Five-Star Collection... Count Basie (December 1953 on Clef Records)

In the waning days of 1953, Count Basie walked into Fine Sound Studios in New York with a renewed sense of purpose. His orchestra had been reshaped, his sound modernized, and his partnership with Norman Granz was about to yield some of the most vital recordings of his postwar career. The sessions Basie led for Clef Records that December —one with his full orchestra, another with a stripped-down sextet— captured the perfect balance between swing tradition and the modern jazz vocabulary of the 1950s.

On December 12, 1953, Basie recorded the material that would later appear on the 12-inch LP Dance Session (Clef MG C-626). The orchestra featured what would soon become known as the "New Testament Band": Wendell Culley, Reunald Jones, Joe Newman, and Joe Wilder on trumpets; Henderson Chambers, Henry Coker, and Benny Powell on trombones; Marshall Royal (alto sax/clarinet), Frank Wess and Frank Foster (tenor saxes), Charlie Fowlkes (baritone), Freddie Green (guitar), Eddie Jones (bass), and Gus Johnson (drums). Basie alternated between piano and organ, bringing a fresh timbre to his already unmistakable swing.

The New York session yielded titles such as "Straight Life", "Basie Goes Wess", "Softly, With Feeling", "Peace Pipe", "Bubbles", "Right On", and "The Blues Done Come Back", with arrangements by Johnny Mandel, Frank Wess, Neal Hefti, and Ernie Wilkins.

Two additional tracks associated with Dance Session —"Blues Go Away!" and "Plymouth Rock"— had actually been recorded earlier that year, on August 13, 1953, in Los Angeles. These sessions, also produced by Granz, reveal the transitional phase of Basie's band just before it fully coalesced into the streamlined ensemble that would dominate his mid-1950s recordings.

Around the same time as the New York orchestra date, Basie also convened a sextet session for Clef, a relaxed and intimate date released on the 10-inch LP Count Basie Sextet (Clef MG C-146). With Joe Newman (trumpet), Paul Quinichette (tenor sax), Freddie Green (guitar), Gene Ramey (bass), and Buddy Rich (drums), the group tackled tunes such as "Basie Beat", "K.C. Organ Blues", "Blue and Sentimental" and "Count’s Organ Blues".

Taken together, these 1953 Clef sessions document a pivotal moment in Basie's evolution. His music regained the rhythmic drive and collective swing of the 1930s while embracing the cleaner, more sophisticated textures of the modern era. Dance Session and Count Basie Sextet stand as complementary portraits of a bandleader in transition —bridging tradition and innovation, reaffirming his roots while setting the course for the Basie sound that would define the following decade.

Down Beat reviewed these records as follows:

Count Basie

Dance Session

Every so often, like a dormant volcano, there will be an eruption on the jazz scene, during which one of the protagonists will insist (usually quite pedantically) that jazz was made to listen to and not to dance to. Like the volcanic eruptions which consist primarily of hot air and other gasses, these things subside, and we get back to normalcy and the clear, sweet air of swing, and we discover that it is quite simple to dance as well as listen to good jazz, because definitively jazz claims rhythm more as an ingredient of its composition than any other kind of music. 

Today, if anyone were asked who swings more than anyone else, the chances are nine out of nine would reply Count Basie. They would mean either Basie individually, Basie with a small group of musicians, or Basie with his big band. Slice it any way you like, look at it upside down or standing on  your head — Basie is still THE man of swing. It used to be in the olden days, various titles were handed to band leaders, such as "Mr. Rhythm", "Mr. Swing" and so on. Were that doubtful practice to be revived today, Basie would probably garner more crowns than any other leader playing jazz at this time.

That was reason then, for us to produce an album by the dance master of them all; but at the same time a man who preserves the identity of the soloists within his organization by giving them full rein to play as they choose when it comes their turn to stand up.

Basie also, years ago, and he has persisted today in that practice, saw the need for giving young, free-thinking arrangers full play to write as they thought the band should play. The best of these arrangers for Basie, and composers too, for they have written these pieces, are included in this album. They are: Johnny Mandel, Neal Hefti, Ernie Wilkins and Frank Wess. Johnny Mandel’s "Straight Life" is quite possibly, at least it is my nominee, the prettiest thing Basie has done in a decade. However, pressing it closely for second place beauty honors is the Hefti "Softly, With Feeling". There are the swinging, jumping, rollicking, happy tunes by Wilkins, Wess and some more by Hefti, but all in all it is the band that plays not only the blues, but plays with feeling, to paraphrase Neal Hefti, softly and/or loudly, but always tastefully. *Norman Granz (liner notes)* 

Most of these have already been reviewed as singles and have received ratings ranging from three to five stars. Gathered together in one well-recorded 12'' LP, the cumulative impact of thgis, the greatest big band in jazz, is too much!

Here is that rare combimnation of section precision and relaxation, of functional simplicity and continuous freshness of feeling. It's also about time someone gave credit to the man largely responsible for the aforementioned prfecision — concert master Marshall Royal. At base, of course, this is a triumph belonging to everyone in this exultant band and to the swingingest bandbuilder of them all, William Basie. This is called, by the way, Count Basie Dance Session and it's a powerful reminder of what jazz began as in Storyville — music to dance and live with. This is one band you can't listen to as a detached observer; when you dig Basie, you become part of the beat. 

*Nat Hentoff (Down Beat, September 8, 1954 [5 stars])*

1 - Straight Life

(Johnny Mandel)

2 - Basie Goes Wess

(Frank Wess)

3 - Softly, With Feeling

(Neal Hefti)

4 - Peace Pipe

(Ernie Wilkins)

5 - Blues Go Away!

(Ernie Wilkins)

6 - Cherry Point

(Neal Hefti)

7 - Bubbles

(Neal Hefti)

8 - Right On

(Freddie Green)

9 - The Blues Done Come Back

(Ernie Wilkins)

10 - Plymouth Rock

(Neal Hefti)

#1, #4, #5, #10:

Reunald Jones, Paul Campbell, Wendell Culley, Joe Newman (trumpets);

Johnny Mandel (bass trumpet [#5, #10]), Henry Coker, Benny Powell (trombones);

Marshall Royal (clarinet, alto sax); Ernie Wilkins (alto sax, tenor sax);

Frank Wess, Frank Foster (tenor saxes); Charlie Fowlkes (baritone sax);

Count Basie (piano); Freddie Green (guitar); Eddie Jones (bass); Gus Johnson (drums);

Neal Hefti (arrangements).

Recorded in Los Angeles, California, August 13 (#5, #10),

and at Fine Studio, New York City, December 12 (#1, #4), 1953

#2, #3, #6, #7, #8, #9: 

Reunald Jones, Joe Wilder, Wendell Culley, Joe Newman (trumpets);

Henderson Chambers, Henry Coker, Benny Powell (trombones);

Marshall Royal (clarinet, alto sax);Ernie Wilkins (alto sax, tenor sax);

Frank Wess, Frank Foster (tenor saxes); Charlie Fowlkes (baritone sax);

Count Basie (piano, organ [#3]); Freddie Green (guitar); Eddie Jones (bass); Gus Johnson (drums);

Neal Hefti (arrangements).

Recorded at Fine Studio, New York City, December 12, 1953

✳✳✳

Count Basie

The Count Basie Sextet

I never seem to be able to make up my mind as to what musical setting I prefer Count Basie in — the big band or the small band. It seems that it is usually the last record that I hear that converts me to its cause. I think the reason, of course, is that Basie is equally adept and equally pleasing in both combinations. In the one you get the power and the drive that the big band gives you, and in the other you get all of the subtlety and relaxed swing that the small combination affords. In either case, though, Basie is always the motivation rhythmically for each group.

This latest album by Count Basie is a Sextet culled from members of his band, and a musician who happens to be Basie's closest musical friend. This "friend" is Buddy Rich. The other members of the band were: Gene Ramey, Freddie Greene, Joe Newman, and Paul Quinichette.

As with most of Basie's records, the tunes are originals penned by Basie or members of his band, and the blues predominate.

For a most swinging (or as the hipsters would probably say "swinging the most") evening, here is the Count and his Sextet. *Norman Granz (liner notes)*

If you put this on a hi-fi set at full room volume, it'll swing you through the window if you don't watch out. This is jazz at its most basic — direct, powerful, unpretentious. Paul Quinichette and Joe Newman are in the front line and ride on top of the rhythm section like it was a jet-engined carpet. With Count is the invaluable Freddie Greene together with Gene Ramey and Buddy Rich.

Basie is on organ on four sides and no one since Fats Waller comes close to Count in jazz organ touch. There's little point in selecting favorite bands — it all moves from Paul's simply expressive Blue and Sentimental to the rocking Royal Garden. One thing only — and this will probably get me read out of the Critics' Circle. There are times when Buddy Rich is somewhat too heavy, as on Count's Organ Blues. But why cavil in the face of a Basie tornado?

*Nat Hentoff (Down Beat, February 24, 1954 [5 stars])*

1 - Basie Beat

(Count Basie, Joe Newman)

2 - K.C. Organ Blues

(Count Basie, Joe Newman)

3 - She's Funny That Way

(Richard Whiting, Neil Moret)

4 - Royal Garden Blues

(Clarence Williams, Spencer Williams) 

5 - Stan Shorthair

(Count Basie, Joe Newman)

6 - Blue And Sentimental

(Count Basie, Jerry Livingston, Mack David) 

7 - Count's Organ Blues

(Count Basie, Joe Newman)

8 - As Long As I Live

 (Ted Koehler, Harold Arlen)

Count Basie (piano, organ), Joe Newman (trumpet), Paul Quinichette (tenor sax),

Freddy Green (guitar), Gene Ramey (bass), Buddy Rich (drums).  

Recorded at Fine Studio, New York City, December 15, 1953

Charlie Rouse, Julius Watkins And The Jazz Modes

The Jazz Modes was a jazz group with a truly distinctive sound, which was only active between 1956 and 1959. The group's sound was built on its unusual instrumentation. Despite a typical jazz rhythm section of piano, bass and drums, the front line blended the sounds of the French horn and tenor saxophone. The band was formed by French horn player Julius Watkins and tenor saxophonist Charlie Rouse.

Julius Watkins was virtually the father of the jazz French horn. He started playing French horn at the age of nine, although he worked with the Ernie Fields orchestra on trumpet (1943-1946). In the late ’40s, he took some French horn solos on records by Kenny Clarke and Babs Gonzales, and spent 1949 as a member of the Milt Buckner big band. After three years of study at the Manhattan School of Music, Watkins started appearing on small-group dates including a pair of notable sessions led by Thelonious Monk in 1953-1954.

Possessor of a distinctive tone and a fluid bop-oriented style, Charlie Rouse was in Thelonious Monk's Quartet for over a decade (1959-1970) and, although somewhat taken for granted, was an important ingredient in Monk’s music. Rouse was always a modern player and he worked with Billy Eckstine's orchestra (1944) and the first Dizzy Gillespie big band (1945), making his recording debut with Tadd Dameron in 1947. Rouse popped up in a lot of important groups including Duke Ellington's Orchestra (1949-1950), Count Basie's octet (1950), on sessions with Clifford Brown in 1953, and with Oscar Pettiford's sextet (1955). 

After the Jazz Modes experience, Watkins toured with Quincy Jones' big band (1959-1961); did plenty of studio work (including the Miles Davis-Gil Evans collaborations); and recorded with Charles Mingus (in 1965 and 1971), Freddie Hubbard, John Coltrane (the Africa sessions), and the Jazz Composer's Orchestra, among many others.

For his part, Rouse joined Thelonious Monk for a decade of extensive touring and recordings. In the 1970s he recorded a few albums as a leader, and in 1979 he became a member of Sphere. Charlie Rouse’s unique sound began to finally get some recognition during the 1980s. He participated on Carmen McRae’s classic Carmen Sings Monk album and his last recording was at a Monk tribute concert.

With slight personnel variations, The Jazz Modes recorded a total of five albums, most of which are now very hard to find. All of these LPs are included in the following collection in their entirety and in chronological order.

As a bonus, we have included three further complete albums, all of which were originally issued as 10" LPs. Oscar Pettiford’s Oscar Rides Again is the only other existing album, outside of the Jazz Modes body of work, to feature both Rouse and Watkins in the front line. The two volumes by the Julius Watkins Sextet, on the other hand, present Watkins in the company of other celebrated tenor saxophonists: Frank Foster and Hank Mobley.

Charlie Rouse And Julius Watkins

The Complete Jazz Modes Sessions

The three discs in this set collect all the work by this short lived group, The Jazz Modes. Of particular interest are the two albums under Julius Watkins' name he recorded for the Blue Note label-now available on CD, or used if you can find them. Talking about these two albums, the personnel consists of Watkins-French horn, Hank Mobley-tenor sax, Duke Jordan-piano, the great Oscar Pettiford-bass, and Art Blakey-drums, with Perry Lopez-guitar.

The remaining albums have slightly differing personnel, but the core players are Watkins (who played with Coltrane, Mingus, Miles Davis, Gil Evans, and many others), Charlie Rouse (who played with Monk for years)-tenor sax, and Gildo Mahones-piano. Other players throughout consist of Art Taylor, Kenny Clarke, Paul Chambers, and Sahib Shibab. There's a few others showing up on bass and drums, along with Eileen Gilbert-on mostly wordless soprano vocals, Janet Putnam-harp (on 2 tracks only), and Chino Pozo-congas. This release is closer to 3 1/2 "stars" — the half for experimenting with the soprano voice in a jazz setting. Otherwise this is straight 1950's jazz-before the great changes began to happen in the 1960's.

The 30 page booklet contains an essay on the group as a whole, the primary players, original liner notes, (then) contemporary reviews, and a number of photos and reproductions of the album covers. Also included is song information, dates and who plays on which album. Again, some of this music is perhaps 3 or 3 1/2 "stars". But overall you have to give the principle players much credit for trying something new and different-especially during the relatively button-downed 1950's. A word about the vocals. To present day ears Eileen Gilbert's vocals will come as a bit of a shock. While her voice is a fine soprano, the juxtaposition within a jazz setting is hard to get into. Remember, this was the late 50's, and Rouse and Watkins (especially) were experimenting with a different approach to jazz. Some may like the combination, some will not. But underneath the vocals is some well arranged jazz. So you've been warned.

Don't let the French horn scare you away. This is some fine/very fine straight ahead jazz as they played it in the late 50's. The rhythm section(s) keep everything moving along on the up tempo tunes, and are suitably restrained on the ballads. All three of the principle players get room to solo throughout these albums. Rouse's big sound is right at home on these tunes, and Watkins' horn-sounding like a French horn-is used in much the same manner as any more conventional horn in jazz. Mahone's piano is straight out of the be-bop style of jazz, and fits in very well.

Songs are a combination of standards or (mostly) Watkins' compositions. But no matter which tune, this very fine, unique group plays each song as if it were their own. Straight ahead 1950's jazz/Watkins/Rouse fans need to hear this collection. This was experimental jazz in the 50's-the French horn, the impressionistic vocals, all were an attempt to find something new and different. But even if their music didn't catch on, it's still some good yet different, small group jazz. Period jazz fans may want to check this out-and having all the albums by this group in one collection is very handy, along with a useful booklet. It's definitely of it's era-certainly different than music of the present. A interesting sometimes good side street off the main boulevard of jazz.

*Stuart Jefferson (amazon.com)*

*CD 1*

1 - Dancing On The Ceiling

(Richard Rodgers, Lorenz Hart)

2 - Legend

(Gildo Mahones)

3 - Temptation

(Arthur Freed, Nacio Herb Brown)

4 - Episode

(Julius Watkins)

5 - Dancing In The Dark

(Arthur Schwartz, Howard Dietz)

6 - Goodbye

(Gordon Jenkins)

7 - Town And Country

(Varon)

8 - When The Blues Comes On

(Alvin G. Cohn, Charles Isaiah Darwin)

9 - Blue Modes

(Julius Watkins)

10 - You Are Too Beautiful

(Richard Rodgers, Lorenz Hart)

11 - So Far

(Richard Rodgers, Oscar Hammerstein II)

12 - Idle Evening [Jazz Garden Suite, part I]

(Julius Watkins)

13 - Garden Delights [Jazz Garden Suite, part II]

(Julius Watkins)

14 - Strange Tale [Jazz Garden Suite, part III]

(Julius Watkins)

15 - Two Songs [Jazz Garden Suite, part IV]

(Julius Watkins)

16 - Stallion

(Gildo Mahones)

17 - Baubles, Bangles And Beads

(Alexander Borodin, George Forrest, Robert Wright)

18 - Autumn Leaves

(Jacques Prévert, Johnny Mercer, Joseph Kosma)

19 - The Golden Chariot

(Gildo Mahones)

20 - Let's Try

(Charlees Isaiah Darwin, Paulette Girard)

21 - Bohemia

(Ed Smollett, Charles E. Shirley, Mynell Allen)

22 - Cath Her

(Julius Watkins)

*CD 2*

1 - Hoo Tai

(Julius Watkins)

2 - Mood In Scarlet

(Julius Watkins)

3 - Linda Delia

(Julius Watkins, George Butcher)

4 - I've Got You Under My Skin

(Cole Porter)

5 - We Can Talk It Over

(Julius Watkins)

6 - Standing On The Corner

(Frank Loesser)

7 - Joey, Joey, Joey

(Frank Loesser)

8 - Warm All Over

(Frank Loesser)

9 - Happy To Make Your Acquaintance

(Frank Loesser)

10 - My Heart Is So Full Of You

(Frank Loesser)

11 - The Most Happy Fella

(Frank Loesser)

12 - Don't Cry

(Frank Loesser)

13 - Like A Woman

(Frank Loesser)

14 - Somebody Somewhere

(Frank Loesser)

15 - The Oblong

(Julius Watkins)

16 - 1-2-3-4-0 In Syncopation

(Julius Watkins, Princess Orelia Benskina)

17 - Blue Flame

(Julius Watkins)

18 - Mood In Motion

(Julius Watkins)

*CD 3*

1 - Knittin

(Charlie Rouse)

2 - This 'N That

(Charlie Rouse)

3 - Glad That I Found You

(Julius Watkins)

4 - Princess

(Julius Watkins, Princess Orelia Benskina)

5 - Sextette

(Gerry Mulligan)

6 - The Golden Touch

(Quincy Jones)

7 - Cable Car

(Oscar Pettiford, Sonny Clark)

8 - Trictrotism

(Oscar Pettiford)

9 - Edge Of Love

(Charles Ables, Goode, Baker)

10 - Oscar Rides Again

(Oscar Pettiford)

11  - Linda Delia

(Julius Watkins, George Butcher)

12 - Perpetuation

(Julius Watkins)

13 - I Have Known

(Julius Watkins, Gene Morgan)

14 - Leete

(Julius Watkins)

15 - Garden Delights

(Julius Watkins)

16 - Julie Ann

(Julius Watkins, Gene Morgan)

17 - Sparkling Burgundy

(Julius Watkins)

18 - B And D

(Bennie Harris)

19 - Jordu

(Duke Jordan)

*CD 1*

#1 to #6 from the album Jazzville '56, Vol.1 (Dawn DLP1101):

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Paul West (bass), Art Taylor (drums). 

Recorded in New York City, June 1956. 

[Despite its short duration, this album was a 12" LP, although Side B featured a Gene Quill-Dick Sherman Quintet.]

#7 to #16 from the album Les Jazz Modes (Dawn DLP1108)

 [reissued in 1960 as Smart Jazz for the Smart Set (Seeco CELP466).]:

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Paul Chambers (bass),

Oscar Pettiford (bass, replaces Chambers on #11, #12 and #14 only),

Janet Putnam (harp on #8 and #10 only), Ron Jefferson (drums),

Eileen Gilbert (soprano vocals on #8, #12 and #14 only). 

Recorded in New York City, June 12, 1956.

#17 to #22 from the album Mood in Scarlet (Dawn LP1117):

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass), 

Ron Jefferson (drums), Chino Pozo (bongos on #20 and #21). 

Reorded in New York City, December 4, 1956.

*CD 2*

#1 to #5 from the album Mood in Scarlet (Dawn LP1117):

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass),

Ron Jefferson (drums), Eileen Gilbert (soprano vocals on #1 and #2).

Recorded in New York City, December 4, 1956.

#6 to #14 from the album The Most Happy Fella (Atlantic LP1280):

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass),

Ron Jefferson (drums), Chino Pozo (conga, bongos),

Eileen Gilbert (soprano vocals on #10 only).

Recorded in New York City, November 7, 1957.

#15 to #18 from the album The Jazz Modes (Atlantic LP1306):

#15, #16, #18: 

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Sahib Shihab (baritone sax), Gildo Mahones (piano),

Martin Rivera (bass), Jimmy Wormworth (drums).

Recorded in New York City, 1959.

#17:

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass),

Ron Jefferson (drums), Chino Pozo (congas, bongos),

Eileen Gilbert (soprano vocals).

Recorded in New York City, October 28, 1959.

*CD 3*

#1 to #4 from the album The Jazz Modes (Atlantic LP1306):

#1, #3, #4:

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass),

Ron Jefferson (drums), Chino Pozo (congas, bongos),

Eileen Gilbert (soprano vocals).

Recorded in New York City, October 28, 1959.

#2:

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Sahib Shihab (baritone sax), Gildo Mahones (piano),

Martin Rivera (bass), Jimmy Wormworth (drums).

Recorded in New York City, 1959.

#5 to #10: from the album Oscar Rides Again (Bethlehem 10” LP BCP1003),

 [reissued on Bass (Bethlehem 12” LP BCP-6]:

Charlie Rouse (tenor sax), Julius Watkins (French horn), Duke Jordan (piano),

Oscar Pettiford (bass, cello on #6, #9,#10), Ron Jefferson (drums).

Recorded in New York City, September 1954.

#11 to #14: from the album Julius Watkins Sextet,

[a.k.a New Faces, New Sounds (Blue Note BLP5053)]:

Julius Watkins (French horn), Frank Foster (tenor sax),

George Butcher (piano), Perry Lopez (guitar),

Oscar Pettiford (bass), Kenny Clarke (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, August 8, 1954.

#15 to #19: from the album Julius Watkins Sextet, Volume Two (Blue Note BLP5064):

Julius Watkins (French horn), Hank Mobley (tenor sax),

Duke Jordan (piano), Perry Lopez (guitar),

Oscar Pettiford (bass), Art Blakey (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, March 20, 1955.

Matthew Gee - Jazz By Gee!

Matthew Gee (1925-1979), who belatedly had the opportunity to record this album, Jazz by Gee!, his first and only one as a leader, in 1956, was one of many talented jazzmen who earned the solid and lasting respect of his peers without ever achieving the public recognition they clearly deserved. Leonard Feather described Gee as one of the "best and most underrated of bop-influenced trombonists".

Gee was first influenced—not only in style but in his decision to play the trombone—by hearing Trummy Young, who was playing ahead-of-his-time trombone with the Jimmie Lunceford band. After attending Alabama State College, where he built a musical reputation, Gee arrived in New York. His first big band job was with Erskine Hawkins's band. After military service, he worked with Dizzy Gillespie in 1946, the Gene Ammons-Sonny Stitt group, Count Basie, and Illinois Jacquet, before freelancing in the New York area. From 1959 to 1963, he played intermittently with the Duke Ellington Orchestra. Later, in the 1960s, he played in small groups with Paul Quinichette and Brooks Kerr, and in big bands with Sonny Stitt and Johnny Griffin.

Gee's favorite trombonists were J.J. Johnson and Benny Green, and some of his admiration for them could be heard in his work. But there was even more in his driving, plunging style that was uniquely Gee; and it was high time that a lot more people appreciated just how much jazz that was.

The supporting cast here rated his "star" billing. In the septet numbers, tenor sax Frank Foster, trumpet Kenny Dorham, and baritone sax Cecil Payne stood out. The quintet featured Ernie Henry, one of those few altos with a defined sound and his own ideas, in addition to the inevitable debt to Charlie Parker. The rhythm section in both sessions was driven by Art Taylor. Joe Knight, a young pianist from Brooklyn, provided remarkably solid support throughout. Bass was shared by formidable veteran John Simmons and respected Chicago newcomer Wilbur Ware.

Matthew Gee's limited discography as a leader prompted us to add five bonus tracks from albums by other artists, featuring Matthew as a soloist and sideman. *Jordi Pujol*

Trombonist Matthew Gee was primarily a section player and a valuable sideman, but as this CD reissue shows, he could have been a significant soloist too. The two sessions (Gee's only two as a leader) feature him in an unusual quintet with altoist Ernie Henry (the trombone-alto blend has a unique sound) and at the head of a septet also including trumpeter Kenny Dorham, tenorman Frank Foster, and baritonist Cecil Payne. The music is quite bop-oriented and mixes together standards with three swinging Gee originals. An underrated and generally overlooked gem by a forgotten trombonist. *Scott Yanow*

Trombonist Matthew Gee was a sideman on a couple of dozen recording sessions but only one as a leader, Jazz by Gee, for Riverside, in July and August 1956. Between 1946 and 1975, Gee recorded with Gene Ammons, Erskine Hawkins, Sonny Stitt, Count Basie, Coleman Hawkins, Nat Pierce, Dizzy Gillespie, Johnny Griffin, Archie Shepp and many others. And yet, he made just one album under his own name. A terrible oversight by record labels at the time.

Today, Gee is barely known. As a sideman, his trombone was an ingredient in other artists' creations, so he never became a household name. What's interesting about his trombone is that he played with a zesty bark. A bebopper, Gee was able to push a rich sound through his horn and keep his improvisation bouncy and dance-like.

Now, Fresh Sound has released Jazz by Gee!  Matthew Gee All Stars that includes Gee's sole leadership album as well as sideman recordings leading up to that session. The bonus tracks are Gee with three different ensemble, led by Lou Donaldson, Illinois Jacquet and Joe Newman. Of particular note about Jazz by Gee! are Gee's sidemen on the two leadership sessions. They were indeed all-stars. *Marc Myers*

1 - Out Of Nowhere

(Green, Heyman)

2 - I'll Remember April

(Raye, dePaul, Johnston)

3 - Joram

(Bill Massey)

4 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

5 - Lover Man

(Davis, Ramirez, Sherman)

6 - Gee!

(Matthew Gee)

7 - Kingston Lounge

(Matthew Gee)

8 - The Boys From Brooklyn

(Matthew Gee)

9 - Moe's Bluff

(Elmo Hope)

10 - Caracas

(Lou Donaldson)

11 - The Stroller

(Lou Donaldson)

12 - On Your Toes

(Illinois Jacquet)

13 - Close Quarters

(F. Foster, J. Newman)

#1 to #8, from the album Jazz by Gee (Riverside RLP 12-221)

#1 to #5:

Matthew Gee (trombone), Ernie Henry (alto sax),

Joe Knight (piano), Wilbur Ware (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, August 22, 1956

#6 to #8:

Kenny Dorham (trumpet), Matthew Gee (trombone),

Frank Foster (tenor sax),Cecil Payne (baritone sax),

Joe Knight (piano), John Simmons (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, July 19, 1956

#9 to #11, from the album Lou Donaldson Sextet, vol.2 (Blue Note BLP-5055)

Kenny Dorham (trumpet), Matthew Gee (trombone), Lou Donaldson (alto sax),

Elmo Hope (piano), Percy Heath (bass), Art Blakey (drums).

Recorded at Van Gelder Studio, Hackensack, NJ, August 22, 1954

#12, from the album Illinois Jacquet Septet - Jazz by Jacquet (Clef MG C-167)

Russell Jacquet (trumpet), Matthew Gee (trombone),

Illinois Jacquet (tenor sax), Cecil Payne (baritone sax),

Raymond Acea (piano), Al Lucas (bass), Shadow Wilson (drums).

Recorded in New York City, December 11, 1953

#13, from the album Joe Newman and His Band (Vanguard VRS 8007)

Joe Newman (trumpet), Matthew Gee (trombone),

Frank Wess (tenor sax, flute), Frank Foster (tenor sax),

Johnny Acea (piano), Eddie Jones (bass), Osie Johnson (drums).

Recorded in New York City, March 9, 1954

Coleman Hawkins And The Big Sax Section

For much of Coleman Hawkins' post-1940 career, the tenor saxophonist fronted quartets, quintets and other small groups. When he did play with full-size orchestras, Hawk was typically the featured soloist, not a sit-down, chart-reading member of the reed section. So unfortunately you don't often get to hear how the flavor of a superb reed section might change with Hawk's mighty tenor as part of the mix.

Hawk also didn't play much with Count Basie's band. Which makes perfect sense, since Hawk and Lester Young, Basie's star tenor saxophonist, were intense rivals. Hawk recorded with Basie on only a few occasions — in January 1941 as poll-winning members of the Metronome All Stars; with Basie's big band in April 1941 (Young was fronting his own band and working with Billie Holiday at the time); and in December 1957 for CBS' The Sound of Jazz, the noir TV jam session.

Long curious to know how Hawk's confident, cutting tone would sound within Basie's bluesy sax section, Savoy Records' producer Ozzie Cadena proposed a recording summit in early 1958. Hawk agreed, and Basie gave his blessing. So on April 24, right after Basie's band returned from a Canadian tour and just before Hawk left for Europe with Jazz at the Philharmonic, nine musicians converged on Rudy Van Gelder's recording studio in New Jersey. Cadena oversaw the session for World Wide Records.

For the date, Marshall Royal and Frank Wess were on alto saxes; Frank Foster and Hawk were on tenors; and Charlie Fowlkes was on baritone sax. The only reed player missing was Billy Mitchell, who had just joined Basie months earlier on tenor and was the sax player dropped to make room for Hawk. The rhythm section featured guitarist Freddie Green and bassist Eddie Jones, both Basie-ites, and Bobby Donaldson on drums and Nat Pierce on piano.

To ensure that the session went off without a scoring hitch, Cadena turned to rock-solid Billy Ver Planck for the swinging arrangements. Ver Planck, a trombonist, had written for the Jimmy Dorsey and Claude Thornhill bands, and in 1958 was recording for Savoy.

The result was Coleman Hawkins Meets the Saxophone Section, which was first released on World Wide to show off the label's newfound stereo capability. Recorded only in stereo (rather than mono and stereo), many jazz listeners passed on the LP, since the more expensive stereo format was relatively new technology and most people had only mono equipment. Ultimately, the recording also was released on Savoy as Coleman Hawkins Meets the Big Sax Section.

The five tracks recorded that day included three blues and two show tunes —"I've Grown Accustomed to Her Face" and "There Is Nothing Like a Dame". The first track on the album, "Ooga Dooga", is particularly fascinating given that Hawk does not solo. Instead, you get to hear how the section sounds with Hawk as one of two tenors reading down Ver Planck's charts. The standards also are stunning swingers, with Hawk tearing in and out of Frederick Lowe's loping Face and Richard Rodgers' charging "Dame".

For my money, Coleman Hawkins Meets the Saxophone Section may be one of the best and most robust reed-themed albums ever recorded. Every track lives up to the album's title, and you get everything you expect, from the sauciest blues to street-smart standards. There isn't a bad note on the album. It's just a shame that another five tracks weren't captured that day. *Marc Myers*

This studio session for Savoy finds the great Hawkins playing as part of a five-piece sax section. Actually the other saxophonists and part of the rhythm section were taken from the Count Basie Orchestra and outfitted with arrangements by Billy Ver Planck. They play a variety of little-known but swinging material; the logical charts and high-quality solos make this LP well worth acquiring. *Scott Yanow*

A thoroughly swinging and wonderfully arranged session. There is the essence of swinging the blues all through the set. The Basie sax and rhythm section (with Nat Pierce siting in for Basie) are absolutely wonderful! A must have performance! *David M. Robinson*

1 - Ooga Dooga

(Coleman Hawkins)

2 - I've Grown Accustomed To Your Face

 (Frederick Loewe, Alan Jay Lerner)

3 - Thanks For The Misery (master take)

 (Billy Ver Planck)

4 - An Evening At Papa Joe's

 (Frank Foster)

5 - There Is Nothin' Like A Dame

(Richard Rodgers, Oscar Hammerstein II)

6 - Thanks For The Misery

(Billy Ver Planck)

Coleman Hawkins, Frank Foster (tenor saxes); Frank Wess, Marshall Royal (alto saxes); Charlie Fowlkes (baritone sax); Nat Pierce (piano); Freddie Greene (guitar); Eddie Jones (bass); Bobby Donaldson (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, April 24, 1958.