Lighthouse All-Stars Collection XXV ★ with Gerry Mulligan

Gerry Mulligan

Swing House

Gerry Mulligan On The West Coast 

Rare Ands Unissued Recordings • 1952

✤✤

More Mulligan at The Lighthouse

At the end of 1951, fleeing police pressure in New York, Gerry Mulligan embarked on a journey to the West Coast that would permanently reshape his career and the sound of modern jazz. Freshly arrived in Los Angeles, the saxophonist split his creative focus between commercial discipline—crafting dance arrangements for the Stan Kenton Orchestra—and the absolute freedom of the local club scene. It was in these informal settings that the passion and tape recorder of Bob Andrews captured, on an amateur yet historically invaluable basis, the very jam sessions that document Mulligan's transition toward worldwide acclaim and the birth of his legendary piano-less quartet. This crucial historical testament is beautifully captured by Ken Poston in the original liner notes:

At the end of 1951 Gerry Mulligan decided to leave New York and head west to Los Angeles. The vice squad had started putting heavy pressure on jazz musicians and Gerry didn’t want to put up with it any longer. His girlfriend, Gale Madden, had paved the way for Gerry to write arrangements for Stan Kenton once they got to Los Angeles. In the middle of the winter they left Manhattan and hitchhiked all the way to the west coast.

Once there they moved into the Harvey Hotel and Gerry fulfilled his writing assignment for Kenton. He also began sitting in around town at whatever jam sessions he could find. There were three places in particular that he frequented; the Showtime, in the San Fernando Valley, the Lighthouse in Hermosa Beach and the Haig in the mid-Wilshire district.

Most of the recordings on this collection were made by Bob Andrews, jazz fan, record store owner and amateur recording engineer. In 1952 he had just started to take his tape recorder to local jazz clubs and although nothing has materialized from the Showtime he did capture Gerry Mulligan several times at the Lighthouse and the Haig. In addition to the jam session recordings we’ve included a few of the lesser heard dance arrangements he wrote for Kenton in 1952.

This is an important historical document because it captures Gerry just a few months after his arrival in Los Angeles and follows his progress up to the point he forms the piano-less quartet. Although he had many accomplishments by the time he came to Los Angeles, he was far from a household name in the jazz world. By the end of the year he had gained world wide attention and was instrumental in establishing the west coast jazz phenomenon.

*Ken Poston (from the liner notes)*

1 - Indiana

(James F. Hanley, Ballard MacDonald)

This is the earliest of the Bob Andrews recordings that captured Gerry Mulligan sitting in around Los Angeles. This was actually recorded on a Saturday night and features Mulligan joining the Lighthouse rhythm section.

Gerry Mulligan (baritone sax), Frank Patchen (piano)

Howard Rumsey (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, May 10, 1952

2 - Robbins' Nest

(Illinois Jacquet, Sir Charles Thompson)

"Robbins' Nest" features Mulligan sitting in with the Lighthouse All Stars at one of the legendary Sunday sessions at the Lighthouse.

Gerry Mulligan (baritone sax); Shorty Rogers (trumpet);

Jimmy Giuffre, Bob Cooper (tenor saxes); Frank Patchen (piano);

Howard Rumsey (bass); Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 1, 1952

3 - Tiny's Blues

(Tiny Kahn)

Two nights later Mulligan was running the off-night jam session at the Haig and on this occasion Gerry played the tenor as opposed to the baritone. Tiny's Blues has been issued a few times over the years but always with the incorrect date. This recording comes from Bob Andrews original reel which has the recording date documented on the box.

Gerry Mulligan, Dave Pell (tenor saxes), Ted Ottison (trumpet);

Paul Smith (piano); Joe Mondragon (bass); Billy Wilson (drums).

Recorded live at The Haig, Los Angeles, June 3, 1952

4 - Rose Room

(Art Hickman, Harry Williams)

Bob Andrews captured Gerry once again the following week at the Haig. Gerry ran things from the bandstand but it was an open session for anyone who wanted to play. On this particular occasion both Conrad Gozzo and Gene Roland dropped by.

Gerry Mulligan (baritone sax); Conrad Gozzo, Gene Roland (trumpets);

Jimmy Rowles (piano); Howard Roberts (guitar); Joe Mondragon (bass); Unknown (drums).

Recorded live at The Haig, Los Angeles, June 10, 1952

5 - It's Sand Man

(Ed Lewis)

The jam sessions at the Lighthouse worked a little different than those at the Haig. Howard Rumsey invited specific guests although he did allow others to sit in throughout the day. This is the working Lighthouse All Stars with Andy Lambert subbing for Rumsey.

Gerry Mulligan (baritone sax), Shorty Rogers (trumpet),

Jimmy Giuffre (tenor sax), Milt Bernhart (trombone),

Frank Patchen (piano), Andy Lambert (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 14, 1952

6 - Between The Devil And The Deep Blue Sea

(Harold Arlen, Ted Koehler)

More from the June 14 session. Aaron Sachs and Tommy Potter were both in town with Earl Hines band and Howard recruited them to come down for the session.

Gerry Mulligan (baritone sax), Aaron Sachs (clarinet),

Jimmy Giuffre (tenor sax), Frank Patchen (piano),

Tommy Potter (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 14, 1952

7 - Get Happy / Utter Chaos

(Harold Arlen, Ted Koehler / Gerry Mulligan)

Red Norvo came in as the featured attraction and the house piano was put into storage. Instead of continuing the jam session format on Tuesday nights Gerry formed his own group and the "piano-less quartet" was born. Gerry handpicked the group from musicians he had played with around town and included Chet Baker at the suggestion of Bob Whitlock. This recording was not made by Bob Andrews, but by another fan that sent the tape to Mulligan many years later. August 1952 is the date written on the tape box although it's possible it comes from a bit later. If it is August of 1952 it would be right at the beginning of the quartet.

Gerry Mulligan Quartet:

Gerry Mulligan (baritone sax), Chet Baker (trumpet),

Bob Whitlock (bass), Chico Hamilton (drums).

Recorded live at The Haig, Los Angeles, August, 1952

8 - Bweebida Bobbida

(Gerry Mulligan)

In October of 1952 Shorty Rogers had been a regular member of the Lighthouse All Stars for a year. Shorty had recorded under his own name, separate from the All Stars, and was really beginning to make a name for himself. Howard Rumsey used to allow him to take nights off from the Lighthouse so he could lead his own band for special engagements. During the fall Shorty formed a super group that included both Mulligan and Chet Baker as well as Art Pepper and Wardell Gray. The Mulligan group had completed their first engagement at the Haig and recorded their first sides for the new Pacific Jazz label. This Shorty Rogers group did at least two engagements. The first was a Gene Norman concert at The Rendezvous Ballroom, which was released on two LAJI members only CDs. This engagement took place at the 5-4 Ballroom in south central Los Angeles.

Shorty Rogers and His Giants:

Shorty Rogers, Chet Baker (trumpets); Art Pepper (alto sax);

Wardell Gray (tenor sax); Gerry Mulligan (baritone sax);

John Graas (french horn); Hampton Hawes (p);

Joe Mondragon (bass); Lawrence Marable (drums).

Recorded live at 5-4 Ballroom, Los Angeles, October 10, 1952

9 - Too Marvelous For Words

(Richard A. Whiting, Johnny Mercer)

"Too Marvelous for Words" was featured a few times by the Kenton Orchestra including this 1952 broadcast of the Bob Snydor Show. The original handwritten score is dated February 4, 1952.

Stan Kenton Orchestra:

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets);

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones);

George Roberts (bass trombone);  Dick Meldonian, Vinnie Dean (alto saxes);

Lee Elliott, Bill Holman (tenor saxes); Bob Gioga (baritone sax);

Stan Kenton (piano); Sal Salvador (guitar) Don Bagley (bass) Stan Levey (drums).

Bob Snydor Show, Bristol, Connecticut, July 13, 1952

10 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

"All the Things You Are" was featured regularly during the New Concepts of Artistry in Rhythm period and was a feature for Buddy Childers. This recording comes from a Concert in Miniature broadcast from September of 1952. The original score is dated March 9, 1952.

Stan Kenton Orchestra:

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets);

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones);

George Roberts (bass trombone); Lee Konitz, Vinnie Dean (alto saxes);

Bill Holman, Richie Kamuca (tenor saxes); Bob Gioga (baritone sax);

Stan Kenton (piano); Sal Salvador (guitar); Don Bagley (bass); Stan Levey (drums).

Concert in Miniature, Fort Sheridan, Illinois, September 2, 1952

11 - Dancing In The Dark

(Arthur Schwartz, Howard Dietz)

"Dancing in the Dark" wasn't played often but had stayed in the book for many years. It was one of the earliest arrangements Gerry wrote not long after his arrival in Los Angeles. The original score is dated January 19, 1952.

Stan Kenton Orchestra:

Jack Sheldon, Frank Higgins, Billy Catalano, Bob Ojeda, Bud Brisbois (trumpets);

Billy Smiley, Archie LeCoque, Kurt Larsen, Jim Amlotte, Bob Olson (trombones);

Steve Perlow, Bill Perkins, Lennie Niehaus, Bill Trujillo, Bill Robinson (reeds);

Stan Kenton (piano); Red Kelly (bass); Jerry McKenzie (drums).

Holiday Ballroom, Chicago, Illinois, October 10, 1958

12 - Where Or When

(Richard Rodgers, Lorenz Hart)

"Where or When" is another dance arrangement that stayed in the book for a long time. The original score is dated January 19, 1952.

Stan Kenton Orchestra:

Frank Huggins, Bud Brisbois, Rolf Ericson, Joe Burnett, Roger Middleton (trumpets);

Archie LeCoque, Kent Larsen, Jimmy Knepper (trombones);

Jim Amlotte, Bill Smiley (bass trombones); Lennie Niehaus (alto sax);

Bill Trujillo, John Bonnie (tenor saxes); Billy Root, Sture Swenson (baritone saxes);

Stan Kenton (piano); Scott LaFaro (bass); Jerry McKenzie (drums).

County Fair Building, Ukiah, California, February 26, 1959

13 - Begin The Beguine

(Cole Porter)

The original score to "Begin the Beguine" is dated March 1952. Gerry never said much about his dance charts for Kenton other than joking he was given "dogs work." He did however make special note of Begin the Beguine since Artie Shaw was one of his early idols.

Stan Kenton Orchestra:

Bud Brisbois, Dalton Smith, Bill Chase, Danny Nolan, Rolf Ericson (trumpets);

Bob Fitzpatrick, Kent Larsen, Bill Smiley (trombones);

Jim Amlotte, Bob Knight (bass trombones); Lennie Niehaus (alto sax);

Bill Trujillo, Ronnie Rubin (tenor saxes); Jack Nimitz, Marvin Holladay (baritone saxes);

Stan Kenton (piano); Peter Chivily (bass); Jimmy Campbell (drums); Mike Pacheco (percussion).

Enlisted Mens Club, Barstow, California, January 30, 1960

Lighthouse All-Stars Collection XXIII ★ with Zoot Sims (II)

Zoot Sims

Lover Man

Zoot Sims On The West Coast • 1954

The tireless search for recordings that complete the historical puzzle of the Lighthouse All-Stars occasionally yields major surprises. Although the bulk of this volume takes us to an intimate and domestic setting, its inclusion in our Lighthouse All-Stars Collection series is fully justified by an exceptional historical rescue: the presence of Zoot Sims, as a stellar guest, on the stage of the mythical club in Hermosa Beach.

Once again, the miracle is due to Bob Andrews, who, equipped with his now-famous home recorder and a single microphone, managed to record a unique moment in the history of West Coast Jazz. We find ourselves specifically on the night of March 9, 1954. That evening already possessed a historical character for the group itself, as it marked the debut of the legendary drummer Stan Levey in the lineup, occupying the seat just vacated by Max Roach. The All-Stars performed with one of their most powerful incarnations: the horn section aligned Bob Cooper, Bud Shank, Frank Rosolino, and Stu Williamson, complemented by Claude Williamson on piano and the indefatigable Howard Rumsey on double bass.

Andrews set up his microphone and recorded the session. In fact, our previous blog post covered the album Zoot Sims with The Lighthouse All-Stars • 1954, which captured the official session recorded the very next day. Toward the end of the night, Zoot Sims took the stage with his tenor sax to join the band.

Regarding this valuable piece, which appears in this edition under the title "Lighthouse Days," the producer of the release, Toshinari Shiroshita, offers us a fascinating chronicle of its nature and execution in the liner notes:

The titles of the songs performed changed depending on the occasion at the jam session, adopting names like "Groovy Eyes" or "Goof and I". For this edition, we preferred to use the title "Lighthouse Days", just as Andrews originally noted it in his personal memorandum.

The structure of the piece treats us to an impressive succession of solos in a strict order: it begins with Zoot Sims himself, followed by Stu Williamson, Bud Shank, Frank Rosolino, Bob Cooper, and finally, Claude Williamson on piano. The dynamism of the performance reaches its peak in the final chorus, where an extremely interesting exchange of bars breaks out between the drums and each of the soloists, preventing the piece from falling into a simple improvisation routine. Stan Levey's intervention, with a short but highly sharp and precise drum solo, is irrefutable proof that we are dealing with a first-rate instrumentist.

In terms of the five pieces that complete this album, while the Lighthouse recording is the magnet for completists of the series, the rest of the tracks that round out this volume do not envy its historical importance at all. These five instrumental tracks take us to a much more exclusive setting whose exact date remains a mystery, cataloged simply on an unknown day of that same year, 1954: the intimacy of the home.

As Toshinari Shiroshita himself comments in the insert notes:

This is a valuable record of a very unusual rehearsal session, recorded when Zoot Sims (1925–1985), whose activities took place mainly on the East Coast, returned to his parents' home in California (a town near the Los Angeles International Airport). This rehearsal session was released on LP in 1991 by the Norma label under the title Pinky and Zoot, but the 5 tracks with the addition of vocalist Pinky Winters were released on CD in 2010 as "Pinky +12". This Lover Man being released now is composed of the purely instrumental tracks (without Pinky's vocals) from that session, and includes an unreleased track that was not included in the Norma LP.

Regarding the musicians participating in tracks #1 to #5 at Zoot's house, isn't it true that, except for Zoot, they are musicians who have hardly been heard of? For Zoot, whose activities took place mainly on the East Coast, a session on the West Coast in the mid-1950s like this one is extremely rare, but the reality of the L.A. scene runs deep. It is said that musicians like Heale and Inosencio played in top-tier big bands such as those of Benny Goodman or Woody Herman... His tenor sax style is in the line of Lester Young, and his talent was not only recognized by West Coast musicians but also enjoyed high popularity in Europe.

Pianist Timmy Inosencio was a music teacher at an L.A. high school in his later years and, according to Pinky Winters, was the band instructor at the high school Pinky's eldest daughter attended around 1970. He was a talented jazz musician who, since his high school days, aspired to be a professional jazz pianist and had acquired a solid technique and a great sense of swing. It seems he was a gifted musician who confirmed early on that 'you can't make a living from jazz' and chose that path. Trumpeter Marvin 'Tricky' Heale was Zoot's cousin. John Dorman was erroneously credited on the Norma LP as a trombonist, but Pinky testifies that he was a bass trumpet player and had no blood relation to Irving. Bassist Jim Wolf was Pinky's husband at the time.

1 - Dancing On The Ceiling

(Richard Rodgers, Lorenz Hart)

2- Popo

(Shorty Rogers)

3 - These Foolish Things (Remind Me Of You)

(Jack Strachey, Harry Link)

4 - I'll Remember April

(Don Raye, Gene DePaul, Pat Johnston)

5 - Lover Man

(Jimmy Davis, Roger Ramirez, Jimmy Sherman)

6 - Lighthouse Days

(Frank Patchen)

#1 to #5:

Zoot Sims (tenor sax), Marvin "Tootie" Hale (trumpet), John Dorman (bass trumpet),

Timothy "Timmy" Inocencio (piano), Jim Wolf (bass), Gary Hale (drums).

Recorded during a rehearsal at Zoot Sims' home, Inglewood, California, 1954

#6:

Zoot Sims, Bob Cooper (tenor saxes); Bud Shank (alto sax); 

Stu Williamson (trumpet); Frank Rosolino (trombone);

Claude Williamson (piano); Howard Rumsey (bass);  Stan Levey (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, March 9, 1954

Lighthouse All-Stars Collection XXII ★ with Zoot Sims (I)

Zoot Sims

With

The Lighthouse All-Stars • 1954

As we near the end of our "Lighthouse All-Stars Collection" jazz series, which brings together official albums and exclusive private recordings of the emblematic ensembles led by Howard Rumsey, it is now the turn of Zoot Sims, the absolute protagonist of this album.

Although musical historiography frequently links him to the West Coast jazz movement, Sims developed the bulk of his activity in New York during the 1950s. In those years, the jazz environment humorously ironized that he only traveled to the West Coast when he ran out of money in New York. Regardless of these anecdotes, his figure consolidated an exceptional respect and affection among the public and jazz fans in Japan. This discographic record constitutes a magnificent testimony of one of his most successful historic collaborations alongside the Lighthouse All-Stars.

Released on February 25, 2009, this album represents the world premiere CD release of a precious and previously unreleased documentary document. The Lighthouse All-Stars comprised the musicians who had established themselves as regulars at the long-running California jazz club, centered around bassist Howard Rumsey. The recording captures a brilliant improvisation session (jam session) in which Zoot Sims intervenes as a special guest, integrating with the regular lineup. It is an indispensable sound document that preserves with absolute fidelity the vibrant energy, spontaneity, and swing characteristic of a golden era for jazz, standing out as a rare West Coast performance where the special guest takes the first solo on every single track. The album's track list is integrated by three tracks: Frank Patchen's original composition "Goofy Eyes", an impeccable reading of the standard "All The Things You Are", and Milt Jackson's iconic "Bags Groove".

1 - Goofy Eyes

(Frank Patchen)

2 - All The Things You Are

(Oscar Hammerstein II, Jerome Kern) 

3 - Bags Groove

(Milt Jackson)

Zoot Sims, Bob Cooper (tenor saxes); Bud Shank (alto sax);

Stu Williamson (trumpet [#2]); Frank Rosolino (trombone);

Claude Williamson (piano); Howard Rumsey (bass); Stan Levey (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, March 10, 1954

Lighthouse All-Stars Collection XIII

Howard Rumsey's Lighthouse All-Stars

On The Air 1957

Howard Rumsey's Lighthouse All-Stars On the Air features two complete radio broadcasts from late 1957. These broadcasts come from a short-lived program called Nightlife which aired on KMLA 100.3 FM beginning in the fall of 1957.

We're very fortunate that these broadcasts exist, especially when you consider the state of FM radio in 1957. FM was still somewhat a novelty and programming was mostly classical music, easy listening and other non-popular programming. As a matter of fact, most popular brands of radios that were available at that time didn't even have an FM band. AM was still king and would remain so for another 20 plus years. Besides the fact that FM wasn't widely listened to, this was a local broadcast that aired at 11:30 pm on Wednesday nights. It was a live broadcast so the only way for these programs to survive was for someone to record them off the air. (...)

These KMLA broadcasts represent a time of transition in the Lighthouse personnel and come at a time when the All-Stars were not well represented on commercial recordings. The working All-Stars unit made their last record for the Contemporary label in October of 1956, the classic "Music For Lighthousekeeping". There was one final recording for Contemporary in March of 1957 that featured an augmented version of the All-Stars to fill out a 12" release of "In The Solo Spotlight". (...)

For this members-only CD we have included two full broadcasts both with the same personnel: Conte Candoli, Bob Cooper, Frank Rosolino, Victor Feldman, Howard Rumsey and Stan Levey. One broadcast comes from November 20, 1957 and the other from December 18 featuring a special program devoted to the music of Bob Cooper.

Howard Rumsey's Lighthouse All-Stars On the Air gives us a rare opportunity to transport ourselves back to the Lighthouse in Hermosa Beach circa 1957 to experience the West Coast Jazz scene at it's finest. *Ken Poston (from the liner notes)*

1 - I Deal • Broadcast Introduction

(Sonny Clark) • (Donn Harling [Announcer])

2 - Jazz Invention

(Bob Cooper)

3 - Nightlife

(Bob Cooper)

4 - Lighthouse Commercial

(Donn Harling [Announcer])

5 - Octavia

(Bob Cooper)

6 - Moto

(Bob Cooper)

7 - Lighthouse Commercial

(Donn Harling [Announcer])

8 - Snap The Whip

(Bob Cooper)

9 - Topsy

(Durham, Battle)

10 - Jubilation

(Bob Cooper)

11 - Somebody Loves Me

(Gershwin, MacDonald, DeSylva)

12 - Round Midnight

(Thelonious Monk)

13 - Confirmation

(Charlie Parker)

14 - Musician Introductions • Lighthouse Commercial

(Donn Harling [Announcer])

15 - Long Ago And Far Away

(Kern, Gershwin)

16 - Topsy • Broadcast Closing

(Durham, Battle)

Howard Rumsey (leader, bass), Conte Candoli (trumpet), Bob Cooper (tenor sax),

Frank Rosolino (trombone), Victor Feldman (piano, vibes), Stan Levey (drums).

KMLA's "Night Life" Broadcast from Lighthouse Cafe,

September 19 (#1 to #6) and November 20 (#7 to #16), 1957

Lighthouse All-Stars Collection XI

Howard Rumsey's Lighthouse All-Stars

Jazz Structures

This album represents a fundamental turning point and, in many ways, the conclusion of the canonical corpus of the Lighthouse All-Stars recordings. Although it fits chronologically into the Lighthouse All-Stars Collection series, its nature demands a dual interpretation: on one hand, it belongs to the band's main line; on the other, as Howard Rumsey himself did not participate as a session musician, the record functions as a natural heir to the Lighthouse Series that the All-Stars produced for the Liberty label.

Unlike the recordings captured in the effervescent atmosphere of the club in Hermosa Beach, Jazz Structures sought an almost "architectural" clarity. To achieve this, Rumsey moved the project to United Recording Corp. in Hollywood. Under the technical direction of Bill Putnam, the studio environment allowed for a technical precision impossible to reach in a live setting, capturing Bob Cooper’s complex arrangements with absolute fidelity. The use of specialized microphones and the controlled acoustics of United Recording provided this work with a unique sonic texture within the group's discography.

It is worth noting that while this album marks the end of a formal era, the legacy of the Lighthouse All-Stars — with or without Howard Rumsey in their ranks — extends through many more recordings. Much of that material, generally recorded live and featuring top-tier special guests (Miles Davis, Art Pepper, Stan Getz), is currently scattered across official releases and valuable unreleased recordings that we will be discovering in the near future.

It was over 12 years ago that bassist Howard Rumsey left the Stan Kenton Orchestra and, in his own words, "decided to find a permanent home for the music of jazz on the west coast". Today, the Howard Rumsey All-Stars, based at the Lighthouse in Hermosa Beach, California, are internationally famous. As Stan Kenton says today: "Much credit must go to Rumsey as a pioneer and an enlightened promoter for the best in jazz". For the past five years, composer-tenorist Bob Cooper (or "Coop" as he is affectionately known) has been a leading member of Rumsey's Lighthouse group.

"Les Novros, head of Graphic Films, wanted to have jazz as the background music for his A BUILDING IS MANY BUILDINGS picture", Howard Rumsey tells. "This is a color documentary film showing the construction of the new Union Oil building in downtown Los Angeles".

"Novros wanted mostly improvisation originally", Rumsey continues. "I arranged for Bob Cooper to do the score and he took off like a bird. 'Coop' was so impressed by the calibre of the film that he went a lot further, musically, than we had planned".

"The score is a mixture of classical and jazz", Rumsey concludes, "and I think that 'Coop' really outdid himself!". (from the liner notes)

One of the most exciting jazz bands of the musically fertile '50s and '60s, Howard Rumsey's Lighthouse All-Stars performed a wide variety of styles ranging from standard bebop and post-bop to the cool West Coast style. The band also included several first-rate arrangers and composers, with Jimmy Giuffre and Bob Cooper receiving special mention. The band also included many of the top musicians of the West Coast jazz scene that boasted the likes of Conte Candoli, Frank Rosolino (who are featured here), Bud Shank, Bill Perkins, Victor Feldman and Stan Levey, to name but a few. This particular release showcases the versatility of this exciting group. Jazz Structures reveals both the complexity of the compositions and precision of the arrangements. All of the charts were written, arranged and conducted by Bob Cooper. The album features the music that Cooper scored for Les Novros documentary A Building Is Many Buildings, where the construction of the new "Union Oil Building" in Los Angeles is described in this film. *Jordi Pujol*

Side 1

1 - Genesis (Pt. II)

2 - Architectonics

Directional Suite 

3 - Introduction

4 - a) Impulse

5 - b) Automatons

6 - c) Impulsion (Pt. 1)

7 - c) Impulsion (Pt. 2)

Side 2

Directional Suit

(continued)

8 - d) Complexus

The Worker 

9 - a) Rain Blues

10 - b) In The Morning

11 - c) Quittin' Time

12 - Edifice

(All compositions by Bob Cooper)

#1 to #8 and #10:

Bob Cooper (tenor sax), Conte Candoli (trumpet), Frank Rosolino (trombone), 

Buddy Collette (bass clarinet [#2], baritone sax [#1, #3 to #8]),

Bud Shank (alto sax [#1,#8 ], B-flat clarinet [#2], flute [#3 to #8]),

Victor Feldman (piano, vibes, tambourine, conga, boo-bams and bongos [#2 to #8]),

Monty Budwig (bass), Stan Levey (drums).

#9, #11, #12:

Bob Cooper (tenor sax), Conte Candoli (trumpet), Frank Rosolino (trombone),

Buddy Collette (bass clarinet [#9], baritone sax [#12]),

Bud Shank (alto sax [#12], alto flute [#9, #11]),

Joe Castro (piano), Larry Bunker (vibes), Red Callender (bass), Stan Levey (drums).

Howard Rumsey (leader)

Recorded at United Recording Corp., Hollywood, California,

November 21 (#1, #2), November 22 (#3 to #7) and November 29 (#8 to #12), 1960.

Note:

When analyzing the "Directional Suite" in the liner notes, the following peculiarity is noted:

""This particular music depicts workers driving little electric carts", Bob Cooper remembers. "Victor Feldman plays boo-bams here. They're a kind of tuned bongo. After more effusive drum work by Stan Levey, there's simultaneous jazz improvisation. The separation of this collective invention is particularly remarkable in the stereo version of this album".

Consequently, both versions (monaural and stereo) are presented here to

allow for comparison and to appreciate the specific sonic detail described.

Lighthouse All-Stars Collection X

Howard Rumsey

The Lighthouse All-Stars Plus Ten

Jazz Rolls Royce

For many years, the date of October 28, 1957 — Royce Hall, University of California, Los Angeles — has been accepted as the moment of origin of Jazz Rolls Royce. In an essential sense, it is: that evening gave rise not only to the album’s repertoire, but also to its underlying conception. Yet, as is often the case in jazz discography, the relationship between date and final result is more complex than traditional documentation suggests.

The concert, presented as part of the 1957 UCLA Homecoming Show, formed part of a broader institutional production, conceived not strictly as a jazz performance but as a ceremonial event that included the presentation of the Homecoming Queen and other elements typical of the university celebration. Within this context, Howard Rumsey assembled his Lighthouse All-Stars in an expanded formation — "All Stars plus ten" — designed to deliver a broader sonic statement within that festive framework.

The genesis of the project dates back several months prior to the concert, when, as part of the event's organization, a specific program began to take shape, combining original writing with expanded instrumentation. With Conte Candoli featured as a principal soloist, the ensemble reinforced in its lower register, and arrangements largely by Bob Cooper, the repertoire was conceived as a unified body of work, even at this early stage oriented toward eventual recording.

From an aesthetic standpoint, the project sought a delicate balance: preserving the immediacy and character of the Lighthouse small group while incorporating the color and density of a larger orchestral setting. This tension — between improvisational freedom and more elaborate writing — defines much of the project’s musical identity.

The concert was recorded with the explicit intention of producing a live LP. In that sense, the Royce Hall date is not an arbitrary convention: it represents the true starting point of the album. However, the tapes made that evening did not meet the standards required for commercial release. Performance flaws, ensemble imprecision, and incomplete or technically deficient material rendered them unsuitable as a basis for publication.

The solution was to move the project into the studio. In subsequent sessions held at Liberty Studios in Hollywood, the repertoire was re-recorded in its entirety, with a partially revised personnel — Stu Williamson replacing Conte Candoli, and a reconfigured low-brass section including Marshall Cram — under conditions that allowed for a greater degree of precision in the execution of the arrangements.

It is this studio material, rather than the Royce Hall recordings, that forms the basis of the LP Jazz Rolls Royce, although for many years the concert date continued to appear as the recording reference in various editions and discographies. The album thus became associated with a live event from which no direct master recording was ultimately derived.

The subsequent editorial history of the material gave rise to two distinct presentations, each of which approaches the relationship between the original concert and its later discographical realization in a different way. The following presents both releases.

V.S.O.P. Records

The edition issued by V.S.O.P. Records adopted a position of continuity with respect to the original release, preserving the configuration established in its initial appearance on Lighthouse Records (Lighthouse CS-300) and in the subsequent Omega reissue (Omega OSL-5). In this way, the structure of the LP is maintained as originally conceived from the studio material. However, this presentation introduces an additional element: the inclusion of applause not corresponding to the original recording at the end of three tracks, a device that artificially reinforces the impression of a live context in material which, as noted, does not derive directly from the Royce Hall concert.

Our idea was to add ten men to the Lighthouse group, forming a sixteen-piece band. We knew the first song should be the traditional "Strike Up The Band", the song that George Gershwin wrote specially as a "fight" song for UCLA. First of all, the students that accepted the responsibility of the 1957 Homecoming and particularly the producer of the Homecoming Show, John Brown, knew they wanted all new music written just for this occasion. The material should embellish the show, the traditional purpose being of course the selection of the Homecoming Queen and it should fit with the theme "Under the Bruin Big Top".

As we wanted to feature "new" jazz music we got in touch with Bob Cooper. "Coop" is the senior member of the Lighthouse All-Stars and watching his development as a soloist and a composer-arranger certainly has been a pleasure. As a musician he has every qualification: playing Tenor Saxophone, Oboe, English Horn or Clarinet, he has traveled extensively as a member of Stan Kenton's Band and Kenton's Innovations Orchestra; since becoming one of the best known members of the West Coast movement and joining forces with the Lighthouse he has made two European tours with Bud Shank. (...)

After deciding together on the program numbers, all written by Bob Cooper specially for the Show, we began the selection of the added men, players with much recording experience, yet men with strong roots in jazz. More important, it was to be a big modern band, one that pointed ahead. Furthermore, we wanted a permanent record of it. This was a labor of love and all the players responded in a grand manner; after rehearsals, they were on their own. No one conducted the performance or the recording. *Howard Rumsey (from the liner notes)*

1 - Strike Up the Band

(George Gershwin, Ira Gershwin)

2 - Prelude To The Queen

(Bob Cooper)

3 - The Clown's Dance

(Bob Cooper)

4 - Coop Salutes the "Co-Op"

(Bob Cooper)

5 - Bruinville, My Bruinville

(Bob Cooper)

6 -Mambo del Quado

(Bob Cooper)

Bob Cooper (tenor sax), Frank Rosolino (trombone), Stu Williamson (trumpet),

Victor Feldman (piano, vibes), Howard Rumsey (bass), Stan Levey (drums).

plus Ten Added Stars:

Pete Candoli, Al Porcino, Ed Leddy, George Werth (trumpets); 

Milt Bernhart, Harry Betts, Hoyt Bohannon (trombones);

Marshall Cram (bass trombone); Red Callender (tuba); Larry Bunker (tympany, vibes).

Recorded at Liberty Studios, Hollywood, California, circa 1957

✤✤✤✤

Fresh Sound Records

The edition released by Fresh Sound Records, by contrast, incorporated material from the original Royce Hall concert, adding the only two performances preserved in sufficiently complete and usable condition, introduced by Howard Rumsey himself. As indicated in the accompanying documentation, the surviving master tapes of the live event were largely compromised — affected by excessive audience noise, incomplete musical content, and various technical deficiencies — which reduces these two numbers to the only viable examples of the concert as it actually took place. Even these, however, present defects.

The jazz record buyer is listening more and more to the soloist, as opposed to ensemble writing. This is evident in the decline of the big band and increasing popularity of soloists and small groups. This may be the result of over-arranging and lack of honest emotion except during an improvised solo. It is here that the real communication between the listener and performer takes place. I have felt that the best points of the big band should be retained, especially since a big band can be a great source of inspiration to the soloist. With these things in mind we decided on the instrumentation used here. The idea being to preserve the sound of the small group (Lighthouse All-Stars) and inject the excitement and color of a big band with freedom and ample space for improvised solos.

We learned a great deal in recording and playing this music. I hope that the idea will be carried out and developed by others. I know we are all excited by its challenge.

*Bob Cooper (from the liner notes)*

1 - Strike Up the Band

(George Gershwin, Ira Gershwin)

2 - Prelude To The Queen

(Bob Cooper)

3 - The Clown's Dance

(Bob Cooper)

4 - Coop Salutes the "Co-Op"

(Bob Cooper)

5 - Bruinville, My Bruinville

(Bob Cooper)

6 -Mambo Del Quado

(Bob Cooper)

7 - Bruinville, My Bruinville

(Bob Cooper)

8 - Mambo Del Quado

(Bob Cooper)

#1 to #6:

Bob Cooper (tenor sax), Frank Rosolino (trombone), Stu Williamson (trumpet),

Victor Feldman (piano, vibes), Howard Rumsey (bass), Stan Levey (drums).

plus Ten Added Stars:

Pete Candoli, Al Porcino, Ed Leddy, George Werth (trumpets); 

Milt Bernhart, Harry Betts, Hoyt Bohannon (trombones);

Marshall Cram (bass trombone); Red Callender (tuba); Larry Bunker (tympany, vibes).

Recorded at Liberty Studios, Hollywood, California, circa 1957

#7 and #8:

Bob Cooper (tenor sax), Frank Rosolino (trombone),

Victor Feldman (piano, vibes), Howard Rumsey (bass), Stan Levey (drums).

plus Ten Added Stars:

Pete Candoli, Al Porcino, Ed Leddy, George Werth (trumpets); 

Milt Bernhart, Harry Betts, Hoyt Bohannon (trombones);

John Halliburton (bass trombone); Red Callender (tuba); Larry Bunker (tympany, vibes).

Recorded live at Royce Hall, University of California (UCLA), Los Angeles, October 28, 1957

Lighthouse All-Stars Collection IX

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 8

★ Music For Lighthousekeeping ★

Once Again I have the pleasure of writing the notes for one of my albums. A pleasure, because it gives me the opportunity to correspond with the listener and express some personal opinions.

Now that the Lighthouse and the All-Stars are firmly established (eight Contemporary Records LPs are available), I would like to take this opportunity to express my profound appreciation to the many wonderful people who have helped to make our project a success. John Levine, the owner of the Lighthouse, is first on the list — without his personal guidance I doubt very much if we ever would have got off the ground. If modern jazz ever had a friend, it is John. If there is such a thing as a West Coast movement, if it's true that an art form must have a medium before it can become a force, and if modern jazz, like all good art, requires patronage, this truly inspiring American, by way of naturalization from Canada, did much more than his share to make it all possible.

Four years with Contemporary Records have been equally inspiring. The Lighthouse and what we stand for musically are now known wherever there are jazz enthusiasts. My correspondence contains letters from tiny Ceylon to countries behind the Iron Curtain. The infinite care and personal attention that goes into the production of each of our albums is something to behold and definitely something the astute record collector can appreciate.

Since the All-Stars do not tour the nation, and I haven't missed a weekend in the Lighthouse for some time (over seven years), it took a while for the impact of our progress to reach me. A delayed reaction is sometimes the best and, believe me, we feel extremely indebted to the many, many fine friends and enthusiastic jazz followers who encourage us daily by coming to our place, or writing to let us know they are rooting for us.

Finally, I would like to express my gratitude to the musicians who have worked with me as members of the All-Stars, as well as the ones who have appeared either as guests or off-night attractions. Last year alone, including the regular All-Stars, fifty-two musicians worked at the Lighthouse. (...)

This album was recorded on a series of Tuesday evening dates at Contemporary Records' studio, and I think you will find it just different enough from our other albums to make it interesting throughout. The material is programmed the way we might present the last set of a busy, swinging night at the Lighthouse. (...)

The All-Stars join me hoping the music in this album will make your housekeeping a whole lot lighter! *Howard Rumsey (from the liner notes)*

Music For Lighthousekeeping was Rumsey's last recording for Contemporary and includes several satisfying excursions into Latin-influenced fare. There were many liaisons between jazz and Latin styles. Perhaps Samba – with its swaying Girl from Ipanema (Stan Getz) – has worn least well – the only acceptable version of that tune being its deconstruction by Archie Shepp. But with its Cuban metronomic percussive roots, mambo has retained a more modern-retro ambiance.

This is "West Coast" jazz in geography only, as the musicians hail from all points of the American compass, and their styles echo several east coast counterparts. One of the joys of the Rumsey All-Stars band is Bob Cooper, the West Coast answer to Hank Mobley. They share the same wayward slightly-nasal tone, fleet runs with the occasional triplet slipped into a regular metre, squawks crowning bombastic figures, plaintive vibrato, bursting with ideas, the "Coop" solo spots are a rare treat.

Frank Rosolino's trombone offers a bluesy helping of Curtis Fuller, while Conte Candoli's bright peppy trumpet sways between Dorham, Morgan but ultimately Hubbard-lite, which is good. Stan Levey is Art Blakey perhaps without the thunder, but great drive, as he knocks seven bells out of his ride cymbals, giving the tweeters a good work out, speakers left dripping with audio sweat. The presence of the young Sonny Clark on this Lighthouse session is another rare bonus, his highly rhythmic comping nailing down those latin tempos, adding perfectly-paced bluesy swinging solos.

Oddly for the leader, Rumsey's bass is fairly low-key, an understated Paul Chambers. On some other Lighthouse records he disappears into the control room, leaving friend Red Mitchell and others to stand in on bass. Perhaps he sensed his strengths were as band leader, arranger, and salesman. *londonjazzcollector.wordpress.com*

This fine 1956 Contemporary recording is a timeless snapshot of the West Coast jazz scene, from one of its iconic groups. Bassist and leader Howard Rumsey ran the Lighthouse Café and was responsible for its fine jazz programming, had already been doing so for seven years at this point in time, and led his all-star group for many years. Personnel changed gradually, but one of its most durable line-ups was the current group, with the frontline of stalwarts Frank Rosolino on trombone, Conte Candoli on trumpet and Bob Cooper on tenor sax. At this time, the fine young bebop pianist Sonny Clark, soon to become a Blue Note label recording artist and leader in his own right, was in the piano chair. Drummer was a West Coast regular and bebop drum pioneer, Stan Levey. Nearly sixty years have passed since this recording, but the music remains fresh, and a fine example of the vitality of the thriving southern Californian jazz scene of the 1950s.

This group plays like a team, the frontline fits together like a glove, and the rhythm section swings tightly but in that loose kind of way that makes the group sound relaxed at all tempos. The repertoire includes three Bill Holman originals, the opener, "Love Me or Levey", structured on Harold Arlen's "Get Happy", played at a blistering tempo, with crackling trumpet from Candoli that compares well with that of the then recently departed Clifford Brown, and fine bebop solos from all. The later Holman offerings are two Latin excursions, "Mambo Las Vegas" and "Latin for Lovers", which show some of the rhythmic directions that musicians were pioneering at the time – of course, Latin rhythms then became "mainstream" in jazz from the early 1960s. Perhaps the finest tunes on this recording are the two Bob Cooper compositions – the fine ballad "Octavia" whose haunting melody is based on the wide octave interval, and the marvellous "Jubilation" (not to be confused with the Junior Mance tune of the same name), which is a beautifully-arranged and well-paced, up-tempo tune on which all the players have a chance to excel.

Bob Cooper's playing is as good as his best on this recording, his tone and phrasing are tremendous, and display the full range of his sounds from the sensuous to the hipper, harder-swinging, more assertive sound on the faster items. Rosolino shows his energetic, virtuosic and tasteful trombone solo style at every opportunity, Candoli's bebop lines are fluid and fast. Sonny Clark swings throughout as he always did, comping sympathetically and soloing confidently, particularly on his own up-beat blues, "I Deal", in which he stretches out, playing seamlessly across the 12 bar form.

Rosolino and Clark, two of jazz's finest and most distinctive players, were tragic figures who died prematurely, but with plenty of fine recordings under their belt. Cooper and Candoli remained active and very productive in jazz into their seventies, Levey ultimately veered into his parallel career, photography. Howard Rumsey's distinguished career as bassist, organiser of festivals, club owner went on for decades and he was the last survivor from this session, passing away early in 2015 at 97 years, shortly after a tribute festival in his honour by the Los Angeles Jazz Institute. This is one recording that cements his place as a major figure in West Coast jazz, and deserves to be in everyone's collection. *simonjp (amazon.com)*

1 - Love Me or Levey

(Bill Holman)

2 - Taxi War Dance

(Lester Young, Count Basie)

3 - Octavia

(Bob Cooper)

4 - Mambo Las Vegas

(Bill Holman)

5 - Jubilation

(Bob Cooper)

6 - I Deal

(Sonny Clark)

7 - Latin For Lovers

(Bill Holman)

8 - Topsy

(Eddie Durham, Edgar William Battle)

Conte Candoli (trumpet), Bob Cooper (tenor sax), Frank Rosolino (trombone),

Sonny Clark (piano), Howard Rumsey (bass), Stan Levey (drums). 

Recorded at Contemporary's Studio, Los Angeles, California, October 2, 9 and 16, 1956

Lighthouse All-Stars Collection VIII

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 7

★ Lighthouse At Laguna ★

Laguna Beach is a lovely, relaxed town on the Pacific two hours drive south of Los Angeles. On Monday night, June 20th, 1955, it became the center of modern jazz on the West Coast as Howard Rumsey brought his Lighthouse All Stars, Barney Kessel, and The Hampton Hawes Trio to the Irvine Bowl, an outdoor amphitheater, for an impressive concert before an impressed audience.

Rumsey and The All-Stars during 1955 found time to increase their influence by numerous concerts away from home base, The Lighthouse in Hermosa Beach, California. They played for schools and colleges throughout Southern California and Arizona, and succeeded in winning friends and influencing people wherever they went. Laguna was no exception; for the 1200 who turned out the concert was a highlight of the jazz year.

Jazz concert performances often lack the polish of those in the recording studio, but more often this is offset by a freer, more spontaneous, creative, and swinging feeling, generated in part by the interaction of audience and performers. So while there are defects in these forty-five of the best minutes of the night's music, defects which both the musicians and the recording engineer would have liked to remedy, there are moments of excitement here that cannot be duplicated.

Five of the eight performances in this set are by The All-Stars. During the five years Rumsey has held forth at The Lighthouse his groups have always included the very best musicians, and the present group is no exception. Each man is a prominent recording artist in his own right, and each finishes high in the annual polls conducted by the leading jazz magazines. The concert presentation put each man in the solo spotlight and there are many fine solos by Bud Shank, Bob Cooper, Frank Rosolino and Claude Williamson. Of course, equally important is the fact they work well together to create a swinging, balanced ensemble sound. (...)

Barney Kessel, one of the greatest of jazz guitarists, was accompanied by The All-Stars for his portion of the program. His sensitive arrangement and performance of Thelonious Monk's modern classic 'Round About Midnight was one of the best received of the evening. In Barney’s hands it became a lovely concerto for guitar and orchestra. (...)

As the weekly Laguna Beach Post reported June 23rd, the Thursday following: "...it was clear that this concert was manned by some of the most knowledgeable and talented musicians in the land and it was a pleasure to be there". *Lester Koenig, December 6, 1955 (from the liner notes)*

A distinguished crowd of West Coast modernists who ordinarily make headquarters at the Los Angeles jazz nitery, The Lighthouse, trekked South to Laguna Beach one night last June for a concert that must have been a real gasser for local fans. As recorded, most time is given to the Lighthouse All-Stars, which at that time consisted of Rumsey, Bud Shank, Bob Cooper, Frank Rosolino, Claude Williamson and Stan Levey. Barney Kessel, the guitarist, took the spotlight for a richly appealing set of his own. The third major attraction was a group by the Hampton Hawes Trio (backing the pianist were Shelly Manne on drums and Red Mitchell on bass). This is West Coast at its exciting best, and should be a great hit with jazz customers. *Billboard (February 25, 1956)*

A concert recorded at Laguna Beach Calif., last June. Tracks 1, 3, 5, 6 and 8 are played by Rumsey's All-Stars with Bud Shank, Bob Cooper, Frank Rosolino, Claude Williamson, and Stan Levey. Midnight is a Barney Kessel solo backed by the All-Stars, while Lady Jean is a Rosolino excursion on his own tune with All-Stars backing. Walkin' and The Champ are performed by the Hampton Hawes trio with Red Mitchell and Shelly Manne. The playing is proficient throughout with chief kicks from the trio tracks, Kessel's well conceived variations on the Monk melody, Williamson's work on all tracks he appears, and Shank's flute on Witch Doctor. The cover can best be described as the most nonabstract of the year. *Nat Hentoff (Down Beat, April 4, 1956)*

1 - Witch Doctor N° 2

(Bob Cooper)

2 - 'Round Midnight

(Monk, Williams, Hanighen)

3 - Mood For Lighthouse

(Bob Cooper)

4 - Walkin'

(Richard Carpenter)

5 - Blind Man's Bluff

(Claude Williamson)

6 - Lady Jean

(Frank Rosolino)

7 - The Champ

(Dizzy Gillespie)

8 - Casa De Luz

(Shorty Rogers)

#1, #2, #3, #5, #6, #8:

Frank Rosolino (trombone), Bud Shank (alto sax, flute), Bob Cooper (tenor sax),

Barney Kessel (guitar [#2]), Claude Williamson (piano),

Howard Rumsey (bass), Stan Levey (drums).

#4, #7:

Hampton Hawes (piano), Red Mitchell (bass), Shelly Manne (drums).

Recorded live at Irvine Bowl, Laguna Beach, California, June 20, 1955

Lighthouse All-Stars Collection VII

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 6

The major factor in the phenomenal success of The Lighthouse is the extremely high standard of musicianship. Unlike many of the "cool" school, the All-Stars have always been characterized by a free, swinging, driving enthusiasm. Rumsey has encouraged his musicians to be composers, and over the years he has developed a large and impressive library of original works by Rogers, Giuffre, Cooper, Shank, Williamson and other leading writers, many of which have appeared on Rumsey's first five long playing Contemporary albums. The musicians have worked together to create a unique Lighthouse ensemble sound, and Rumsey has also put them in what he calls "the solo spotlight", featuring individual performances by every member of the group.

*Lester Koenig (from the liner notes)*

The forty minutes in Volume 6 of The Lighthouse series give the listener a chance to hear the All-Stars in a typical set. Here are the new compositions written by the members of the band, and here too are the individual soloists, featured on standard tunes they have made their own property. In response to Contemporary's request, Howard Rumsey has supplied the following details on the nine performances:

This is our second twelve-inch LP, the sixth volume to be released. I feel it shows each member of the group to good advantage, has lots of pace and it has our full band’s best recorded swinging effort, in my opinion. *Howard Rumsey (from the liner notes)*

Throughout the 1950s, a seaside club called the Lighthouse was a beacon attracting jazz lovers from all over the world to Hermosa Beach, just south of Los Angeles. Through the ranks of bassist Howard Rumsey's Lighthouse All-Stars passed virtually every major player of the West Coast movement. But the music rarely reflected the cool, academic aspects of that school. These mid-Fifties recordings by one of the best editions of the All-Stars preserve hot, direct playing from the early years of such major artists as Frank Rosolino, Bud Shank, Bob Cooper, and Conte Candoli. *concord.com*

Another standout set from Howard Rumsey's Lighthouse All-Stars — the kind of group who should have been a gimmicky way to promote his nightclub, but who actually managed to cut some of the best LA records of the time! The lineup here features Rumsey on bass, Bud Shank on alto, Bob Cooper on tenor, Conte Candoli on trumpet, Claude Williamson on piano, Stan Levey on drums, and either Frank Rosolino or Stu Williamson on trombone — depending on the track — and as before, there's a great focus on the solo talents of each member, so that even in this larger group setting, each number features a strong contribution by a particular player. Arrangements are great, and titles include "Who's Sleepy", "Isn't It Romantic", "Mad At The World", "Long Ago & Far Away", "Sad Sack", and "Dickie's Dream".  *Dusty Groove, Inc.*

1 - Who's Sleepy

(Bob Cooper)

2 - Isn't It Romantic

(Rodgers, Hart)

3 - Mad At The World

(Bob Cooper)

4 - East Of The Sun

(Brooks Bowman)

5 - Long Ago And Far Away

(Gershwin, Kern)

6 - Sad Sack

(Bud Shank)

7 - If I Should Lose You

(Robin, Rainger)

8 - Prelude To A Kiss

(Ellington, Mills, Gordon)

9 - Dickie's Dream

(Basie, Young)

#1, #3, #6:

Conte Candoli (trumpet), Frank Rosolino (trombone), Bud Shank (flute, alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

#5, #9:

Conte Candoli (trumpet), Stu Williamson (valve trombone), Bud Shank (alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

#2, #4, #7, #8:

Conte Candoli (trumpet), Bud Shank (alto sax), Bob Cooper (tenor sax),

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded in Los Angeles, California ; December 3, 1954 (#1, #3, #6),

February 22, 1955 (#5, #9), and March 1, 1955 (#2, #4, #7, #8)

Lighthouse All-Stars Collection VI

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 5

★ In The Solo Spotlight ★

As Dick Williams vividly recounts in the original liner notes for the album, titled A FOGGY NIGHT AT THE HERMOSA BEACH LIGHTHOUSE, reaching The Lighthouse was not always an easy task. On those nights when the coastal fog became as thick as spider webs in a haunted house, hundreds of people — from university students to uniformed sailors — ventured from every corner of Los Angeles to crowd at its doors. 

What they sought was the sound of Howard Rumsey’s ensemble, a group of Stan Kenton alumni who had transformed a nearly empty venue into the true citadel of jazz in Southern California.

The atmosphere of the place was unique: a long, low, and dimly lit room, decorated with impressionistic paintings and photos of legends like June Christy, where jazz was experienced in an informal atmosphere but with impeccable technical quality.

The title of this volume, In the Solo Spotlight, captures that exact essence. Beyond the literal image of a spotlight illuminating a performer in the shadows, the title holds a deep musical and symbolic meaning. It represents the moment when the collective machinery of the All-Stars takes a step back so that each musician can project their own voice. In the language of jazz, the "solo" is the moment of truth, and here it becomes a showcase for the improvisation and individual genius of figures like Rumsey on double bass, Bob Cooper on tenor sax, or Bud Shank on alto. Being "under the reflector" is synonymous with prestige and audacity, allowing the listener to appreciate the unique personality of each member in isolation.

Ultimately, this album is a testament to creative freedom that allows us to feel the sea breeze of Hermosa Beach and see the glimmers of light on the instruments, reminding us that the best way to understand a group is by allowing each of its members to shine, for a moment, under their own spotlight.

Volume 5 of the Lighthouse All-Stars, C 2515, In The Solo Spotlight, would be the last release of the Lighthouse All-Stars on the 10'' LP format for Contemporary Records.  In was recorded in August of 1954 for release later that fall and Les Koenig would release three more albums in the 10'' LP format before adopting the 12'' LP format for releases on his label in 1955. The five Lighthouse regulars who appeared on Volume 4 would be joined by Stu Williamson (Claude’s brother), Bob Enevoldsen and Bob Gordon.

The nine selections on the CD reissue (nearly all the Lighthouse All-Stars' Contemporary recordings are now available in the OJC series) each extensively feature one or two top West Coast jazz players. Bassist Howard Rumsey's group was expanded to an octet, and showcased are trombonist Frank Rosolino ("Funny Frank"), tenor saxophonist Richie Kamuca, trumpeter Conte Candoli, drummer Stan Levey, Bob Cooper on tenor, trumpeter Stu Williamson, valve trombonist Bob Enevoldsen, pianist Claude Williamson, bassist Rumsey (on "Concerto for Doghouse"), and altoist Bud Shank. With the exception of the Rumsey feature (composed by Stan Kenton), all of the music was new, with the arrangements provided by pianist Dick Shreve, Bill Holman, Cooper, and Williamson. An excellent set. *allmusic.com*

Classic '50s California jazz from a legendary band named after a legendary venue. Lighthouse's jazz all-stars carve out swinging solo features, accompanied by tight ensemble support and arrangements that sparkle with creativity.

At one time or another I've owned all the CDs of Howard Rumsey and the lighthouse all stars. They're all spirited recordings of (generally) live sets at the famed Lighthouse cafe in Hermosa Beach, California.

I fell in love with California jazz after being introduced to Rumsey and the all stars. The groups varied in size (usually a quintet or sextet with extras) but produced a very characteristic sound that adhered to bebop but with some the edges smoothed. It sounds... now wait for it... Californian.

Since most were recorded during live sets, often during the famous Sunday afternoon jams, sound quality can vary from pretty good to "you're a member of the audience with a few beers in you already".

This particular CD is quite clear and the remastered sound is excellent. Parts of it were studio recorded, which adds to the clarity but the energy is still there.

This is as good a place as any to start if you're looking for a representative taste of small group jazz in LA during the 50s. Highly recommended. *John K. Gayley (amazon.com)*

1. Funny Frank

(Dick Shreve)

2. That's Rich

(Dick Shreve)

3. If You Are There

(Shreve, Sutton)

4. Stan

(Bill Holman, Stan Levey)

5. Coop

(Bob Cooper)

6. S & B

(Bill Holman)

7. Claude

(Claude Williamson)

8. Concerto For Doghouse [a.k.a Howard]

(Stan Kenton)

9. Bud (The Whippet)

(Claude Williamson)

#1 to #3:

Conte Candoli (trumpet), Frank Rosolino (trombone), Lennie Niehaus (alto sax),

Richie Kamuca (tenor sax), Pepper Adams (baritone sax),

Dick Shreve (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded at Contemporary's Studio, Los Angeles, California, March 12, 1957

#4 to #9:

Stu Williamson (trumpet), Bob Enevoldsen (valve trombone),

Bud Shank (alto sax), Bob Cooper (tenor sax), Bob Gordon (baritone sax),

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded in Los Angeles, California, August 17, 1954

Five-Star Collection... Howard Rumsey (Lighthouse All-Stars Collection I)

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 3

In this long-playing set Contemporary presents the three basic groups of All-Stars which made The Lighthouse in Hermosa Beach the center of West Coast Jazz and a Mecca for jazz enthusiasts the world over. The notes which follow were written for Contemporary's ten-inch long playing release (C-2506) containing the recording sessions of July 22, 1952 and October 20, 1953. The third session of August 2, 1955 has not been released previously.

The key men of the first major group, Shorty Rogers, Jimmy Giuffre and Shelly Manne, after two years at The Lighthouse, left in 1953 to form Shorty Roger's Giants. (In the fall of 1955 Shelly Manne left the Giants to form his own group). The key men of the second and third All-Stars, Bob Cooper, Bud Shank, and Claude Williamson, continued for three years (1953 through 1955) and were responsible for such highly successful experiments as the flute and oboe duets (Contemporary C-3520).(...)

It was at the Lighthouse Cafe in Hermosa Beach that modern jazz first became really popular on the West Coast. Yet when Howard Rumsey started his jazz concerts there in 1948, the smart money said he wouldn't last a week. Hermosa Beach is more than 20 miles away from Hollywood. Who would travel that far to listen to modern jazzmen who were unknown to the general public?

Rumsey's plans seemed all the more hopeless since modern jazz was having a hard time in much more accessible places than Hermosa Beach. In order to develop, jazz needs devoted, understanding listeners. The all-important contact between modern jazz and a wide, enthusiastic audience had yet to be established. There had been many previous attempts to launch the movement, and they had all been partial or complete failures. A few years before the Lighthouse sessions, Dizzy Gillespie and Charlie Parker had played their new music in a Hollywood night club. They had been heard by a handful of musicians, and practically nobody else. In succeeding years, modern jazz on the West Coast became increasingly cultist and sectarian, talented musicians were experimenting in the isolation of their little cliques, and it seemed the entire movement would vanish with the inevitable crumbling of these ivory towers.

It was at this point that Howard Rumsey began his concerts at the Lighthouse. The most remarkable thing about Howard was his conviction that modern jazz could also be popular jazz, and that this could be accomplished without concessions or compromises. His policy was to ignore the meaningless divisions between the various modern jazz groups, to bring together the finest available instrumentalists and writers, and to transform the Lighthouse into a workshop where their music could be heard by large audiences. Howard's tenacity and his immense gifts as an organizer overcame both the incredulity of the musicians and the apathy of the public. Starting slowly, he kept working at his idea until he succeeded in having great modern jazzmen on his bandstand, and enthusiastic crowds in the Lighthouse to listen to them.

The Lighthouse is in a constant state of musical activity and experimentation. There are always new works in progress, new arrangements being tried out, new ideas for solos. Every musician on the bandstand is vitally concerned with communicating his music to eager audiences. The bored jazzman who condescends to play down to his listeners, or the unhappy jazzman who complains about being misunderstood, are both fortunately absent. The excitement at the Lighthouse is so contagious that some of the members of the All-Stars who had never written music before began to study composition and have developed into first-rate composer-arrangers.

*Nesuhi Ertegun (from the liner notes)*

A particularly impressive demonstration of the modern jazz School of Southern California (Hermosa Beach division). It's a five-starrer because this time the generally inventive writing aids rather than constricts the blowing. As usual, the level of musicianship is consistently elevated.

Side one (July, 1952) has Rogers, Bernhart, Giuffre, Cooper, Patchen, Manne, Rumsey (and Carlos Vidal on Zapata). The even better second side (October, 1953) includes Cooper, Shank, Rumsey, Max Roach, altoist Herb Geller, pianist Claude Williamson, trumpeter Rolf Ericson, and Jack Costanzo on two. Ericson has never sounded better on records, Manne and Roach are wonderful, Vidal and Costanzo help greatly on the south-of-Los Angeles scenes.

The diversity of the sides is also stimulating — from the tribute to the Mexican revolutionary through Giuffre's tender Somewhere and the mildly ironic rhythm and blueser Big Girl. Two superior frameworks are Cooper's Jazz Inventionand Giuffre's arrangement of Love Letters. I wish those two particularly hadn't been restricted to the conventional time limits. Engineers Val Valentin and John Palladino should get a bonus after this. I'd like to know what mike setup and what kind of mikes were used. *Nat Hentoff (Down Beat, February 10, 1954 [5 stars])*

1 - Swing Shift

(Shorty Rogers)

2 - Out Of Somewhere

(Jimmy Giuffre)

3 - Mexican Passport

(Bob Cooper, Bud Shank)

4 - Big Girl

(Jimmy Giuffre)

5 - Viva Zapata! No. 1

(Shorty Rogers)

6 - Mambo Los Feliz

 (Shorty Rogers)

7 - The Song Is You

(Jerome Kern)

8 - Jazz Invention

(Bob Cooper)

9 - Snap The Whip

(Bob Cooper)

10 - Love Letters

(Young, Heyman)

11 - Witch Doctor No. 1

(Bob Cooper)

#1, #2, #4, #5:

Shorty Rogers (trumpet); Milt Bernhart (trombone);

Bob Cooper, Jimmy Giuffre (tenor saxes);

Frank Patchen (piano); Howard Rumsey (bass);

Shelly Manne (drums); Carlos Vidal (conga drums [#5]).

Recorded at Radio Recorders' Annex, Los Angeles, California, July 22, 1952

#6, #8, #10, #11:

Rolf Ericson (trumpet), Milt Bernhart (trombone [#6]),

Herb Geller (alto sax), Bud Shank (alto sax, baritone sax),

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums), Jack Costanzo (bongos [#1, #4]).

Recorded at Capitol Melrose Studios, Studio A, Los Angeles, California, October 20, 1953

#3, #7, #9:

Frank Rosolino (trombone); Bud Shank (flute, alto sax), Bob Cooper (oboe, tenor sax),

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded at Capitol Melrose Studios, Studio A, Los Angeles, California, August 2, 1955

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Why the subtitle "Lighthouse All-Stars Collection"? 

Between 1952 and 1957, Howard Rumsey’s Lighthouse All-Stars produced the core of their most significant recorded output: a series of studio and live performances that not only documented the ongoing activity at the Lighthouse Cafe in Hermosa Beach, but also fixed on record one of the most active modern jazz scenes of the decade.

During those years the ensemble functioned less as a fixed band than as a platform organized by Howard Rumsey: a stable nucleus with constant rotation of personnel, a permanent residency, and a repertoire in continuous development. Musicians such as Shorty Rogers, Jimmy Giuffre, and Shelly Manne passed through its ranks, establishing the Lighthouse as one of the central points of modern jazz activity in California.

Most of the principal recordings of this period — largely made for Contemporary Records — coincide with the years in which critical discourse began solidifying labels such as "West Coast Jazz". Heard today, however, these sessions reveal a language fully embedded in the broader current of modern jazz, in constant dialogue with what was simultaneously taking place in New York.

For that reason, and given that between 1952 and 1957 several of the group’s central "opuses" were recorded — including the volume presented here — Outlet Jazz deliberately takes a slight detour.

Without abandoning the collection of five-star Down Beat recordings, a parallel thread is inaugurated here: Lighthouse All-Stars Collection.

The order of presentation will not strictly follow the original release chronology. This first installment corresponds to Vol. 3, selected circumstantially because of its place within the five-star series. In forthcoming entries, the earlier volumes — Vol. 1, Vol. 2 — as well as the subsequent ones will be addressed, with the aim of reconstructing the group’s discographic sequence in full.

This detour is not a rupture, but an expansion of perspective — a way of observing the Lighthouse phenomenon in its historical continuity rather than exclusively through the filter of a critical rating.

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