Intro is extremely happy with the result of this st. However, it is said that confession is good for the soul, therefore we must confess that there was some skepticism about the results of this album, not because the musicians present, but because of the handicaps under which this set was done. The decision to do this album was quite sudden, caused by the fact that drummer Joe Morello, was in town for two days, on the way to San Francisco to join the Dave Brubeck Quartet. Therefore, three sessions had to be packed into one day. It is certainly no secret that Morello is one of the most sensational new drummerson the jazz scene today. Naturally, an oportunity to record him couldn't be passed by.
When you hear the great jazz in this set, and especially Joe Morello, who contributed so much, you will understand why we wished to take advantage of Joe's short stay in town.
*Don Clark (liner notes)*
Joe Morello was virtually unknown when he recorded this date for the Intro label in January of 1956. While he did have a handful of gigs with both Stan Kenton and Marian McPartland under his belt, it would be several months before his association with Dave Brubeck's classic quartet. Perhaps this fact was on the minds of the folks at Intro, because initial pressings of the album gave very little indication that Morello was, in fact, the session's leader. Instead, it was packaged rather like a jam session date in that Red Norvo, Art Pepper, Gerry Wiggins, and Morello all received equal billing on the front cover. Add to this a different title (Collections) printed on both the jacket and spine and it's a wonder people refer to it as The Joe Morello Sextet at all. Regardless, the most interesting performances on this record are by the similarly young Pepper, who appears on five of the album's ten tracks. Pepper sticks to alto sax on all but the appropriately titled original "Tenor Blooz," and delivers a meatier-than-expected tone for an alto player. Fine performances by both Norvo and Wiggins help make this a timeless West Coast jazz release. No real surprises here, but every track is a gem. Easily recommended for fans of the genre. *Brandon Burke*
Quite a rare one from the LA scene of the late 50s — a one-off session that features a group led by Red Norvo on vibes, and also including Art Pepper on alto and tenor, Howard Roberts on guitar, Gerry Wiggins on piano, Joe Morello on drums, and Ben Tucker on bass. The unlikely group really gell well together — thanks especially to Pepper, who plays with that strong and soulful line that he's got on some of the better tiny label sessions that he recorded at the time. Tracks include "Tenor Blooz", "Little Girl", "Pepper Steak", "Yardbird Suite", and "Straight Life". *dustygroove.com*
1- Tenor Blooz
(Art Pepper)
2 - You're Driving Me Crazy
(Walter Donaldson)
3- Sweet Georgia Brown
(Ben Bernie, Maceo Pinkard, Kenneth Casey)
4 - Little Girl
(Francis Henry, Madeline Hyde)
5- Pepper Steak
(Art Pepper)
6 - Have You Met Miss Jones?
(Richard Rodgers, Lorenz Hart)
7 - Yardbird Suite
(Charlie Parker)
8 - I Don't Stand A Ghost Of A Chance With You
(Victor Young, Bing Crosby, Ned Washington)
9 - I've Got The World On A String
(Harold Arlen, Ted Koehler)
10 - Straight Life
(Art Pepper)
Art Pepper (alto sax [#2, #5, #7, #10], tenor sax [#1]), Red Norvo (vibes), Gerry Wiggins (piano), Howard Roberts (guitar), Ben Tucker (bass), Joe Morello (drums).
Recorded at United Western Recorders, Los Angeles, California, January 3, 1957.
