Zoot Sims on Prestige (V) [as co-leader]

 Starting in his youth, saxophonist Zoot Sims fashioned his seemingly effortless sound from the music of early masters Lester Young and Ben Webster. Playing alongside some of jazz's great bandleaders, accompanists and soloists — and eventually as a leader himself — Sims then refined that sound over a long and productive career. Never a musician to chase trends, he always kept two classic jazz principles in mind: Always play with indomitable swing, and have faith in the infinite variety to be gleaned from a familiar set of chord changes.

Zoot Sims was a highly regarded leader and co-leader in jazz, known for his co-leadership with Al Cohn in the 1950s and 1960s. While he also released numerous albums as a leader in the mid-to-late 1950s, his career was characterized by both leadership and collaborative efforts. Sims's leadership style was described as favoring smaller ensembles, where he could exercise more creative freedom. 

Sims expressed a preference for smaller ensembles over larger ones, stating that it offered greater freedom for creative expression, especially for the leader. He felt he could choose the tunes and tempos he desired, according to a Jazz Professional interview. 

Despite his successful leadership periods, Sims was also a highly sought-after sideman, known for his collaborative spirit and ability to contribute to various musical settings.

The next two albums clearly show Zoot's collaborative spirit:

Stan Getz • Zoot Sims • Al Cohn • Allen Eager • Brew Moore

The Brothers

The five tenor saxophonists featured here are of the highest calibre. Getz, since his early days with Woody Herman, has always been one of the most outstanding voices in jazz. His tremendous inventiveness and still-unusual sound has, in 4 sense, kept him in a class by himself. Zoot Sims, another Herman graduate, who plays with a fire-like quality and an uncanny sense of "time", never ceases to amaze even his fellow-musicians. The multi-talented (player, composer, arranger) Al Cohn projects a mournful, lyrical quality that’s rare even in this era of "soul" music. Mr. Eager, for the benefit of our "newer" jazz listeners, was one of the leading lights in the earlier days of modern 

jazz. An extremely vital player, it's our loss that he now chooses to race Italian sport cars for the rent money. I'm sure you'll agree on hearing the enclosed. 

Brew Moore, currently enjoying great popularity in the Scandinavian countries, is another name synonomous with the earlier "New York Tenor School". In this album, we hear these five great tenor players in one of the most memorable recording sessions ever.

In an extension of the now-famous Herman "Four Brothers" sound, here the boys play some highly-melo-dic compositions by Gerry Mulligan and Al Cohn. In most cases of "all-star" groups, the music suffers because of frantic attempts to out-do each other. Not so, in the case of this album. Possibly it's because of the closeness of the men involved, both personally and musically. In any event, on The Brothers, the soloists prod each other on in a positive sense, never losing sight of the fact that ‘each is part of the whole. The results being, a rousing, happy collection of tunes with plenty of meaningful improvisation. I personally, would like to see these guys get together more often. 

On the second half of this set you'll hear two of "the brothers", Al and Zoot with trombonist Kai Winding. Possibly this is the seed from which the present Al Cohn-Zoot Sims group grew. Each compliments the other's playing so well, it seems only natural that they should merge. Their kind of jazz is a light, swinging, happy one. The tunes are simple, the charts are tasty and the blowing is superb

Being a disc-jockey and not a musician, I can't get technical about the music enclosed and I'm happy for it. This is not the kind of music anyone should get technical about. Inside this jacket are good jazz musicians, good jazz tunes, good jazz arrangements. All in all, just good jazz! Who can ask for anything more? *Les Davis (liner notes)*

A classic Prestige LP that compiles earlier sides by the young tenor genius Stan Getz – four tunes from a 1949 session recorded under Stan Getz & His Four Brothers, with tenor work from Zoot Sims, Al Cohn, Allen Eager, and Brew Moore – all blowing with Getz in a real "brothers-like" sax section sound. The remaining 4 tracks feature Stan and Al Cohn, working in a 1952 session with George Wallington on piano and Kai Winding on trombone – on some nice light boppish tracks that have that sweet smooth Getz tone firmly in place. The album's got a great Don Martin cover, and titles include "Battleground", "Five Brothers", "Four & One Moore", "Red Door", and "Zoot Case". Plus this CD issue includes 3 alternate takes, too!  *Dusty Groove, Inc.*

1 - Five Brothers

(Gerry Mulligan)

2 - Five Brothers (alternate take)

(Gerry Mulligan)

3 - Battle Of The Saxes

(Al Cohn)

4- Four And One Moore

(Gerry Mulligan)

5. Four And One Moore (alternate take)

(Gerry Mulligan)

6 - Battleground

(Al Cohn)

7 - Battleground (alternate take)

(Al Cohn)

8 - The Red Door

(Zoot Sims)

9 - Zootcase

(Zoot Sims)

10 - Tangerine

(Schertzinger, Mercer)

11 - Morning Sun

(Zoot Sims, Al Cohn)

#1 to #7: Stan Getz And His Four Brothers

Stan Getz, Zoot Sims, Al Cohn, Allen Eager, Brew Moore (tenor saxes);

Walter Bishop (piano); Gene Ramey (bass); Charlie Perry (drums).

Recorded in New York City, April 8, 1949.

#8 to #11: Zoot Sims And Al Cohn

Zoot Sims, Al Cohn (tenor saxes); Kai Winding (trombone);

George Wallington (piano); Percy Heath (bass); Art Blakey (drums).

Recorded in New York City, September 8, 1952. 

✳✳✳

Hank Mobley • Al Cohn • John Coltrane • Zoot Sims

Tenor Conclave

An unusually clarifying and multiply successful confrontation. This LP should provide much immediate illumination for anyone whose curiosity has not been wholly satisfied concerning the difference between the two major trends of modern tenor and the variation in each. To help further, Ira Gitler has contributed the most accurate and clearest discussion of the subject I've yet seen in print. I'd suggest you read his genealogical tracing and corollary descriptions in the notes before hearing the record.

As Gitler points out, Zoot and Al are in the Basie–Young tradition with some Parker influence. Mobley and Coltrane come directly from Parker and each has complementary influences. Sims and Cohn are "brothers", Gitler adds, while Mobley and Coltrane's differences are somewhat wider, so they could be called "cousins". All four respond to the challenge, and for the most part, are at the top of their form. Coltrane, who has been improving rapidly, never has struck me as impressively as he does here. The rhythm section is just right, and there are bonus Chambers solos. On the record, the titles for Tenor Conclave and Bob's Boys have been switched. The LP represents a valuable a&r idea and is an indication of a reenergization of the creative thinking at Prestige that should lead to an important year for them — and for us. *Nat Hentoff (Down Beat, April 30, 1957)*

These four sides should not be hard to locate, as the primary participants in this November 30, 1956, session have all issued them within their individual catalogs. However Tenor Conclave was first released as credited to the "leaderless" Prestige All-Stars — consisting of tenor saxophonists John Coltrane, Hank Mobley, Al Cohn, and Zoot Sims. Providing support are pianist Red Garland, bassist Paul Chambers, and drummer Art Taylor. The Mobley-penned title track commences the effort with the quartet of tenors showing off their stuff in high-flying style. It takes a couple of passes and somewhat of a trained ear to be able to link the players with their contributions, but as is often the case, the whole tends to be greater than the sum of the parts. After a brief introduction with all four rapidly reeling off short riffs, Mobley charges ahead into truly inspired territory. The midtempo take of "Just You, Just Me" keeps things lively with a light swinging pace that is custom-made for bringing the combo's jocular side to the surface, particularly toward the end as they "trade fours," with each tenor blowing four bars before passing the melody on. The other Mobley composition is "Bob's Boys," and by all accounts it is the most compelling piece on the outing. The blues-based tune rollicks as Coltrane, Mobley, Cohn, and Sims find themselves configured in a seeming myriad of sonic face-offs. Wrapping up Tenor Conclave is an ultra-cool and sophisticated "How Deep Is the Ocean?" Cohn commences the long and luscious reading with a subtle strength, suggesting the powerful undercurrent flowing throughout the number. Also, listeners are treated to what is possibly Garland's finest interaction, leading right into Sims, Chambers, and finally a sublime Coltrane caboose. *Lindsay Planer*

1 - Tenor Conclave

(Hank Mobley)

2 - Just You, Just Me

(Jesse Greer, Raymond Klages)

3 - Bob's Boys

(Hank Mobley)

4 - How Deep Is the Ocean

(Irving Berlin)

Hank Mobley, Al Cohn, John Coltrane, Zoot Sims (tenor saxes);

Red Garland (piano); Paul Chambers (bass); Art Taylor (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, September 7, 1956

Rare And Obscure Argo Recordings (XXI)

Max Roach

MAX

1958's MAX shows Max Roach at the top of his game. A decade earlier, Roach had absorbed Kenny Clarke's drumming style and, with trumpet virtuoso Clifford Brown, forged his own brand of bebop. By 1958, on his way to becoming a true jazz elder, Roach began pushing the boundaries of jazz even further. The quintet heard here served as Roach's musical springboard after Brown's untimely death in 1956. >MAX< is a "comeback" album of sorts. Kenny Dorham steps in to fill Brown's shoes and does so with great panache. Hank Mobley's fine tenor playing is also spotlighted. Highlights include the fast and furious Dorham original "Speculate" and the lush ballad "That Ole Devil Love". On the former, Roach takes an absolutely blazing drum solo-which ends curiously with the sound of a tape splice. The performances on this track alone prove that Roach's band was the equal of any hard-bop group in the world. *allmusic.com*

Killer set of bop tracks recorded by Max and other NY bop heavy hitters — like Hank Mobley and Kenny Dorham — plus a guest appearance by Ramsey Lewis on piano, in one of his few non-Chicago, non-trio sides! The record's got that great kind of energy that Roach could hit when he really was kicking his group into gear — and although the overall approach is mostly hardbop, there's plenty going on under the surface. Tracks inlcude "CM", "Four X", "Crackle Hut", and "Speculate". *Dusty Groove, Inc.*

There are many drummers in jazz. But Roach is one of the few meriting the title "percussionist". Few drummers utilize their instrument in the multi-faceted manner that Roach does. He communicates vividly, because he has liberated his instrument to incorporate in its realm patterns of expression rarely associated with it before Roach.

As an accompanist, Roach knows his function and performs it with taste and skill.

Roach, to understate it, is "a good drummer".

In every sense, Roach is a musician. He listens carefully and astutely to what occurs around him. He reflects the feelings and expressions of his compatriots. He seizes ideas, expands them, and returns them in the form of provocative messages. He utilizes the drums as more than sound-creating devices. He fulfills the musical needs of other musicians during a performance. This fulfilment often leads to specific and longrun progress on their parts.

Roach is more than a time-keeper, often the sole function of many jazz drummers. Rather than impersonate a metronome, Roach plays several key roles. Zealously guarding the beat, Roach is inventive enough to accomplish much more than this single function. He utilizes rhythmic patterns creatively; it is difficult to predict his musical behavior, yet it is a constant listening challenge. He plays melodically, speaking freely to the other instruments.

Roach has come a long way since he emerged from high school in '42. From the Minton's era to the School of Jazz at Lenox, Roach has grown with jazz, in the best sense of the term "evolution". Although many jazz listeners might question Roach's capacity for further growth, after such ambitious development, it is quite likely that he will go on to master more of the complexities of modern music, without sacrificing his improvisatory brilliance.

In so doing, he may well dwarf his past achievements.

In Roach's case, this is possible. *Don Gold (liner notes)*

1 - Crackle Hut

(Owen Marshall)

2 - Speculate

(Kenny Dorham)

3 - That Ole Devil Love

(Allan Roberts, Doris Fisher)

4 - Audio Blues

(Max Roach)

5 - "C.M."

(Hank Mobley)

6 - Four-X

(Max Roach)

Kenny Dorham (trumpet), Hank Mobley (tenor sax),

Ramsey Lewis (piano), George Morrow (bass), Max Roach (drums).

Recorded in Chicago, Illinois, January 4, 1958

Charlie Rouse, Julius Watkins And The Jazz Modes

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

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

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

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

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

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

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

Charlie Rouse And Julius Watkins

The Complete Jazz Modes Sessions

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

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

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

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

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

*Stuart Jefferson (amazon.com)*

*CD 1*

1 - Dancing On The Ceiling

(Richard Rodgers, Lorenz Hart)

2 - Legend

(Gildo Mahones)

3 - Temptation

(Arthur Freed, Nacio Herb Brown)

4 - Episode

(Julius Watkins)

5 - Dancing In The Dark

(Arthur Schwartz, Howard Dietz)

6 - Goodbye

(Gordon Jenkins)

7 - Town And Country

(Varon)

8 - When The Blues Comes On

(Alvin G. Cohn, Charles Isaiah Darwin)

9 - Blue Modes

(Julius Watkins)

10 - You Are Too Beautiful

(Richard Rodgers, Lorenz Hart)

11 - So Far

(Richard Rodgers, Oscar Hammerstein II)

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

(Julius Watkins)

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

(Julius Watkins)

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

(Julius Watkins)

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

(Julius Watkins)

16 - Stallion

(Gildo Mahones)

17 - Baubles, Bangles And Beads

(Alexander Borodin, George Forrest, Robert Wright)

18 - Autumn Leaves

(Jacques Prévert, Johnny Mercer, Joseph Kosma)

19 - The Golden Chariot

(Gildo Mahones)

20 - Let's Try

(Charlees Isaiah Darwin, Paulette Girard)

21 - Bohemia

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

22 - Cath Her

(Julius Watkins)

*CD 2*

1 - Hoo Tai

(Julius Watkins)

2 - Mood In Scarlet

(Julius Watkins)

3 - Linda Delia

(Julius Watkins, George Butcher)

4 - I've Got You Under My Skin

(Cole Porter)

5 - We Can Talk It Over

(Julius Watkins)

6 - Standing On The Corner

(Frank Loesser)

7 - Joey, Joey, Joey

(Frank Loesser)

8 - Warm All Over

(Frank Loesser)

9 - Happy To Make Your Acquaintance

(Frank Loesser)

10 - My Heart Is So Full Of You

(Frank Loesser)

11 - The Most Happy Fella

(Frank Loesser)

12 - Don't Cry

(Frank Loesser)

13 - Like A Woman

(Frank Loesser)

14 - Somebody Somewhere

(Frank Loesser)

15 - The Oblong

(Julius Watkins)

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

(Julius Watkins, Princess Orelia Benskina)

17 - Blue Flame

(Julius Watkins)

18 - Mood In Motion

(Julius Watkins)

*CD 3*

1 - Knittin

(Charlie Rouse)

2 - This 'N That

(Charlie Rouse)

3 - Glad That I Found You

(Julius Watkins)

4 - Princess

(Julius Watkins, Princess Orelia Benskina)

5 - Sextette

(Gerry Mulligan)

6 - The Golden Touch

(Quincy Jones)

7 - Cable Car

(Oscar Pettiford, Sonny Clark)

8 - Trictrotism

(Oscar Pettiford)

9 - Edge Of Love

(Charles Ables, Goode, Baker)

10 - Oscar Rides Again

(Oscar Pettiford)

11  - Linda Delia

(Julius Watkins, George Butcher)

12 - Perpetuation

(Julius Watkins)

13 - I Have Known

(Julius Watkins, Gene Morgan)

14 - Leete

(Julius Watkins)

15 - Garden Delights

(Julius Watkins)

16 - Julie Ann

(Julius Watkins, Gene Morgan)

17 - Sparkling Burgundy

(Julius Watkins)

18 - B And D

(Bennie Harris)

19 - Jordu

(Duke Jordan)

*CD 1*

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

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

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

Recorded in New York City, June 1956. 

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

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

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

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

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

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

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

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

Recorded in New York City, June 12, 1956.

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

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

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

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

Reorded in New York City, December 4, 1956.

*CD 2*

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

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

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

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

Recorded in New York City, December 4, 1956.

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

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

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

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

Eileen Gilbert (soprano vocals on #10 only).

Recorded in New York City, November 7, 1957.

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

#15, #16, #18: 

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

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

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

Recorded in New York City, 1959.

#17:

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

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

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

Eileen Gilbert (soprano vocals).

Recorded in New York City, October 28, 1959.

*CD 3*

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

#1, #3, #4:

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

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

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

Eileen Gilbert (soprano vocals).

Recorded in New York City, October 28, 1959.

#2:

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

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

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

Recorded in New York City, 1959.

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

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

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

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

Recorded in New York City, September 1954.

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

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

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

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

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

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

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

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

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

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

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

Kenny Dorham - Afro-Cuban

McKinley Howard Dorham is a trumpet player who was taken for granted. 

For several years, mainly the halcyon years of the bop movement, Kenny was Mr. Available for every trumpet chair in every band and combo. If Dizzy wasn't around and Howard McGhee was out of town, there was always Kenny. And so it went from about 1945 to '51, always in the shadow of those who had been first to establish themselves in the vanguard of the new jazz. 

Slowly, in the past few years, Kenny has emerged from behind this bop bushel to show the individual qualities that were ultimately to mark him for independent honors. Numerous chores as a sideman on record dates for various small companies led to his inclusion in the important Horace Silver Quintet dates for Blue Note, and, as a result of his fine work on these occasions, to the signing of an exclusive Blue Note contract and his first date for this label as a combo leader on his own. 

For this session with its Afro-Cuban rhythmic motif, Kenny says "I tried to write everything so that the rhythm would be useful throughout and would never get in the way". As a consequence, the Cuban touch sounds as if it is a part of the whole, rather than something that has been superimposed on a jazz scene, as is sometimes the case.

Kenny Dorham's Blue Note debut as a leader marks an important phase in his career. After hearing these sides, the fans who for so long had been only vaguely aware of his real capabilities will learn that here is a soloist and a composer whose sound and pen are destined from now on to play a lively and stimulating role on the jazz stage. *Leonard Feather*

There are good names here, and an often exciting brand of jazz over a mostly Cuban rhythm. Dorham is a fine modern trumpeter and then there are J. J. Johnson, trombone; Hank Mobley, tenor; Horace Silver, piano; Oscar Pettiford, bass; Art Blakey, drums, etc., all of whom have plenty to say. If pushed, this could sell nicely to modern. *Billboard, November 5, 1955*

Considered Kenny Dorham's finest recording of his all-too-short career, this re-reissue has been newly remastered and presumably now includes all of the takes from these nonet and sextet sessions of 1955. Considering the time period, this date remains way ahead of the Latin-tinged and hard bop music that would follow. It would be difficult to assess the sextet being a step below the larger group effort, but only because it is much less Afro-Cuban. Nonetheless the unmistakable drumming of Art Blakey powers the combo through the blisteringly swinging "La Villa" with unison horns (Hank Mobley, tenor sax; Cecil Payne, baritone sax). The other easy swinging pieces "K.D.'s Motion", "Venita's Dance", and "Echo of Spring/K.D.'s Car Ride" display great group empathy and seem effortless, though they're not. It's the Latin-based music that really differentiates this band from all others of this era, save Dizzy Gillespie's. Payne's robust bari ignites the hip call-and-response motif of "Afrodisia", while his horn in tandem with pianist Horace Silver backs the up-front horns, supplemented by trombonist J.J. Johnson, for the heated mambo-ish hard bopper "Basheer's Dream". Two takes of "Minor's Holiday" are, curiously enough, exactly the same time at 4:24, both super cooking with Dorham's clear-as-a-bell trumpet leading the other horns, which practically act as backup singers. Percussionist Carlos "Patato" Valdes is the perfect spice added to this dish. The lone ballad, "Lotus Flower", is remarkable in that its marked tender restraint feels on the brink of wanting to cut loose, but never does. A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers. *Michael G. Nastos*

Title is only half true, for one side of this collection spots straight jazz blowing with a quintet running thru fleet, if boppish. Dorham originals. Trumpeter Dorham is in fine form thruout; more colorful within Afro-Cuban rhythmic frame. These tracks spot Blakey, J. J. Johnson, Mobley, etc. Latter have been released before; quintet sides are new. Worth price for solo and rhythmic. Should be able to find buyers among both Latin and jazz clientele. *Billboard, May 20, Mayo 1957*

1 - Afrodisia

(Kenny Dorham)

2 - Lotus Flower

(Kenny Dorham)

3 - Minor's Holiday

(Kenny Dorham)

4 - Basheer's Dream

(Gigi Gryce)

5 - K.D.'s Motion

(Kenny Dorham)

6 - La Villa

(Kenny Dorham)

7 - Venita's Dance

(Kenny Dorham)

8 - Echo Of Spring (aka K.D.'s Cab Ride)

(Kenny Dorham)

9 - Minor's Holiday (alternate take)

(Kenny Dorham)

Kenny Dorham (trumpet); J.J. Johnson (trombone [#1 to #4, #9]); Hank Mobley (tenor sax); Cecil Payne (baritone sax); Horace Silver (piano); Oscar Pettiford [#1 to #4, #9], Percy Heath [#5 to #8] (basses); Art Blakey (drums); Carlos "Patato" Valdes (congas [#1 to #4, #9]); Richie Goldberg (cowbell [#1 to #4, #9]).

Recorded at Van Gelder Studio, Hackensack, New Jersey, January 30 (#5 to #8) and March 29, 1955 (#1 to #4, #9). 

Horace Silver - Silver's Blue

Horace Ward Martin Tavares Silver is the most important new keyboard comet to flash across the jazz firmament in recent years. This statement, though it may sound like a publicity blurb, happens to reflect the opinion of an authoritative body of prominent musicians.

Here is an album that presents one of the brightest, hardest-swinging groups in contemporary jazz. There may be many items in your collection that you would gladly be willing to trade for these seven pieces of Silver. *Leonard Feather (liner notes [1956])*

Silver’s Blue was basically a Jazz Messengers record, but since Art Blakey wasn’t on it and since he was so vital a component of the original Messengers, it was decided that this was to be a Horace Silver Quintet album. But the elements of the record are the same — some original tunes, some treatments of standards and good, solid playing from everyone. My influences have always been the same — the best in American music. Gospel, blues, bebop, show tunes, Latin rhythms, even American classical music show up in my writing.

*Horace Silver (liner notes [2005])*

In my late twenties and early thirties, most of the jazz record companies wanted their artists to record standard compositions that people were familiar with. They would allow you to record some original compositions, but their main thrust was the standards. I recorded an album called Silver's Blue for Epic Records in 1956. George Avakian was the producer. I approached him with six originals that I wanted to record. He wanted me to do three standards and three originals. I reviewed some of my favorite standard compositions and chose three to arrange for the session. The session came off well, and I am proud of it.

*Horace Silver (from Let’s Get to the Nitty Gritty: The Autobiography of Horace Silver)*

Two sessions (sic) in the mid-'50s produced the material for this album, which despite or perhaps because of being one of the historical early recordings of the Horace Silver Quintet, was later treated to a confusing mess of reissues, some of which never really mentioned what was so historic about the material in the first place. Maybe there was no reason to, since by the new millennium the type of groovy, funky jazz Silver was famous for had become so in demand that any recording of the authentic item was considered coated with golden fairy dust. In the late '80s, when this particular imprint was released on the public, just the fact that it was a reissue of something old seemed to be enough. The liner notes begin with a pretentious description of the lengths to which the geniuses who remastered this went, in order to not only preserve the integrity of the original tapes but to bring them up to the standards of the era. Which everyone knows were no standards and, anyway, these tapes sounded fantastic in the first place.

First off, the liner notes should have said, "Listen to Hank Mobley". The tenor saxophonist is the first to solo on the title track, and what a beautiful improvisation it is, always centered around the blues but twisting through some melodic turns of phrases that reference folk songs and who knows what else. Besides the pianist, who is in his usual tasty form, it is Mobley who makes this álbum really breathe, as neither trumpeter Will really knock one's socks off. Joe Gordon is a bit undersung, true, but he also has a pinched sound in the upper register and a habit of noodling his way from change to change as if he felt inspiration was just around the corner. For the second sesión he is replaced by Donald Byrd, who has his moments despite relying on stock phrases at times when the intensity of his solo is just building up. The arrangement of "How Long Has This Been Going On?" is refreshingly quiet and gentle, showing that Silver had more than one direction and bringing forth another type of tone from Mobley, all velvet and feathers. Songwriter Frank Loesser's "I'll Know" is also given a bright, catchy arrangement. The theme is stated in a series of slowly unfolding pronouncements building up to a great moment right before the solos start, when a strong medium-tempo groove comes in. On his solo, the pianist lays out his notes like a casino dealer providing cards all around to all the players, following blues licks with rapid chromatic bop devilments. The original "Shoutin' Out" is the kind of stuff Silver is really known for, and it is fantastic. The fine drummer Kenny Clarke, who always played well with Silver, is on hand throughout.

*Eugene Chadbourne*

The Horace Silver Quintet

Silver's Blue

1 - Silver's Blue

(Horace Silver)

2 - To Beat Or Not To Beat

(Horace Silver)

3 - How Long Has This Been Going On?

(Ira and George Gershwin)

4 - I'll Know

(Frank Loesser)

5 - Shoutin' Out

(Horace Silver)

6 - Hank's Tune

(Hank Mobley)

7 - The Night Has A Thousand Eyes

(Buddy Bernier, Jerry Brainin)

Horace Silver (piano); Joe Gordon [#2, #5], Donald Byrd [#1, #3, #4, #6,#7] (trumpets); Hank Mobley (tenor sax); Doug Watkins (bass); Kenny Clarke [#2, #5], Art Taylor [#1, #3, #4, #6,#7] (drums).

Recorded at Columbia Studio "D", New York City, July 2 (#2, #5), July 18 (#3, #6, #7) and July 19 (#1, #4), 1956.