Trumpet Conclave (II)

 In the previous post, about the so-called "Cool Gabriels", we can checked out Nat Hentoff's review. While he didn't completely dismiss them, he did raise a few eyebrows — mainly pointing out that some of the solos felt a bit too restrained:

"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", Hentoff wrote.

He then took the chance to recommend another trumpet session — one he clearly thought packed more emotional punch:

"For a more earthy, more deeply wailing trumpet meeting, try Savoy's Top Brass under Ernie Wilkins' direction", he said.

And knowing how tough Hentoff could be when it came to handing out stars, it's worth paying attention. Top Brass actually got the full five stars from him — the highest rating in Down Beat. So, let's take his word for it and give Top Brass the spotlight it deserves.

Ernie Wilkins Presents

Top Brass

Featuring Five Trumpets

Top Brass is a modern and expanded reincarnation of several of the Keynote sessions in the '40s when a pride of several lions on one particular instrument was assembled to exchange ideas and styles. In this case, five trumpeters (Ernie Royal, Idress Su-lieman, Joe Wilder, Ray Copeland, and  Donald Byrd) blow in various Ernie Wilkins’ settings backed without flaw  by Hank Jones, Kenny Clarke, and Wendell Marshall. Three of the originals are by Ernie; one he co-wrote with Earl Van Riper, and "Dot's What" is by Johnny Mandel. The lines are sprightly and Ernie, who arranged all, is his usual spare, swinging, estimable self.

On the first five, the hornmen alternate in the various chairs from lead on. The complete notes identify all positions and solos, and provide good, concise biographical backgrounds (and some spelling mistakes). Most of the second side is devoted to ballad explorations by each trumpeter, and the comparison of approaches is illuminating and enjoyable all down the line. Note particularly Joe Wilder's "Willow Weep For Me", one of the most movingly lyrical solos ever recorded. On the up-tempos, everybody swings and each has several individual statements of worth to make. The recorded sound is appropriately bright. All hail to Savoy and Ozzie Cadena for thinking this one up, and to Mr. Wilkins and his friends for making it work so excitingly.

*Nat Hentoff (Down Beat, April 4, 1956)

Although he was a better than average saxophonist with Count Basie, by the time of these 1950s sessions for Savoy, Ernie Wilkins was working exclusively as an arranger and composer. Most of the music within this compilation comes from a 1955 session with trumpeters Donald Byrd, Ray Copeland, Ernie Royal, Idrees Sulieman, and Joe Wilder, pianist Hank Jones, bassist Wendell Marshall, and drummer Kenny Clarke. Four of the first five tracks are swinging originals by Wilkins, and there's also an obscure Johnny Mandel blues, "Dot's What." The remaining music from the first session is a ballad medley where each trumpeter is featured in turn playing a personal favorite, all of which have become time-tested standards. If there's any complaint about this studio date at all, it is the excess reverb used at times, which is surprising due to Rudy Van Gelder's usually impeccable sound. The bonus tracks are from another Wilkins-led session from 1957; trumpeters Art Farmer, Charlie Shavers, Emmett Berry, and Harold "Shorty" Baker join Royal, with Don Abney taking over on piano and Bobby Donaldson on drums. Both of Wilkins' originals, "Blues in 6/4" and "Trumpets All Out," are enjoyable even if they never became widely known. *Ken Dryden*

Ernie Wilkins wrote the lines for this collection of five trumpeters — Joe Wilder, Ernie Royal, Ray Copeland, Indres Sulieman and Donald Byrd — and rhythm — Hank Jones, Wendell Marshall and Kenny Clark. Savoy was kind enough to carefully note each solo and section position of each trumpeter on each selection. All of it is rather moderate modern, mostly on the boppy kick (some of the solos are less than that). But over-all it's an interesting, certainly a swinging, album; five tracks have section work and then individual solos while the other side features one ballad apiece. Aside from Donald Byrd, who is overshadowed here, it would be hard to finally pick among the four, especially on the ballads, for which and for Hank's comping, the album draws its major favor. *Metronome • Music USA (June, 1956)*

1 - 58 Market Street

(Ernest Wilkins, Earl Van Riper)

2 - Trick Or Treat

(Ernest Wilkins)

3 - Speedway

(Ernest Wilkins)

4 - Dot's What

(Johnny Mandel)

5 - Top Brass

(Ernest Wilkins)

Ballad Medley:

6 - Willow Weep For Me

(Ann Ronell)

7 - Imagination

(Johnny Burke, Jimmy Van Heusen)

8 - It Might As Well Be Spring

(Oscar Hammerstein II, Richard Rodgers)

9 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

10 - Taking A Chance On Love

(Vernon Duke, Ted Fetter, John Latouche)

11 - Blues In 6/4

(Ernest Wilkins)

12 - Trumpets All Out

(Ernest Wilkins)

#1 to #10: from the album Top Brass Featuring 5 Trumpets (Savoy Records MG 12044)

Donald Byrd, Ray Copeland, Ernie Royal, Idrees Sulieman, Joe Wilder (trumpets);

Hank Jones (piano); Wendell Marshall (bass); Kenny Clarke (drums).

Recorded at Rudy Van Gelder Studios,Hackenshack, New Jersey, November 8, 1955

#11 and #12: from the album Trumpets All Out (Savoy Records MG 1209)

Art Farmer, Ernie Royal, Charlie Shavers, Emmett Berry, Harold Baker (trumpets);

Don Abney (piano); Wendell Marshall (bass); Bobby Donaldson (drums).

Recorded at Rudy Van Gelder Studios,Hackenshack, New Jersey, January 15, 1956

Lee Konitz Meets Jimmy Giuffre

Lee Konitz Meets Jimmy Giuffre:

Altoist Lee Konitz is showcased during a set of adventurous Bill Russo arrangements for an orchestra and strings in 1958, pops up on half of Ralph Burns' underrated 1951 classic Free Forms (the most enjoyable of the four sets), and meets up with baritonist Jimmy Giuffre, whose arrangements for five saxes (including the great tenor Warne Marsh) and a trio led by pianist Bill Evans are sometimes equally influenced by classical music and bop. The least interesting date showcases Giuffre’s clarinet with a string section on his five-part "Piece For Clarinet And String Orchestra" and the 16 brief movements of "Mobiles". *vinylpussycat.com*

These two virtuoso reed players are among the most intrepid improvisers in jazz. In the Forties, Konitz was the alternative voice to Charlie Parker on alto saxophone, playing with a pure, cool sound, and he first came to prominence with the Miles Davis nine-piece band.

Lee Konitz meets Jimmy Giuffre, and it's a small masterpiece of pure jazz. Konitz is the main soloist on nine tracks of standards, ballads and originals, all beautifully scored by Giuffre for five saxophones plus a rhythm section of pianist Bill Evans, bassist Buddy Clark and drummer Ronnie Free. The music swings effortlessly and has the added joy of solos by Evans, the late great tenor saxophonist Warne Marsh and Giuffre himself, who plays baritone sax. *classical-music.com*

You And Lee:

A treasure! This album has been long out of print, although it was available on some compilations.

Before I proceed give the sound samples on You And Lee  a listen to get a sense of this album. For one thing, it's more of a big band ensemble. However, the arrangements by Jimmy Giuffre lift this into a different vibe than your typical big band fare. There is a definite West Coast touch to this album. Another feature is the rhythm section, which features Bill Evans on piano leading on most tracks, and Jim Hall on guitar on the remaining ones. That, too, gives this album a distinctive sound without breaking the continuity of the overall listening experience.

This was recorded in New York City for Verve on October 29 and 30, 1959. The core ensemble is comprised of Konitz on alto sax accompanied by a trumpet section (Marky Markowitz, Ernie Royal, Phil Sunkel), a trombone section (Eddie Bert and Billy Byers, with Bob Brookmeyer on valve trombone), Bill Evans on piano, Jim Hall on guitar, Sonny Dallas on bass and Roy Haynes on drums. *Mike Tarrani*

One of the lesser-known Lee Konitz albums, this LP features the altoist joined by six brass and a rhythm section for eight Jimmy Giuffre arrangements. The shouting brass contrasts well with Konitz's cool-toned solos and together they perform eight underplayed standards. Guitarist Jim Hall and pianist Bill Evans (who are on four songs apiece) are major assets behind Konitz on this pleasing set. * Scott Yanow*

Lee Konitz Meets Jimmy Giuffre

Featuring Bill Evans

This release presents the complete Lee Konitz albums You and Lee , and Lee Konitz Meets Jimmy Giuffre . These were Konitz and Bill Evans' earliest studio collaborations: on the first LP the pianist only played on one of the two sessions (Jim Hall replaced him on the other one), while on the second Evans was featured throughout the entire album. Both works were taped in 1959, and although Konitz and Evans had been previously recorded together in a concert setting, and would be taped in the same fashion during a 1965 European tour, their only other studio LP collaboration was the pianist’s 1977 album Crosscurrents. The great Jimmy Giuffre also participated on both records – on the first as arranger, and on the second as arranger and performer. *jazzmessengers.com*

Merged from two brilliant 1959 studio sessions, this disc is, just as the title and artist credits suggest, a showcase for three immense talents. Those expecting to hear the snap-crackle of Roy Haynes' snare or Bob Brookmeyer's punctuated counterpoints after reading the all-star lineup may be surprised to hear them relegated to the background, but any disappointment will end there. The brilliant playing of Lee Konitz and Bill Evans, paired with Jimmy Giuffre's sensitive arrangements, is enough to satisfy any true jazz lover.

Assembled for the album Lee Konitz Meets Jimmy Giuffre, the first band, a quintet of saxophones backed by the rhythmic underpinnings of Evans, bassist Buddy Clark and drummer Ronnie Free, immediately shows its musicality on the angular, quasi-atonal "Palo Alto. After a rundown of the pointillistic Giuffre arrangement, Konitz jumps in and alternately toys with and floats over the buoyantly swinging rhythm section and airy horn backgrounds. Konitz and Evans solo at length on "Somp'm Outa' Nothin'", which can only be described as a blues that has a hard time getting off the "one" chord. The arrangement is quintessential Guiffre, with its dense tone clusters and recurring rhythmic pedal; Evans takes incredible liberties with the harmonic structure and shows an early affinity for Monk.

Following a chamber-jazz reworking of "Darn That Dream", in which Giuffre masterfully exploits the subtle harmonic movements using a quintet of saxophones, the album is rounded out with a number of tracks from the '59 album You And Lee. Recorded five months after the initial Konitz/Giuffre studio session, this date finds a trio of trumpets and trombones replacing the saxophone section and adding a distinct edge to the music. Konitz is clearly the leader here; his probing, inventive solos are featured throughout the lineup of reworked standards, and the comping work is split by Evans' piano and the earthy guitar of Jim Hall. The tunes, especially "You Don't Know What Love Is", show Konitz at his best. He dazzles the listener with his sensitivity and invention and revels in the shimmering, transparent beauty evoked by Giuffre's arrangements. *Matthew Miller*

1 - Somp'm Outa' Nothin'

(Giuffre)

2 - Someone To Watch Over Me

(Gershwin, Gershwin)

3 - Uncharted

(Giuffre)

4 - Moonlight In Vermont

(Suessedorf, Blackburn)

5 - The Song Is You

(Kern, Hammerstein)

6 - Palo Alto

(Konitz)

7 - Darn That Dream

(VanHeusen, DeLange)

8 - When Your Lover Has Gone

(Swan)

9 - Cork 'n Bib

(Konitz)

10 - I’m Getting Sentimental Over You

(Bassman, Washington)

11 - You Don't Know What Love Is

(Raye, DePaul)

12 - I Didn't Know About You

(Ellington, Russell)

13 - Ev'rything I've Got (Belongs To You)

(Rodgers, Hart)

14 - You're Clear Out Of This

(Arlen, Mercer)

15 - You Are Too Beautiful

(Rodgers, Hart)

16 - The More I See You

(Warren, Gordon)

17 - You're Driving Me Crazy

(Donaldson)

#1 to #9: from the album Lee Konitz Meets Jimmy Giuffre (Verve Records MG V-8335)

Lee Konitz, Hal McKusick (as); Warne Marsh, Ted Brown (ts); Jimmy Giuffre (bs); Bill Evans (p); Buddy Clark (b); Ronnie Free (d).

Recorded in New York City, May 12 (#1 to #5) and May 13 (#6 to #9), 1959.

#10 to #17: from the album You And Lee (Verve Records MG V-8362)

Ernie Royal, Irving "Marky" Markowitz, Phil Sunkel (tp); Bob Brookmeyer (v-tb); Eddie Bert [except #14 to #17], Billy Byers (tb); Lee Konitz (as); Bill Evans [except #14 to #17](p); Jim Hall [#14 to #17](g); Sonny Dallas (b); Roy Haynes (d). Jimmy Giuffre (arranger).

Recorded in New York City, October 29 (#10 to #13) and October 30 (#14 to #17), 1959.

George Handy - "X" Sessions

George Handy (born George Joseph Hendleman in January 1920) was an American jazz arranger, composer and pianist whose musical beginnings were fostered under the tutelage of composer Aaron Copland. While he had an impressive career as a pianist, he is best known in retrospect for his bebop arrangements.

Born in New York City, Handy first worked professionally as a swing pianist for Michael Loring in 1938, but soon was drafted into the United States Army in 1940. From 1944 to 1946 he became a member of the Boyd Raeburn Orchestra, composing and performing on piano. This was during a time when many big bands were transforming their musical tendencies toward bebop. He did leave the orchestra briefly to do work for Paramount Studios, but returned to Raeburn quickly. During this period he entered one of his most creative periods, doing arrangements of older standards with a distinctly bebop quality. Just as he was entering his prime, however, he had a falling out with Raeburn and left the group. While he continued to arrange for other musicians in his later career, it is that 1944–1946 period for which he is remembered most. AllMusic noted that "He was pianist with Zoot Sims' combo during 1956–1957 but mostly worked outside of jazz during his last four decades, although he did spend some time as a Down Beat critic during the latter half of the 60s.

Handy died in Harris, New York, in January 1997 at the age of 76, from heart disease. *wikipedia.org*

***

One of the most advanced arrangers of the mid-1940s, George Handy's radical charts gave the Boyd Raeburn Orchestra its musical personality while also probably making it impossible for the big band to work steadily. He originally learned piano from his mother but later studied at Julliard, New York University, and with Aaron Copland. Handy played with Raymond Scott in 1941 but made his reputation with Raeburn (1944-1946), whose orchestra he turned from a dance band into an ensemble more advanced in its own way than Stan Kenton's. "Tonsillectomy" and "Dalvatore Sally" were two of Handy's more notable (or infamous) originals but even his arrangements of standards (such as "Body and Soul" and "Temptation") that featured singers David Allyn and Ginnie Powell were quite dissonant and full of surprising explosions. Unfortunately, a personality conflict resulted in Handy only being with Raeburn for a little less than two years. Although he wrote for other bands (including those of Alvino Rey, Ina Ray Hutton, and Herbie Fields) and spent time working in the studios, Handy ended up being quite obscure. He was pianist with Zoot Sims' combo during 1956-1957 but mostly worked outside of jazz during his last four decades, although he did spend some time as a Down Beat critic during the latter half of the '60s. As a leader, George Handy was captured privately on six numbers with a quartet in 1945 (released by Onyx), made two studio sides with the Vivien Garry Trio (for Studio & Art in 1945), recorded a specially commissioned piece for Norman Granz in 1946 ("The Bloos"), and headed two little-known albums during 1954-1955 for the RCA subsidiary "X". *Scott Yanow*

George Handy

Handyland U.S.A.

[originally Handyland U.S.A. - "X" (LXA 1004)]

June 13, 1954, saw the return of George Handy to the musical world. He promptly began writing anew with unabashed fury, love and stoic realism. To those of us Handy-ites who had always felt that George was THE Giant of this decade it was anthralling news. Now, at last, a potencial that was virtually untapped was ready to yield a musical geyser.

Ed Kissack of label "X" and myself conceived the idea of recording George Handy running the gamut of jazz expressions. Hence the first of his musical feelings, basic jazz, is clearly attested to in this album. This, of course, is only the start of a free slowing musical flotsam, the Handy current, that will eventually culminate in a ocean of startling sharps and flats.

Thus it was avid interest that inner sanct of the musical realm looked forward to...

August 16, 1954, a hot, sultry evening in Manhattan. The site, Webster Hall, a large meeting place usually used for weddings and social functions. Its hallowed walls encompass acoustical quality second to none.

Assembled were some of the top musicians in the world. This was a hand-picked aggregation, men who had carved their niche in the immortal archives of swingdom.

Because of other commitments no rehearsal was possible. At about a quarter of ten at the night we started. We finished at six thirty that dawn. Needless to say there were interim periods of complete fatigue, high spirits, moroseness, verbosity, and Gemütlichkeit. Therefore, in spite of the unusual procedure of this recording session, it does reflect a complete stratum of feeling, both by the musicians and the composer; the only unwavering high quality was in the recordings.

Since most record dates are done in sterile surroundings, we decided to change matters. We invited a group of friends and music aficionados who we knew would lend a natural feeling to the recording. Of course they beame quite weary after a while and, since the next day was a work day, had to leave for the most part by one or two A.M., and after that quiet reigned as you'll notice in the recordings. *H. J. Morrison (liner notes)*

1 - Recoil

2 - A Tight Hat

3 - Noshin'

4 - Sprong

5 - Rainbow

6 - Pegasus

7 - Lean To

8 - Blinuet

9 - Case-Ace

10 - Crazy Lady

11 - Zonkin'

12 - Footnotes

(All compositions by George Handy)

Ernie Royal (trumpet), Kai Winding (trombone), Dave Schildkraut (alto sax), Allen Eager (tenor sax), Danny Banks (baritone sax), George Handy (piano), Vinnie Burke (bass), Art Mardigan (drums).

Recorded at Webster Hall, New York City, August 16 and 17, 1954.

***

George Handy

Pensive

[originally By George - "X" (LXA-1032)]

George Handy who became known as one of the most adventurous arrangers in progressive jazz between 1944 and 1948, before disappearing from the scene, returned to the music field in the summer of 1954.

Handys most remarkable early works were mainly big band arrangements that he did mostly for the Boyd Raeburn and Alvino Rey orchestras. However, in this new stage of his career, he focused more on his work as a leader of his own small band, recording two 12 albums. This is the second and, by far, the rarest one, reissued now for the first time since its 1955 release.

The band here plays a whole library of Handy originals, which he introduces as tone poems. The intricately woven orchestrations reflect many classical influences in the arranged passages, and some moments suggest Bartók and Stravinsky. But improvisation is never discarded, and there are three frequently featured soloists — Sherman, Rehak or Byers, and Schildkraut — whose warm contributions prevent the whole enterprise from losing contact with jazz.

Despite the tempo changes and a great deal of complexity in the writing, the music often swings. The violin is ingeniously used, usually playing a theme while one or two other lines are juxtaposed against it contrapuntally. *Jordi Pujol*

1 - Heavy Hands

2 - Pulse

3 - Tender Touch

4 - Foolish Little Boy

5 - The Sleepwalker

6 - A Wooden Sail In A Wooden Wind

7 - Maretet

8 - Pensive

9 - Of Gossamer Sheen

10 - Stream Of Consciousness

11 - The Flatterer

12 - Knobby Knees

(All compositions by George Handy)

#1 to #8:

Dick Sherman (trumpet), Gene Orloff (trumpet, violin), Frank Rehak (trombone), Dave Schildkraut (alto sax), Ray Beckenstein (flute, alto sax), Tommy Mace (oboe, tenor sax), Danny Bank (baritone sax), Tony Aless (piano), Buddy Jones (bass), Osie Johnson (drums).

Recorded in New York City, April 13 (#1 to #5) and April 14 (#6 to #8), 1955.

#9 to #12: 

Charle Panelli (trumpet), Gene Orloff (trumpet, violin), Billy Beyers (trombone), Dave Schildkraut (alto sax), Ray Beckenstein (flute, alto sax), Tommy Mace (oboe, tenor sax), Danny Bank (baritone sax), Tony Aless (piano), Buddy Jones (bass), Osie Johnson (drums).

Recorded in New York City, April 22, 1955.

Cannonball Adderley - In The Land Of Hi-Fi

Julian "Cannonball" Adderley fired his first shot, a salvo heard throughout the entire world of jazz, when his initial album (MG 36043) was released less than a year ago. Soon after, he was featured in a quintet session under the leadership of his brother, Nat , on the Wing label; more recently, "Cannonball" was featured with a string ensemble, arranged and conducted by Richard Hayman, in an impressive set of performances on standard tunes, (MG 36063). These albums, further implemented by guest appearances with Sarah Vaughan and other visitors to the Land of Hi Fi, succeeded in their objective of establishing "Cannonball' as a major new jazz talent.

With the present excursion of the Adderley brothers and their cohorts to the Land of Hi Fi, "Cannonball" returns approximately to the same format and setting featured on his first album. Ernie Wilkins served as conductor and arranger. Like Quincy Jones, who was the musical director on the first Adderley session, Ernie recently returned from a tour of the Middle East, during which he played in the all-star band sponsored by the State Department and led by Dizzy Gillespie. On returning home, he put down the saxophone, picked up the pen and went promptly to work on this album, recorded in June, 1956 with the following participants: Nat Adderley, cornet; Ernie Royal, trumpet; "Cannonball" Adderley, alto sax; Jerome Richardson, tenor sax and flute; Danny Bank, baritone Sax; Jimmy Cleveland and Bobby Byrne, trombones; Junior Mance, piano; Charlie "Specs" Wright, drums; Keeter Betts, bass.

Most of the tunes heard on these sides had never been recorded before.

To sum up, this is a lively, swinging session of unpretentious modern jazz that will serve further to consolidate "Cannonball's" reputation as one of the big guns in contemporary music. *(Liner notes)*

He's got a whole freakin' orchestra in this one sounds like. It is a pretty big ensemble compared to most hard bop artists. But it sounds damn good. He's got some sweet hard bop swinging sounds. There's one original tune here and the rest are penned by some other famous jazz and standard writers. I highly recommend this release. ✤ Stylistically, somewhere between Miles Davis' "Birth of the Cool" recordings and Doc Severinsen. The arrangements are mostly fairly restrained, and then Cannonball jumps in and tears the place apart. Around this time, Miles noticed Cannonball and recruited him into his group shortly thereafter. ✤ A set of short but VERY potent swinging songs that Cannonball just has a blast improvisiing over. The overall style tends more towards the West Coast style of jazz but still has plenty of fire, with very colorful and bright-hued arrangements. The major departure from this style occurs on the gruff bluesy "I Don't Care", which features the snide, growling sarcastic flute of one Jerome Richardson, one of my favorite tracks actually. Very recommended. *rateyourmusic reviews*

The title's a bit of a mouthful, but a good description of the way Cannonball was presented in the years before his soul jazz groove firmly kicked in! The "hi fi" is a bit overstated -- as the album's pretty much of a straight jazz record, featuring Cannon blowing lead solos in a large group arranged and directed by Ernie Wilkins. Bother Nat's on cornet, and other players include Jerome Richardson, Junior Mance, and Jimmy Cleveland. Titles include "Junior's Tune", "Blues For Bohemia", "Dog My Cats", "T's Tune", and "Casa De Marcel".  *dustygroove.com*

Side 1

1 - Dog My Cats

(Ernie Wilkins)

2 - I'm Glad There Is You

(Madeira, Dorsey)

3 - Blues For Bohemia

(Julian and Nat Adderley)

4 - Junior's Tune

(Junior Mance)

5 - Between The Devil And The Deep Blue Sea

(Koehler, Arlen)

Side 2

6 - Casa De Marcel

(Marcel Daniels)

7 - Little Girl Blue

(Rodgers, Hart)

8 - T's Tune

(Thomas Turrentine)

9 - Broadway At Basin Street

(Wayne, Frisch)

10 - Just Norman

(Wright)

11 - I Don't Care

(Ray Bryant)

Julian "Cannonball" Adderley (alto sax); Nat Adderley (cornet); Danny Bank (baritone sax); Jerome Richardson (tenor sax, flute); Ernie Royal (trumpet); Jimmy Cleveland, Bobby Byrne (trombones); Junior Mance (piano); Keeter Betts (bass); Charlie "Specs" Wright (drums), Ernie Wilkins (conductor and arranger).

Recorded at Capitol Studios, New York City, June 8 (#5, #7, #9, #10), June 16 (#1, #2, #4, #6) and June 18 (#3, #8, #11), 1956.