Jazz For The Screen & Five-Star Collection ★ Sonny Rollins

Sonny Rollins

Original Music From The Score

Alfie

About the film:

Alfie tells the story of an egocentric womanizer in 1960s London who lives entirely devoted to hedonism and emotional detachment. Starring Michael Caine in his iconic, star-making role, the film features a notable supporting cast including Shelley Winters, Millicent Martin, Jane Asher, and Julia Foster. Speaking directly to the camera and breaking the fourth wall, Caine's character endlessly justifies his promiscuous lifestyle and his utilitarian approach toward women.

However, after a series of unforeseen events—including an unacknowledged fatherhood, an illness, and the painful impact of his actions on those around him—his façade of carefree indifference unravels, confronting him with a profound crisis of loneliness and existential emptiness. Interestingly, the role was turned down by several leading British actors of the era—including Terence Stamp and Anthony Newley—who hesitated to play a character involved in taboo subjects like illegal abortion. Caine stepped in, delivering a performance that earned him his first Academy Award nomination for Best Actor and cemented the film as a cultural touchstone of Swinging London.

About the music:

The Score... Movie vs. Impulse! album

The story behind the music of Alfie is a fascinating tale of spontaneous creation and two distinctly different recordings. It all began when director Lewis Gilbert commissioned Sonny Rollins to compose the score. In October 1965, Rollins gathered at London's Twickenham Studios with a stellar group of British jazz musicians, including Tubby Hayes, Ronnie Scott, Keith Christie, Phil Seaman, and pianist Stan Tracey—who is credited with composing the track "Little Malcolm Loves His Dad". As bassist Rick Laird later recalled, there were no written charts for these sessions; the musicians played blind, improvising live to the scenes projected on the studio screen based on a few core themes provided by Rollins. These original cues, which amounted to a mere 11 minutes of music in the final film cut, were never officially released on record.

Three months later, in January 1966, Rollins decided to expand upon that initial experiment and craft a standalone work. He entered Rudy Van Gelder's studio in New Jersey alongside producer Bob Thiele and a formidable American nonet featuring Phil Woods, J.J. Johnson, and Kenny Burrell. Enhanced by Oliver Nelson's sleek orchestral arrangements, Rollins transformed those London sketches into a half-hour suite, giving life to the acclaimed album released on Impulse! that ultimately defined the music of the film.

◈◈◈

This is Sonny Rollins' first score for a motion picture, and as you'll hear, there are bound to be many more because Sonny's acutely relevant sense of the dramatic—always evident in his improvising—has been transferred to the challenge of film scoring with commanding ease and warmth. 

In January, 1965, while appearing at Ronnie Scott's club in London, Sonny was approached to write the music for Alfie, a picture starring Michael Caine (of The Ipcress File) and featuring Shelley Winters. The idea intrigued him. He had always wanted to try a film score, and the picture itself was provocative. 

"It's the story", says Sonny, "of a playboy sort of guy who has no respect for conventional married life and that sort of thing. As he grows older, however, his girl friends begin to leave him for younger men, and at the end of the picture, he's no longer nearly so sure that his is as fulfilling a way of life as he had thought". In a sense, Alfie is about the involuntary education of a hipster. 

Sonny worked closely with producer-director Lewis Gilbert, a man he describes as having "a very good understanding of music without knowing all the technical aspects of it. If the score is a success, he deserves a large share of the credit". For the soundtrack, Sonny arranged his music for a nine-piece group and he too is heard throughout the picture. Oliver Nelson's arrangements for this recording of the score are based on Sonny's original charts. 

"Oliver", says Sonny, "kept pretty close to those, adding a little here and there and editing. But this is basically the sound we got in the picture. Working with Oliver, incidentally, is enlightening. He's not only thoroughly qualified musically, but personally he is so easy to work with that he got the best out of all of us". (...) 

The film, Alfie, has been chosen, Sonny relates with pleasure, as England's entry in the Cannes Film Festival. Whether Sonny's score for it wins any official prizes in any competition, I expect that it will attract other movie producers who are weary of conventional lush music backgrounds or of the more recent but already hackneyed melodramatically pounding scores. As films themselves become increasingly scoured of superfluity and rhetoric (both visual and written), the music for them will be more accurately reflective of the rhythms and textures of life as it is now lived. And, as has been evident to jazz listeners for a long time, jazz does indeed tell where it's at, where we're at. 

"I hope to compose for more films", says Sonny, "because I've been wanting to work in explicitly dramatic areas for a long time. Not only motion pictures, but the theatre too. After all, it's all part of the same thing—finding and expressing yourself through music and finding links to yourself in the experiences of others".

Finally, it seems to me that unlike most albums of film scores, this one will not fade into limbo after the picture has had its run. The reason is that although Sonny was faithful to the spirit and thematic patterns of the picture, he was also faithful to himself. And therefore this music can—and does—stand on its own. *Nat Hentoff (from the liner notes)*

Sonny Rollins is a genius!

He squeezes every last drop out of a melody. There is nothing left to be done with it when he is through. He can turn it around this way and that way and turn it upside down and stretch it out. He is endlessly inventive. I could listen to him forever.

When he splits notes or honks, he doesn't sound as if he's trying to prove something philosophically or socially or racially. It is only artistic, a part of him—like a sneeze.

He wrote the score to this picture, and it is beautiful, although nobody else could play it—it is scored for a solo Sonnyphone.

There is nothing wrong with what he does, and he does everything: hard, sweet, loud, soft, fast, slow. A complete experience.

The film Alfie received only mediocre reviews, but the score is so much better than mediocre that I suspect any director hip enough to use it would have to make a product a lot superior to mediocre.

Frankie Dunlop is an underestimated drummer, and it would be difficult to overestimate his swing on this. Walter Booker too. Phil Woods' lead alto is impeccable. There is nothing peccable on Impulse 9111. *Michael Zwerin (Down Beat, November 3, 1966 [5 stars])*

Side 1

1 - Alfie's Theme

2 - He's Younger Than You

Side 2

3 - Street Runner With Child

4 - Transition Theme For Minor Blues Or Little Malcolm Loves His Dad

5 - On Impulse

6 - Alfie's Theme Differently

(All compositions by Sonny Rollins)

Sonny Rollins (tenor sax); J.J. Johnson [#1, #2], Jimmy Cleveland [#3 to #6] (trombones);

Phil Woods (alto sax); Robert Ashton (tenor sax); Danny Bank (baritone sax);

Roger Kellaway (piano); Kenny Burrell (guitar); Walter Booker (bass);

Frankie Dunlop (drums); Oliver Nelson (arranger, conductor).

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, January 26, 1966

Five-Star Collection... The Modern Jazz Society

The Modern Jazz Society

Presents

A Concert Of Contemporary Music

Of the five compositions that were recorded for this album, three were specifically commissioned by Mr. Norman Granz for this date. The remaining two, Django and The Queen's Fancy, were older compositions of mine that were specially orchestrated by Mr. Gunther Schuller for this session.

I am greatly indebted to all the music and musicians I have known for my inspiration for these compositions. The compositions center on and depend on the jazz soloist and they incorporate jazz and classical techniques. Midsömmer is an adagio in a general first Rondo form, the chord structure of the second theme being used for the improvisations. The title and inspiration is from the Swedish summer holiday and festival. Little David's Fugue is a fugue. The expositions are written while the episodes are improvised on a predetermined chord structure the accompanying instruments participate in the development of intervallic and rhythmic elements of the subject. The Queen's Fancy — This piece was written during the weeks of the coronation of H. M. Queen Elizabeth II of England and was inspired by pieces written for Queen Elizabeth the first of England. This piece is an arrangement and orchestration by Gunther Schuller. Django also is an arrangement and orchestration by Mr. Schuller. The piece is a memoriam for and is dedicated to the late great French guitarist Django Reinhardt. Sun Dance was inspired by dancers. Namely the Hopis of New Mexico and the great Watuse dancers in a film entitled "King Solomon’s Mines". *John Lewis (liner notes)*

This is a collection of five John Lewis compositions, three of which were commissioned by Norman Granz for this recording. On one and three, the musicians are Stan Getz, Tony Scott, J. J. Johnson, flutist James Politis, bassoonist Manuel Zegler, French horn Gunther Schuller, harpist Janet Putnam, bassist Percy Heath, and drummer Connie Kay. On the others, Lucky Thompson and Aaron Sachs replace Getz and Scott while the rest of the personnel remains the same. Midsommer, an "adagio in a general first rondo form" is impressionistic. Though it's a flowingly lyrical work in general, the opening composed section is too long for the content involved and rather diffuse. The soloists are superb, particularly in the cross-conversations. Little David's Fugue is based on a sprightly set of figures, and it swings. The solos are good, but Sachs is not up to Scott.

Gunther Schuller's arrangement for The Queen's Fancy works out well, giving this unique mixture of jazz and quasi-Elizabethan textures growing space and effective added coloration. Schuller's scoring of Django is less successful. The original had a spare strength while this version is somewhat sugary and the harp in the background tends to be distracting and somewhat out of context. Sun Dance is another indication, as are all of these works, of Lewis' compositional imagination and craftsmanship. The blowing in these last three is again very good, especially Getz, J. J., Scott, and Lucky. Norman Granz deserves credit for commissioning the set.

*Nat Hentoff (Down Beat, February 22, 1956 [5 stars])*

Side 1

01 - Midsömmer

02 - Little David's Fugue

Side 2

03 - The Queen's Fancy

04 - Django

05 - Sun Dance

(All compositions by John Lewis)

John Lewis (supervisor, arranger);

Stan Getz [#1, #3], Lucky Thompson[#2, #4, #5] (tenor saxes); J.J. Johnson (trombone);

Tony Scott [as Anthony Sciacca, #1, #3], Aaron Sachs [#2, #4, #5] (clarinets);

Gunter Schuller (french horn, arranger, conductor) ; James Politis (flute); Manuel Zegler (bassoon);

Janet Putnam (harp); Billy Bauer (guitar);Percy Heath (bass); Connie Kay (drums).

Recorded at Fine Sound, New York City, March 14, 1955

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For those who prefer the digital version, the CD reissue features three bonus tracks taken from the original rehearsals previously unissued until 1999. This reissue received the special token of merit award in Richard Cook and Brian Morton's The Penguin Guide to Jazz on CD, 6th Ed. Here’s their evaluation:

The Modern Jazz Society

Presents

A Concert Of Contemporary Music

One of the great forgotten masterpieces of the 1950s, this brilliant date is still available only as a limited-edition reissue in Verve’s Connoisseur Edition. 

Collectors are advised to snap up any copies they see, although it's disgraceful that this classic should not be more easily available. The Modern Jazz Society was an initiative by Lewis and Schuller to present new works and new arrangements, broadly in the 'Third Stream' vein which Schuller encouraged. Lewis was only the supervisor of the original LP, but new discoveries — a rehearsal of a previously unheard J.J Johnson piece "Turnpike" and a run-through of "Queen's Fancy" — find him at the piano.

The five principal pieces are all Lewis compositions, and they are among the finest treatments of Little David's Fugue, Django and Queen's Fancy ever set down. 

Django, with its final coda taken at the stately pace of a cortege, is so bewitching that it can silence a room. "Midsömmer", which has not been performed or recorded in the intervening 45 years, is a gorgeously evocative piece. The arrangements and ensembles are intoxicatingly beautiful, but there are also the most handsome solos by Stan Getz, J.J. Johnson and Lucky Thompson — the latter especially reminding us how poorly he was served by most of his recording opportunities.

*The Penguin Guide to Jazz, 6th Ed. ("Crown" of recommended jazz recordings)*

1 - Little David's Fugue

(John Lewis)

2 - Django

(John Lewis)

3 - The Queen's Fancy

(John Lewis)

4 - Midsömmer

(John Lewis)

5 - Sun Dance

(John Lewis)

6 - Turnpike (rehearsal take)

• false start

• breakdown take

• complete rehearsal take

(J. J. Johnson)

7 - Midsömmer (rehearsal take)

(John Lewis)

8 - The Queen's Fancy (rehearsal take)

(John Lewis)

John Lewis (supervisor, arranger);

Stan Getz [#3, #4, #7], Lucky Thompson[#1, #2, #5] (tenor saxes); J.J. Johnson (trombone);

Tony Scott [as Anthony Sciacca, #3, #4, #7], Aaron Sachs [#1, #2, #5] (clarinets);

Gunter Schuller (french horn, arranger, conductor) ; James Politis (flute); Manuel Zegler (bassoon);

Janet Putnam (harp); Billy Bauer (guitar); Percy Heath (bass); Connie Kay (drums). 

On #6, #8 add John Lewis (piano).

On #8 omit J.J. Johnson (trombone) and James Politis (flute).

Recorded at Fine Sound, New York City, March 14, 1955

Tony Aless: A musical homage

An infrequently recorded pianist, Tony Aless mixed bop, mainstream and cool elements into his compositions and solos. Aless played with trumpeter Bunny Berign in the late '30s, then recorded with Teddy Powell in the early '40s. After serving in the army, Aless played briefly with Charlie Spivak, then worked and recorded with Woody Herrman in the mid-'40s. Later stints included stretches with George Auld, Flip Phillips, Chubby Jackson, Neal Hefti, Stan Getz and Charlie Parker, plus radio appearances. Aless's best-known album is the 1955 release Long Island Suite, notable for the inclusion of twin trombone dynamos J.J. Johnson and Kai Winding, and contributions from another solid, undervalued musician, alto saxophonist Dave Schildkraut. *Ron Wynn*

In 1955, Long Island was a checkerboard of farming and fishing communities. The longest island in the continental U.S., Long Island remained relatively sleepy and quaint until 1958, when the Long Island Expressway was completed and spanned 71 miles of the 118-mile length of the land mass. Before '58, Long Island towns just over the Queens border became bedroom communities, as young married war veterans who qualified for the G.I. Bill bought homes with low-interest, zero-down loans and commuted to jobs in the city on the Long Island Railroad.

During this pre-boom period in 1955, Tony Aless recorded his Long Island Suite for Roost, dedicated to towns that were little more than sleepy villages back then. The only distant exceptions on the album were Riverhead and Greenport way out on the east end.

Aless's eight town tunes were Levittown, Corona, Aqueduct, Riverhead, Valley Stream, Greenport, Fire Island and Massapequa. Most were near Long Island's Route 27 along the southern shore. Other than that connection, it's hard to know why Aless chose these specific towns.

It's also unclear why Aless composed a musical valentine to Long Island, but his ability to write and arrange swinging work is evident here. What's even stranger — given his ability to compose, arrange, contract top musicians and conduct — is that Long Island Suite was his only leadership album. *Marc Myers*

Tony Aless

Long Island Suite

Introducing Seldon Powell

This album is a happy musical trip to eight Long Island communities written by Tony Aless (1921-1985). A pianist of broad big band experienceBunny Berigan, Teddy Powell, Georgie Auld, Charlie Spivak, Woody Herman, Charlie Ventura, Neal Hefti, Chubby Jackson, George Siravohe also worked on networks and independent stations around New York and recorded with the groups of Stan Getz, Charlie Parker, George Handy, Seldon Powell and John Plonsky. These years of iron-clad, elite experience not only inform his authoritative playing, but are also distilled in this impressive project into a personal musical credo. More than anything else, he said, my concern was swinging. I think we got that across.

Besides his persuasive contributions as player, composer and arranger on what was the only album released under his own name, there is much to admire; in a first-rate rhythm section of Billy Bauer, Arnold Fishkin and Don Lamond, Bauer is also one of the better soloists on the date; of the others, Nick Travis is crisply vibrant, and Dave Schildkraut swings hard and Bird-like. Tenorman Seldon Powell, imaginative, visceral, with a fine, full sound, is best of all. Also effective in their brief appearances are the alternating trombones Kai & J.J.

But even the most casual hearing of the Long Island Suite will confirm Alesss judgment: it swings all the way. And it is, as he hoped it would be, simple, like Basie. Because, as far as I am concerned, thats the only thing, to swing all night-long. *Jordi Pujol*

One of the few albums ever cut as a leader by pianist Tony Aless — an unsung hero of the big band years, especially in the Woody Herman group — and a great arranger too! This set's an all-original outing — a suite of tracks dedicated to Long Island, and played by a very hip group that has tenorist Seldon Powell in the lead — serving up work that's every bit as great here as on his own albums for Roost from the time! The record's got a slightly largish group — a tentet that's stuffed with great players — including Billy Bauer on guitar, J. J. Johnson and Kai Winding on trombones, and Nick Travis on trumpet — all modernists who really bring in the sound you'd expect. Titles include "Fire Island", "Valley Stream", "Levittown", and "Massapequa".  *Dusty Groove, Inc.*

1 - Levittown

2 - Corona

3 - Aqueduct

4 - Riverhead

5 - Valley Stream

6 - Greenport

7 - Fire Island

8 - Massapequa

(All compositions by Tony Aless)

Nick Travis (trumpet); J.J. Johnson, Kai Winding [as "Moe and Joe"] (trombones);

Dave Schildkraut (alto sax), Seldon Powell, Pete Mondello (tenor saxes),

Tony Aless (piano), Billy Bauer (guitar), Arnold Fishkin (bass), Don Lamond (drums).

Recorded in New York City, July 1955

Zoot Sims on Prestige (VII) [as sideman]

Concluding the series dedicated to Zoot Sims and his recordings for the Prestige label, only two collaborations remain as a sideman: with bassist Chubby Jackson's band and with a Miles Davis septet that also includes Al Cohn, his "soul mate". 

Let's remember why it was important for bandleaders to hire Zoot Sims to accompany them:

Sims' signature sound formed in the early 1940s, when he surfaced in Los Angeles' fertile Central Avenue scene. Clarinetist and bandleader Benny Goodman discovered him and immediately recruited him for his band. In 1947 Sims landed an even higher profile gig when he joined Woody Herman's famed Second Herd, along with fellow saxophonists Stan Getz, Herbie Steward and Serge Chaloff. Together, the quartet of sax players was known as the Four Brothers, after a Jimmy Giuffre composition written for them, and became famous for their deft unison lines and the novelty of their dark, sweet sound.

After leaving the Herd and turning up in New York, Sims went through a period of freelancing and unsteady work. In 1953 he joined the Stan Kenton band, which provided a regular paycheck. But the band's music — emphasizing tightly-knit group passages that allowed for only short solos — and Kenton's stern, top-down leadership didn't mesh well with the easygoing, yet musically hard-driving Sims. He didn't stay long with the band, quitting on the spot after their bus wrecked along a Pennsylvania highway.

Zoot retreated to California, but he found few performing opportunities and wound up working as a house painter. Baritone saxophonist Gerry Mulligan rescued Sims from his day job when he invited Zoot to help expand his well-known, pianoless quartet. As trombonist and band member Bob Brookmeyer remembers, Sims and Mulligan were "connected by the bone" as both players and improvisers.

In the mid and late '50s, buoyed by his success with Mulligan, Zoot would release many recordings as a leader — 10 in 1956 alone. Nevertheless, he remained a great collaborator and team player, and he inevitably returned to winning partnerships. In 1957, Zoot hooked up with an old friend, tenorman Al Cohn. Together, they formed perhaps the most successful partnership of Zoot's career, co-leading an ensemble for many years.

Later in his career, Sims continued to evolve as a player. According to saxophonist and composer Bill Holman, Zoot's tone aged and became gruffer, and he expanded his repertoire thanks to the influence of pianist Jimmy Rowles. But he never gave up on what many consider his greatest asset: his incredible sense of swing. "No matter what he played, it was perfectly in time", said saxophonist Harry Allen. "If you were making your own perfect saxophone player up in your head, that's where you'd put the notes. And (Sims) managed to do that without fail".

Chubby Jackson And His All Star Band

Plays

The style of Chubby's big band would be echoed throughout the 50's and 60's in the bands of Woody Herman, Elliot Lawrence, Gene Krupa, Count Basie and Gerry Mulligan. The actual recording, the first big band date recorded by Prestige was done in the old Cinemart studios in New York City. The studio was so small that the trumpet section had to face the wall to make for a better balance. At the time of the session, Georgie Auld owned a bar and jazz club called "Tin Pan Alley" in the basement of a hotel on 49th Street. The club was a favorite oasis for Zoot Sims, Gerry Mulligan and J.J. Johnson among others and everybody would come by to jam. 

At the date Mulligan remarked how loose he felt when working with Zoot. Certainly the loose feeling permeated the entire session as Auld, Jackson and Don Lamond fooled around with one of those fake nose and glasses disguises and Chubby kicked off the time in his stocking feet! 

The date was the second recording of J. J. Johnson and Kay Winding in tandem, the first being a Metronome All-Star session in January 1949. The Tiny Kahn charts were a constant topic of conversation and the band which Jackson had led in early 1949 had played most of them, some under different titles, at "Bop City" and "The Royal Roost".

It is interesting to note that on this LP, Chubby Jackson does not do much solo playing. This is unusual but again it emphasizes Jackson's role as an organizer. He had musical talent as well as the ability to get good men into good places. Valuable contributions to the American Art Form and contributions that both listeners and historians alike can be grateful for.

*Ernie Edwards, Jr. (liner notes, February 1969)* 

1 - Flying The Coop

(Tiny Kahn)

2 - I May Be Wrong

(Ruskin, Sullivan)

3 - Leavin' Town

(Jarvis, Meissner)

4 - Sax Appeal

(Tiny Kahn)

5 - New York

(Al Cohn)

6 - Why Not

(Tiny Kahn)

7 - Hot Dog

(Zoot Sims)

8 - So What

(Gerry Mulligan)

Chubby Jackson (bass, leader); Howard McGhee, Al Porcino, Don Ferrara (trumpets);

J.J. Johnson, Kai Winding (trombones); Charlie Kennedy (alto sax);

Zoot Sims, George Auld (tenor saxes), Gerry Mulligan (baritone sax);

Tony Aless (piano); Don Lamond (drums).

Recorded at Cinemart Studios, New York City, March 15, 1950

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Miles Davis Septet

Plays The Compositions Of Al Cohn

Since the "records heard 'round the world", "Godchild", "Jeru", "Move", et al, Miles Davis has made many other fine records to enhance his position as top modern trumpeter, but in the main they have been three horn groups (including himself) with an emphasis on solo work. After the original melody, usually stated in tight unison, each hornman played again only when his solo turn came. The soloists had to be good to sustain interest, and they were, but it was felt that Miles needed a change of pace for his next recording date; compositions and arrangements which would suit him and result in a happy combination of arranged music and solo work.

The man who achieved this was Al Cohn, the unheralded great of the tenor saxophone, as well as the composer's and arranger's desk. Three of the pieces, "Willie The Wailer", "Floppy" and "For Adults Only" were written for this session. "Tasty Pudding" had been written before but Al arranged it specially for Miles and this date. The Pudding whipped up by Al receives flavoring and icing from Miles and best exemplifies the whole idea behind this type of integrated arrangement.

Thanks to Miles, Al, and Zoot Sims, with help from John Lewis and Sonny Truitt, the "solo" is not neglected and the feeling that they show in their reading of the arrangements (underlined, and punctuated by Kenny Clarke; propelled by Leonard Gaskin and Kenny) makes the "happy combination" possible. *Ira Gitler (liner notes)*

Miles Davis Plays The Compositions Of Al Cohn, from early 1953, was another album unified by idea and intent. The music is intelligent and spry, with sly references to other tunes, one that would lodge itself in Miles' memory; "Willie The Wailer", for example, opens as "Soft Winds", a number popularized by Benny Goodman in 1941, and which in 1959 Miles would morph into "Freddie The Freeloader" for >Kind Of Blue<. The performances are strong, the harmony lines benefitting from a three-horn frontline with Zoot Sims and Cohn the relaxed foils to Miles' brashness. *milesdavis.com*

Side 1

1 - Tasty Pudding

2 - Floppy

Side 2

3 - Willie The Wailer

4 - For Adults Only

(All compositions by Al Cohn)

Miles Davis (trumpet); Sonny Truitt (trombone); Zoot Sims, Al Cohn (tenor saxes);

John Lewis (piano); Leonard Gaskin (bass); Kenny Clarke (drums).

Recorded at Beltone Studios, New York City, February 19, 1953.

Zoot Sims on Prestige (III)

Let's do a little history to understand why "Zoot Sims on Prestige" shows a "Zoot Sims on Status":

The Prestige story began with Bob Weinstock, a young entrepreneur who was running the Jazz Record Corner — a record shop catering to devotees of jazz. It was there in 1948 that Bob conceived of the idea of traveling overseas during or before the recording ban that year to obtain new jazz recordings to bring to the United States. Bob contracted for at least four singles. These were released on his own Jazz Corner label —– the first of his record labels.

As 1949 began, Weinstock sought to expand his record pressing outlet beyond the local level. As he supervised the recording of new music, he was in the process of securing distribution arrangements. In July he rolled out the New Jazz label. Within a little over a year, New Jazz had become Prestige Records.

Prestige received its legendary status as a record label in part because of Weinstock’s demand for an “authentic” and fresh jazz sound and in part because of engineer Rudy Van Gelder.

By the end of 1963, with many of his artist signings having moved on and up to majors, Weinstock turned his attention to the re-issue of older New Jazz and Prestige titles of those now big names, through the short-lived Status label. Status picked up the New Jazz catalogue numbering system at 8300, but with the prefix ST. The same numbers but with the prefix NJLP was used for completely different recordings. Surplus stocks of New Jazz covers would be given a Status sticker, and the recording issued with a Status label.

Zoot Sims' recordings appeared under three labels: Prestige, New Jazz and Status, as is the case with the following album:

Zoot Sims

Good Old Zoot

A 60s compilation of some of Zoot's great work during the 10" days at Prestige (Chubby Jackson & His All Stars Band Plays and Zoot Sims In Hollywood — back when he was playing with a bit more fire than in some of his later work. Half the tracks are cut with a small group that includes Kenny Drew and Stu Williamson — and the other half are cut with a larger group led by Chubby Jackson, and featuring Howard McGhee, JJ Johnson, Georgie Auld, and Gerry Mulligan. Tracks include "So What", "Toot No 2", "Howdy Podner", "Flyin The Coop", and "Hot Dog".  *Dusty Groove, Inc.*

About Chubby Jackson & His All Stars Band Plays:

The style of Chubby's big band would be echoed throughout the 50's and 60's in the bands of Woody Herman, Elliot Lawrence, Gene Krupa, Count Basie and Gerry Mulligan. The actual recording, the first big band date recorded by Prestige was done in the old Cinemart studios in New York City. The studio was so small that the trumpet section had to face the wall to make for a better balance. At the time of the session, Georgie Auld owned a bar and jazz club called Tin Pan Alley in the basement of a hotel on 49th Street. The club was a favorite oasis for Zoot Sims, Gerry Mulligan and J.J. Johnson among others and everybody would come by to jam. 

At the date Mulligan remarked how loose he felt when working with Zoot. Certainly the loose feeling permeated the entire session as Auld, Jackson and Don Lamond fooled around with one of those fake nose and glasses disguises and Chubby kicked off the time in his stocking feet! 

The date was the second recording of J. J. Johnson and Kay Winding in tandem, the first being a Metronome All-Star session in January 1949. The Tiny Kahn charts were a constant topic of conversation and the band which Jackson had led in early 1949 had played most of them, some under different titles, at Bop City and The Royal Roost.

It is interesting to note that on this LP, Chubby Jackson does not do much solo playing. This is unusual but again it emphasizes Jackson's role as an organizer. He had musical talent as well as the ability to get good men into good places. Valuable contributions to the American Art Form and contributions that both listeners and historians alike can be grateful for. *Ernie Edwards, Jr. (February 1969)*

[Note: The album Chubby Jackson & His All Stars Band Plays contains more songs than those presented in this compilation. We will include them in future posts in this series, dedicated to Zoot Sims' presence on Prestige as a sideman.]

About Zoot Sims In Hollywood:

Like most young tenormen of the post-war period, Zoot Sims was largely affected by the Lester Young influence. Everybody who was anybody sounded like Lester or tried to. With Zoot it was even more so; he sounded exactly like Pres. Almost ten years have passed since then and a great number of Young imitators have come and gone with Little or no fanfare; most came to the inevitable end of the musically unoriginal. But with Zoot it was different; he had a lot more than a superficial grasp of Lester approach. Zoot was able to absorb the Great Influence without subverting his own individuality. Today Zoot is a highly original artist well steeped in the heritage that Lester Young contributed to the modern jazz musician. Zoot's conception stands firm and mature; the importance of the basic time feeling… above all else… it must swing! And with Zoot it always does. Emotion and the jazz beat are never sacrificed. The musical voice of Zoot Sims is so vibrant and brilliant that he must eventually be acknowledged as the great tenor influence of the fifties for he is the successful extention of the most forceful influence modern jazz has been: The Lester Young Conception.

Featured here with Zoot, is ex-Kenton and Herman sideman, Stu Williamson. For the first time on record Stu is heard playing both trumpet and valve trombone. The facility with which he handles these instruments well compliments Zoot work. At the keyboard is one of them all — Kenny Drew. No les effective as a soloist, his main function here is that of sparking the group. Kenny gained national prominence several years ago as a member of the great Buddy De Franco Quartet. Ever since he's been a highly sought after pianist for any group desiring a savagely swingin' beat. Rounding out the rhythm section is drummer Jimmy Pratt and bassit Ralph Pinia. Jimmy was a member of the Zoot Sims–Johny Mandel Group that delighted Coast jazz fans last winter during their successful stay at the Haig. Ralph's excellent choice of notes and pulsating time hold the group firmly in the groove.

Here is a group composed of five compatible jazz musicians and recorded under very favorable conditions at one of the finest rocording studios available, Hollywood's Radio Recorders. The engineer was Val Valentine, who records a great percentage of the better jazz eminating from Southern California. The entire precedings, from rehersal to final take, was supervised and directed by Dick Bock: His reputation is well known. It seems impossible to conceive of a better combinations of elements. The only thing left is how it turned out; take a listen and draw your own conclusions. You won't be disappointed. *Woody Woodward (original liner notes)*

Side 1

1 - Howdy Podner

(Bill Holman)

2 - Indian Summer

(Al Dubin, Victor Herbert)

3 - Leavin' Town

(Jarvis, Meissner)

4 - Flyin' The Coop

(Kahn)

Side 2

5 - Toot No. 2

(Bill Holman)

6 - What's New

(Johnny Burke, Bob Haggart)

7 -Hot Dog

(Zoot Sims)

8 - So What

(Gerry Mulligan)

#1, #2, #5, #8:

from Zoot Sims In Hollywood [New Jazz (NJLP-1102)]

Stu Williamson (trumpet, valve trombone), Zoot Sims (tenor sax), Kenny Drew (piano), 

Ralph Pena [as Ralph Penna or Ralph Pinia in liner notes] (bass), Jimmy Pratt (drums).

Recorded at Radio Recorders, Hollywood, California, July 16, 1954

#3,#4, #7, #8:

from Chubby Jackson & His All Stars Band Plays [New Jazz / Prestige (NJLP 105)]

Don Ferrara, Howard McGhee, Al Porcino (trumpets); J.J. Johnson, Kai Winding (trombones);

Charlie Kennedy (alto sax); Georgie Auld, Zoot Sims (tenor saxes); Gerry Mulligan (baritone sax);

Tony Aless (piano); Chubby Jackson (bass); Don Lamond (drums).

Recorded at Cinemart Studios, New York City, March 15, 1950

Leonard Feather Presents… ★1959★

Leonard Feather Presents

One World Jazz

Through the miracles of modern recording science, fifteen of the world's leading jazzmen meet for the first time in this unique and exciting intercontinental jam session. Seven musicians in New York, four in Paris, three in London and one in Stockholm play together to make not only a scientific, but a musical point: Jazz Is An International Language.

⁂

Although there has never before been an album of this kind, its motivation and objective were logical and desirabie. For the first time in recording history, a group of leading American musicians has joined forces with some of the top artists in other countries for an international jam session, for release in monophonic and stereophonic sound.

The idea sprang from a conversation in the spring of 1959 with Irving Townsend. When I mentioned a projected business trip to Europe and suggested that there were several fine musicians in England and France who had been heard too rarely on records in the United States, we first discussed a plan to record a separate session in each country. Suddenly a more provocative concept emerged: why not, said Irving, record them together? 

Though obviously feasible, the suggestion ealled tor long-range planning. Nat Shapiro of Columbia’s international division started setting up contacts in London and Paris. Then the plan was extended when I suggested that the musicians would be offered a stimulating challenge if they could work in the company of Americans. For geographical or technical reasons, this had never before been possible. 

The device employed was simple. A seven-piece group was assembled in New York, and on the evening of May 19, 1959, we recorded the six tracks you hear in this album. But on that evening they sounded curiously different. There were long passages left open in which only the rhythm section played. Thus there would be no need for any awkward attempts to splice conflicting ideas, match tempos, coordinate rhythm sections at home and abroad; on the contrary, the foreign musicians would have the unprecedented opportunity to be supported by the kind of American rhythmic background with which they had often expressed a desire to work.

The musicians chosen for the New York session are all well known to the Europeans who were later to enjoy their company.

⁂

It may be apt to conclude with a remark made by Jo Jones when, after I had returned from Europe with the results of this undertaking safely boxed in, he listened to the tapes and heard the startling additions that had so radically aitered the original session.

"You know what you should do?" he said. "You should send a copy of this record to the United Nations. Why, this says more about people getting together, listening to each other and understanding one another, than all of eg over at the U.N. building could ever say!"

I hope Jo was right. *Leonard Feather (from liner notes)*

Years before Frank Sinatra sang his "over the phone" set of Duets in the mid 90s, Columbia tried a similar "not all there in the studio" approach with this album of jazz played by American and international artists selected for the project. Tapes were made in New York with a lot of space in between the main soloists. These tapes were then flown overseas, where players in three cities played on top of the tapes, dubbing in solos that sound like they were part of the group. A decent enough idea technologically, we guess — but why would anyone want to subject jazz to such conditions? European players include Ronnie Ross, Roger Guerin, Stephane Grappelly, Åke Persson and Roy East — and the tunes include "Big Ben's Blues", "International Blues", "Nuages", and "Cotton Tail". *Dusty Groove, Inc.*

Side 1

1 - Cotton Tail

(Duke Ellington)

2 - Misty

(Burke, Garner)

3 - Big Ben's Blues

(Model)

Side 2

4 - International Blues

(Leonard Feather)

5 - Nuages

(Django Reinhardt)

6 - In A Mellow Tone

(Duke Ellington)

First session, (basic tape with spaces for additional sessions):

Clark Terry (trumpet), J.J. Johnson (trombone), Ben Webster (tenor sax),

Hank Jones (piano), Kenny Burrell (guitar), George Duvivier (bass), Jo Jones (drums).

Recorded in New York City, May 19, 1959

Second session, (additions to first session):

Roy East [#1, #3, #4, #6] (alto sax), George Chisholm (trombone),

Ronnie Ross [#3, #4, #6] (baritone sax).

Recorded in London, England, June 22, 1959

Third session, added:

Åke Persson [#4](trombone).

Recorded in Stockholm, Sweden, June 30, 1959

Final session, (additions to the tape):

Roger Guerin (trumpet), Bob Garcia [#1] (tenor sax),

Martial Solal [#3, #4] (piano), / Stéphane Grappelli [#2, #4, #5] (violin).

Recorded in Paris, France, July 3, 1959

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). 

Miles Davis All Stars - Walkin'

Walkin' (PRLP 7076) is a Miles Davis compilation album released in March 1957 by Prestige Records. The album compiles material previously released on two 10 inch LPs in 1954 (Miles Davis All-Star Sextet and Side One of Miles Davis Quintet, dropping "I'll Remember April" from Side Two (which had been on the 12" LP Blue Haze, released the previous year, itself a collection of tunes from previous 10" LPs) and replacing it with the previously unreleased "Love Me or Leave Me" recorded at the same session. Here credited to the "Miles Davis All-Stars", the songs were recorded on 3 April and 29 April 1954 by two slightly different groups led by Davis. Both sessions were recorded at Rudy Van Gelder's home studio.

The earlier session was a quintet with David Schildkraut on alto saxophone, and produced the three tracks on side two. Schildkraut is the only musician not credited on the cover, and is otherwise almost unknown. Two of these tracks were originally released on the 10" LP Miles Davis Quintet, Prestige PRLP 185. The earlier release also included "I'll Remember April", recorded at the same time, now found on the Prestige album Blue Haze (PRLP 7054). Another tune from this session, "Love Me or Leave Me", was previously unreleased and substituted here for "I'll Remember April".

The second session, which makes up all of side one, was a sextet with J. J. Johnson on trombone and Lucky Thompson on tenor saxophone. The rhythm section was the same as the earlier session. These two tracks were originally issued on the 10" LP Miles Davis All-Star Sextet, Prestige PRLP 182. The album's title track, a staple of Davis's live set for many years, was key to the emerging hard bop approach developed in the mid-1950s, Davis providing it with an anthem. The composition has been attributed by various sources to Jimmy Mundy, Miles Davis, and Gene Ammons. The copyright registration listed the composer as Richard E. Carpenter, a businessman and artist manager who had professional relationships with Mundy and Tadd Dameron, and was not known to be a musician or composer. "Solar" was attributed to Davis and copyrighted in his name in 1963. Evidence revealed in 2012 showed that it is nearly identical to "Sonny", a piece written by guitarist Chuck Wayne in the 1940s, so Wayne is regarded as the composer of "Solar". *wikipedia.org*

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'N' Boogie", adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music - as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'N' Boogie". The improvisation yields some truly memorable solos and exchanges between Davis and Johnson - who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning". "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me", gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort. *Lindsay Planer*

1 - Walkin'

(Richard Carpenter)

2 - Blue 'N' Boogie

(Gillespie, Paparelli)

3 - Solar

(Miles Davis)

4 - You Don't Know What Love Is

(Raye, DePaul)

5 - Love Me Or Leave Me

(Donaldson, Kahn)

Miles Davis (trumpet), J.J. Johnson (trombone [#1, #2]), Lucky Thompson (tenor sax [#1, #2]), David Schildkraut (alto sax [#3, #4, #5]), Horace Silver (piano), Percy Heath (bass), Kenny Clarke (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, April 3 (#3, #4, #5) and April 29 (#1, #2), 1954.