Mel Lewis Septet - Got 'Cha

Melvin Sokoloff (May 10, 1929 – February 2, 1990), was born in Buffalo, New York, to Russian-Jewish immigrant parents Samuel and Mildred Sokoloff. Known professionally as Mel Lewis, was a jazz drummer, session musician, professor, and author. He received fourteen Grammy Award nominations.

Lewis  started playing professionally as a teen, eventually joining Stan Kenton in 1954. His musical career brought him to Los Angeles in 1957 and New York City in 1963. In 1966 in New York, he teamed up with Thad Jones to lead the Thad Jones/Mel Lewis Orchestra. The group started as informal jam sessions with the top studio and jazz musicians of the city, but eventually began performing regularly on Monday nights at the famed venue, the Village Vanguard. In 1979, the band won a Grammy for their album Live in Munich. Like all of the musicians in the band, it was only a sideline. In 1976, he released an album titled Mel Lewis and Friends that featured him leading a smaller sextet that allowed freedom and improvisation.

When Jones moved to Denmark in 1978, the band became known as Mel Lewis and the Jazz Orchestra. Lewis continued to lead the band, recording and performing every Monday night at the Village Vanguard until shortly before his death from cancer at age 60. The band still performs on most Monday nights at the club. Today, it is known as the Vanguard Jazz Orchestra and has released several CDs. *wikipedia.org*

Although he was generally reluctant to solo, Mel Lewis was considered one of the definitive big band drummers, a musician who was best at driving an orchestra, but could also play quite well with smaller units. He started playing professionally when he was 15 and worked with the big bands of Boyd Raeburn (1948), Alvino Rey, Ray Anthony, and Tex Beneke. Lewis gained a great deal of recognition in the jazz world for his work with Stan Kenton (1954-1957), making the large ensemble swing hard. In 1957, he settled in Los Angeles, became a studio drummer, and worked with the big bands of Terry Gibbs and Gerald Wilson. Lewis went to New York to play with Gerry Mulligan's Concert Jazz Band in 1960, and he toured Europe with Dizzy Gillespie (1961) and the Soviet Union with Benny Goodman (1962). In 1965, Lewis formed an orchestra in New York with Thad Jones which grew to be one of the top big bands in jazz. When Jones surprised everyone by suddenly fleeing to Europe in 1979, Lewis became the orchestra's sole leader, playing regularly each Monday night at the Village Vanguard until his death. Lewis recorded as a leader in the 1950s for San Francisco Jazz Records, Mode (reissued on V.S.O.P.), and Andex and, after Thad Jones left their orchestra, Lewis recorded with his big band for Atlantic, Telarc, and Music Masters. *Scott Yanow*

About Got 'Cha, Mel Lewis' first album under his own name: Kenton drummer, Mel Lewis, surrounded by fellow Kentonites — Pepper Adams, Richie Kamuca, Jerry Coker, Ed Leddy, etc., in a most competent outing. Set essays coolish, modern Basie feeling in arrangements by Lennie Niehaus, Bill Perkins, Coker, Adams and Marabuto that arenlean and warmly melodic, for the most part, with much space for the soloists. Could be sold to the modern jazz enthusiast. Try "In a Mellowtone" as demo band... Pepper Adams emerges as a jazz soloist to be watched.

*Billboard, April 20, 1957*

1 - In A Mellowtone

(Duke Ellington)

2 - Leave Your Worries Behind

(Lennie Niehaus)

3 - A Winters Tale

(Pepper Adams)

4 - Sir Richard Face

(Bill Perkins)

5 - One For Pat

(Lennie Niehaus)

6 - 'Enry 'Iggins 'Ead

(Jerry Coker)

7 - El Cerrito

(Johnny Marabuto)

Ed Leddy (trumpet); Richie Kamuca, Jerry Coker (tenor saxes); Pepper Adams (baritone sax); Johnny Marabuto (piano); Dean Reilly (bass); Mel Lewis (drums).

Recorded in San Francisco, California, November 19 (#1, #2, #5), and November 20 (#3, #4, #6, #7), 1956.

Jerry Coker - Modern Music

Jazz saxophonist and pedagogue Jerry Coker was born in South Bend, Indiana (November 28, 1932). He attended Indiana University in the early 1950s, but left school to become a member of Woody Herman's Herd. Coker eventually earned undergraduate and graduate degrees while he taught jazz at Sam Houston State University (then Sam Houston State Teachers College). He recorded under his own name in the mid-1950s and as a sideman with Nat Pierce, Dick Collins, and Mel Lewis; later that decade he played with Stan Kenton. In 1960 he began teaching and increasingly turned to music education and composition. He taught at Duke University, University of Miami, North Texas State University, and started the Studio Music and Jazz program at the University of Tennessee, where he was a professor of music from the 1980s through the 2000s. *wikipedia.org*

Born in 1932, tenor saxophonist Jerry Coker first emerged as a major talent in Indiana University's brilliant jazz clique of the early '50s. While he was still a student he joined Woody Herman's Third Herd, leading to a year performing, recording and, in the spring of 1954, a European tour. Returning to Indiana that summer, he was at the heart of the university's thriving jazz movement which, in July 1955, recorded his album, Modern Music from Indiana University. Leading some talented students, Coker, as producer, wrote all the arrangements – with echoes of the Four Brothers sax sound – while his solo work revealed an affinity for Lester Young.

In 1956, settled in Oakland, he began to make a name himself as performer, composer and arranger, and joined Rudy Salvini's rehearsal band. He also recorded with them and with his own quartet in November for San Francisco Jazz Records.

While the Kenton band was playing in the Bay Area, Coker briefly replaced the injured Bill Perkins, but, despite his considerable reputation as a soloist, after the spring of 1957 his appearances on concert and on record have been rare. He has since mostly devoted himself to teaching and writing, which has obscured his talents as a player—a pity, as these recordings show just how good he was. *Jordi Pujol*

Jerry Coker

Composes – Arranges – Plays

Modern Music

From Indiana University

And The Bay Area

Jerry Coker should have been a household name (and maybe he will be among readers after this post). A composer, arranger and tenor saxophonist from Indiana, Coker in the 1950s and beyond had a beautiful ear and gorgeous sound. Coker recorded only one album and a few tracks as a leader in 1955. He also recorded as a sideman small groups led by Mel Lewis and Nat Pierce in the mid-'50s as well as a big band led by Rudy Salvini. In the early 1950s, he recorded and toured with Woody Herman's Third Herd and he recorded with Clare Fischer's band in the early 1960s. Except for two albums in the early 1980s (A Re-emergence and Rebirth for the Revelation label), that was pretty much it.

Coker played with Stan Kenton in 1957 and then he spent much of his career as an exceptional educator. He taught at the Monterey Peninsula Junior College in 1963, at Indiana University as head of their jazz program and then, in 1966, at Coral Gables University in Miami, developing first-rate BA and MFA degree programs. He left in 1972.

While in Miami, Coker played gigs for entertainers, including Frank Sinatra and Tony Bennett. Next came Pembroke State College and Duke University before he settled with his wife in Knoxville, Tenn. Over the course of his career, Coker wrote 20 jazz education books and is a member of the International Association of Jazz Educators Hall of Fame. Coker is still with us today.

Fortunately for us, Fresh Sound Records has gathered many of Coker's recordings between 1954 and 1956 on a single CD entitled Jerry Coker: Modern Music From Indiana University and the Bay Area. It is a stunning collection of jazz recordings that will leave your jaw hanging. The sound is a perfect blend of West and East Coast jazz styles during this period, and Coker's composing and arranging was extraordinary. It's highly melodic with tasteful harmony parts and exquisite blowing by everyone on the dates.

The 12 tracks from Modern Music From Indiana University feature a reed ensemble comprised of three different configurations. The first includes Jerry Coker, Bob Cowart and Louis Ciotti (ts) Jack Coker (p) Monk Montgomery (b) and Charlie Mastropaolo (d). The second adds Freddy Fox and Roger Pemberton on baritone sax. And finally Al Kiger (tp) and Jim Hewitt (tb) sit in on selected tracks.

Coker's reed writing was so gorgeous you'll want to cry. Heartfelt and fully maximized, the arrangements have a sensitive passion for the harmonized saxophone sound while the musicians have a nimble Four Brothers feel. The players on the session were all students at Indiana University, where Coker had attended college.

Next are three tracks (Coker's "You'll Stay" and "Giggling Oysters" and Wayne Crabtree's "Water's Edge") that feature Coker in a quartet setting in San Francisco: Al Kiger (tp) Jerry Coker (ts) Eddie Duran (g) and Dean Reilly (b). A Mel Lewis Sextet track, 'Enry 'Iggins 'Ead, composed and arranged by Coker, includes Kentonites Ed Leddy (tp) Jerry Coker and Richie Kamuca (ts) Pepper Adams (bar) John Marabuto (p) Dean Reilly (b) and Mel Lewis (d).

This is followed by a Rudy Salvini Orchestra album called Intro to Jazz, recorded at the Sands Ballroom in Oakland, Calif., in November 1956. The band on these five tracks include Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen and Billy Catalano (tp), Van Hughes, Archie Lecoque, Chuck Etter and Ron Bertuccelli (tb), Charles Martin (as), Jerry Coker, Tom Hart and Howard Dudune (ts), Virgil Gonsalves (bar), John Marabuto (p), Dean Reilly (b) and John Markham (d), with arrangements by Jerry Cournoyer, Jerry Mulvihill and Coker.

There are two bonus tracks recorded in Paris in 1954 with groups that included members of Woody Herman's Third Herd: First, Coker's "Embarkation", with Cy Touff (b-tp), Jerry Coker (ts), Ralph Burns (p), Jimmy Gourley (g), Jean-Marie Ingrand (b) and Chuck Flores (d). And Coker's "Thanks for You", featuring Jerry Coker (ts), Ralph Burns (p), Jean-Marie Ingrand (b) and Chuck Flores (d).

Coker was masterful, and in an ideal, selfish world, he would have moved to Los Angeles, recorded dozens of albums in the studios and written for television. Then again, hundreds of fledgling jazz musicians studying at the various universities where Coker taught would be poorer for it. I'm just thankful we have what we have here. So gorgeous. *Marc Myers*

1 - Limehouse Blues

(Braham, Furber)

2 - Old Crinkletoes

(Jerry Coker)

3 - Opus #1

(Oliver, Garris)

4 - Red Kelly's Blues

(Jerry Coker)

5 - Nancy

(Van Heusen, Silvers)

6 - Kigeria

(Jerry Coker)

7 - You Gotta Show Me

(Brooks, Castle)

8 - It’s You Or No One

(Cahn, Styne)

9 - Jack's Acts

(Jerry Coker)

10 - This Is Always

(Warren, Gordon)

11 - Lost April

(DeLange, Newman, Spencer)

12 - Clare-ity

(Jerry Coker)

13 - You'll Stay

(Jerry Coker)

14 - Water's Edge

(Crabtree)

15 - Giggling Oysters

(Jerry Coker)

16 - 'Enry 'Iggins 'Ead

(Jerry Coker)

17 - Yesterdays

(Kern, Harbach)

18 - Wail For Patrick

(Jerry Coker)

19 - Boot's Boots

(Cournoyer)

20 - Topsy Returns

(Jerome Mulvihill)

21 - Smithsonian

(Jerome Mulvihill)

22 - Embarkation

(Jerry Coker)

23 - Thanks For You

(Hanighen, Wright)

#1 to #12: from the album Modern Music from Indiana University (Fantasy 3-214)

Jerry Coker, Bob Cowart, Lou Ciotti (out on #10) (tenor saxes); Roger Pemberton (baritone sax); Jack Coker (piano); Monk Montgomery (bass); Charles Mastropaolo (drums). 

#2, #3, #5, #6, #8, #9, #11, #12: Freddy Fox (added on baritone sax).

#6, #8: Al Kiger (added on trumpet).

#5, #11: Jim Hewitt (added on trombone).

Recorded at Indiana University, Bloomington, July 1955.

#13 to #15 : Jerry Coker Quartet - from the album Intro to Jazz (San Francisco Jazz JR-1)

Alan Kiger (trumpet), Jerry Coker (tenor sax), Eddie Duran (guitar), Dean Reilly (bass).

Recorded at the Sands Ballroom, Oakland, November 1956.

#16: Mel Lewis Sextet - from the album Got ‘Cha (San Francisco Jazz JR-2)

Ed Leddy (trumpet); Richie Kamuca, Jerry Coker (tenor saxes); Pepper Adams (baritone sax); Johnny Marabuto (piano); Dean Reilly (bass); Mel Lewis (drums).

Recorded at the Sands Ballroom, Oakland, November 20, 1956.

#17 to #21: Rudy Salvini Orchestra - from the album Intro to Jazz (San Francisco Jazz JR-1)

Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen, Billy Catalano (trumpets); Van Hughes, Archie Lecoque, Chuck Etter, Ron Bertuccelli (trombones); Charles Martin (alto sax); Jerry Coker, Tom Hart, Howard Dudune [#17, #19, #20, #21], Charles Peterson [#18] (tenor saxes); Virgil Gonsalves (baritone sax); John Marabuto (piano); Dean Reilly (bass); John Markham (drums).

Recorded at the Sands Ballroom, Oakland, November 1956.

#22: from the album The Third Herdmen Blow in Paris, Vol.2 (Vogue LD.205)

or also The Herdsmen Play Paris (Fantasy 3-201)

Cy Touff (bass trumpet), Jerry Coker (tenor sax), Ralph Burns (piano),  Jimmy Gourley (guitar), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954.

#23: from the album The Third Herdmen Blow in Paris, Vol.1 (Vogue LD.204)

or also The Herdsmen Play Paris (Fantasy 3-201)

Jerry Coker (tenor sax), Ralph Burns (piano), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954. 

The Third Herdmen Blow In Paris

These recording sessions respond to the stir generated in Paris among French fans and record producers by the visits of Woody Herman orchestra during their European tour in 1954. Some of the best band's soloists were engaged to record for the French label Vogue.

The Herdsmen recorded two 10'' albums, with personnel changing from one session to the other. The sessions included trumpeter Dick Collins, bass-trumpeter Cy Touff, tenorists Bill Perkins, Dick Hafer, and Jerry Coker, bassist Red Kelly, drummer Chuck Flores, and pianist Ralph Burns — the featured performer for the band’s European tour. Joining them were leading local jazzmen, such as pianist Henri Renaud, guitarist Jimmy Gourley, bass player Jean-Marie Ingrand and drummer Jean-Louis Viale. The sessions were all improvised, without too much time for preparation, but the recordings captured the freshness of the soloists, who all had a balling time. *Jordi Pujol*.

The Herdsmen

Play Paris

Early in 1954, Woody Herman took his Third Herd to Europe. This was the first time Herman had ever played overseas and it was the first time most of Europe had heard the Third Herd. Up until recently, its only records were on Woody’s own small label, Mars, which was not distributed throughout the continent. 

Dick Collins, the young Berkeley trumpet player who was, and is, one of the stars of the Third Herd was an old friend to Paris. He had gone there after World War II to study on the GI Bill under Darius Milhaud, the French composer with whom Dave Brubeck and other modern jazz men have studied at Mills College in Oakland, California. While Collins was in Paris in 1948 and ’49, he met Charles Delaunay, the French critic, author and recording executive and made several sides for him. So it was only natural that on Collins’ return, Delaunay would renew the acquaintance and take the opportunity to make further records.

For the first date, Delaunay assembled Collins, Cy Touff, Bill Perkins, Dick Hafer and Red Kelly from the Herman band and two French musicians, Henri Renaud and Jean-Louis Viale. Perkins describes the date this way: "Delaunay picked us up at the hotel about an hour after we flew in from Germany and rushed us to a real relaxed little upstairs studio and we went to work with nothing more than a few penciled lead sheets — no harmony parts were written as I remember. Although the French musicians did not speak English and viceversa, I remember that it struck me at the time how well we understood each other when it came to the music part of it. They put Cy up on a box to get the bell of his horn even with the mike". 

The second session was made just before the men left for home some weeks later. Coker was commissioned to write an original ("Embarkation") and Perkins recalls Jerry working hard on it backstage at the Vienna concert. Coker, Touff, drummer Chuck Flores and pianist Ralph Burns, who was on the European tour as a featured performer with the band, flew back to Paris to make the date and were joined by Jimmy Gourley, one of the leading French guitarists, and bassist Jean-Marie Ingrand. Burns, who is among the best known modern jazz arrangers and writers and who has done most of the Herman book including "Summer Sequence", is featured on piano. Burns wrote "Wetback on the Left Bank" for Flores, whose nickname is "Wetback". *Liner notes*

Bassist Red Kelly remembers the Woody Herman Third Herd’s triumphal tour of Europe in 1954: "We weren’t used to that kind of adulation. We were treated like rock stars are today. They tried to get the buttons off of our coats and all that stuff". The fans were not alone in their enthusiasm. The French critic and impresario Charles Delaunay herded several of Herman’s sidemen into a recording studio for two small-group sessions that illuminated the talents of saxophonist Bill Perkins, bass trumpeter Cy Toouff, trumpeter Dick Collins, pianist Ralph Burns, and other solist from the band, along with promiment French musicians. These Paris sessions give us stimulating extracurricular music by some of the talented young musicians Herman assembled during one of his greatest periods. *concord.com*

Side 1

01 - The Gypsy

(Billy Reid)

02 - Wetback On The Left Bank

(Ralph Burns)

03 - Embarkation

(Jerry Coker)

04 - Thanks For You

(Tim Whitton)

Side 2

05 - So What Could Be New?

(Tiny Kahn)

06 - Just 40 Bars

(Henri Renaud)

07 - Palm Cafe

(Henri Renaud)

08 - Pot Luck

(Johnny Mandel)

 #5, #6, #7, #8:

Dick Collins (trumpet); Cy Touff (bass trumpet); Bill Perkins, Dick Hafer (tenor saxes); Henri Renaud (piano); Red Kelly (bass); Jean-Louis Viale (drums).

Recorded in Paris, April, 23, 1954.

#1, #2, #3, #4:

Cy Touff (bass trumpet), Jerry Coker (tenor sax), Ralph Burns (piano), Jimmy Gourley (guitar), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954.

#1, #4, #5, #8 from The Third Herdmen Blow In Paris, Vol. 1

#2, #3, #6, #7 from The Third Herdmen Blow In Paris, Vol. 2