Zoot Sims on Prestige (VI)

Straight ahead  mid-'50s swinging bop, this era was heralded as the transition from swing to bop, but my, does it swing.  The pairing of Zoot Sims and Phil Woods is magnificent, both bursting with unstoppable high energy flow, powered along by a driving rhythm section.

It is a complete delight to follow the solos, which seem to over-run their allotted time, but no problem, both Woods and Sims are great. Though Woods is beautiful,  Zoot stands as  a bridge between the old school of tenor players and the new, and it is Sims that has The Force with him.

There have been at least three Prestige issues of this recording under different leader names and album titles, which highlights the label's acute sensitivity to the  changing standing of different artists – Jon Eardley, Phil Woods and Zoot Sims.

The original PRLP 7033 featured The Jon Eardley Seven. Seriously classic cover art.

A second issue of PRLP 7033 appeared, but retitled Down East.  Zoot Sims now heads the list of artists, Woods at No.2, Eardley demoted to third billing, but gets capital letters to soften the blow. Both versions are frequently touted as "original".

A third reissue (which is presented here) was released in 1965, under the main name of Zoot Sims and titled Koo Koo. Rudy Van Gelder must have gone back and re-mastered this recording for Prestige sometime in the early/mid ’60s, intended for the New Jazz label, but a business decision was made to put it out on Status, with a third cover,  design and photo by Don Schlitten. *londonjazzcollector.com*

Zoot Sims

with Phil Woods and Jon Eardley

Koo Koo

When this record was made, however, sessions were still being held with some kind of regularity around town. Budding young jazzmen like Phil Woods and Jon Eardley were always eager to play, especially if they were not working, an attitude that is out of vogue today. Although Sims was an established star, he was always anxious for a session. Just as he had for Lloyd, Gerry Mulligan, and George Wallington in the late '40s, he made the sessions go for Woods, Eardley, and George Syran in the '50s. The younger musicians looked up to him, and this, coupled with the urgency of his blowing, made them outdo themselves. 

This, recording was done in a period when Zoot had returned from almost two years) in California. First he played with Miles Davis and Gerry Mulligan in the set at the 1955 Newport Jazz Festival which marked Miles' "comeback", and then he became a member of Gerry's sextet which also included Jon Eardley.

Eardley and Woods had already recorded two 10-inch LPs for Prestige. The rhythm section for these dates was Syran, Teddy Kotick, and Nick Stabulas. When Koo Koo was recorded, everyone in the studio knew each other well in the kind of familiarity that definitely does not breed contempt. Trombonist Milty Gold, a native Pennsylvanian like Eardley, had worked with the big bands of Herbie Fields, Buddy Rich, Claude Thornhill, Elliott Lawrence, Stan Kenton and Pete Rugolo. He also was with the sextet that backed Anita O'Day in the late '40s. As one who was around the New York area from that time, he participated in many informal sessions with the other musicians on this date.

The arrangements are just right for this kind of a blowing session. They have substance, and yet never impede the flow of the soloists. The lines, as stated by an interweaving of the trumpet and alto team with the trombone-tenor tandem, have an inner swing, while the backgrounds for the horn soloists act as a spur.

It's good to have these tracks available once again. They demonstrate how Zoot Sims and Phil Woods were taking care of business in the mid-Fifties. They are still very active today, as are Teddy Kotick and Nick Stabulas. However, less has been heard from the other principals involved. George Syran has been playing gigs in supper clubs and east side lounges in New York, but does not record. Jon Eardley was off the scene for a spell but is reported to be playing in Europe now. Milty Gold has been inactive professionally, of late. Perhaps we will be hearing more from these three in the near future. This recording proves that their capabilities warrant renewed attention.

*Ira Gitler (liner notes, November 1964)*

Side 1

1 - Leap Year

(Syran)

2 - There's No You

(Hopper)

3 - On The Minute

(Eardley)

Side 2

4 - Ladders

(Eardley)

5 - Koo Koo

(Eardley)

6 - Eard's Word

(Woods)

Zoot Sims (tenor sax), Phil Woods (alto sax), Jon Eardley (trumpet), 

Milt Gold (trombone), George Syran (piano), Teddy Kotick (bass), Nick Stabulas (drums).

Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, January 13, 1956.

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.

Jon Eardley - From Hollywood To New York

You can add Jon Eardley to that voluminous list of talented jazz musicians who came to prominence in the 50s but could never make it in the States, so they eventually took off for Europe. Fortunately the trumpeter was preserved in some great company before he left. This OJC reissue features two Prestige/New Jazz 10"s combined on to one LP length CD. The first, Jon Eardley In Hollywood is a nice Christmas day 1954 quartet session with pianist Pete Jolly, bassist Red Mitchell and drummer Larry Bunker. Next stop is Rudy Van Gelder's Hackensack studio on March 14, 1955 for the star of the show, Hey There, Jon Eardley! Here we get to hear the trumpeter paired off with tenor saxophonist J.R. Monterose, another brilliant player who never really got his due. An excellent rhythm trio of George Syran on piano, Teddy Kotick on bass and Nick Stabulas on drums provides a solid foundation, as they do on  Seven. This is forward-thinking modern jazz performed excellently, making From Hollywood to New York a thoroughly enjoyable trip. *Brad Richman (amazon.com)*

Trumpeter Jon Eardley's first two sessions as a leader (he would only lead two others during the next 20 years) are combined on this reissue CD. A fine boppish player who mostly stuck to the middle register of his horn, Eardley would soon be joining Gerry Mulligan's group. He is heard on four selections heading a quartet with pianist Pete Jolly (who was just starting his career), bassist Red Mitchell, and drummer Larry Bunker, and on four other numbers with tenor saxophonist J.R. Monterose, pianist George Syran, bassist Teddy Kotick, and drummer Nick Stabulas. The music (five originals and three standards) is essentially cool-toned bop and was quite modern for the period. *Scott Yanow*

Great early work from trumpeter Jon Eardley — captured here at a point when he was a budding young modernist in the 50s! The album features 2 early 10" LPs — Jon Eardley in Hollywood and Hey There Jon Eardley — both recorded for Prestige within a few months in the mid 50s. The first date features Eardley's trumpet right out front in the mix — hard, spare, and a bit angular — with backing from the piano of Pete Jolly, as well as Red Mitchell on bass and Larry Bunker on drums. Titles include "Late Leader", "Indian Spring", "Black", and "Gloss". The second session is even more interesting, as it features Eardley's horn in tandem with tenor saxophonist J. R. Monterose, brimming with new ideas at this point in his career, and adding a real edge to the tracks. The remaining players include George Syran on piano, Teddy Kotick on bass, and Nick Stabulas on drums — and titles include "Hey There", "Sid's Delight", "Demanton", and "If You Could See Me Now". *dustygroove.com*

1 - Late Leader

(Jon Eardley)

2 - Indian Spring

(Jon Eardley)

3 - Black

(Jon Eardley)

4 - Gloss

(Jon Eardley)

5 - Hey There

(Adler, Ross)

6 - Demanton

(Jon Eardley)

7 - Sid’s Delight

(Tadd Dameron)

8 - If You Could See Me Now

(Dameron, Sigman)

#1 to #4:

Jon Eardley Quartet (from Jon Eardley In Hollywood)

Jon Eardley (trumpet), Pete Jolly [as Pete Cera] (piano), Red Mitchell (bass), Larry Bunker (drums).

Recorded at Radio Recorders, Hollywood, December 15, 1954.

#5 to #8:

Jon Eardley Quintet (from Hey There, Jon Eardley!)

Jon Eardley (trumpet), J. R. Monterose (tenor sax), George Syran (piano), Teddy Kotick (bass), Nick Stabulas (drums).

Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, March 14, 1955.

The Jon Eardley Seven

When Jon Eardley first joined Gerry Mulligan's Quartet many people immediately closeted him with Chet Baker for the simple reason that he was playing with Gerry Mulligan. It is true that Jon was exercising a certain restraint in fitting his personality to the quartet but he never sounded like Baker. However, it took his own recordings and those with Phil Woods to establish clearly that his was a harmonically richer and more virile style.

Here it is a septet for which he has penned some arresting lines which never lack an inner swing and are well developed by the integration of trumpet-alto against trombone-tenor. For the personnel of the septet, Jon has drawn on past and present associates and chosen wisely and well. The very sound that they get points up the kindred spirit that existed on the date. For conclusive proof listen to the exchange between Zoot and Phil in "On The Minute" or the four way conversation on "Ladders". 

As I said before this is really Jon's personal expression. Aside from the ballad "There's No You" and George Syran's "For Leap Year", the rest of the compositions are by him. And there is his muscular and melodic horn which shows further maturity and added lustre. This is Eard's word and you can take him at it, for he knows whereof he speaks... straight from the shoulder.

*Ira Gitler (liner notes)*

This recording was done at a time when Jon Eardley and Zoot Sims were members of Gerry Mulligan's sextet. Jon, the young trumpeter from Altoona, Pennsylvania, was first visible at the legendary Open Door sessions in Greenwich Village during the mid-Fifties. Then he and Phil Woods recorded together in their New Jazz Quintet and Jon did his own quartet and quintet dates for Prestige. This septet shows off not only his playing and composing but his arranging talent as well. With Sims and Woods aboard, solo power was guaranteed. Milt Gold was not as well known but his highly articulate trombone fits in perfectly. In the Sixties Eardley left the United States for Europe to work in Belgium and Germany. He became a valuable member of the WDR Radio Big Band in Cologne, Germany, where his trumpet and flugelhorn continued to champion lyricism and swing until his death in 1991. *concord.com*

Side 1

1 - Leap Year

(Syran)

2 - There's No You

(Hopper)

3 - On The Minute

(Eardley)

Side 2

4 - Ladders

(Eardley)

5 - Koo Koo

(Eardley)

6 - Eard's Word

(Woods)

Jon Eardley (trumpet), Zoot Sims (tenor sax), Phil Woods (alto sax), Milt Gold (trombone), George Syran (piano), Teddy Kotick (bass), Nick Stabulas (drums).

Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, January 13, 1956.