Five-Star Collection... Power-Packed Trombones

The Trombones Inc.

Jazz has been the scene of a battle of sorts for some time now. Though semantics have generally been the weapons, musicians in the east have traveled their own route and have cast a disparaging eye on the goings on of their colleagues on the Pacific. The latter similarly have come to be identified with a movement sometimes known as "the west coast school of jazz", which they in turn consider superior to the work of musicians in the east. All to the travail of you the listener. This melange has somewhat been abated by various west coast and east coast albums, but no recorded panacea existed to settle the argument once and for all.

The idea of doing an album in which both schools of jazz were heard goes back to a part-time valve trombonist named Jim Conkling who, it might be added, had the idea once before. This reformed cornet player has been in the habit lately of doubling as president of large record companies, first Columbia Records and now Warner Bros., and having instigated the first homage to the seventh position — "Jai & Kai Plus Six" on Columbia — he thought it might be fun to have twenty trombonists do battle, coast-to-coast. The fact that only ten trombonists from each coast would blow at one time helped the mind cope with this proposition, and accordingly, plans were drafted to make this mad, mad project come true. Come true it did, but gloriously. *George Avakian (liner notes)*

If our arithmetic is correct, 27 trombonists participated in the making of this disc— divided into two groups, one on the west coast, the other on the east, and subdivided further by substitutions. The product is (a) a veritable Who’s Who of modern jazz trombone players, (b) a remarkable exercise in virtuosity for arrangers Johnson, Paich and Barker, (c) a revelation of the richness of trombone, and (d), some sort of apex in the career of the trombone itself.

There are 15th century paintings that show the instrument largely as it is today. But is wasn't until the early 19th century that composers, including Berlioz, began to explore its possibilities. And it remained for the jazz musicians of 20th century America to find out what trombones could really do. If you doubt that, listen to any average symphony trombonist struggling through the solo in Ravel's Bolero, even today.

This record is a great tribute to the skill and authority jazz musicians developed on the instrument. It is perhaps impossible to sort out the individual performances on this disc to cite them for merit, but solos and ensemble work are due for high praise. It is safe to say that no instrument but trombone has the variety of colors to permit a recording like this. So enormous are the possibilities of trombone, and so well have Paich, Barker and Johnson exploited them, that you rarely miss the other sections, rarely realize that you're hearing trombones, only trombones, and nothing but trombones (except for that tuba Paich snuck in for three tracks).

The Harvard Dictionary of Music says that "since the movement from position to position requires a certain amount of time, a true legato is not possible on the trombone". Its editor had better hear this disc before the next edition is prepared. *Down Beat, July 9, 1959 [5 stars]*

1 - Neckbones

(J. J. Johnson)

2 - Dues Blues

(J. J. Johnson)

3 - Long Before I Knew You

(Jule Styne, Sammy Cahn)

4 - Soft Winds

(Benny Goodman)

5 - Tee Jay

(J. J. Johnson)

6 - Lassus Trombone

(Henry Fillmore)

7 - It's All Right With Me

(Cole Porter)

8 - Polka Dots And Moonbeams

(Johnny Burke, Jimmy Van Heusen)

9 - Old Devil Moon

(Burton Lane, E.Y. Harburg)

10 - Impossible

(Steve Allen)

11 - Heat Wave

(Irving Berlin)

#1:

Frank Rehak, Jimmy Cleveland, Eddie Bert, Benny Powell,

Bob Brookmeyer, Melba Liston, Henry Coker, Benny Green (trombones);

Dick Hickson, Bart Varsalona (bass trombones);

Hank Jones (piano); Wendell Marshall (bass); Osie Johnson (drums).

Recorded in New York City, December 26, 1958

#2, #4:

Frank Rehak, Jimmy Cleveland, Eddie Bert, Benny Powell,

Bob Brookmeyer, Melba Liston, Bob Alexander, Benny Green (trombones);

Dick Hickson, Bart Varsalona (bass trombones);

Hank Jones (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, December 29, 1958

#3, #5:

Eddie Bert, Jimmy Cleveland, Henry Coker,

Melba Liston, Benny Powell, Frank Rehak (trombones);

Bob Brookmeyer (valve trombone); Dick Hixson, Bart Varsalona (bass trombones);

Hank Jones (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, December 31, 1958

#6, #9, #10:

Joe Howard, Herbie Harper, Frank Rosolino, Dick Nash, Ed Kusby,

Tommy Pederson, Murray McEachern, Marshall Cram (trombones);

George Roberts, Kenny Shroyer (bass trombones); Marty Paich (piano); 

Barney Kessel (guitar); Red Mitchell (bass); Mel Lewis (drums); Mike Pacheco (bongos).

Recorded in Los Angeles, California, December 5, 1958

#7, #8, #11:

Bob Enevoldsen, Milt Bernhardt, Bob Fitzpatrick, Joe Howard,

Lewis McCreary, Frank Rosolino, Dave Wells (trombones);

George Roberts (bass trombone), Stu Williamson (valve trombone);

John Kitzmiller (tuba); Marty Paich (piano); Red Mitchell (bass); Mel Lewis (drums).

Recorded in Los Angeles, California, December 3, 1958

Arranged by J. J. Johnson (#1 to #5), Warren Barker (#6, #9, #10) and Marty Paich (#7, #8, #11)

Five-Star Collection... Michel Legrand

Michel Legrand

With Thirty-One American's Greatest Jazzmen

Featuring Miles Davis

Legrand Jazz

Among the many members of a diverse (it is international) and loyal (they have bought more than one million of his LP's) I Like Legrand Society, are those jazz musicians and arrangers who have, by chance mostly, come within earshot of Legrand recordings.

This brilliant young Frenchman has, with remarkable skill, charm, invention and wit, refreshingly introduced a new kind of musicianship into that too often banal and staggeringly prolific area of popular art that we categorically label "mood music", and the French, closer to the mark, call musique légère.

In many of his previous collections, Legrand has not only made frequent and startlingly¹ original use of the jazz musician as a soloist, but, by virtue of his dynamic ensemble scoring and happy understanding of what a rhythm section is supposed to do, has often managed to make his large orchestra swing in the best tradition of Basie, Lunceford, Ellington and (big band) Gillespie.

Michel Legrand (a multi-prize-winning graduate of the Paris Conservatoire) loves jazz with none of the tame enthusiasm, tinged with condescension of the academically oriented "serious" composer. His arrangements pointedly avoid the meaningless trickery of those highly skilled (and successful) popular arrangers who, from time to time, invest their work with "jazz feeling". Michel, still in his twenties, loves jazz with an almost boyish enthusiasm, with, if not a firsthand knowledge of its growth and environment, the kind of passionate devotion and astonishing erudition that European fans are wont to have. His feelings for several important jazz figures border on idolatry.

In the past, however, Legrand's jazz activities have been limited by both the nature of the recording assignments he has been given and the fact that in Paris, despite the liveliness of that city's jazz scene, the optimum conditions for producing a large-scale jazz figures border on idolatry.

And so, while on a visit to the United States in May and June of 1958, Michel Legrand recorded his first jazz LP. The writing was done during the first three weeks of June. The repertoire was chosen from the works of eleven important jazz composers, and the musicians, many of them familiar to Legrand only through their recordings, were selected from among the best then in New York.

Each arrangement was created with two major factors taken into consideration: 1) the styles and techniques of the participating instrumentalists and 2) the structure and mood of the original compositions.  

(...)

In almost every sense, Legrand Jazz must be considered "experimental". Yet, with all of its daring, with all of its surprises and moments of flashing virtuosity, it stays within the bounds of jazz. The beat, the spontaneity, the indefinable spirit of jazz is there. This album is the first work of a truly important new voice in a wilderness where new voices are all too often disembodied. We're looking forward to much more from this powerful, sincere and stimulating prodigy.

*Nat Shapiro (liner notes)*

Note ¹ : In the original 1958 liner notes, the word "startingly" appears. This seems to be a typographical error for "startlingly", which has been corrected in later reissues of the album.

The Michel Legrand we knew as the leader of a huge recording band for Columbia Records' mood music series here turns his hand to jazz with excellent, often startling results. The strength is in the soloists, for whom he wrote mostly ensemble heads and tails, and some interesting inside figures. The rest, they blew.

The roster is impressive, covering most of the modern greats and near-greats.

The Miles sides are superb. The writing is imaginative, tinged with the languid air of Gil Evans at his most soulful, and yet with something more. Django is a moving piece, brilliantly scored, and played by Davis with a cry of anguish. Midnight is short and fragile. Wild Man is a truly contemporary treatment of the Jelly Roll tune, rich with modern writing and blowing.

The trombone sides, solo-wise least effective of the lot, are brightened by the prodding masculinity of Webster's horn. He saves Rosetta and is tremendous on Blue And Sentimental. The trombones have Don't Get Around Much to themselves as a choir, with strong overtones of Kenton in the voicing.

The trumpet sides have highs and lows, but in the soloing more than the writing. In A Mist is an extremely curious treatment of the wispy Beiderbecke song, but it has Rehak's best solo on it. The ending is like running into Jack The Ripper in the mist. The trumpet chases in Tunisia almost, but not quite, crackle into open fire.

While hardly experimental writing, Legrand's scoring is more than a wrap-up of the tunes in an acceptable order for X number of horns. Instead, it is extremely skillful probing (with the exception —Mist — noted) of the vitals of a song, and the careful polishing of a setting for the solo horns. There are many, many rewarding moments on the set, and it’s to be hoped that this doesn't comprise all of Legrand jazz. The scene, it appears, can use a dash of continental spice about now.

*Dom Cerulli, (Down Beat, March 19, 1959 [5 stars])*

Side 1

1 - The Jitterbug Waltz

(Thomas Waller)

2 - Nuages

(Django Reinhardt)

3 - Night In Tunisia

(John Gillespie, Frank Paparelli)

4 - Blue And Sentimental

(Mack David, Jerry Livingston, William Count Basie)

5 - Stompin' At The Savoy

(Andy Razaf, Benny Geodman, Chick Webb, Edgar M. Sampson)

6 - Django

(John Lewis)

Side 2

7 - Wild Man Blues

(Louis Armstrong, Jelly Roll Morton)

8 - Rosetta

(William Henri Woode, Earl Hines)

9 - 'Round Midnight

(Thelonius Monk)

10 - Don't Get Around Much Anymore

(Sidney Keith Russell, Duke Ellington)

11 - In A Mist

(Bix Beiderbecke)

#1, #6, #7, #9:

Michel Legrand (conductor, arranger),

Miles Davis (trumpet), Herbie Mann (flute), Betty Glamann (harp),

Barry Galbraith (guitar), John Coltrane (tenor sax), Phil Wood (alto sax),

Jerome Richarson (baritone sax, bass clarinet), Eddie Costa (vibes),

Bill Evans (piano), Paul Chambers (bass), Kenny Dennis (drums). 

Recorded at Columbia 30th Street Studios, New York City, June 25, 1958

#2, #4, #8, #10:

Michel Legrand (conductor, arranger);

Herbie Mann (flute); Ben Webster (tenor sax);

Frank Rehak , Billy Byers, Jimmy Cleveland, Eddie Bert (trombones);

Mayor Holley (bass, tuba); Hank Jones (piano);

George Duvivier (bass); Don Lamond (drums).  

Recorded at Columbia 30th Street Studios, New York City, June 27, 1958

 

#3, #5, #11:

Michel Legrand (conductor, arranger);

Ernie Royal, Art Farmer, Donald Byrd, Joe Wilder (trumpets);

Frank Rehak,y Jimmy Cleveland (trombones); Gene Quill, Phil Woods (alto saxes);

Seldon Powell (tenor sax); Teo Macero (baritone sax); James Buffington (french horn);

Don Elliot (vibes); Nat Pierce (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded at Columbia 30th Street Studios, New York City, June 30, 1958 

Al Cohn and Shorty Rogers - Two Five Stars

This is the best Al Cohn LP I have ever heard and one of the best jazz LPs in recent months. As a free-blowing session it has everything, and its appeal should be equally strong for those oriented ins wing as well as in modern jazz. Do not miss it.

The rhythm section is a perfect, pulsating, prime mover, with a grace and taste that is utterly delightful. Both Cohn and Rehak get ample opportunity to blow freely and both make the most of it. Whatever that indefinable (in words) quality is that we refer to as "soul" and "wailing" can be precisely demonstrated by Cohn's performance on this album. Both on his own compositions and on the attractive set of standards and ballads that comprise the different tracks, Cohn gets a remarkable amount of emotional charge into every one of his solos.

"Blue Lou" and "Old Blues" in particular ("We Three", too, for that matter) have that combination of urgency and relaxation that is undeniable in jazz. You can't wander from this album when you play it. It demands and holds your attention and it does it by its emotional quality. There's not a trick, not a gimmick, not an arranging device in it. There is not one bar of mannered or contrived playing. The entire content of the LP is straight ahead, honest, and irrepressibly swinging jazz that won't quit.

Aside from Cohn’s superlative performance, there are good solos by Rehak, Jones, and Hinton, and even when the drummer takes his breaks, taste is the password. This is uncomplicated blowing jazz at its best, and it should serve as a solid convincer to those who have been reluctant to admit Cohn to the hierarchy of jazz soloists. I expect to be playing this album for a long, long time.

The notes by Gary Kramer are a model of clarity and intelligence. *Ralph J. Gleason (Down Beat, March 4, 1957)*

Al Cohn

Cohn On The Saxophone

Al Cohn is one of the hardest working and most sought-after musicians in Local 802. This isn't just because he is an extremely competent technician and knowing stylist, but because, in addition, he is an "idea man". Many veins of modern jazz have been so thoroughly worked over that there gets to be a premium on miners like Cohn that can be relied upon to bring up a handful of bright new nuggets every trip down.

With all the bread-and-butter jobs available to jazzmen today, some cynics are saying (with a grain of reason), "More musicians than ever are eating now, and fewer than ever of them are thinking". That Cohn can't be included among the latter is all the more remarkable for the fact that he gets so few breathing spells between jobs. The originality and solidity of his work can easily be documented from his prolific record output. Cohn's undeniable progress is not so much a matter of "advancing" but one of broadening and deepening.

The most impressive thing about Cohn is his sense of heritage, his awareness of what elements of traditional jazz are worth preserving and synthesizing with the modern idiom. His fundamental beat, his dynamic tone and his extrovert spirit are reincarnations in modern dress of some of the permanently useful ingredients of the older jazz. Observing the frantic efforts of some musicians these days to be "modern" at any cost, Cohn remarked, "Sometimes I feel I don’t belong in the modern school at all. Lots of people try to be modern and lose sight of the path". Cohn has a conscious pride in being in the "mainstream" and is not ashamed of his debt to Armstrong, Young, Hawkins and the other giants who antedate Charlie Parker.

This program is an informal blowing session. It makes you want to dance. All of which is to say that a detailed analysis of the selections in this album, chorus by chorus, would be an academic choice not in keeping with the spirit of the date. A few random highlights might be pointed out. Like the beauty of Cohn's tone in "Softly", the simplicity and sincerity of his conception; the of "When Day is Done"; the way Cohn livens up "Blue Lou", darting in and out like a flash. Or take Cohn's slow-tempo "Blues" original for insight into his New Orleans-oriented side; or "Idaho" to see why the rhythm section rates as New York'’s finest; or listen to "We Three" if you want to know where the expression wail came from. "Be Loose" with its repeated figure exchanged by Rehak and Cohn in perpetual motion is a delight.

Here is modern jazz that continually arouses subtle associations with jazz's storied past without injecting an archaic note. The distinctive craftsmanship of all five musicians showcased here guarantees listening pleasure for connoisseur and layman alike. Swing on this. It will get good to you. *Gary Kramer (from the liner notes)*

1 - We Three

(Mysels, Robertson, Cogane)

2 - Idaho

(Jesse Stone)

3 - The Things I Love

(Barlow, Harris)

4 - Singin The Blues

(Robinson, Conrad, Lewis, Young)

5 - Be Loose

(Al Cohn)

6 - When Day Is Done

(DeSylva, Katscher)

7 - Good Old Blues

(Al Cohn)

8 - Softly, As In A Morning Sunrise

(Romberg, Hammerstein II)

9 - Abstractact Of You

(Al Cohn)

10 - Blue Lou

(Mills, Sampson)

11 - Them There Eyes

(Pinkard, Tracey, Tauber)

Al Cohn (tenor sax), Frank Rehak (trombone),

Hank Jones (piano), Milt Hilton (bass), Osie Johnson (drums).

Recorded at Webster Hall, New York City, September 29, 1956

✳✳✳

Atlantic Records' entry into the jazz field is an auspicious one this month. With Shorty, they resorted to the simple, yet previously unthought-of expedient of waxing Rogers and the group with which he works regularly in L.A. — Jimmy Giuffre, clarinet, tenor, and baritone; Pete Jolly, piano; Curtis Counce, bass, and Shelly Manne, drums.

And it turns out to be a joy to hear. Shorty plays much more distinctive trumpet when he's with a small group, for some reason, and Giuffre is a gas on clarinet (note particularly Martians Go Home, which also is recommended as the title of the year). Jolly is going to be a highly ranked pianist one day, and the work Manne has done in the last three years has caused me to completely change the opinion I had of his work at that time.

Perhaps Nesuhi Ertegun's album notes best explain what goes on here: "You can hear Shorty for the first time without changes or additions of personnel. It's evident at once that these five musicians have worked together for a long time and are thoroughly accustomed to each others' styles. There exists in this group an instinctive affinity and rapport that can never be duplicated by a band assembled just for a recording session".

For the group spirit, for Shorty's strong horn, for Giuffre’s great reed work, for Shelly's swing — all the stars.

*Jack Tracy (Down Beat, August 24, 1955)*

Shorty Rogers And His Giants

The Swinging Mr. Rogers

Who said West Coast jazz doesn't swing?

It has become terribly fashionable, of late, to make learned distinctions between jazz of the East and West, as if the two never meet, to paraphrase a time-honored platitude. Either clearly stated or vaguely implied, the theory current in vogue goes as follows: East Coast jazz is really more emotional, more driving, closer to "real jazz", whatever that may be. West Coast jazz, we are told on the other hand, takes us into a rarefied atmosphere of intellectual games, is more cerebral, more abstract; it is supposed to be too concerned with harmonic complexities, and to show too many traces of the influence of the modern classical composers; sometimes it is even, God forbid, atonal. West Coast jazz is accused of lacking the pulse and passion of jazz; jazz is lost in the shuffle, so it goes, while the ivory-tower composers of the Hollywood hills are searching for artificial forms and designing their clever collages with bits of Bartók and Berg and Schoenberg and Stravinsky.

I would be the last one to deny the existence of an important and significant experimental jazz movement in the West. It's here, it's growing, and I am all for it. That the West Coast jazz composers are keenly aware of the great modern writers (just as the East Coast and Midwestern and Swedish jazz composers are), there's absolutely no doubt about it; but does this mean, as we are led to believe, that the West Coast school has turned its back to "real jazz"? For an answer to this strange accusation, I suggest you listen to this album.

Shorty has made many records for many companies with big groups and small groups, but strangely enough, never with his own band the way it regularly appears in Hollywood night clubs. On his first Long Play for Atlantic (several more are in preparation), you can hear Shorty Rogers and his Giants for the first time without changes or additions of personnel. It's evident at once that these five musicians have worked together for a long time and are thoroughly accustomed to each others' styles. There exists in this group an instinctive affinity and rapport that can never be duplicated by a band assembled just for a recording session. It is customary for such bands, by the way, to be called All-Star bands; this happens to be a real All-Star band, although it's Shorty's regular group.

It's easily understandable that a group working steadily together achieves a high degree of unity and cohesion; in the case of the Giants, such a unity by no means eliminates the element of surprise, the sudden outburst of an unexpected idea that adds so much to the pleasures of jazz listening. Here, these "surprises" are answered and developed almost instinctively by musicians who are quick to respond to each other. Listen, for instance, to Shorty's last break on "Not Really the Blues", immediately restated by Shelly Manne's drums.

We tried in the recording studio to get a sound for the band that would be as close as possible to its sound in clubs. If that was our object, you might wonder why the recordings weren't made in a club. The fact is that most clubs have horrible acoustics, at least for recording purposes; also, I've never been one to dig crowd noises during a musical performance.

I think these recordings reflect the "in-person" sound of the group rather faithfully, under somewhat idealized conditions. By this I mean that the piano part has more clarity than you'll hear in most clubs, and the bass line is easier to follow. Otherwise, we tried not to change the natural relation of the different instruments, in order to keep an accurate perspective of different volumes and shadings. We liked the sound of the band, and tried to capture it, not "improve" it.

*Nesuhi Ertegun (from the liner notes)*

1 - Isn't It Romantic

(R. Rodgers, L. Hart)

2 - Trickleydidlier

(Shorty Rogers)

3 - Oh Play That Thing

(Shorty Rogers)

4 - Not Really The Blues

(John Mandel)

5 - Martians Go Home

(Shorty Rogers)

6 - My Heart Stood Still

(R. Rodgers, L. Hart)

7 - Michele's Meditation

(Shorty Rogers)

8 That's What I'm Talkin' 'Bout

(Shorty Rogers)

Shorty Rogers (trumpet), Jimmy Giuffre (clarinet, tenor sax, baritone sax),

Pete Jolly (piano), Curtis Counce (bass), Shelly Manne (drums).

Recorded in Hollywood, California, March 1 (#1, #3 to #6) and March 3 (#2,#7, #8), 1955

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

Aaron Sachs - Quintet, Sextet And Octet Ensembles

Aaron Sachs (1923-2014) was a native New Yorker who grew up in the Bronx. After studying clarinet with private teachers, in 1941, still in his teens, Sachs landed his first job with Babe Russin, playing clarinet and alto saxophone, the latter through self-training. That same year, he joined vibraphonist Red Norvo's Septet, alongside fellow Bronx musicians Shorty Rogers and Eddie Bert. After a brief period with the Van Alexander orchestra in 1943, Aaron rejoined Norvo in January 1944, solidifying his reputation as a skilled clarinetist and earning the prestigious Esquire "New Star" award in 1945.

Between 1945 and 1946, he performed both instruments with Benny Goodman, Buddy Rich, and Charlie Ventura bands. In 1946, Sachs formed his quintet, Aaron Sachs and his Manor Re-bops, establishing himself as the first jazz musician to embrace bebop on the clarinet, preceding Tony Scott and John LaPorta.

In 1948 Aaron married singer Helen Merrill, a union that lasted only a few years, as they divorced in 1956.

His tenure with the Earl Hines sextet from 1952 to 1953 allowed him to develop his talent as a tenor saxophonist. He admitted, "I enjoy playing both instruments, but I am disappointed that the clarinet isn't used more, both in jazz and pop records today." Sachs had Lester Young as his main influence, and that's how he wanted to play both tenor sax and clarinet. Subsequently, Aaron led his own combo at Cafe Society in New York for a period. Later, he worked as a freelancer in commercial recording sessions, primarily playing the tenor saxophone. Sachs cited Lester Young as his main influence for both instruments.

Leonard Feather once remarked, "Aaron has proved that he can bring to both instruments the taste, style, and musicianship that bespeak artistry rather than mere versatility for its own sake."

This CD compilation features three albums recorded by Aaron between 1954 and 1957, showcasing his talent as an instrumentalist and composer alongside some of the finest jazz musicians from the New York scene. The arrangements of these recordings were skillfully crafted to provide a supportive backdrop for either clarinet or tenor saxophone, highlighting Sachs' versatility and artistry. *Jordi Pujol*

There was such a surfeit of great sax players in the 1950s that it’s understandable that many got overlooked. Here’s a chance to see what you’ve been missing with this rich reissue from Fresh Sound Records.

Aaron Sachs is not a household name, but he was with a number of important artists such as Shorty Rogers and Red Norvo. This single disc set finds him with some impressive company, giving his ideas to mostly originals in a sound that has “LA Cool” written all over for it, even though it was all recorded in The Big Apple.

He plays both a Lester Young-Zoot Sims inspired tenor, and a stripped down Buddy DeFranco styled clarinet, in quintet, sextet and octet settings, mixing and matching with Urbie Green/tb, Barry Galbraith-Jimmy Raney-Dick Garcia/g, Aaron Bell-Clyde Lombardi/b, Nat Pierce Hall Overton/p, Joe Roland/vibes and Osie Johnson/dr. Sachs blows like a West Coaster on "One Track" and is gorgeously fluffy on "Aaron’s Blues", fluttering on "Conversations" and sublime on "Why Shouldn’t I?" while digging in on the Basie-ish "Wiggins". His licorice stick is cool for "Kingfish" and flexible for "Gorme Has Her Day" with a nice bounce for "You're My Thrill". Warm and breezy.

*George W. Harris*

1 - One Track

(Sachs, Johnson)

2 - Helen

(Sachs, Johnson)

3 - Kingfish

(Quincy Jones)

4 - Conversation

(Sachs, Galbraith)

5 - The Bullfrog

(Quincy Jones)

6 - If You Are But A dream

(Jaffe, Fulton, Bonx)

7 - Aaron's Blues

(Aaron Sachs)

8 - You're My Thrill

(Gorney, Clare)

9 - Platter Pie

(Aaron Sachs)

10 - Why Shouldn't I?

(Cole Porter)

11 - Ah! The Pain

(Billy Ver Plank)

12 - Rondo Blues

(Phil Sunkel)

13 - Just Sick Blues

(Billy Ver Plank)

14 - Mona's Kimona

(Nat Pierce)

15 - Conversation

(Sachs, Galbraith)

16 - Blue Sophisticate

(Benny Golson)

17 - Countryfied

(Phil Sunkel)

18 - Wiggins

(Billy Ver Plank)

19 - Gorme Has Her Day

(Aaron Sachs)

20 - I Can't Believe

(Aaron Sachs)

21 - Hall's Loft

(Aaron Sachs)

22 - Nancy

(Van Heusen, Silvers)

#1 to #6, from the album Aaron Sachs Sextette (Bethlehem BCP-1008)

Aaron Sachs (clarinet [#3, #6], tenor sax [#1, #2, #4, #5]),

Urbie Green (trombone), Danny Bank (baritone sax),

Barry Galbraith (guitar), Clyde Lombardi (bass), Osie Johnson (drums).

Recorded in New York City, November 1954

#7 to #11, from the album Jazzville Vol.3 (Dawn DLP1114)

Aaron Sachs Sextet

Aaron Sachs (clarinet [#8, #19, #11), tenor sax (#7, #9),

Jimmy Cleveland (trombone), Joe Roland (vibes),

Dick Garcia (guitar), Aaron Bell (bass), Osie Johnson (drums)

Recorded in New York City, 1956

#12 to #22, from the album Clarinet and Co. (Rama RLP1004)

#12 to #18: Aaron Sachs Octet

Aaron Sachs (clarinet [#14, #17], tenor sax [#12, #13, #15, #16, #18]),

Phil Sunkel, Bernie Glow (trumpets), Frank Rehak (trombone), Gene Allen (baritone sax),

Nat Pierce (piano), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, February 18 and 21, 1957

#19 to #22: Aaron Sachs Quintet

Aaron Sachs (clarinet [#19-21] & tenor sax [#22]), Hall Overton (piano),

Jimmy Raney (guitar), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, March 4, 1957

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.

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.

Barry Galbraith - Guitar And The Wind

With this album, guitarist Barry Galbraith, an important but relatively unheralded presence on many jazz recordings on this coast, steps out of his usual role of the supporting, contributing player, and becomes the principal speaker. Equipped to be just that, Galbraith, naturally and with definable grace, makes his instrument sing and swing, issue forth a full yet engagingly personal voice.

Playing an instrument that has a wealth of tradition both in and out of the jazz area, Galbraith shows an awareness of this in his playing, verbally underlining his position during our conversations concerning this album. 

Galbraith, as a person, is. unintrusive yet decisive; unassuming yet authoritative; and like many jazz musicians, his instrument has proven more than an adjunct to his personality, but THE friendly medium through which the flow of his thoughts find most compatible expression.

As some of his colleagues have noted, Galbraith has a "natural" flare that lends the impression of the "easy and everyday" to the musically valuable or difficult. Whether playing at a social gathering, on a job or recording date, he is "inside his horn", fully concentrated, oblivious to extraneous bother.

Self taught, Barry has proceeded through the hallowed halls of the school of experience, remembering and assembling, pointing up, underlining the important along the way.

This album is shaped to delineate a variety of moods in addition to the softer, romantic feeling that has, by constant association, assumed priority in definition of the word, mood.

*Burt Korall (liner notes)*

Barry Galbraith was one of New York's busiest session jazz guitarists in the 1950s and '60s. Between 1941 and the late 1970s, he was on 620 recording dates, a staggering total. How many albums did he record as a leader under his name? Just one — Guitar and the Wind, for Decca. What a shame that Decca didn't record a few more like this one. Recorded in January 1958 over three days, the album is beautifully arranged, swings tastefully and is a gorgeous example of what made Galbraith special. His chord voicings were seductive and his improvised runs were tasty and unbeatable.

*Marc Myers*

A nicely varied set spotlighting the artist in several approaches — all of them effective. When Galbraith has the melody or is improvising, he shows a fresh, inventive style. In backing other instruments, harmonically or percussively, he also shines. His admirers will find this one of his best efforts. His style can be traced to Charlie Christian and Gerge Van Eps. Small combo and larger group selections are done with equal good taste.

*Billboard, April 21, 1958 [Special Merit Jazz Album]*

1 - Bull Market

(Billy Byers)

2 - A Portrait Of Jennie

(Gordon Burdge, J. Russel, Robinson)

3 - Judy's Jaunt

(Al Gilbert)

4 - Nina Never Knew

(Milton Drake, Louis Alter)

5 - Walking (Down)

(Carpenter)

6 - A Gal In Calico

(Robin, Schwartz)

7 - I Like To Recognize The Tune

(Richard Rodgers, Lorenz Hart)

8 - Any Place I Hang My Hat

(Johnny Mercer, Harold Arlen)

9 - Love Is For The Very Young

(David Raksin)

10 - Holiday

(Al Gilbert)

11 - Ya' Gotta Have Rhythm

(Osie Johnson)

12 - What Am I Here For?

(Duke Ellington)

Barry Galbraith (guiar), with:

#1,#4, #8, #12

Urbie Green, Chauncey Welsch, Frank Rehak (trombones); Dick Hixson (bass trombone); Bobby Jaspar (flute, tenor sax); Eddie Costa (piano, vibes); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 16, 1958.

#2, #6, #7, #10 

Bobby Jaspar (flute, tenor sax), Phil Bodner (flute, clarinet, bass clarinet), Romeo Penque (clarinet, flute, English horn), Spencer Sinatra (clarinet, flute); Eddie Costa (piano, vibes), Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 21, 1958.

#3, #5, #9, #11

Bobby Jaspar (flute), Eddie Costa (piano), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, January 28, 1958.

The Mitchells - Get Those Elephants Out'a Here

This album represents a three-way meeting as protracted in the planning as it was successful in the studio.

The patriotic Mitchells —Red, Whitey and Blue— had often talked about getting together for a record session, but it was not until a New York date with the André Previn trio brought the California-based Red temporarily back to New York, where Whitey works and Blue often visits, that the three were able to unite their musical ideas on tape. In fact, even the brothers Red and Whitey had never before had a chance to share a recording date.

"Get Those Elephants Outa Here!" is a title inspired by an exhortation with which Red and Whitey, in the days of their 1952 home practice sessions, were requested by their mother to remove their basses from the Mitchell living room. On this vigorous twelve-bar blues André plays piano, with both Red and Whitey manning the basses. Stereo listeners will hear Red on the left, Whitey on the right, with Red taking the second of the three solo bass choruses. Pepper, Blue, André and Frank Rehak blow three choruses apiece. After a short drum interlude the elephants return with the theme — probably the first jazz work ever designed for interpretation in this particular voicing.

This session was a continuous pleasure to record. Blue, who had just flown up from Florida, got a particular kick out of this union with his unrelated namesakes, and the mood throughout the date was singularly lacking in strain. Though I promised faithfully not to reproduce the corny "Three cheers for Red, Whitey and Blue!" crack uttered by a visitor to the studio, I must confess that the temptation to use it, in the light of the felicitous results of this convention, was unusually strong.

*Leonard Feather (liner notes)*

Bassist Whitey Mitchell is the leader of this fascinating 1958 studio session, which features his better-known older brother, Red Mitchell, on piano and bass, trumpeter Blue Mitchell (no relation), pianist André Previn, baritone saxophonist Pepper Adams, trombonist Frank Rehak, and drummer Frank Capp. One of just two dates recorded as a leader by Whitey Mitchell prior to his early retirement from jazz, there are plenty of inspired moments on this date. Red's three originals include the amusingly titled "Get Those Elephants Outa Here!" (their mother's favorite quip to get her sons to remove their basses from her living room), which is a lively feature for the two bassists. Red is the pianist on the boppish blues "Three Cheers", while "Fraternity" is a showcase for the two brothers, with both starting on bass and Red eventually switching over to piano. Whitey's tunes include the dark-toned minor-key "Monster Rally" (named in honor of a favorite cartoonist, Charles Addams, whose macabre drawings later led to the creation of the television series The Addams Family) and the easygoing "Blues for Brian", named for his young son. Blue Mitchell shines in Whitey's tasty arrangement of "Moten Swing". Long out of print, this Metrojazz LP will be extremely challenging to acquire. *Ken Dryden*

Side 1

1 - Get Those Elephants Outa Here!

(Red Mitchell)

2 - My One And Only Love

(Wood, Mellin)

3 - In The Wee Small Hours Of The Morning

(Mann, Hillian)

4 - Moten Swing

(Buster and Bennie Moten)

Side 2

5 - Monster Rally

(Whitey Mitchell)

6 - Three Cheers

(Red Mitchell)

7 - Blues For Brian

(Whitey Mitchell)

8 - Fraternity

(Red Mitchell)

Blue Mitchell (trumpet [#1, #2, #4 to #8]), Frank Rehak (trombone [#1, #2, #4, #5, #7]), Pepper Adams (baritone sax [#1, #2, #4 to #8]), André Previn (piano [#1, #2, #7]), Red Mitchell (piano [#3, #4, #6, #8], bass [#1, #2, #5, #7]), Whitey Mitchell (double bass), Frank Capp (drums).

Recorded in New York City, October 6, 1958.

Joe Newman - Swinging Octets

Joe Newman Octet

All I Wanna Do Is Swing

The band Joe has assembled here is remarkable not merely for its cohesive unity, but for the individual brilliance wich each one of its members demostrates in his solo work —solo work wich is, happily, given to them at frecuent intervals.

Arrangements for this session are the work of Manny Albam, Al Cohn and Ernie Wilkins, all of whom have turned out scores in a great variety of tempos wich serve to showcase the multitudinous talents of Joe and each one of his colleagues.

Whether on mute or open horn, Joe's work is a delight to the ears —not merely because it is sane jazz in the midst of much that today is either overwritten or vacuous, but because it is always swinging, always blown from the top-drawer of inspirations. And it is remarkable tribute to all involved that this session, which ran from midnight to 10 A.M., produced jazz of this highly infectious sort. But in reality, it is undoubtedly true that regardless of the time of day or night, these men, in the midst of such telling arrangements, could not but blow wonderfully —and in these recordings, led and sparked by Joe Newman, they have all obviously engraved some of their most sincere, and jazzdom's most sparkling, efforts. *Jack Lewis and Bill Zeitung (liner notes)*

Newman is an excellent lyrical trumpeter with Count Basie band, and this set shows him off in a comfortable, Basie-inspired setting. The arramgements, by Mannie Albam, Al Cohn and Ernie Wilkins, are all in the Basie idiom — relaxed and swinging. Basie-ites Wilkins and Greene are present, along with bassist Milt Hinton, Cohn on tenor and Nat pierce —a Basie follower— on piano. The style is modern, not "progressive", swing. Solos are extremely tastly all around, and the ensembles are very smooth, and very easy on the ears. Should do okay if demonstrated.

*Billboard, July 30, 1955*

Side 1

1 - Soon

(George and Ira Gershwin)

2 - Limehouse Blues

(Braham, Furber)

3 - Dream A Little Dream Of Me

(Andre, Kahn, Schwandt)

4 - Corner Pocket

(Freddie Green)

5 - If I Could Be With You

(James P. Johnson, Henry Creamer)

6 - It's A Thing Of The Past

(Manny Albam)

Side 2

7 - Pretty Skinny Bunny

(Ernie Wilkins)

8 - Leonice

(Joe Newman)

9 - Jack's Wax

(Al Cohn)

10 - Topsy

(Eddie Durham, Edgar William Battle)

11 - Captain Spaulding

(Al Cohn)

12 - I Could Have Told You

(Arthur Williams, Carl Sigman)

Joe Newman (trumpet), Frank Rehak (trombone), Ernie Wilkins (alto sax), Al Cohn (tenor sax), Nat Pierce (piano), Freddie Green (guitar), Milt Hinton (bass), Shadow Wilson (drums). 

Recorded at Webster Hall, New York City, February 8, 1955.

⁂

Joe Newman Octet

I'm Still Swinging

A compelling octet recording – with arrangements by Ernie Wilkins, Al Cohn, and Manny Albam – with a lineup that includes Cohn on tenor, Gene Quill on alto, Urbie Green on trombone, and Freddie Green on guitar! Nice Andy Warhol cover, too! Titles include "Top Hat, White Tie, And Tails", "You Can Depend On Me", "We'll Be Together Again", "It's Bad For Me", "Daughter Of Miss Thing", "Sometimes I'm Happy", "Sweethearts On Parade", and "Slats". *dustygroove.com* 

A label or a catch phrase can be a convenient thing, but it rarely tells a rounded story. In the Thirties, in the Swing Era, Benny Goodman was called "King of Swing". As pat labels go, this one was pretty accurate, for it was Goodman who brought on the Swing Era and it was Goodman who, to the general public, was the pre-eminent figure of that era. But Goodman, at that time, was a mover and shaker, not a polisher. It was Count Basie's band, riding onto the scene in the wake of Goodman (and with Goodman's ardent support), which became the epitome of the swing band and turned out ro be the most influential band of the period.

The strength of Basie's influence, after two decades, is widely evident in the playing of numerous small groups today, particularly in recording-groups which have access to genuine, Grade A Basie sidemen. One reason —and a rather basic reason— for the continuing appeal of the Basie manner was aptly summed up by Joe Newman when he was considering the approach to be taken on these numbers.

"I want them to have a swing to them", he said, "to be easy, to be good listening. I want to try to reach the mass of people, and I think the way to do it is with things I'd want to listen to if I were a listener".

There can be little question of what Joe Newman would listen to if he were a listener. For many years he has been an outstanding member of Count Basie's band. He is steeped in the Basie tradition and so are most of the men in his octet.

Freddie Green, a member of the original Basie band who was of enormous importance in creating what has come to be recognized as the typical Basie attack, is generally considered the greatest rhythm guitarist working today. Shadow Wilson has served two stints as Basic's drummer, while Eddie Jones is Basic's current bassist. Al Cohn, though a man of parts of the jazz world, has never achieved Basiedom, but his approach to the tenor sax is patterned to a large degree on that of Basie's Lester Young.

The octet's recruits from the non-Basie world are Urbie Green, a trombonist of such versatility that he has played successfully with Frankie Carle, Jan Savitt and, most notably, Woody Herman; Gene Quill, a rising young alto star who has worked with Claude Thornhill and Charlie Barnet; and Dick Katz, a pianist closely associated with Tony Scott, who effects a remarkable adaptation of his normal, sharply modern style to fit the mood of these performances.

There are other influences besides that of Basie at work here. Joe Newman has a pungent personality of his own which constantly makes itself felt. There are lines reaching out to Duke Ellington, Benny Goodman and Mildred Bailey. There is even, as we shall see, a badly shredded skein attached to S. J. Perelman. *John S. Wilson (liner notes)*

Side 1

01 - Top Hat, White Tie, And Tails

(Irving Berlin)

02 - You Can Depend On Me

(Hines, Carpenter, Dunlap)

03 - We'll Be Together Again

(Laine, Fisher)

04 - It's Bad For Me

(Cole Porter)

05 - Exactly Like You

(McHugh, Fields)

06 - Shameful Roger

(Manny Albam)

Side 2

07 - The Daughter Of Miss Thing

(Wilkins)

08 - Sometimes I'm Happy

(Youmans, Caesar, Grey)

09 - Sweethearts On Parade

(Newman, Lombardo)

10 - Slats

(Joe Newman, Ernie Wilkins)

11 - Lament For A Lost Love

(Ellington, Bigard, Mills)

12 - Perfidia

(Dominguez, Leeds)

Joe Newman (trumpet), Urbie Green (trombone), Gene Quill (alto sax), Al Cohn (tenor sax), Dick Katz (piano), Freddie Green (guitar), Eddie Jones (bass), Shadow Wilson (drums).

Recorded at Webster Hall, New York City, October 3 (#1, #2, #6, #8, #9, #10, #11, #12), and 4 (#3, #4, #5, #7), 1955.