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.
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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
