Liberty Records • Jazz in Hollywood Series (II)

Dom Frontiere Sextet

Dom Frontiere And His El Dorado

✤Liberty LJH 6002✤

Dominic Frontiere (1931-2017) had barely turned four when he began learning the basic accordion technique. Having mastered his instrument through his classical studies, Dom became interested in modern music. In 1950, he moved to Hollywood, where he lost no time in establishing himself, not only as the leading accordionist in the movie industry but as a composer and arranger as well. He also appeared playing in several films, but 1955 brought him something special.

In March, Dom was signed to a term recording contract with Liberty Records, which led to his first album recording as a leader in the summer, conducting a sextet made up of renowned fellow Hollywood studio musicians. The album came out in the fall with the title Dom Frontiere and his El Dorado.

 His skill with the accordion was indisputable. "In the hands of a master [the accordion becomes] much more than a polka party instrument", Down Beat magazine admitted.

Starting in 1960 and over twenty years, the scores he penned for popular TV series and films, garnered him awards and international recognition as the firstrate composer he was.

This young instrumentalist and arranger revealed his talent and personal approach to the world, by skillfully blending the harmonies of classical music with the rhythm and improvisation of jazz. Dominic Frontiere and his stimulating musical confreres bring us a varied repertoire of well known melodies and originals in their own spirited, happy and swinging way. *Jordi Pujol*

When LIBERTY gave me the test pressing of this album I took it to the radio station with me and played it for engineers, announcers, salesmen, writers, maintenance men and anyone who might be wandering through the halls. I took it home and played it for my wife. I asked my best friend, a fellow jazz enthusiast, to come over and hear it. We played it along with recordings of other accordionists... we turned it up and listened to every note for musicianship, balance, fidelity... we played it in the background 

for atmosphere effect. After I felt I had thoroughly "tested" this finished product I recalled Dom’s words that "an accordionist is only as good as his instrument". It might be interesting to note that six different accordions were tested before a decision was made as to which produced the best sound. The instrument that won out was the custom-made Gretsch "El Dorado" the prototype which is now in full scale production.

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No matter how you play this album — softly in the background while having dinner, or volume wide open on a hi-fi set — it's great! If you like classical music you'll be impressed with the technique and charmed by the humor; if you're a "pop" fan you'll find this as wonderful for dancing as it is for what might be called "putting on a good stack of records"; and if you're a jazz enthusiast... you'll FLIP! *Jack Wagner (liner notes)*

Side 1

1 - Mr. B

(Bach, Frontiere)

2 - Poinciana

(Simon)

3 - Leap For Joy

(Frontiere)

4 - September In The Rain

(Warren, Dubin)

5 - Perpetual Motion

(Paganini)

6 - Tenderly

(Gross, Lawrence)

Side 2

7 - Nola

(Arnt)

8 - Breeze And I

(Lecuona, Stillman)

9 - I'll Be Seeing You

(Fain, Kahal)

10 - Where's The Melody

(A Variation Of 24th Caprice By Paganini)

(Paganini, Frontiere)

11 - Beguine For Bette

(Frontiere)

12 - My Heart Stood Still

(Rodgers, Hart)

Dom Frontiere (accordion), Abe Most (clarinet), Bill Ulyate (bass clarinet),

Jack Marshall (guitar), Mike Rubin (bass), Nick Fatool (drums).

Recorded at Capitol Records, Hollywood, California, between July and August, 1955

Shorty Rogers And André Previn - Collaboration

It really seems that West Coast musicians will never cease to surprise us. They had a propensity for launching themselves into the wildest enterprises, taking enormous musical risks, with an air of nonchalance totally their own. The album Collaboration could well be the most impressive of all such carefree excursions; it is, at the very least, unique of its kind. 

The rules of this particular game seem innocuous at the outset, but have an unexpected sting in their tail. Take nine musicians, of whom two — among the best in California — double as instrumentalists and arrangers. Ask this same nonet to perform charts by each of the two arrangers in Strict alternation. Too easy so far, so now impose the condition that for each standard scored by the one, the other must reply with an original composition constructed around the same harmonies! A challenge to which Shorty Rogers and André Prévin respond magnificently.

Milton "Shorty" Rogers symbolises single-handed that magnificent wave of renewal that swept across the West Coast in the early 'fifties. Everything that bore his signature-whether as trumpeter, arranger or supervisor-possessed a certain distinction. His spell as artistic director at RCA produced many quite irreplaceable albums. André Prévin, for his part, is a musician who defies all categorisation. For many years he worked for MGM, composing the music of films such as Vincente Minnelli's "Four Horsemen of the Apocalypse", Ranald McDougall’s "Subterraneans" and Richard Brook’s "Elmer Gantry". Today he reigns triumphant as conductor of some of the world's leading symphony orchestras.

Undaunted by the daring concept of this project, Shorty Rogers and André Prévin set joyously about their task, juggling eagerly with contrasts and camparisons. They humorously nod acknowledgement to classical music: the shadow of Stravinsky glides over "You Do Something to Me", while Bud Shank and Bob Cooper execute a magnificent fugue passage on "Some Antics".

The vitality, invention and sheer mastery exhibited in this album almost obscure the fact that "Collaboration" originated as little more than a lighthearted wager! *Alain Tercinet*

Shorty Rogers And André Previn

Collaboration

For this slightly unusual LP Shorty Rogers and Andre Previn split the arranging chores in a somewhat competitive fashion. Rogers arranges a standard and then that is followed by a Previn original based on the same chord structure. This procedure is followed until the halfway point of the date when they reverse roles. As performed by a nonet featuring Rogers' trumpet, Previn's piano, altoist Bud Shank, Bob Cooper on tenor, baritonist Jimmy Giuffre, trombonist Milt Bernhart and a rhythm section, the result is a dead heat with some fine swinging solos on tunes (and variations) of such songs as "It's DeLovely", "You Stepped Out Of A Dream" and "You Do Something To Me". This will be a difficult album to locate. *Scott Yanow*

Here's a jazz set that should sell at a snappy rate over the next few months. If features, for the first time together, two top arrangers, having a go at each other in a sort of jazz arrangers battle. Shorty Rogers does a take-off on three of André Previn's arrangements, and vice versa. It ends up a stimulating, and oft-times exciting platter. The sidemen, all first-rate modernist, include Bud Shank on alto, Jimmy Giuffre on baritone, Milt Bernhart on trombone and Shelly Manne on drums. The boys turn out some mighty listenable jazz on both Rogers and Previn wear their arranging laurels proudy. Liner notes are good and the cover attractive. Crazy wax this, and a potent release. *Billboard, February 12, 1955*

1 - It's Delovely

(Cole Porter)

2 - Porterhouse

(André Previn)

3 - Heat Wave

(Irving Berlin)

4 - 40.° Below

(André Previn)

5 - You Stepped Out Of A Dream

(Nacio Herb Brown, Gus Kahn)

6 - Claudia

(André Previn)

7 - You Do Something To Me

(Cole Porter)

8 - Call For Cole

(Shorty Rogers)

9 - Everything I've Got (Belongs To You)

(Richard Rodgers, Lorenz Hart)

10 - Some Antics

(Shorty Rogers)

11 - It Only Happens When I Dance With You

(Berlin)

12 - General Cluster

(Shorty Rogers)

Shorty Rogers (trumpet); Milt Bernhart (trombone); Bud Shank (alto sax, flute); Bob Cooper (tenor sax); Jimmy Giuffre (baritone sax); André Previn (piano); Al Hendrickson [#3 to #6, #9 to #12], Jack Marshall [#1, #2, #7, #8] (guitars); Curtis Counce [#4, #6, #10, #12], Joe Mondragon [#1 to #3, #5, #7 to #9, #11] (basses); Shelly Manne (drums).

Recorded at RCA Studios in Hollywood, California, March 30 (#3, #5, #9, #11), June 14 (#4, #6, #10, #12) and September 14 (#1, #2, #7, #8), 1954.

***

and now... time for Punta del Este...

~ will back on December 20 ~

Milt Bernhart Brass Ensemble - Modern Brass

Milt Bernhart grew up as a musician playing in the bands of Boyd Raeburn, Buddy Franklyn, Jimmy James and Teddy Powell. After that peculiar apprenticeship he joined Stan Kenton's band. The years with Kenton boosted Bernhardt to considerable popularity with jazz followers, and his solos won him repeated high placings in Down Beats readers poll. After that, he was a graduate of the Kenton school of higher learning. But, for the most part, musicians are born, not made, and the notes Milt blew, the phrasing and imagination he so vividly demonstrated, could not have been easily picked up in any learned institution. With this particular group, nucleus of the West Coast school of jazz, he contributed more than his share to its new sounds and seemingly fantastic thought processes. This album includes some of the most inspired trombone playing since the invention of that venerable instrument. *Jordi Pujol*

When RCA Victor decided to make an album showcasing the considerable talents of Milt Bernhart, they searched for an entirely new form of presentation employing not only his horn but a unique voicing and instrumentation in which to frame it. Milt came up with the idea of an all-brass setting, exclusive of the conventional rhythm section. After deciding upon the voicing — two trumpets, Milt's trombone, French horn, bass horn and tuba, along with guitar, string bass and drums — the arrangers were chosen. Certainly no single jazz album ever done has had such a roster of composers-arrangers: Shorty Rogers, Pete Rugolo, Andre Previn, Wes Hensel, Pete Candoli and Jimmy Guiffre — the individual approach of each further enhances their collective reputations as the vanguard of the West Coast school. That they solved any seeming problems should be very evident, for in none of the twelve selections could any lack of color or tonality be detected; in fact, the unique voicing and arranging, the inspired solos and warm feeling of the group as a whole are everywhere evident.

Thus this album features not only Milt Bernhart’s happy, brazen trombone along with other equally great soloists playing superb arrangements, but a fresh and unique — nonetheless valid and justifiable — approach to the problem of extending the horizons of jazz.

Listen then to Modern Brass played by Milt Bernhart and his brass ensemble.

*Paul Krupa (liner notes)*

This is an experimental album that clearly expands the frontiers of modern jazz. Giving a brass section, consisting of two trumpets, trombone, French horn, bass horn amd tuba the task of creating a well-balanced sound without the relieving colors of the usual band sections is practically an invitation to disaster. The success here, against heavy odds, is due chiefly to the skill of the fine arrangers employed for this remarkable set: Pete Rugolo, Shorty Rogers, Andre Previn, Jimmy Giuffre, Wes Hensel and Pete Candoli. The trombone of Bernhart is featured thruout, and in the richly varied fare offered here, his solos are consistently warm and imaginative.

*Billboard, October 15, 1955*

Side 1

1 - The Horns

(Jimmy Giuffre)

2 - Hooray For Hollywood

(Mercer, Whiting)

3 - What Is There To Say

(Harburg, Duke)

4 - Looking For A Boy

(G. and I. Gershwin)

5 - Amor Flamengo

(Laurindo Almeida)

6 - Southern Comfort

(Pete Candoli)

Side 2

7 - London In July

(Vernon Duke)

8 - Tangerine

(Mercer, Schertzinger)

9 - Lavender

(Jimmy Giuffre)

10 - Hillside

(Andre Previn)

11 - It's All Right With Me

(Cole Porter)

12 - Save Your Chops

(Pete Candoli)

Milt Bernhart (trombone) with:

#1, #3, #8, #9

Shorty Rogers [as Roger Milton], Ray Linn (tumpets); Maynard Ferguson (euphonium); John Graas (French horn); Ray Siegel (tuba); Jack Marshall (guitar); Red Mitchell [as Keith Mitchell] (bass); Irv Kluger (drums).

Recorded in Hollywood, California, March 4, 1955.

#5, #7, #12

Shorty Rogers, Pete Candoli (trumpets); Maynard Ferguson (euphonium); John Graas (French horn); Ray Siegel (tuba); Jack Marshall (guitar); Red Mitchell (bass); Irv Kluger (drums).

Recorded in Hollywood, California, March 6, 1955.

#2, #4, #6, #10, #11

Ray Linn, Pete Candoli (trumpets); Maynard Ferguson (euphonium); John Graas (French horn); Paul Sarmento (tuba); Jack Marshall (guitar); Red Mitchell (bass); Irving Cottler (drums).

Recorded in Hollywood, California, March 8, 1955.

The Jack Marshall Sextette - 18th Century Jazz

Let’s come right to the point. What is this eighteenth-century jazz?

Basically it’s an engaging concoction of sparkling music, best defined as our kind of jazz played on their kind of instruments. Put it this way. If, in the 1700’s, one of maestro Jack Marshall’s ancestors —call him Sir Jonathan Marshall— had known how to swing and did make records, these are the kind of numbers he would have produced: swinging, happy jazz in the best melodic fashion. But, unfortunately, Sir Jonathan never swung, and the task was left to one of his descendants, our Jack.

And Marshall has created arrangements for this album that are fresh and fun all the way. A typical invention on one of these twelve beautiful tunes starts out with thoughtful noodlings by first chairman Marshall. Next a swinging beat —possibly that of the. gavotte— is added to the melody, which is then shared by gentlemen of the "front line" —the flautist, 'cellist, and harpsichordist. Then, at a nod from the maestro, the group launches into a polite restatement of the theme, possibly in the form of a petite waltz, a haughty polonaise, or a slightly latin divertissement.

Putting together all the elements present —the best in musicians, twelve favorite tunes, and the last word in eighteenth-century instruments— Marshall pops up with music to stagger the imagination, jazz to soothe the savage beast in us all — a swinging sound that would be top drawer in an century. *(Liner notes)*

This out of print vinyl record contains 12 jazz standards recorded with musical instruments of the 18th Century -hence the title of the work. Each musician plays both with virtuosity and creativity and every piece swings. The slow pieces such as "Invitation", have a haunting, fantastic magical atmosphere. 

Must be one of the first jazz recordings using classical guitar. This is quite a good album and it is clear that Marshall is an excellent guitarist. *Dan S. Tong*

Side 1

1 - Have You Met Miss Jones?

(Richard Rodgers, Lorenz Hart)

2 - I Didn't Know What Time It Was

(Richard Rodgers, Lorenz Hart)

3 - Star Eyes

(Don Raye, Gene Paul)

4 - It Might As Well Be Spring

(Richard Rodgers, Oscar Hammerstein II)

5 - I've Told Ev'ry Little Star

(Richard Rodgers, Oscar Hammerstein II)

6 - Jeepers Creepers

(Harry Warren, Johnny Mercer)

Side 2

7 - My Heart Belongs To Daddy

(Cole Porter)

8 - S'posin'

(Paul Denniker, Andy Razaf)

9 - Like Someone In Love

(James Van Heusen, Johnny Burke)

10 - Isn't It Romantic?

(Richard Rodgers, Lorenz Hart)

11 - Invitation

(Bronislau Kaper, Paul Francis Webster)

12 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

Jack Marshall (classical guitar, lute), Harry Klee (flute, bass flute), Edgar Lustgarten (cello), Milt Raskin (harpsichord), Red Mitchell (bass), Shelly Manne (drums).

Recorded in Los Angeles, California, circa summer/autumn 1958.