Trumpet Conclave (I)

Conte Candoli • Nick Travis • Dick Sherman

Bernie Glow • Phil Sunkel • Don Stratton • Al De Risi

Cool Gabriels 

One of the rather surprising developments in the jazz field over the past few years has been the comparative neglect of that most venerated of jazz instruments, the trumpet. Since about 1950, when jazz started its upward climb toward its present pinnacle of popularity and prosperity, there have been scores of jazz albums issued featuring saxes, pianos, guitars and trombones, but comparatively few featuring cool horns. In order to somewhat rectify what appears to be an unfair situation for 

modern trumpet players, and to show how enjoyable cool trumpets can sound, this album was conceived. Since it was to be a showcase for cool horn men, it had to show off many different styles of trumpet, and it had to feature both wellknown modern trumpeters as well as rising young horn men who were just beginning to obtain recognition for their work. In addition, it had to display these "Cool Gabriels" both as soloists and in ensemble, to prove the versatility of the men and their instrument. In all these respects, this album of cool horns has succeeded admirably.

*Radio Corporation of America, 1956 (liner notes)*

This rare and longtime hard-to-find album was conceived to show how enjoyable cool trumpets can sound. Featured "Cool Gabriels" are Conte Candoli, Nick Travis, Don Stratton, Bernie Glow, Phil Sunkel, Al de Risi and Dick Sherman. The tune contained in this album were selected specifically to give each "Gabriel" a chance to show his stuff and also to demonstrate the various moods that could be brilliantly exemplified wit a trumpet ensemble. The fun that the musicians had making these recordings is apparent on every selection, including the Gerry Mulligan tunes, the clever Al Cohn items 'Cupcake' and 'Spooky', John Benson Brooks' devilish 'Nick', Paul Selden's somber 'Something Blue', and Elliot Lawrence's ligh compositions. *Jordi Pujol*

Cool Gabriels is a trumpet conclave with Conte Candoli, Nick Travis, Dick Sherman, Don Stratton, and Phil Sunkel soloing over a background of alternating lead trumpets Bernie Glow and Al De Risi, Elliot Lawrence, Burgher (Buddy) Jones, Sol Gubin, and themselves. Glow solos on "Arms". The writing is by Lawrence, Al Cohn, Paul Selden, Gerry Mulligan (arranged by Lawrence), and John Benson Brooks. The scoring is clean, always flowing, and sometimes quite ingratiating.

The solos are also of a consistently controlled and assured level while the ensemble playing is sharp and alive. Yet there is little here that really clutches the emotions, little that is nakedly beneath the surface. It's like a good issue of a well-produced slick magazine — Time, let's say. For a more earthy, more deeply wailing trumpet meeting, try Savoy's Top Brass under Ernie Wilkins' direction. But this isn't a dull set by any means. It just doesn't let go enough. There are two takes of "The Swingin' Scot". A complete solo chart is helpfully provided.

*Nat Hentoff (Down Beat, November 28, 1956)*

Side 1

1 - Five O'Clock Shadow

(Lawrence, Reichner)

2 - Cupcake

(Al Cohn)

3 - Mostly Latin

(Elliot Lawrence)

4 - Something Blue

(Paul Selden)

5 - The Swingin' Scot (part 1 and part 2)

(Elliot Lawrence)

6 - Love Is Just Around The Corner

(Leo Robin, Lewis Gensler)

Side 2

7 - Elevation

(Elliot Lawrence, Gerry Mulligan)

8 - Spooky

(Al Cohn)

9 - Happy Hooligan

(Gerry Mulligan)

10 - Each Other's Arms

(Lawrence, Glenn, Reichner)

11 - Nick

(John Benson Brooks)

#1, #7, #8, #9:

Nick Travis, Bernie Glow, Conte Candoli, Don Stratton (trumpets);

Elliott Lawrence (piano); Burgher "Buddy" Jones (bass); Sol Gubin (drums).

#2, #3, #4, #6:

Nick Travis, Al De Risi, Conte Candoli, Don Stratton, Dick Sherman (trumpets);

Elliot Lawrence (piano); Burgher "Buddy" Jones (bass); Sol Gubin (drums).

#5, #10, #11:

Nick Travis, Bernie Glow, Conte Candoli, Don Stratton, Phil Sunkel (trumpets);

Elliott Lawrence (piano); Burgher "Buddy" Jones (bass); Sol Gubin (drums).

Recorded in New York City, June 1 (#1, #7, #8, #9),

June 12 (#2, #3, #4, #6) and June 14 (#5, #10, #11), 1956

Sam Most... ★1957★

Sam Most Orchestra And Sextet

Sam Most Plays Bird, Bud, Monk And Miles

It's a fairly safe guess that in years to come the names of Charlie Parker, Bud Powell, Theolonius Monk and Miles Davis will induce a reverential ring for that generation just as Emmett Hardy, Buddy Bolden and Joe "King" Oliver do in ours. The twin advantages that our latter-day saints have on their predecessors are the improvements in recording techniques and the interest of men like Sam Most in perpetuating their memory.

It may seem strange to speak of glorification of men who, with one exception, are still an integral part of the creative music mold. The fact is, however, that we are some 17 years into the neo-Minton's era which, relatively speaking, calls for a second look at some of its extraordinary contributors.

In the slightly more than two years since his death, the name and accomplishments of Charlie "Bird" Parker have become almost Bunyanesque. Not only his revolutionary alto playing, which has become an indisputable standard for today's neophytes, but his brilliantly conceived riffs and melodies which are guaranteed immortality. "Bird" had "a way with a tune" that continues to astound the most seasoned jazz fan.

To greater or lesser extents, this same is true of Bud Powell and Theolonius Monk who have thoroughly altered the concept of jazz piano; and of Miles Davis whose style of introverted trumpeting has been sheer delight for more than a decade. As a by-product of their collective talents, these men have fashioned some of the most refreshingly original jazz lines ever heard.

As a musician, Sam Most is ever alert to the need of broadening the vistas of jazz. Hitting. upon the format of this LP, he resolved to present two compositions by each man in totally different settings. Half the LP is given to a big band with many soloists; the rest is a small, intimate group which so readily lends itself to the spontaneity of jazz.

Selecting an arranger for the big band sides was of paramount importance in the preparation of this LP. Most felt that the sextet items would run off by themselves with Little difficulty, but the 16-piece aggregation needed the skill of a man who fully understood the nature of the compositions and the musicians engaged to perform them. 

Thus Bob Dorough was selected, not alone to pen the charts, but to act as pianist/conductor for the sessions. In this capacity, he literally ran the show, and the vitality of these sides is the direct result of his sound musicianship.

⁂

In retrospect, this disc offers a permanency beyond the musical gems captured thereon. With the assistance of other musical minds and talents, Sam Most has completed a dedicatory volumen which chronicles for posterity some of the major jazz contributions of our era. Your approbation is the final chapter. *Joe Quinn (liner notes)*

Sam Most in two wonderful settings — a large group on half the record, then a smaller combo with David Schildkraut on tenor, Bob Dorough on piano, and Tommy Potter on bass! Sam plays clarinet throughout, but uses some of the phrasing he'd be more likely to employ with a saxophone — a practice that makes the album a great showcase for Most's really unique talents on his instrument. And although the title might make you think the whole thing's a bop rehash record, the arrangements are pretty darn inventive — and really help bring new life into tunes that include "Serpent's Tooth", "Celia", "Bluebird", "Strictly Confidential", and "In Walked Bud" — especially from Sam's solos, and the trumpet work of Doug Mettome. *Dusty Groove, Inc.*

1 - Strictly Confidential

(Bud Powell)

2 - Half Nelson

(Miles Davis)

3 - 'Round Midnight

(Hanighen, Monk, Williams)

4 - In Walked Bud

(Thelonious Monk)

5 - Serpent's Tooth

(Miles Davis)

6 - Celia

(Bud Powell)

7 - Confirmation

(Charlie Parker)

8 - Bluebird

(Charlie Parker)

Sam Most Orchestra: (#1, #3 , #5, #8):

Chuck Harmon, Ed Reider, Doug Mettome, Al Stewart, Don Stratton (trumpets); 

Jim Dahl, Bill Elton, Frank Rehak (trombones); Sam Most (clarinet);

Dick Meldonian, Dave Schildkraut (alto saxes); Ed Wasserman (tenor sax);

Marty Flax (baritone sax); Bob Dorough (piano); Oscar Pettiford (bass); Paul Motian (drums).

Recorded in New York City, March 6, 1957

Sam Most Sextet (#2, #4, #6, #7):

Doug Mettome (trumpet), Sam Most (clarinet), Dave Schildkraut (alto sax),

Bob Dorough (piano), Tommy Potter (bass), Paul Motian (drums).

Recorded in New York City, March 7, 1957

Charlie Mariano - Part Of A Great Jazz Testament

Charlie Mariano (1923-2009), a Boston native born to Italian immigrants, discovered his passion for jazz in the late 1930s after being inspired by Lester Young and Johnny Hodges. He quickly  embraced the alto saxophone as his instrument and began jamming around Boston. Drafted in 1942, Mariano spent three years in an Army Air Corps band. Upon being discharged, he enrolled at Schillinger House to pursue his studies, but soon, influenced by the groundbreaking work of Charlie Parker and Dizzy Gillespie, he also immersed himself in Boston's vibrant modern jazz scene of the late 1940s, joining Ray Borden's orchestra and also performing at venues such as Hi-Hat, Wally's Paradise, and Eddie Levine's club.

In 1949, Mariano became a key figure in Nat Pierce's band and recorded his first two sides as a leader on the local Motif label, showcasing his modern style, and although he gained some attention among jazz critics, Charlie was still relatively unknown outside of Boston.

It was not until he recorded the 10-inch album titled "The New Sounds from Boston" —which included trumpeter Joe Gordon— for the Prestige label in December 1951 that Mariano's talents as a composer, arranger, and soloist were introduced to jazz audiences across the country.

In 1953, he recorded four more excellent albums, with releases on Prestige, Fantasy, and two on the Imperial label, leading groups that included other Boston jazz legends such as Dick Twardzik, Herb Pomeroy, and Jaki Byard. Not content with being solely a performer, that year he co founded the Jazz Workshop, advocating for musical education and experimentation. In early January 1954, he embarked on a tour with Stan Kenton, eventually finding himself on the West Coast, where he spent the next four years actively participating in the thriving California jazz scene.

Under the title Boppin' In Boston, this compilation of recordings from 1947-1953 serves as a testament to the early years of Charlie Mariano's extensive career. Although he initially played too much like Bird to be regarded as individually distinctive, from 1951 Mariano began creating a distinct voice with his alto saxophone, combining the innovations of bebop language with his own unique style. His contributions to jazz, as a performer and educator, solidified his legacy as one of Boston's most celebrated and revered jazz musicians. *Jordi Pujol*

Charlie Mariano

Boppin' In Boston • 1947~1953

The Fresh Sound label from Barcelona, Spain has during the past couple of decades put out hundreds (probably thousands at this point) of superior jazz reissues, most from the 1945-1965 period. Thanks to the diligence of Jordi Pujol, a countless number of sessions have been saved from obscurity and been given the attention and packaging that they deserve.

Recent reissues include a pair of box sets featuring American saxophonists who first emerged during the classic bebop era. One of them dedicated to Charlie Mariano (1923-2009), a talented alto-saxophonist who was born, raised and often based in Boston. The two-CD set Boppin' In Boston • 1947~1953 has most of the highpoints from the first part of Mariano’s career. Starting with a ballad feature on “What’s New” with the Ray Borden Orchestra, Mariano is heard with groups (including a big band) led by pianist Nat Pierce and at the head of a variety of bop oriented combos. Among his sidemen are the forgotten but colorful bebop trumpeters Gait Preddy (whose career should have gone much further), Joe Gordon, Dick Collins, and Herb Pomeroy, trombonist Sonny Truitt, and pianists Roy Frazee (another talented but forgotten great), Dick Twardzik, Richard Wyands, and Jaki Byard. Mariano was clearly influenced by Charlie Parker, particularly during this era, but his own individual voice is heard gradually emerging. He would later spend time as a member of the Stan Kenton Orchestra, be part of the West Coast jazz scene in Los Angeles, and explore avant-garde jazz and fusion during his later years in Europe. Boppin’ In Boston shows that he was a very skilled player from the start.

This box set has extensive and definitive liner notes from Jordi Pujol along with superior sound. Highly recommended. *Scott Yanow*

* CD 1 *

1 - What's New

(Haggart-Burke)

2 - Boppin' In Boston

(Nat Pierce)

3 - Is This The Thing?

(Nat Pierce)

4 - Body Aand Soul

(Green, Sour, Heyman, Eyton)

5 - Sheba

(Charlie Mariano)

6 - Babylon

(Sonny Truit)

7 - King Edward The Flatted Fifth

(Chaloff, Burns)

8 - It Might As Well Be Spring

(Rodgers, Hammerstein II)

9 - King For A Day

(Fiorito, Lewis, Young)

10 - Boston Uncommon [Master A]

(Charlie Mariano)

11 - Boston Uncommon [Master B]

(Charlie Mariano)

12 - The Wizard [Master A]

(Charlie Mariano)

13 - The Wizard [Master B]

(Charlie Mariano)

14 - Mariners

(Charlie Mariano)

15 - Tzoris

(Charlie Mariano)

16 - Autumn In New York

(Vernon Duke)

17 - Aviary

(Charlie Mariano)

18 - Bye, Bye, Blues

(Hamm, Bennett, Lown, Gray)

19 - Bess, You Is My Woman

(G. and I. Gershwin)

20 - Barsac

(Charlie Mariano)

21 - Stella By Starlight

(Young, Washington)

22 - I'm Old Fashioned

(Kern, Mercer)

23 - Erosong

(Charlie Mariano)

#1: Ray Borden Big Band

Ray Borden, Gait Preddy, Bill Adams, Buddy Hartford (trumpets); 

ert Goodspeed, Joe Fine, Joe Laconi (trombones); 

Charlie Mariano, Sebastian Giacco (alto saxes);

Chuck Stentz, George Green (tenor saxes); Gordon Barrantine (baritone sax);

Nat Pierce (piano); Steve Hester (guitar); Frank Vaccaro (bass); Joe McDonald (drums).

Recorded at Ace Recording Studios, Boston, December 1947

#2 to #4: Charlie Mariano / Nat Pierce Sextet

Gait Preddy (trumpet), Charlie Mariano (alto sax),

Nat Pierce (piano), Steve Hester (guitar), Frank Vaccaro (bass), Joe McDonald (drums).

Recorded at Ace Recording Studios, Boston, January 1948

#5 and #6: Charlie Mariano Octet

Don Stratton (trumpet), Mert Goodspeed (trombone),

Charlie Mariano (alto sax), Randy Henderson (tenor sax),

George Green (baritone sax), Nat Pierce (piano),

Frank Gallaguer (bass),Joe McDonald (drums).

Recorded in Boston, March 25, 1949

#7: Serge Chaloff / Ralph Burns Septet

Gait Preddy (trumpet), Mert Goodspeed (trombone),

Charlie Mariano (alto sax), Serge Chaloff (baritone sax),

Ralph Burns (piano), Frank Vaccaro (bass), Pete DeRosa (drums).

Recorded in Boston, July 7, 1949

#8: The Nat Pierce Orchestra

Don Stratton, Roy Caton, Bud Wilson, Dud Harvey (trumpets),

Bob Carr, Frank "Ace" Lane, Sonny Truitt (trombones),

Charlie Mariano, Dave Chapman (alto saxes),

Randy Henderson, Andie Pirie (tenor saxes), George Myers (baritone sax),

Nat Pierce (piano), Frank Gallaguer (bass), Joe McDonald (drums).

Recorded in Boston, November 1950

#9: Charlie Mariano / Nat Pierce Sextet

Sonny Truitt (trombone), Charlie Mariano (alto sax),

Nat Pierce (piano), Chet Kruley (guitar), Frank Gallagher (bass), Joe McDonald (drums).

Recorded in Boston, probably late 1950

#10 to #14: Charlie Mariano Octet

Joe Gordon (trumpet), Sonny Truitt (trombone), Charlie Mariano (alto sax),

Jim Clark (tenor sax), George Myers (baritone sax),

Roy Frazee (piano), Jack Lawlor (bass), Gene Glennon (drums).

Recorded in Boston, December 1951

#15: Charlie Mariano Sextet

Joe Gordon (trumpet), Sonny Truitt (trombone), Charlie Mariano (alto sax),

Roy Frazee (piano), Jack Lawlor (bass), Carl Goodwin (drums).

Recorded in December 1951

#16: Charlie Mariano Quartet

Charlie Mariano (alto sax), Roy Frazee (piano), Jack Lawlor (bass), Carl Goodwin (drums).

Recorded in December 1951

#17: Charlie Mariano Septet

Joe Gordon (trumpet), Sonny Truitt (trombone), Charlie Mariano (alto sax),

Jim Clark (tenor sax), Dick Twardzik (piano), Jack Lawlor (bass), Carl Goodwin (drums).

Recorded in Boston, December 1951

#18 to #23: Charlie Mariano Boston All Stars

Herb Pomeroy (trumpet), Charlie Mariano (alto sax),

Dick Twardzik (piano, tom-tom [#20]), Bernie Griggs (bass), Jimmy Weiner (drums).

Recorded in Boston, January 27, 1953

* CD 2 *

1 - Come Rain Or Come Shine

(Arlen, Mercer)

2 - My Friend Ethel

(Sonny Truitt)

3 - After Coffee

(Sonny Truitt)

4 - Trouble Is A Man

(Alec Wilder)

5 - Let's Get Away From It All

(Dennis, Adair)

6 - The Thrill Is Gone

(Brown, Henderson)

7 - The Nymph

(Vince Guaraldi)

8 - I've Told Every Little Star

(Kern, Hammerstein II)

9 - Diane's Melody

(Jaki Byard)

10 - Harangue

(Herb Pomeroy)

11 - Sweet And Lovely

(Arnheim, Tobias)

12 - Ryan's Love

(Jack Crown)

13 - This Is Heaven

(Sherman Feller)

14 - How About You?

(Fred, Blane)

15- My Nancy

(Charlie Mariano)

16 - Jan

(Jack Crown)

17 - Chanticleer

(Jack Crown)

18 - Chopin Excerpts

(DP, Adap. Charlie Mariano)

19 - April Afternoon

(Mariano, Pomeroy)

20 - Chandra

(Jaki Byard)

21 - Sagapo

(Jaki Byard)

22 - When Your Lover Has Gone

(E.A. Swan)

23 - It's Magic

(Styne, Cahn)

24 - American Indian

(Herb Pomeroy)

#1 to #8: Charlie Mariano Sextet

Dick Collins (trumpet), Sonny Truitt (trombone), Charlie Mariano (alto sax),

Richard Wyands (piano), Vernon Alley (bass), Joe McDonald (drums).

Recorded in San Francisco, 1953

#9 to #24: Charlie Mariano Quintet

Herb Pomeroy (trumpet), Charlie Mariano (alto sax),

Jaki Byard (piano), Jack Carter (bass), Peter Littman (drums).

Recorded in Boston, November 1953

Phil Sunkel - His Jazz Band And His Music

Phil Sunkel II born as Philip Charles Sunkel, Jr. on November 26, 1925 in Zanesville, Ohio.

After serving in the Army in WWII at age 18 (combat and playing trumpet for the Army Band) overseas, he returned home and went to the Cincinnati Conservatory on the G.I. Bill where he honed his trumpet, flugelhorn, and cornet skills. He ended up in New York City in the 1950's and 60's, which was an exciting and vibrant time for jazz. In addition to albums of his own Jazz Concerto Grosso, and Every Morning I Listen to Phil Sunkel's Jazz Band, he appeared live and on numerous jazz albums as a sideman with the likes of Stan Getz, Gerry Mulligan, Gil Evans, Tito Rodriguez, Woody Herman, Dizzy Gillespie, Sauter-Finegan, Claude Thornhill, Charlie Barnet, Dick Meldonian, and many others. He was the trumpet player on the Merv Griffin Show in the early 1960's and played with the Playboy Club Orchestra for seven years, he played at numerous resorts, and played for Broadway musicals. He died on February 27, 2023 in his sleep in a nursing home in Queens, New York. *Walter Bruyninckx*

Phil Sunkel, cornet and trumpet player, was born in 1925 in Zanesville, Ohio. He played with the Claude Thornhill, Charlie Barnet, Stan Getz, Sauter-Finegan, Gerry Mulligan, Gil Evans and Tito Rodriguez bands. Leaving his role as a soloist aside, Phil mainly stood out as an arranger and composer of talent, being these recordings his most celebrated works and the only ones he did as a leader.

My idea of a jazzband, he said is something between a small combo and a big band incorporating the good features of both. Here we have the flexibility of a small group which allows the soloist a maximum of freedom, plus the color and drama produced by the different ensemble sounds.

The further possibilities of using a three voice group superimposed on a similarly conceived orchestral backdrop originated Sunkels most ambitious and outstanding work: "Jazz Concerto Grosso". *Jordi Pujol*

Phil Sunkel's name is unjustly missing from a lot of jazz reference works, though his considerable resume as a sideman includes recordings with Hal McKusick, Al Cohn, Lawrence Brown, Urbie Green, Gerry Mulligan, Erroll Garner, Jimmy Giuffre, Lee Konitz and Gil Evans, to name only a few. This first-call trumpeter evidently only made two records as a leader, both of them for ABC-Paramount in the mid-'50s. This album was the first under his own name, with a tentet including baritone saxophonist Gene Allen, alto saxophonist Dick Meldonian, trombonist Gene Hessler, and trumpeter Al Stewart. Sunkel's precise trumpet solos never fail to swing yet don't resort to showboating. His cool arrangements are comparable to those of Gerry Mulligan and Bob Brookmeyer, with most of the music devoted to Sunkel's tasty originals. *Ken Dryden*

Phil Sunkel's Jazz Band

Every Morning I Listen To... Phil Sunkel's Jazz Band

My idea of a jazzband is something between a small combo and a big band incorporating the good features of both. Here we have the flexibility of a small group which allows the soloist a maximum of freedom, plus the color and drama produced by the different ensemble sounds.

All the arrangements here were conceived with the purpose in mind of creating vehicles for the soloists ideas. Backgrounds were kept at a minimum and used only where they would enhance rather than distort the soloists ideas.

This album was recorded in three separate sessions — May 13, May 23, and June 14, 1956 in New York City. The same personnel was used throughout. Our intentions were to produce some happy spirited music. We had fun making this album and we hope you enjoy it.

*Phil Sunkel (liner notes)*

The set features a tight brace of three trumpets in the lead, alongside trombone, alto, tenor, and baritone — almost an extension of the sounds crafted at the tail end of the swing years, but with some nice modernist inflections too — somewhere in a space between Woody Herman and Stan Kenton, with lots of nice hues and tones in the horns. *dustygroove.com*

Side 1

1 - Jack's Theme

(Phil Sunkel)

2 - Polka Dots And Moonbeams

(Van Heusen, Burke)

3 - Train Ride

(Phil Sunkel)

4 - Old Wives' Tales

(Phil Sunkel)

5 - Every Mornin'

(Phil Sunkel)

Side 2

6 - How Strange

(Prozorowsky, Brent, Stothart, Kahn)

7 - The Animal Man

(Phil Sunkel)

8 - Chomp, Chomp Blues

(Phil Sunkel)

9 - Joe, The Architect

(Phil Sunkel)

10 - T. Blues

(Phil Sunkel)

Phil Sunkel, Al Stewart, Siggy Shatz (trumpets); Gene Hessler (trombone); Dick Meldonian (alto sax); Buddy Arnold (tenor sax); Gene Allen (baritone sax); George Syran (piano); Bob Petersen (bass); Harold Granowsky (drums).

Recorded in New York City, May 13, May 29 and June 14, 1956.

***

Gerry Mulligan And Bob Brookmeyer

Play Phil Sunkel's Jazz Concerto Grosso

I have always been fascinated by the acoustical and rhythmic possibilities of three voice writing. My first opportunity to do something professional in this direction came in 1955 when I joined the Stan Getz Sextet. Stan had previously commissioned me to write some things for his quintet and it was from this material that I now drew and enlarged upon to meet the needs of the new group. The instrumentation was valve trombone, cornet, and tenor backed by bass, drums and piano. The soft broad qualities of the valve trombone and cornet blended well with Stan's warm tenor sound and the resulting textures proved ideal for the moody intimate type things I had written.

My intentions were to retain the harmonic framework of these little songs while injecting a linear feeling into each of the individual horn parts. To do this, each voice 

was made to fall naturally and uncontrived and so designed rhythmically as to sustain the pulse and present a completeness within themselves. The bass, drums and 

piano served to underline, punctuate, and reinforce this linear harmonic activity. The further possibilities of using a three voice group superimposed on a similarly conceived orchestral backdrop soon presented itself as an interesting project for future consideration. 

About a year ago I hit upon a theme that seemed to be of a character suitable for this expanded type of treatment. 

The stark simplicity of its obvious construction made it perfect raw material for the compositional presentation I had in mind. Standing alone, this musical fragment had a naked, self-conscious air; but, after being melodically extended and placed in context, it suddenly took on a noble, earthy quality. This was exactly what I was looking for and with this good strong basic material at hand the piece began to shape itself. 

Now that the whole thing was straight in my own mind I presented the idea to the record company. Creed Taylor was immediately enthusiastic and suggested that I sound Gerry Mulligan and Bob Brookmeyer to appear as soloists. Gerry and Bob liked the idea and their acceptance pushed the work toward its final stages. The members of the band were chosen, the date set, and all that remained was the completion of the score. 

The sketches and fragments that had accumulated over the last year now shaped themselves into a meaningful whole, and we recorded the finished work on October 14, 1957.

*Phil Sunkel (liner notes)*

Although Gerry Mulligan and Bob Brookmeyer get top billing on this LP, the leader, composer, and arranger of all three compositions is cornetist Phil Sunkel. The full 15-piece band is heard on the nearly 16-minute "Jazz Concerto Grosso", with the full band supporting the solos of Mulligan (baritone sax), Brookmeyer (valve trombone), and the leader. The shorter pieces from the following day's session feature a septet with totally different personnel, except for the three major soloists. All of the music is enjoyable and falls clearly into the cool jazz genre, but it has languished in obscurity like Sunkel, though he was later a member of the acclaimed Gerry Mulligan Concert Jazz Band. This long deleted record will be somewhat difficult to locate. *Ken Dryden*

Side 1

1 - Jazz Concerto Grosso

Side 2

2 - Something For The Ladies

3 - Song For Cornet

(All compositions by Phil Sunkel)

#1:

Phil Sunkel (cornet); Nick Travis, Al Stewart, Don Stratton, John Wilson (trumpets); Frank Rehak (trombone); Bob Brookmeyer (valve trombone); Eddie Bert (bass trombone); Don Butterfield (tuba); Dick Meldonian (alto sax); Cliff Hoff, Bill Slapin (tenor saxes); Gerry Mulligan, Gene Allen (baritone saxes); Milt Hinton (bass); Osie Johnson (drums).

#2 and #3:

Phil Sunkel (cornet), John Wilson (fluegelhorn), Bob Brookmeyer (valve trombone), Jim Reider (tenor sax), Gerry Mulligan (baritone sax), Wendell Marshal (bass), Harold Granowsky (drums).

Recorded in New York City, October 14 (#1) and October 15 (#2, #3), 1957.

Herbie Mann - Flute Mann • Salute To The Flute

The flute, an honorable pastoral spirit in the classical orchestra and chamber groups, is only beginning to be more than glancingly accepted by jazz critics. The jazz musicians, always more hospitable and curious than the critics, have, with rare exceptions, not objected to its increasing inclusion in jazz record sessions and regular combos and orchestra. There have been, however, several dourly skeptical writers, most notably in England, who feel the flute is not capable of projecting all the heat and urgency of elemental jazz. 

It is absurd (it seems instantly axiomatic to me) to proscribe any instrument as being inherently alien to jazz. It is the player, after all, who is transmitting the message; the instrument is his means, and if his message is heated and urgent, it will get through. In any case, an increasing number of jazz musicians, especially within the past four and five years, have become intrigued with and soon assured on the instrument; and it is not at all outré to bring a flute to a jam session on an average gig. 

A majority of the jazz flutists, however, utilize the instrument secondarily. Frank Wess of the Basie and Jerome Richardson, for example, are primarily tenors although their transformation of the flute into a vessel afire may eventually make the flute their first instrument. Buddy Collette distributes his calm skills about equally among the clarinet, alto, tenor and flute. Bud Shank is still an altoist first and Sam Most continues to concentrate on the clarinet although both have become flute-facile too. Bobby Jaspar of the J. J. Johnson quintet is regarded by his colleagues as a tenor who, on the side, plays warm, singing flute.

Mann, on the other hand, although a professional tenor saxophonist and clarinetist, can be considered the first of the younger jazzmen to regard the flute as his major instrument. Born in Brooklyn on March 16, 1930, he gained experience during three years with an Army band in Trieste and first became known on the jazz scene through his work with the Mat Mathews combo in 1953 and 1954. He started playing flute as well as other reeds with Mat, and as he explains the context at the time, "it was impossible for me to be influenced by any other flute player then, because there were hardly any. I had that advantage. I had heard and been impressed by Harry Klee's flute on a Mary Ann McCall album in the early '50's, but it has been a trumpet player, Miles Davis, who has actually been my one major influence on flute". *Nat Hentoff (liner notes)*

This Columbia LP (a 1981 reissue of an Epic album titled Salute to the Flute) found flutist Herbie Mann accompanied for the first time by a big band on five of the nine selections. Prior to 1959, virtually all of Mann's recordings were bop-oriented, and this one is no exception. Whether it be "Little Niles", "When Lights Are Low", "Beautiful Love" or even "Old Honky Tonk Piano Roll Blues", Mann proves to be an excellent bop soloist; other important players on this date include trumpeter Joe Wilder, altoist Anthony Ortega, pianist Hank Jones, guitarist Joe Puma and bassist Oscar Pettiford. This LP will be a difficult one to find. *Scott Yanow*

The best of the plethora of Mann sets that have hit the market recently. With the aid of excellent musicians, in example, Hank Jones, Anthony Ortega, Joe Puma, Oscar Pettiford, Joe Wilder, Urbie Green, etc., and arrangements by A. K. Salim and Gigi Gryce, the flutist is heard in big, medium-sized and small band contexts, and the music is at once pleasant, interesting, and provides adequate blowing space. Set should be appealing to jazz coterie, and those not so heavily oriented as well. Try "Little Niles" and "A Ritual" as demo bands. *Billboard, October 28, 1957*

Side 1

1 - When The Lights Are Low

(Benny Carter)

2 - Little Niles

(Randy Weston)

3 - Old Honkie Tonk Piano Roll Blues

(Herbie Mann)

4 - Pretty Baby

(A. K. Salim)

Side 2

5 - Beautiful Love

(Victor Young, Wayne King, Egbert Van Alstyne)

6 - Hip Scotch

(Joe Puma)

7 - Song For Ruth

(Herbie Mann)

8 - Noga's Nuggets

(Oscar Pettiford)

9 - A Ritual

(Herbie Mann)

Herbie Mann (flute, alto flute); Bernie Glow, Don Stratton, Joe Wilder (trumpets); Urbie Green, Chauncey Welsch (trombones); Anthony Ortega (alto sax); Dick Hafer (alto and tenor sax); Dave Kurtzer (tenor sax); Sol Schlinger (baritone sax); Joe Puma (guitar); Hank Jones (piano); Oscar Pettiford (bass); Gus Johnson [#1, #3, #5, #6, #8, #9]), Philly Joe Jones [#2, #4, #7] (drums).

Recorded in New York City, April 18 (#2, #4, #7) and April 29 (#1, #3, #5, #6, #8, #9), 1957.