more full-on and bop driven approach (Roach). This set features each drummer alternating track to track — supporting a core group with Bill Perkins on tenor, Conte Candoli on trumpet, and Frank Rosolino on trombone. Given that such a setting is more Levy's territory than Roach's, he actually fits in a bit more with the sound — but even on the Roach tracks, the west coast jazz vibe pervades — so don't expect a super-huge change in the style. Titles include "Breadline Blues", "Facts About Max", "Royal Garden Blues", "The Count's Blues", and "Blues In The Night". *Dusty Groove, Inc.*

1 - Facts About Max

(Marty Paich)

2 - Milano Blues

(Bob Cooper)

3 - Swingin' The Blues

(Count Basie, Eddie Durham)

4 - Breadline Blues

(Dick Shreve)

5 - Bye Bye Blues

(Lown, Gray, Bennett, Hamm)

6 - Blues In The Night

(H. Arlen, J. Mercer)

7 - Royal Garden Blues

(C. Williams, S.Williams)

8 - The "Count's" Blues

(Conte Candoli)

Conte Candoli (trumpet), Bill Perkins (tenor sax [#1, #3, #6, #8]), 

Bob Cooper (tenor sax [#2, #4, #5, #7]), Frank Rosolino (trombone),

Dick Shreve (piano), Howard Rumsey (bass),

Max Roach (drums [#1, #3, #6, #8]), Stan Levey (drums [#2, #4, #5, #7]).

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

Recorded in Los Angeles, California, March, 1957

#2, #4, #5, #7:

Recorded at "The Lighthouse", Hermosa Beach, California, March 1957

Liberty Records • Lighthouse Series (I)

Howard Rumsey's Lighthouse All Stars

Host Charlie Persip And His Jazz Statesmen

Double Or Nothin'

Lighthouse Series • Volume 1

One of the few albums ever cut as a leader by crack drummer Charlie Persip — and a great record that you might have missed because Howard Rumsey's name is bigger on the cover than Charlie's! The album's one of Rumsey's "Lighthouse Series" sides of the 50s — but it's a lot harder-driving and more energy-filled than most of the other Lighthouse-related sides coming out of LA at the time. Half the record features Charlie's group — a set of east coasters that includes Lee Morgan, Benny Golson, and Wynton Kelly — and the other part features some of the players from that ensemble mixing it up with drummer Stan Levey and other LA talents that include Frank Rosolino, Conte Candoli, Bob Cooper, and others. In all, the album's a great meeting of east and west coast hardbop styles — with short driving tracks that include "Reggie Of Chester", "Celedia", "Moto", "The Champ", and "Wildwood". *Dusty Groove, Inc.*

Double or Nothin' promises a creative East Coast-meets-West Coast musical confrontation, but never delivers. Ace trumpet men Conte Candoli, based in California, and Philly-born Lee Morgan, then making his first impression on the jazz world, headline this 1957 session that grew out of a Charlie Persip gig at the legendary Pacific Coast club the Lighthouse. These two all-star groups belie the assumptions made at the time about the differences between the East and West Coast sounds (with underlining racial assumptions). Both trumpet players draw heavily on Dizzy Gillespie for inspiration, and both saxophonists (Benny Golson and Bob Cooper) are more indebted to swing master Lester Young than to any bebop saxophonist. Indeed, the contrast between the two is one of the pleasures of the session. Golson's lines are blurry and oblique, while Cooper's are finely etched and to-the-point. Both are also more noted for their writing skills, which are also on display here. Though the listener may expect such a jam session would feature usual blowing vehicles, here the music is largely original or of more recent vintage (though two [Golson's "Stablemates" and Horace Silver's "Quicksilver"] were destined to become standards). While the repertoire is refreshing, it leads to tentative performances on the tracks in which the two groups interact. The solos have awkward pauses between phrases, and loquacious soloists such as Morgan and trombonist Frank Rosolino rely on pet turns of phrase. The strongest playing comes on the tracks when the Morgan group and the Lighthouse All-Stars play as separate units. *David Dupont*

1 - Reggie Of Chester

(Benny Golson)

2 - Stablemates

(Benny Golson)

3 - Celedia

(Benny Golson)

4 - Moto

(Bop Cooper)

5 - The Champ

(Dizzy Gillespie)

6 - Blues After Dark

(Benny Golson)

7 - Wildwood

(Gigi Gryce)

8 - Quicksilver

(Horace Silver) 

#1: 

Lee Morgan (trumpet), Benny Golson (tenor sax),

Wynton Kelly (piano), Wilfred Middlebrooks (bass), Charles Persip (drums).

#2:

Lee Morgan (trumpet), Frank Rosolino (trombone), Benny Golson (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

#3:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Wynton Kelly (piano), Wilfred Middlebrooks (bass), Charles Persip (drums).

#4:

Lee Morgan, Conte Candoli (trumpets); Frank Rosolino (trombone);

Benny Golson, Bob Cooper (tenor saxes); Dick Shreve (piano),

Red Mitchell (bass), Stan Levey (drums).

#5:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

#6:

Lee Morgan (trumpet), Benny Golson (tenor sax),

Wynton Kelly (piano), Red Mitchell (bass), Charles Persip (drums).

#7:

Lee Morgan, Conte Candoli (trumpets); Frank Rosolino (trombone);

Benny Golson, Bob Cooper (tenor saxe); Wynton Kelly (piano);

Wilfred Middlebrooks (bass); Charles Persip (drums).

#8:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bob Cooper (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

Recorded at Liberty Studios, in Hollywood, California,

February 14 (#2, #4) and 27 (#1, #3, #5 to #8), 1957

Buddy Collette And His Trio

Buddy Collette

Calm, Cool & Collette

I left Chico Hamilton to form my own group. I have a quartet that’s been together for 3 months. The group started at the Haig in Los Angeles, the birthplace of many small bands. We had Don Freedman, piano, and Larry Bunker, drums; John Goodman, bass. Now we have Dick Shreve on piano and Bill Dolney, drums. John Goodman is still on Bass. The group is just great. We enjoy rehearsing and working out ideas together.

Dick Shreve is a wonderful writer and a great player. Although he’s not too well known, you’ll be hearing many outstanding things now and in the future from this great young pianist.

John Goodman. John Improves every time you hear him. His ideas are just great. He hasn’t been writing very long, but he seems to know what to write and he has a wonderful sense of time and rhythm pattern.

Bill Dolney. A real good drummer with good tastes, good time. He listens and blends with the group very well. He loves fast tempos.

I think of the quartet as one section. When I play Flute, I think of some Chamber Group or Woodwind Group. With tenor or alto, I still try to blend my rhythm section as though they were other horns. In this way we get a lot of variety for a quartet. We enjoyed making this album for ABC-Paramount very much because of the freedom we had. *Buddy Collette (liner notes)*

Quite possibly the rarest session ever cut by Buddy Collette — a quartet session with an unusual group that includes Dick Shreve on piano, John Goodman on bass, and Bill Dolney on drums — all players that get past the usual west coast crew that Buddy mostly recorded with! The format here builds on Colette's work with the Chico Hamilton group — and features a number of sprightly tracks with flute in the lead, and Hamilton-like support from the rest of the group. But then there's other numbers that have Buddy more out front on alto sax — blowing with a nice raspy edge and a bit more of a bop feel that's mighty nice. *Dusty Groove, Inc.*

Collette's three originals in this LP are bright, swingy things. And his prowess as a soloist overshadows even his writing.

There is a gentleness and strength, in almost ideal combination, in Collette's tenor playing in which he seems to have evolved a style that does not lean too heavily on any of his precursors.

I continue to find his tenor solos his most interesting work. Although he has consistently recorded excellent clarinet solos, they do not seem to carry through the promise of their early days in Chico Hamilton's group.

He plays clarinet like a stronger Jimmy Giuffre, but this is not enough, for me at any rate. On alto there are moments when he is really eloquent; such a one is his solo on "Johnny Walks" in which he seems to me expressive beyond the ordinary as he logically develops a beautiful line.

The group as a whole is excellent. The rhythm section functions very well as individuals and as a unit. Shreve is a fine pianist in a gentle, reflective manner, and his own composition, "If She Had Stayed", is a particularly impressive jazz ballad which Collette plays with warmth and great feeling.

As has been the case with almost every album on which he plays, Collette is the main attraction. Even on flute, an instrument which has definite jazz limitations, he manages to get through with his message of beauty, taste, love and strength.

I continue to be impressed with the high degree of soul, or emotion, displayed in his solos. At a time when there is a definite danger of jazz degenerating into jungle music, Collette is a valuable antidote. * Ralph J. Gleason (Down Beat, May 30, 1957)*

Side 1

1 - Winston Walks

(John Goodman)

2 - If She Had Stayed

(Dick Shreve)

3 - They Can't Take That Away From You

(George and Ira Gershwin)

4 - Undecided

(Charlie Shavers, Sid Robin)

5. Flute In "D"

(Buddy Collette)

6 - The Continental

(Con Conrad, Herb Magidson)

Side 2

7 - Three And One

(Buddy Collette)

8 - Night In Tunisia

(Dizzy Gillespie, Frank Paparelli)

9 - Johnny Walks

(Buddy Collette)

10 - Perfidia

(Alberto Domínguez)

11 - Morning Jazz

(Dick Shreve)

Buddy Collette (tenor sax, alto sax, flute, clarinet), Dick Shreve (piano),

John Goodman (bass), Bill Dolney (drums).

Recorded at ABC Studios, Los Angeles, California, January 24, 1957

Buddy Collette - Calm, Cool & Collette

I became very serious with music in my last year of High School, and knew it was for me. I took up clarinet about this time and started studying sax, clarinet and piano with a great teacher named Floyd Reese. I owe a lot to him. He taught me chords, progressions, scales, harmony, etc. Before I went to Floyd, I was just playing what I heard. I would listen for the chard, and then play it. I soon found out this wouldn’t work all the time, because there were many piano players who did't know the tunes either. After studying with Floyd Rees for two years I began to really understand what to do. In 1942 I enlisted in the U.S.N.R. and made first class musician in, the Navy band. Later, I was put in charge of a military aid dance band. We needed music for our dance band, so i began to write short arrangements and counter melodies to some of the tunes that I knew. This was the beginning of my composing and arranging. 

After getting out of the Service in 1946, I helped organize an all-star group with such artists as Charles Mingus — Bass; Lucky Thompson — Tenor; Britt Woodman — Trombone; Spauldin Givens — Piano, and Oscar Bradley — Drums. The group was terrific. We had six writers out of seven guys and this really made each guy work hard to bring in something good. After the group broke up, I started studying at Los Angeles Conservatory, then later I studied at California Academy of Music, and the American Operatic Laboratory. I started playing Flute while at Los Angeles Conservatory and later studied with Martin Ruderman and Henry Woempner. I studied Sax with Merle Johnston, Clarinet with Soccorso Pirolo, and the Shillinger System of Musical Composition with Franklyn Marks.

I think of the quartet as one section. When I play Flute, I think of some Chamber Group or Woodwind Group. With tenor or alto, I still try to blend with my rhythm section as though they were other horns. In this way, we get a lot of variety for a quartet. We enjoyed making this album for ABC-Paramount very much because of the freedom we had. *Buddy Collette (liner notes)*

Quite possibly the rarest session ever cut by Buddy Collette — a quartet session with an unusual group that includes Dick Shreve on piano, John Goodman on bass, and Bill Dolney on drums — all players that get past the usual west coast crew that Buddy mostly recorded with! The format here builds on Colette's work with the Chico Hamilton group — and features a number of sprightly tracks with flute in the lead, and Hamilton-like support from the rest of the group. But then there's other numbers that have Buddy more out front on alto sax — blowing with a nice raspy edge and a bit more of a bop feel that's mighty nice. *dustygroove.com*

In the summer of 1956, Buddy Collette left Chico Hamilton’s successful quintet to begin his own career as a leader. His first quartet stayed together for three months. Then, along with John Goodman, still on bass, Buddy found in pianist Dick Shreve, and drummer Bill Dolney, his ideal rhythm section. With such an outstanding group, Collette, on alto, tenor, clarinet and flute, developed a concept full of beauty, taste and strength, played with warmth and great feeling.

Dick Shreve, too, proves in this session that he was not only a talented and underrated pianist in a gentle and reflective manner, but also a fine composer. *Jordi Pujol*

Side 1

1 - Winston Walks

(Goodman)

2 - If She Had Stayed

(Shreve)

3 - They Can't Take That Away From You

(G. and I. Gershwin)

4 - Undecided

(Shavers, Robin)

5 - Flute In "D"

(Collette)

6 - The Continental

(Conrad, Magidson)

Side 2

7 - Three And One

(Collette)

8 - Night In Tunisia

(Paperelli, Gillespie)

9 - Johnny Walks

(Collette)

10 - Perfidia

(Dominguez)

11 - Morning Jazz

(Shreve)

Buddy Collette (alto sax [#4, #9)], tenor sax [#2, #7], flute [#1, #3, #5, #8, #10], clarinet [#6, #11]), Dick Shreve (piano), John Goodman (bass), Bill Dolney (drums). 

Recorded at ABC Studios, Hollywood, California, January 24, 1957.