Jazz For The Screen ★ Stanley Wilson and Skip Martin

"Jazz in the Movies" Collection

•

Stanley Wilson 

The Music From "M Squad"

and

Skip Martin

The Music "Mike Hammer"

Mike Spillane's Mike Hammer stories were the 10-minute egg of hard-boiled crime fiction. The NBC television series, with Darren McGavin just a little too clean-cut as the tec, pulled a fair few punches, but the theme music didn't. Skip Martin's soundtrack packed a punch like a lead sap. M Squad was a Lee Marvin vehicle, usually driven at reckless speed, and you wouldn't have known where to put your money in a catchweight between Hammer and Lt. Frank Ballinger. There are some pretty good eggs in the studio bands here. The M Squad Theme was by Basie, of course, and a good few of the arrangements and themes by Benny Carter (nice alto playing, too), though Stanley Wilson took care of the rest with snap-brim professionalism.

This is the work that kept many a jazz guy solvent during the later 1950s and 1960s when the big bands weren't touring to any great extent and pop was beginning to hustle the market. It's inch-perfect, by-the-book arranging and playing, but the material is raw enough to give these cues a raw immediacy. Only a cynic draws a hard line between commercial music and art. If these were day-job gigs for West Coast musicians, no one got their cigar out till the shift was done. Hammer Blow sums it up perfectly. *Brian Morton (Jazz Journal)*

A few months ago, I stumbled across some very cool soundtracks from '60s Juvenile Delinquent movies such as College Confidential and Crime in the Streets that had guys like Maynard Ferguson and Conte Candoli in the studios delivering some wonderfully moody and hip sounds. The Spanish reissue label Fresh Sound Records just put out a couple more of these delights, and they're even better!

The Music from M Squad had the show starring Lee Marvin (or is it James Coburn? Were they twins?) backed by an orchestra conducted by Stanley Wilson performing tunes penned by Count Basie, Johnny Williams and Benny Carter. Carter plays alto here as well, along with Don Fagerquist (trumpet), Rosolino (trombone) and Alvin Stoller (drums) and Dick Nash (trombone) included in the studio orchestra. You're gonna LOVE the "M Squad Theme", and "The Juke Box" isn't too far behind. The music from Mickey Spillane's Mike Hammer is arranged and conducted by Skip Martin, and boasts a reed section of Bud Shank, Paul Horn, Gus Bivona, Ted Nash and Bob Cooper as well as a rhythm section of Larry Bunker (drums), Red Mitchell (bass), Jimmy Rowles (piano) and Barney Kessel (guitar). The band swings as crisply and as hard as anything that Woody Herman was doing at the time, and the solos, while short and to the point, snap like snow peas. You can feel the asphalt under your feet on "Lenox Avenue Strut" while the brew of Folgers is sniffed on "Coffee House". When did TV lose its musical edge? *George W. Harris (jazzweekly.com)*

Music from "M Squad"

Stanley Wilson

(Originally issued on RCA Victor LSP-2062)

1 - M Squad Theme

(Count Basie)

2 - The Chase

(Johnny Williams)

3 - The Search

(Benny Carter)

4 - Phantom Raiders

(Benny Carter)

5 - Lonely Beat

(Stanley Wilson)

6 - The Juke Box

(Benny Carter)

7 - The Mugger

(Benny Carter)

8 - The Discovery

(Johnny Williams)

9 - The Late Spot

(Stanley Wilson)

10 - The Cha-Cha Club

(Stanley Wilson)

11 - A Lady Sings The Blues

(Stanley Wilson, Sonny Burke)

12 - The End

(Johnny Williams)

Stanley Wilson (conductor)

#1, #2, #5, #9, to #12:

Ray Linn, Don Fagerquist, Maurie Harris (trumpets);

Joe Howard, Pete Carpenter, Dick Nash (trombones);

George Roberts (bass trombone); Benny Carter (alto sax);

John T. Williams (piano); Red Mitchell (bass);

Alvin Stoller (drums); Larry Bunker (bongos [#10]); 

Recorded at RCA Victor Studios, Hollywood, California, March 16 and 20, 1959

#3, #4, #6 to #8:

Frank Beach, Don Fagerquist, Maurie Harris (trumpets); 

Milt Bernhart, Frank Rosolino, Pete Carpenter (trombones);

George Roberts (bass trombone); Benny Carter (alto sax);

John T. Williams (piano); Joe Mondragon (bass); Alvin Stoller (drums).

Recorded at RCA Victor Studios, Hollywood, California, March 18, 1959

Music from "Mike Hammer"

Skip Martin

(Originally issued on RCA Victor LSP-2140)

13 - Riff Blues (Theme)

14 - Corn Pone Woman 

15 - Coffee House 

16 - Bad Guys 

17 - Black Night 

18 - Back Home 

19 - Night Crowd 

20 - Summer Mood 

21 - Like Mike 

22 - Morning After

23 - Lenox Avenue Strut

24 - Hammer Blow 

(All compositions by Skip Martin)

Lloyd "Skip" Martin (conductor)

#13, #14, #16, #18:

Conrad Gozzo, Don Fagerquist, Dale McMickle, Frank Beach (trumpets);

Dick Nash, Frank Rosolino, Dick Noel, Tommy Pederson (trombones);

Bud Shank, Paul Horn (alto sax, flute); Gus Bivona (clarinet, tenor sax);

Bob Cooper (tenor sax); Chuck Gentry (baritone sax); Jimmy Rowles (piano);

Barney Kessel (guitar); Red Mitchell (bass); Irv Cottler (drums); Ralph Hansell (tympani).

Recorded at RCA Victor Studios, Hollywood, California, September 21, 1959

#19, #20, #22, #24:

Pete Candoli, Don Fagerquist, Frank Beach (trumpets);

Dick Nash, Frank Rosolino, Dick Noel, Tommy Pederson (trombones);

Bud Shank, Ted Nash (alto saxes); Gus Bivona (clarinet, tenor sax);

Bob Cooper (tenor sax); Barney Kessel (guitar); Jimmy Rowles (piano);

Red Mitchell (bass); Larry Bunker (drums); Melbourne Pedesky (tympani).

Recorded at RCA Victor Studios, Hollywood, California, September 22, 1959

#15, #17, #21, #23:

Frank Beach (trumpet), Joe Howard (trombone), Paul Horn (alto sax),

Bob Cooper (tenor sax), Chuck Gentry (baritone sax), Richard Cornell (vibes),

Barney Kessel (guitar), Jimmy Rowles (piano), Red Mitchel (bass), Irv Cottler (drums).

Recorded at RCA Victor Studios, Hollywood, California, September 23, 1959

Jazz For The Screen ★ Johnny Williams and Lionel Newman

"Jazz in the Movies" Collection

•

Johnny Williams 

The Music From "Checkmate"

and

Lionel Newman

The Music From "Hong Kong"

John Williams' musical roots—like his credits—are impressive. Long before this highly skilled musician scored and conducted the acclaimed music of several of the most successful films of the last four decades—Star Wars, Jaws, Superman, Close Encounters of the Third Kind, The Empire Strikes Back, ET: The Extra-Terrestrial, Indiana Jones and the Last Crusade, The Accidental Tourist, Schlinder's List, Raiders of the Lost Ark, Return of the Jedi, etc.—he was an elegant and swinging young pianist as well as an ambitious arranger/composer in the jazz and pop fields. That work gained him recognition in the Hollywood entertainment and recording scenes of the Fifties, when all the "cats" called him Johnny. In 1961 he composed the haunting background music of the popular TV series Checkmate. The modern brass arrangements he conducted were played by the top West Coast jazz studio musicians.

From the same time, Hong Kong is an exciting album spotlighting background music from the 1961 TV show composed by Lionel Newman. The material combined the style and form of the racy Peter Gunn music with the sounds of the Orient, music played firstly in the Hollywood tradition of lush string and brass scoring and in its second half by a swinging jazz nonet featuring Frank Beach, Abe Most, Bob Cooper, Paul Smith and Larry Bunker, all under the direction of Newman, and scored by some of the most in-demand Hollywood arrangers. *Jordi Pujol*

When these TV film soundtracks were recorded more than five decades ago, you couldnt walk about Hollywood without bumping into a musician or three: jazz musicians, swing musicians, studio musicians, who could play almost anything you wanted and in whatever key. They gathered there in California like wasps round a jam jar, for this was where they could make a living irrespective of what kind of music they wanted to play. Among the personnel are many names from West Coast jazz lesser-known names like Conrad Gozzo who nevertheless played with Shorty Rogers and others, and the very familiar Jimmy Rowles, big band stylist and accompanist of Peggy Lee etc. These soundtracks made for two TV series give an idea of what these jazzmen (and non-jazzmen) were brought into the studios to accomplish. It was not always jazz-as-we-know-it.

But the selection written for Checkmate, while clearly fashioned to accompany cinematic action, has a great affinity to the big band sound which was on the wane outside in the real world. Its certain that some of these compositions would not have worked without the powerful interpretation of jazz-oriented brass players. The composer Johnny Williams had been active for years as a jazz pianist recording with Buster Bailey and Eddie Durham, for example. There are passages in En Passant, say, with a rousing French horn ensemble when his creative mind seems to remember its writing for Tinseltown. But overall this is composing and delivery which swing listeners would find satisfying and absorbing.

I find it hard to say the same about the Hong Kong tracks which, lumbered by a sizeable string section, come across largely as romantic/dramatic film music, but very professionally played. You can almost imagine the rustle of popcorn packets. Presenting it as jazz is optimistic. Nevertheless, some charts are arranged by Marty Paich and Billy May, showing how Hollywood helped the jazz economy. And (point of interest) I'd never heard of a mokkin before, a Japanese 16-key xylophone, played by vibist Larry Bunker. *Anthony Troon (Jazz Journal)*

Music from "Checkmate"

Johnny Williams

(Originally issued on Columbia CS 8391)

1 - Theme from Checkmate

2 - The Isolated Pawn

3 - Cyanide Touch

4 - Far Out Place

5 - Hassle In The Castle

6 - En Passant

7 - The Black Knight

8 - Fireside Eyes

9 - The Bishops Retreat

10 - Queens Sacrifice

11 - Shy Youth

12 - The King Swings

(All compositions by Johnny Williams)

#1, #2, #7, #10:

Conrad Gozzo, Pete Candoli, Olie Mitchell (trumpets); 

Vince De Rosa, Dick Perissi, John Cave (french horns); 

Dick Nash, Lloyd Ulyate, Dick Noel (trombones);

Ronny Lang, Ted Nash (ato sax, fute); Gene Cipriano (tenor sax, flute); 

Chuck Gentry (baritone sax); Jimmy Rowles (piano); Bob Bain (guitar);

Joe Mondragon (bass); Shelly Manne (drums); John F. Williams (percussion).   

Recorded at Columbia Records Studio, Hollywood, California, November 17, 1960 

#3, #5, #9, #12:

Conrad Gozzo, Pete Candoli, Olie Mitchell, Frank Beach (trumpets); 

Vince De Rosa, Dick Perissi, John Cave (french horns); 

Dick Nash, Lloyd Ulyate, Dick Noel (trombones);

Ronny Lang, Ted Nash (ato sax, fute); Gene Cipriano (tenor sax, flute); 

Chuck Gentry (baritone sax); Jimmy Rowles (piano); Bob Bain (guitar);

Joe Mondragon (bass); Shelly Manne (drums); John F. Williams (percussion). 

Recorded at Columbia Records Studio, Hollywood, California, December 1, 1960   

#4, #6, #8, #11:

Vince De Rosa, Dick Perissi (french horns); Dick Nash, Lloyd Ulyate (trombones);

Ronny Lang (flute); Jimmy Rowles (piano); Bob Bain (guitar);

Joe Mondragon (bass); Shelly Manne (drums); John F. Williams (percussion). 

Recorded at Columbia Records Studio, Hollywood, California, December 9, 1960

Music from "Hong Kong"

Lionel Newman

(Originally issued on ABC Paramount ABCS 367)

13 - Hong Kong

(Lionel Newman)

14 - Evans Theme

(Lionel Newman)

15 - Number One Girl

(Lionel Newman)

16 - Joanna

(Lionel Newman)

17 - The Jade Empress

(Frank Comstock)

18 - Blues For Evans

(Lionel Newman)

19 - Tullys Bar

(Lionel Newman)

20 - A Toast To Joanna

(Lionel Newman)

21 - Honorable Hong Kong Rock

(Billy May)

22 - Tully And Evans

(Lionel Newman)

23 - Chinesse Cha Cha

(Newman-Feller)

24 - Chop Chop Waltz

(Marty Paich)

#13 to #18:

Frank Beach, John Clyman, Bob Fowler (trumpets);

Vince DeRosa, Harry Schmidt, Fred Fox (french horns);

Hoyt Bohannon, Ray Klein, Marlo Imes (trombones);

Abe Most, Russ Cheever, Bill Ulyate, Morey Crawford (reeds);

Paul Smith (piano); Mike Rubin (bass); Richard Cornell (drums);

Dale Anderson, Ralph Collier, Harold Rees (percussion); Ann Stockton (harp); 

plus 10 violins, 2 violas, and 2 cellos unidentified  

#19 to #24:

Frank Beach (trumpet), Milt Bernhart (trombone),

Abe Most (alto sax), Bill Ulyate (bass clarinet, alto sax),

Bob Cooper (tenor sax), Larry Bunker (vibes, mokkin), Howard Roberts (guitar),

Mike Rubin [#21, #23, #24], Richard Cornell [#19, #20, #22] (drums). 

Recorded at United Recorders Studio, Hollywood, California,

November 2 (#13 to #18) and November 3 (#19 to #24), 1960

Jazz For The Screen ★ Pete Rugolo

Pete Rugolo

The Music From Richard Diamond

The character of Richard Diamond originated in 1949 as a radio drama created by writer and director Blake Edwards and starring Hollywood actor Dick Powell. On the radio, Diamond was a charismatic New York private investigator, a former police officer who had the unique quirk of playing the piano and singing to his girlfriend, Helen, at the end of each episode.  In 1957, Four Star Television (co-founded by Powell himself) adapted the formula for television, casting a young David Janssen in the lead role. While the show retained the core of the film noir hardboiled detective—cynical yet charming—the TV adaptation dropped the character's singing trait and evolved toward a more stylized tone tailored to the late-1950s crime drama aesthetic.

During its first two seasons on CBS, the series featured traditional background music scored by Frank De Vol. However, for its third season in 1959, the show underwent a major overhaul: it moved to NBC, relocated Diamond from New York to Los Angeles, and embraced a distinct West Coast atmosphere. Capitalizing on the commercial success Henry Mancini had achieved a year earlier with Peter Gunn, TV networks recognized that modern jazz provided the perfect sonic vehicle for private eye stories.

To lead this musical shift, the producers hired Pete Rugolo. Rugolo, renowned for his work with the Stan Kenton Orchestra and a key figure in West Coast jazz, assembled a top-tier group of Los Angeles session musicians in Hollywood recording studios. The resulting soundtrack featured biting brass arrangements, driving hard bop rhythms, and improvisations charged with dramatic tension. The LP released by Mercury Records in 1959 was not merely a collection of short background cues taken from the TV audio tracks. Instead, it offered expanded arrangements, specifically re-recorded with high-fidelity production for the commercial record market, ultimately becoming a classic of the crime jazz subgenre. 

Back in the early '30s, in Pittsburgh, I played trumpet, clarinet, and saxophone and led my own band. I've never lost my enthusiasm and enjoyment for jazz and I've followed, with undiminished interest, the development of modern American music and its creators.

When we at Four Star Films Inc. were planning the current Richard Diamond television series I insisted on live background jazz and I insisted on the best. We got the best. We got Pete Rugolo. Rugolo gained international acclaim with his compelling compositions for Stan Kenton. And for the last decade Rugolo has been the leader in his field. His distinctive scoring has been heard in every medium.

Pete's imaginative and stimulating music for the Richard Diamond television programs is both intensely expressive and exciting. The whole music world has such high respect for Rugolo's inventive scores. The music in this album represents some of his best work. 

*Dick Powell (from the liner notes)*

Side 1

1 - Richard Diamond Theme

2 - Diamond On The Move

3 - Fancy Meeting Karen (Love Theme From Richard Diamond)

4 - I'm Always Chasing Butterflies

5 - Who's Sam?

6 - All Star

Side 2

7 - The Teaser

8 - Ye Olde Curiosity Shape

9 - Teen Age Rock

10 - The Sleeve Job

11 - Does Mama Know You're Out?

12 - Richard Diamond's Blues

(All compositions by Pete Rugolo)

Pete Rugolo (arranger, conductor);

Pete Candoli [#1, #3, #5, #6, #9, #10, #12], Buddy Childers [#2, #4 to #8, #10, #11],

Don Fagerquist [#5, #6, #8, #10], Ray Linn [#2, #4, #7, #11], Mickey Mangano [#2, #4, #7, #11],

Ollie Mitchell [#1, #3, #9, #12], Jimmy Salko [#2, #4, #7, #11],

Joe Triscari [#1, #3, #5, #6, #9, #10, #12], Stu Williamson [#1, #3, #9, #12] (trumpets);

Frank Rosolino, Milt Bernhart [#1, #3, #5, #6, #9, #10, #12],

Francis "Joe" Howard [#1 to #4, #7, #9, #11, #12], (trombones); 

George Roberts  (bass trombone);

Vincent DeRosa [#5, #6, #8, #10], Claude Sherry [#2, #4, #7, #11] (french horns);

Paul Horn, Bud Shank (piccolo, flute, alto sax);

Buddy Collette (tenor saxophone, clarinet, flute [#2, #4, #7, #11]);

Bob Cooper (tenor saxophone, bass clarinet, flute);

Chuck Gentry [#1, #3, #9, #12], Dale Issenhuth [#2, #4 to #8, #10, #11] (baritone saxes);

Larry Bunker (vibes, percussion, bongos, xylophone [#2, #4 to #8, #10, #11]);

Bernie Mattison - vibes, percussion [#1, #3, #9, #12]); Jimmy Rowles (piano);

Al Viola (guitar); Edgar Lustgarten (cello);

Rollie Bundock [#2, #4, #7, #11], Red Mitchell [#1, #3, #5, #6, #9, #10, #12],

Phil Stephens [#2, #4 to #8, #10, #11] (basses);

Irving Kluger [#2, #4, #7, #11], Shelly Manne [#1, #3, #5, #6, #8 to #10, #12] (drums).

Recorded at United Recording Studios, Hollywood, California, March 10, 1959 (#1, #3, #9, #12), 

March 31, 1959 (#5, #6, #8, #10) and April 9, 1959 (tracks #2, #4, #7, #11)

[other source gives: March 12, 1959 (#1, #3, #9, #12), March 19, 1959 (#5, #6, #8, #10)

and March 20, 1959 (tracks #2, #4, #7, #11)]

Cool Blends (I) - A West Coast & Cool Jazz Collection

With this post, a new series begins, bringing together a selection of celebrated compilations from the world of Cool Jazz and West Coast Jazz. These albums, featuring recordings by various artists, offer different perspectives on one of the most distinctive and enduring chapters of modern jazz.

The journey will take us beyond the American scene that gave birth to these styles, reaching compilations issued in different parts of the world — from North America to Sweden, France and Germany — where the sound, spirit and aesthetics of Cool and West Coast Jazz found their own echoes and interpretations.

Much of the music featured here may already be familiar, and some recordings may even appear more than once across different volumes. But that is not really the point. The purpose of this series is to bring together these compilations as objects in their own right — coveted pieces of a collector's world, valued not only for the music they contain, but for the way that music was brought together, presented and preserved. Often elusive today, these records offer a fascinating view of the way Cool Jazz and West Coast Jazz have been rediscovered, celebrated and kept alive through carefully assembled collections issued over the years. 

Jazz West Coast

An Anthology Of California Music

◈ Jazz West Coast: The Pacific Jazz JWC Series ◈

Pacific Jazz was a small but remarkably important jazz label. It recorded many major artists and left behind a large body of music of great significance. Among the musicians who recorded early for Pacific Jazz were Chet Baker, Chico Hamilton, Bill Perkins, Jim Hall, Russ Freeman, Bob Gordon, Richie Kamuca, Joe Pass, and Clare Fischer—an impressive roster. The fact that many of the musicians appearing in the six albums of the Jazz West Coast series, now being issued commercially for the first time, come from this group illustrates the important role the label played in the jazz world.

The company that officially held the label, Pacific Jazz Enterprises, released records under three imprints: Pacific Jazz, World Pacific, and Jazz West Coast. Of these, Jazz West Coast was primarily used for special projects. However, there appears not to have been any strict division regarding which recordings—whether previously unreleased material or selections from the catalog—would appear on which label. That flexible approach is reflected in this Jazz West Coast series as well. Volumes 1 through 3 were produced under the Jazz West Coast imprint, while Volumes 4 and 5 appear under World Pacific.

The history of Pacific Jazz is, to a considerable extent, the history of its founder, Richard Bock. From 1949 to 1951 Bock worked as a promotion assistant at Discovery Records, helping launch early recordings by Mark Murphy and Art Pepper. After leaving Discovery and returning to Los Angeles in 1951 following his military service, his enthusiasm for jazz only grew stronger. During that summer he worked as a publicity assistant at The Haig, a jazz club located on the corner of Wilshire Boulevard and Kenmore Street in Hollywood.

Eventually he persuaded the club's owner, John Bennett, to allow him to produce Monday night jam sessions when the club was otherwise closed. Around that same time Gerry Mulligan arrived from New York. Having just come to the West Coast, Mulligan was asked by Bock to lead the jam sessions while Bock continued working at the club.

Bock borrowed a trailer and a tape recorder from Roy Harte, the owner of the Drum City music shop. On June 10, 1952, he recorded several performances by the early Gerry Mulligan Trio. Mulligan met Chet Baker on June 16 during one of the Monday night jam sessions at The Haig. Mulligan and Baker immediately began playing together, and by July 7 they had already completed their first recording session.

On August 9 Bock again borrowed Harte's trailer and recorded two numbers by the Mulligan Quartet with trumpet at a bungalow Mulligan was renting in the Hollywood Hills. These performances were released in the fall as Pacific Jazz's forty-fifth single release, marking the label's first step into the recording business.

The overwhelming success of that single enabled the Mulligan Quartet to secure a regular engagement at The Haig, where the group ultimately performed six nights a week for half a year. Bock happened to be in the right place at the right time, but his success was not simply a matter of luck. Even before the music had been labeled "West Coast Jazz", he sensed that it represented something distinctive. He possessed the insight, imagination, and entrepreneurial energy necessary to recognize and capture the essence of this new style.

Together with Roy Harte, who ran the Drum City instrument shop, Bock established a temporary office in September 1952 inside the store at 6124 Santa Monica Boulevard in Hollywood. Soon afterward, after receiving advance payment from the first shipment of Mulligan records, he hired Don Woodford as his assistant in February 1953.

The shop occupied the first floor, and the offices of the new record company were set up on the second. In 1954, when street work was completed in front of the building, the editorial offices of Metronome magazine—located directly across the street—moved to 7614 Melrose Avenue.

Meanwhile, the second Mulligan group began recording for Pacific Jazz. After playing for a year with Mulligan's group, Chet Baker formed his own quartet with Russ Freeman on piano. The Baker group's first recording session took place on July 15, and that record also proved highly successful.

In August 1956 Dick Bock, Richard Bock's younger brother, joined Pacific Jazz as vice president. Previously he had operated a record store called Rare Records and had worked as an editor for jazz magazines such as Jazz Review and Tempo, while also producing local jazz concerts.

Recordings by both the Mulligan Quartet and the Chet Baker Quartet continued to sell well, and the emergence of long-playing LP records further boosted the company's growth. In 1956 Pacific Jazz moved its offices to 8258 Sunset Boulevard. In 1959 it relocated again to 8715 West Third Street, which became its final office location. In 1966 the company was sold to Liberty Records, and both Richard and Dick Bock moved there along with the label.

The Jazz West Coast series, an anthology of recordings from that era, was originally planned as a special set intended to introduce the outstanding artists associated with Pacific Jazz. Rather than restricting itself solely to the label's own musicians, however, the series also included performances by artists from other companies.

One difficulty arose with Volume 1, which contained alternate takes and material that had not previously been released. For listeners who purchased the anthology to play at home, it was often difficult to determine which performances were previously issued and which were not.

To avoid confusion among collectors and discographers—for example, a solo from one take being mistaken for another take—it was ultimately decided that the series should not include previously unreleased material.

Volume 1 of Jazz West Coast carries the subtitle Anthology of California Music, accompanied by an explanatory note stating:

"The music collected here represents the true essence of the jazz being created on the West Coast. By presenting representative performances by each artist, the album aims to offer both devoted jazz fans and general listeners a varied program that conveys the best of contemporary jazz".

The album could also be enjoyed as background music for the photographic book Jazz West Coast, published in 1955 by Lear Publications, an affiliate of Pacific Jazz, which featured some of William Claxton’s finest photographs.

The book included ten photographs in a portfolio measuring approximately 10.5 by 13.5 inches (27 by 34 centimeters). By sending two dollars directly to Pacific Jazz, listeners could obtain a copy.

However, the cost of printing Claxton's photographs turned out to be higher than expected, and Pacific Jazz neglected to include postage in the price. As a result, the project ended up producing a considerable financial loss.

Another innovative sales strategy introduced by Pacific Jazz was the "World Pacific 3 for 1" plan. Inside World Pacific's 12-inch albums there was a coupon printed on the inner sleeve. By collecting three coupons and sending them in along with one dollar to cover packaging and postage, listeners could receive one of twelve specially prepared albums from the label.

Thanks to this sales plan, many records that were otherwise difficult to obtain unexpectedly found their way into the hands of jazz fans, and the program was very well received.

The author of these notes also obtained several Pacific Jazz, World Pacific, and Jazz West Coast albums through this method—including the third volume of Jazz West Coast, which contained famous performances of "Old Devil Moon" and "Little Girl" that at the time were nearly impossible to find.

Thus this complete Jazz West Coast collection, offering a panoramic view of the Los Angeles jazz scene from 1953 to 1959 from the perspective of Pacific Jazz, is a set that will surely provide new pleasures and discoveries even for the most knowledgeable jazz fans.

Please enjoy listening to it. *Todd Selbert (from the Japanese liner notes)*

Jazz West Coast

Volume 1

(Pacific Jazz JWC-500)

The music enclosed here gathers together a sampling of the cream of the West Coast crop, presenting them in selections that typify their finest efforts, and offering the jazz follower—dedicated or casual—a varied program of current jazz at its best. This anthology of West Coast jazz was compiled both as a companion piece for the book of photographs called JAZZ WEST COAST and as a progress report on California jazz activity as it stands in 1955.

Jazz on the West Coast in the first half of the 'fifties has enjoyed a status it has seldom experienced in any time or any city. It's probably unnecessary to enlighten most non-coastal residents as to this boom, but for those few still foggy about what has been happening on the western front, reference is made to the introduction of the picture book JAZZ WEST COAST which outlines at greater length the causes and characteristics of this internationally recognized movement. (Portions of that introduction were adapted for use here).

Very nearly every key figure in West Coast jazz (and JAZZ WEST COAST, the book) is represented here. While it is interesting to speculate as to whether these musicians can be grouped into a musical school of thought, that is not one of the limitations placed on selection. The chances are, history will reveal that there is a West Coast School; a group of musicians playing calmer, gentler jazz, placing at least as much emphasis on writing as on soloing. But the task of definitive summation is left to later years or less biased observers. It is hoped that by disclaiming any restrictions of School we may by-pass much of the clamor about presumptuous inclusion of musicians commonly associated with other areas. Easterners will spot many of their old stand-bys; the fact remains that this music was recorded in Los Angeles by musicians in residence here, and to that extent the label "Jazz West Coast" is meaningful.

Wherever possible—happily, in every case but one—new performances were used to represent the groups. In many instances of course, the arrangements themselves have been offered before, but as even the newest jazz listener knows, the essence of jazz is in the soloing, and where material does overlap that simply adds a bonus opportunity for comparison of soloist approach.

Wherever possible—happily, in every case but one—new performances were used to represent the groups. In many instances of course, the arrangements themselves have been offered before, but as even the newest jazz listener knows, the essence of jazz is in the soloing, and where material does overlap that simply adds a bonus opportunity for comparison of soloist approach.

*Will MacFarland (from the liner notes)*

1 - Bockhanal

(Jack Montrose)

Chet Baker Ensemble

Chet Baker (trumpet), Herb Geller (alto sax),

Jack Montrose (tenor sax), Bob Gordon (baritone sax),

Russ Freeman (piano), Joe Mondragon (bass), Shelly Manne (drums).

Recorded on December 14, 1953

2 - Soft Shoe

(Gerry Mulligan)

Gerry Mulligan Quartet

Jon Eardley (trumpet), Gerry Mulligan (baritone sax),

Red Mitchell (bass), Chico Hamilton (drums).

Recorded on November 12, 1954

3 - Tiny Capers

(Clifford Brown)

Clifford Brown Ensemble

Clifford Brown (trumpet), Stu Williamson (valve trombone),

Zoot Sims (tenor sax), Bob Gordon (baritone sax),

Russ Freeman (piano), Carson Smith (bass), Shelly Manne (drums).

Recorded on August 13, 1954

4 - I'll Remember April

(Gene DePaul, Don Raye, Patricia Johnson)

Zoot Sims Quartet

Zoot Sims (tenor sax), Bob Brookmeyer (piano),

Red Mitchell (bass), Larry Bunker (drums).

Recorded on December 14, 1954

5 - Wailing Vessel

(Bob Cooper)

Bud Shank And 3 Trombones

Bob Enevoldsen (valve trombone), Maynard Ferguson (valve trombone),

Stu Williamson (valve trombone), Bud Shank (alto sax),

Claude Williamson (piano), Joe Mondragon (bass), Shelly Manne (drums).

Recorded on June 22, 1954

6 - Happy Little Sunbeam

(Russ Freeman)

Chet Baker Quartet

Chet Baker (trumpet), Russ Freeman (piano),

Carson Smith (bass), Larry Bunker (drums).

Recorded in July 1953

7 - It Had To Be You

(Isham Jones, Gus Kahn)

Bill Perkins And Bud Shank

Bill Perkins (tenor sax), Bud Shank (tenor sax),

Hampton Hawes (piano), Red Mitchell (bass), Mel Lewis (drums).

Recorded on May 2, 1955

8 - Low Life

(Johnny Mandel)

Bud Shank And Bob Brookmeyer

Bob Brookmeyer (valve trombone), Bud Shank (alto sax),

Claude Williamson (piano), Buddy Clarke (bass), Larry Bunker (drums).

[and strings]

Recorded on January 7, 1955

9 - There Will Never Be Another You

(Harry Warren, Mack Gordon)

Chet Baker Quintet

Chet Baker (trumpet), Jimmy Giuffre (clarinet),

Russ Freeman (piano), Carson Smith (bass), Bob Neel (drums).

Recorded on February 15, 1954

10 - Lotus Bud

(Shorty Rogers)

Bud Shank And Shorty Rogers

Shorty Rogers ( flugelhorn), Bud Shank (flute),

Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drums).

Recorded in March 1954

11 - Darn That Dream

(James Van Heusen, Eddie De Lange)

Gerry Mulligan Quartet

Chet Baker (trumpet), Gerry Mulligan (baritone sax),

Carson Smith (bass), Larry Bunker (drums).

Recorded in April 1953

12 - Speak Low

(Ogden Nash, Kurt Weil)

Laurindo Almeida Quartet

Bud Shank (alto sax), Laurindo Almeida (guitar),

Harry Babasin (bass), Roy Harte (drums).

Recorded on April 22, 1954

13 - Two Can Play

(Jack Montrose)

Bob Gordon And Jack Montrose

Jack Montrose (tenor sax), Bob Gordon (baritone sax),

Paul Moer (piano), Joe Mondragon (bass), Billy Schneider (drums).

Recorded on May 27, 1954

14 - Oh, Lady Be Good

(George and Ira Gershwin)

Lee Konitz With Gerry Mulligan Quartet

Chet Baker (trumpet), Lee Konitz (alto sax), Gerry Mulligan (baritone sax),

Joe Mondragon (bass), Larry Bunker (drums).

Recorded on June 10, 1953

◈◈◈

Jazz West Coast

Volume 2

(Pacific Jazz JWC-501)

AT THE BEHEST OF THE INTERNATIONAL JAZZ CUSTOMER, Pacific Jazz puts together another anthology of choice music by its grand stable of recording artists. The album turns out to be something of a windfall, for several reasons:

There's been a growing impatience on the part of collectors generally with over-grown single-artist jazz albums. With twice twelve inches to fill, the charms of even the most versatile jazzman tend to pall. Right off the bat this album, being an anthology, eliminates >that< problem.

A second advantage is that the collection isn't a "retrospective"; it's the "sampler" type, made up of new music. All the selections are from albums concurrent with this one. In other words, some of the tracks represent albums release just ahead of this one, and for the rest of the tracks, the first airing. So the collection can serve as a sort of treasure map to some worthwhile issues which might otherwise give you the slip, what with the present market's glut.

Then too, the general high quality of the sides bespeaks an admirable depth-on-the-bench that the company has built up when it comes to well-recorded, high-spirited performances. The album emerges—in the last analysis, and source-book qualities aside—as a highly absorbing and useful amalgam of good music by some of the cleverest of today's jazzmen.

*Will MacFarland (from the liner notes)*

1 - Bag Of Blues

(Bob Cooper)

Bud Shank Quartet

Bud Shank (alto sax), Claude Williamson (piano),

Don Prell (bass), Chuck Flores (drums).

Recorded on January 25, 1956

2 - Summertime

(George Gershwin, D. B. Heyward)

Chet Baker Quartet

Chet Baker (trumpet), Gerard Gustin (piano),

Jimmy Bond (bass), Bert Dale (drums).

Recorded on November 24, 1956

3 - Topsy

(E. Durham, E. Battle)

Chico Hamilton Quintet

Buddy Collette (tenor sax), Jim Hall (guitar),

Carson Smith (bass), Fred Katz (cello), Chico Hamilton (drums).

Recorded on February 13, 1956

4 - Easy Living

(L. Robin, R. Rainger)

Bill Perkins Quintet

Bill Perkins (tenor sax), John Lewis (piano),

Jim Hall (guitar), Percy Heath (bass), Chico Hamilton (drums).

Recorded on February 10, 1956

5 - Line For Lyons

(Gerry Mulligan)

Gerry Mulligan Quartet

Bob Brookmeyer (valve trombone), Gerry Mulligan (baritone sax),

Red Mitchell (bass), Frank Isola (drums).

Recorded on June 1, 1954

6 - Song Of The Islands

(Charles King)

Bill Perkins Octet

Stu Williamson (trumpet), Carl Fontana (trombone), Bud Shank (alto sax),

Bill Perkins (tenor sax), Jack Nimitz (baritone sax),

Russ Freeman (piano), Red Mitchell (bass), Mel Lewis (drums).

Recorded on February 9, 1956

7 - I Hear Music

(Frank Loesser, B. Lane)

Hampton Hawes Trio

Hampton Hawes (piano), Red Mitchell (bass), Mel Lewis (drums).

Recorded on May 2, 1955

8 - Bojangles Of Harlem

(Jerome Kern, Dorothy Fields)

Russ Freeman Quartet

Bud Shank (alto sax), Russ Freeman (piano),

Carson Smith (bass), Shelly Manne (drums).

Recorded on February 19, 1956

9 - Contour

(Kenny Drew)

Jack Sheldon Quintet

Jack Sheldon (trumpet), Joe Maini (alto sax), Kenny Drew (piano),

Leroy Vinnegar (bass), Lawrence Marable (drums).

Recorded on November 18, 1955

10 - It's Sand'Man

(E. Lewis)

Cy Touff Quintet

Cy Touff (trumpet), Richie Kamuca (tenor sax),

Pete Jolly (piano), Leroy Vinnegar (bass), Chuck Flores (drums).

 Recorded on December 5, 1955

◈◈◈

Jazz West Coast

Volume 3

(Pacific Jazz JWC-507)

The term "West Coast Jazz" began (and no one at this point seems willing to assume credit) rather surreptitiously several years ago as a somewhat confusing means of identifying a group of jazz musicians whose base of operations was, more often than not, the Los Angeles area. It took but a slight twist to make this "Jazz West Coast", and at the same time the name of a record label. The purpose was less to exploit jazz from Hollywood than to exploit the already overexploited term. Or to put it more directly, "West Coast Jazz" (or Jazz West Coast if you prefer) had been bandied about to the degree that it had become a familiar, and therefore useful, phrase. Useful, I might add, in expanding favor for contemporary jazz in general. If you are occasionally bewildered to find a musician from Cleveland or Chicago performing in the company of some "west coast" musicians, and worse still, under the banner of a record label that further substantiates your suspicions, be not dismayed — it's simply the spirit of American Free Enterprise manifesting itself.

But seriously, by far the most important consideration in all cases is the quality of the performances regardless under what or whose banner they appear. The play's the thing! With this in mind and pigeon holes temporarily plugged, JAZZ WEST COAST VOLUME THREE brings the music fan another collection of hand picked performances, each one a favorite of ours held in reserve until now. Aside from that, they appear here because of a special satisfying quality they have in common. These ten performances were not, as is generally the case, recorded for this album specifically. Instead they are the highlights from an assortment of record dates that were produced during the past year, performances that in retrospect have held their luster when viewed from the distance of many months.

It would be misleading and altogether dictatorial to firmly announce that these are the best we have to offer, the most challenging, or the most likely to succeed. One man's meat is still another man's poison, as the saying goes. But the antidote here is repeated and careful listening. They are among the most difficult to forget — and this, after all, may very well be the real test of good music. *Woody Woodward (from the liner notes)*

1 - There Will Never Be Another You

(Gordon, Warren)

Gerry Mulligan Sextet

Jon Eardley (trumpet), Bob Brookmeyer (valve trombone), Zoot Sims (tenor sax),

Gerry Mulligan (piano), Red Mitchell (bass), Larry Bunker (drums).

Recorded on December 14, 1954

2 - Mr. Smith Goes To Town

(Carson Smith)

Chico Hamilton Quintet

Paul Horn (clarinet), John Pisano (guitar),

Fred Katz (cello), Carson Smith (bass), Chico Hamilton (drums).

Recorded in October 1956

3 - Polka Dots And Moonbeams

(Burke, Van Heusen)

Bud Shank Quartet

Bud Shank (flute), Claude Williamson (piano, celeste),

Don Prell (bass), Chuck Flores (drums).

Recorded in November 1956

4 - Old Croix

(Art Pepper)

Art Pepper Quartet

Art Pepper (alto sax), Pete Jolly (piano),

Leroy Vinnegar (bass), Stan Levey (drums).

Recorded on July 28, 1956

5 - Little Girl

(Henry, Hyde)

Chet Baker Sextet

Chet Baker (trumpet), Art Pepper (alto sax), Richie Kamuca (tenor sax),

Pete Jolly (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded on July 28, 1956

6 - Love Nest

(Hirsch, Harback)

Russ Freeman • Chet Baker Quartet

Chet Baker (trumpet), Russ Freeman (piano),

Leroy Vinnegar (bass), Shelly Manne (drums).

Recorded on November 6, 1956

7 - Sweet Georgia Brown

(Bernie, Casey, Pinkard)

Bud Shank • Bob Brookmeyer Quintet

Bud Shank (flute), Bob Cooper (oboe),

Howard Roberts (guitar), Don Prell (bass), Chuck Flores (drums).

Recorded on November 29, 1956

8 - Things Ain't What They Used To Be

(Mercer, Ellington)

Jim Hall Trio

Carl Perkins (piano), Jim Hall (guitar), Red Mitchell (bass).

Recorded in January 1957

9 -Too Marvelous For Words

(Whiting, Mercer)

 Phil Urso • Bob Burgess Quintet

Phil Urso (alto sax), Bob Burgess (trombone),

Bobby Timmons (piano), James Bond (bass), Peter Littman (drums).

Recorded on October 18, 1956

10 - Brother Can You Spare A Dime

(Harburg, Gorney)

Russ Freeman • Bill Perkins Quintet

Bud Shank (alto sax), Bill Perkins (tenor sax),

Russ Freeman (piano), Carson Smith (bass), Shelly Manne (drums).

Recorded on February 15, 1956

◈◈◈

Jazz West Coast

Volume 4

(Pacific Jazz JWC-510)

Another admirable anthology of the best from the West. Nine tracks led by Art Pepper, Chet Baker, Chico Hamilton, Bud Shank, Bill Perkins et al. Though it's often alleged tha some of the Californians' sounds and souls have shriveled and shrunk under the Pacific sun, many retain a commendable vigor. Best tracks are Five Minutes More featuring F. Gambrell's piano; Jersey Bounce by the Mulligan Quartet; and a cut-down version, from his Street Swingers album, of Bob Brookmeyer's Musicale Du Jour, recorded in that fabulous West Coast city, New York. No liner notes an adequate tabulation of data. *Leonard Feather (Hi-Fi Music At Home, January 1959)*

Anthologies of this sort are difficult to appraise and rate, primarily because of the disparate approaches involved. The rating indicates the over-all level of artistic merit present, in terms of the high and low points among the 10 tracks.

The opener, Shorty Rogers' Popo by Art Pepper's Nine is generally light and pleasant, with solos of value from Pepper, Holman, and Freeman. The Baker quintet performs Urso's attractive Extra Mild in appealing fashion; Urso and Timmons contribute effective solos. The Perkins quartet is perfunctory in its approach to Dime. The Mulligan quartet, with Baker, offers an inconsistent Bounce. The Mariano-Dodgion Till We Meet Again is poor.

Cooper and Shank present a superficial Romantic Guy. The Brookmeyer track, a Street Swingers performance, is excellent, containing wit and meaning. On the Hamilton trio track, Gambrell manifests considerable potential, although he appears hampered by a rhythm background that is not consistently compatible. Shank, on tenor, offers a lovely interpretation of Rainbow. The Mastersounds conclude the set with a pulsating Paradise, which includes several pointed solos.

The Pepper, Baker, Brookmeyer, Gambrell, and Mastersounds tracks are worth hearing. And Jimmy Rowles does much to enhance the value of the tracks on which he appears; I’d like to hear a solo album by him. In general, this is an adequate sampling of contemporary jazz, manifesting the flaws and virtues inherent in it, regardless of coastal location.

*Don Gold (Down Beat, November 13, 1958)*

1 - Popo

(Shorty Rogers)

The Art Peppet Nine

Don Fagerquist (trumpet), Stu Williamson (valve trombone),

Art Pepper (alto sax), Bill Holman (tenor sax),

Bud Shank (baritone sax), Red Callendar (tuba),

Russ Freeman (piano), Monty Budwig (bass), Shelly Manne (drums).

Recorded on August 12, 1957

2 - Extra Mild

(Phil Urso)

The Chet Baker Quintet

Chet Baker (trumpet), Phil Urso (tenor sax),

Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums).

Recorded on July 25, 1956

3 - Ain't Got A Dime To My Name

(Burke, Van Heusen)

The Bill Perkins Quartet

Bill Perkins (tenor sax), Jimmy Rowles (piano),

Leroy Vinnegar (bass), Mel Lewis (drums).

Recorded in May 1958 

4 - Jersey Bounce

(Fayne, Plater, Johnson)

The Gerry Mulligan Quartet

Chet Baker (trumpet), Gerry Mulligan (baritone sax),

Henry Grimes (bass), Dave Bailey (drums).

Recorded in December 1957

5 - Till We Meet Again

(Egan, Whiting)

The Mariano • Dodgion Sextet

Charlie Mariano (alto sax), Jerry Dodgion (alto sax), Jimmy Rowles (piano),

Victor Feldman (vibes), Monty Budwig (bass), Shelly Manne (drums).

Recorded in December 1957

6 - A Romantic Guy, I

(Frank Stanton)

Bud Shank • Bob Cooper Quintet

Bud Shank (alto sax, flute), Bob Cooper (tenor sax, oboe),

Claude Williamson (piano), Don Prell (bass), Chuck Flores (drums).

Recorded on February 19, 1958

7 - Musicale Du Jour

(Bob Brookmeyer)

Bob Brookmeyer Quintet

Bob Brookmeyer (valve trombone, piano), Jim Hall (guitar),

Jimmy Raney (guitar), Bili Crow (bass), Osie Johnson (drums).

Recorded in December 1957

8 - Five Minutes More

(Cahn, Styne)

The Chico Hamilton Trio

Freddie Gambrell (piano), Ben Tucker (bass), Chico Hamilton (drums).

Recorded in March 1958

9 - Over The Raibow

(Arlen, Harburg)

 The Bud Shank Quartet

Bud Shank (tenor sax), Claude Williamson (piano),

Don Prell (bass), Chuck Flores (drums).

Recorded in November 1957

10 - Stranger In Paradise

(Wright, Forrest)

The Mastersounds

Riche Crabtree (piano), Buddy Montgomery (vibes), Wes Montgomery (guitar),

Monk Montgomery (Fender electric bass), Benny Barth (drums).

Recorded on April 22, 1958

◈◈◈

Jazz West Coast

Volume 5

(Pacific Jazz JWC-511)

The "Jazz West Coast" series has, since the summer of 1955, served as a sort of annual report of jazz activities in America’s western-most extremity. This is the fifth in that series and while no one record company can presume to represent every artist and every aspect of regional activity, we do believe that this series is successful in supplying a kind of musical thumb-nail-sketch of the recent trends and development on the West Coast.

Not all (few in fact) of the artists here represented are native to California. Just as jazz is a migratory occupation, so too are most of its practitioners migratory. The artists heard here have come from all over the United States (one, Annie Ross was born in Surrey, England—another, Laurindo Almeida, is from Brazil). Regardless of their birth place or their present state allegiance, all have contributed recently to the California jazz scene and therefore qualify to be included here.

If the variety of performance and styles seem broader than before, it is because "West Coast Jazz" has lost some of its more stylized aspects and gained in individuality. It is more difficult to pigeon-hole "West Coast Jazz" now that it involves a large number of performers than when it represented a half-dozen or so. The size of the groups range from the quartets of The Mastersounds, Freddie Gambrell, Bud Shank, Paul Horn and Russ Freeman to the sixteen piece Buddy Bregman band. The styles span the gamut from the familiar Shorty Rogers' arrangement (Art Pepper Nine) and the Chico Hamilton Quintet sound to the fresh and invigorating words-set-to-jazz phenomenon that is Jon Hendricks, Dave Lambert and Annie Ross. Their "Airegin" closes the album leaving the listener with the distinct suspicion that jazz is best when it is fun.

If any broad generality can be made, it is that jazz from the West Coast is hardly ever humorless—even when it’s performed by Easterners. Maybe it's the smog.

*Woody Woodward (from the liner notes)*

1 - Power Duff

(Shorty Rogers)

The Art Pepper Nine

Don Fagerquist (trumpet), Stu Williamson (valve trombone),

Art Pepper (alto sax), Bill Holman (tenor sax),

Bud Shank (baritone sax), Red Callendar (tuba),

Russ Freeman (piano), Monte Budwig (bass), Shelly Manne (drums).

Recorded on August 12, 1957

2 - You're Driving Me Crazy

(Walter Donaldson)

The Zoot Sims • Russ Freeman Quintet

Zoot Sims (tenor sax), Russ Freeman (piano),

Billy Bean (guitar), Monte Budwig (bass), Mel Lewis (drums).

Recorded in March 1959

3 - Stompin' At The Savoy

(Goodman, Webb, Sampson)

The Mastersounds

Richie Crabtree (piano), Buddy Montgomery (vibes),

Monk Montgomery (Fender electric bass), Benny Barth (drums).

Recorded on April 11, 1959

4 - Hot Toddy

(Benny Carter)

The Freddie Gambrell Quartet

Freddie Gambrell (piano), Ben Tucker (bass),

Ray Mosca (drums), Armando Peraza (conga drums).

Recorded in 1959

5 - It's All Right With Me

(Cole Porter)

The Buddy Bregman Band

Buddy Bregman (arranger, leader), Al Porcino (trumpet), Ray Triscari (trumpet),

Stu Williamson (trumpet), Conti Candoli (trumpet), Frank Rosolino (trombone),

Joe Howard (trombone), George Roberts (trombone), Lloyd Ulate (trombone),

Bob Cooper (alto sax), Richie Kamuca (tenor sax), Bill Holman (tenoir sax),

Bill Perkins (baritone sax), Russ Freeman (piano), Jim Hall (guitar),

Monte Budwig (bass), Mel Lewis (drums).

Recorded in 1959

6 - 'Round About Midnight

(Monk, Hanighen, Williams)

The Bud Shank Quartet

Bud Shank (flute), Laurindo Almeida (guitar),

Garry Peacock (bass), Chuck Flores (drums).

Recorded in March 1958 

7 - Joe's Tune

(Joe Narren)

The Paul Horn Four

Paul Horn (flute), Gene Estes (vibes),

John Pisano (guitar), Lyle Ritz (bass).

Recorded in 1959 

8 - Invitation To The Blues

(Roberts, Fisher, Gershwin)

The Russ Freeman Quartet

Russ Freeman (piano), Billy Bean (guitar),

Monte Budwig (bass), Mel Lewis (drums).

Recorded in March 1959 

9 - "A" Train & Perdido

(Strayhorn, Tizol, Drake, Lengsfelder)

The Chico Hamilton Quintet

Paul Horn (alto sax), Buddy Collette (tenor sax), Jim Hall (guitar),

Fred Katz (cello), Carson Smith (bass), Chico Hamilton (drums).

Recorded in January 1959

10 - Airegin

(Hendricks, Rollins)

Lambert, Hendricks And Ross 

Jon Hendricks, Dave Lambert, Annie Ross (vocals);

Zoot Sims (tenor sax); Russ Freeman (piano);

Freddie Green (guitar); Ed Jones (bass); Sonny Payne (drums).

Recorded in March 1959 

◈◈◈

Five-Star Collection... Bud Shank

Bud Shank Quintet

Compositions Of Shorty Rogers

The purposes and aims of Nocturne's "Jazz in Hollywood" series have led to this presentation, featuring a group of musicians who have figured prominently in the Hollywood jazz vista. Bud Shank, brilliant ex-Kenton altoist, is featured, with a quintet made of Shorty Rogers, flugle horn and trumpet, Jimmy Rowles, piano, Harry Babasin, bass, and Roy Harte, drums, in a group of hitherto unrecorded originals by Shorty Rogers, the result being another excellent example of "Jazz in Hollywood". 

(...)

In 1953, [Bud Shank] appearing and recording with Shorty Rogers, Shelly Manne, Barney Kessel, Laurindo Almeida, Howard Rumsey’s Lighthouse All-Stars, and many others, Bud has definitely established himself as one of Hollywood's top jazz stars, of whom we are all destined to hear much. 

Among Hollywood's musicians, Shorty Rogers probably has contributed more to the jazz scene than any other who could be mentioned. Well-known talents, his swinging trumpet and writing styles, are again asserted herein, as are lesser-known talents on flugle horn and in a sensitive ballad conception. 

Rowles, Babasin, and Harte, as in Herbie Harper Quintet Album (NLP 1), again furnish that relaxed rhythmic support so conducive to sincere jazz effort. *(fom the liner notes)*

Nocturne's second LP is a joy unto the ears. First of all, it demonstrates further how excitingly inventive an altoist Bud Shank has become. And in his well-controlled, full-toned flutework on Lotus Bud, Shank indicates that he and Frank Wess would seem to be the leading contenders for the jazz flute diadem. On the other end of the front line is Shorty Rogers, blowing with his usual skilled enthusiasm and newly disclosing an incisive mastery of the flugel horn. The rhythm section (Roy Harte, Harry Babasin, and Jimmy Rowles) are as dynamically attuned as the front line, and Rowles' piano solos are always stimulating and economically conceived.

All of the tunes were written by Shorty. Thematically I prefer the slowly unfolding lines of Jasmine and Lotus Bud, but the casual figures of the up-tempo numbers lend themselves swingingly to ad lib elaboration, and Casa de Luz has particular, sharp distinction. The expressive gamut of this group is worth contrasting with the Mulligan and Baker units. There is no aura of the fragile glasshouse here. Recording is good; engineering is by John Neal. Whether there is such an entity as "west coast jazz" or not, this is fine work by any definition, geographical or just musical.

*Nat Hentoff (Down Beat, June 2, 1954 [5 stars])*

Side 1

1 - Casa De Luz

2 - Lotus Bud

3 - Left Bank

Side 2

4 - Shank's Pranks

5 - Jasmine

6 - Just A Few

(All compositions by Shorty Rogers)

Bud Shank (alto fute, ato sax), Shorty Rogers (flugelhorn),

Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drums).

Recorded at Western Recorders, Hollywood, California, March 25, 1954

Liberty Records • Jazz in Hollywood Series (XI)

Ted And Dick Nash

The Brothers Nash

✤Liberty (LJH 6011)✤

Ted Nash, birth name Theodore Malcolm Nash (October 31, 1922 – May 12, 2011) was a jazz musician who played saxophone, flute, and clarinet. He was a session musician in Hollywood studios. His brother is trombonist Dick Nash and his nephew is saxophonist Ted Nash, who is a member of the Jazz at Lincoln Center Orchestra led by Wynton Marsalis.

Nash was born in the Boston suburb of Somerville, Massachusetts. His goal was to become a classical flutist until he began playing saxophone in his early teens. His professional career began when he went on the road with a succession of dance bands. In 1944, he became tenor saxophonist for the Les Brown big band.With Brown he played on the number one hits "Sentimental Journey" and "My Dreams Are Getting Better All the Time", both sung by Doris Day.

In the late 1940s, after getting married, Nash settled in the Los Angeles and became active as a session musician in the Hollywood movie and television studios. In 1956, he recorded with Paul Weston's orchestra the album Day by Day, with vocals by his former colleague and close friend, Doris Day.

He was the featured soloist on The Music from Peter Gunn soundtrack, performing the alto saxophone solo on the theme and on the second bridge of "Dreamsville". He was known for his mastery of the extreme altissimo register of the saxophone. He wrote Ted Nash's Studies in High Harmonics for Tenor and Alto Saxophone published in 1946.

Through the 1950s and 1960s, he worked as a sideman for June Christy, Nat King Cole, Bing Crosby, Billy Eckstine, Ella Fitzgerald, Frank Sinatra, and Nancy Wilson. During the 1970s, he worked with Judy Collins and Quincy Jones. He retired in the 1980s.

Dick Nash, birth name Richard Taylor Nash (born January 26, 1928) is an American jazz trombonist most associated with the swing and big band genres.

He was born in Boston, Massachusetts and began playing brass instruments at ten. He became more interested in this after his parents died, and he was sent to Kurn Hattin Homes for Children in Vermont. At Kurn Hattin Homes, the first instruments he studied were the trumpet and bugle. His first professional work came in 1947 with bands like that of Tex Beneke. He served in the California National Guard from 1950 to 1952 and played for a band.

After his discharge from the military, he went back to Boston, where he attended Berklee College of Music. He then joined Billy May's band. Later he became a first-call studio musician in Los Angeles, California. He was composer, conductor Henry Mancini's favorite trombonist, and was featured soloist on several Mancini soundtracks, beginning with "Mr. Lucky" and "Peter Gunn". Nash's trombone is featured on the "Theme From Hatari!" from the soundtrack for the John Wayne film (1962), Breakfast at Tiffany's (1961), and Days of Wine and Roses. In 1959 he played bass trombone on Art Pepper + Eleven – Modern Jazz Classics.

His brother was the saxophonist Ted Nash and he has three children, Ted, also a saxophonist, Nikki, and Bill. *wikipedia.org*

This, [album] is in the nature of a new beginning for two brothers who have made names for themselves independently and are united at last in California with their music. 

Here, they have pooled their extreme musical talents and come up with an album of rare taste and quality. The music here is a pleasure to listen to. It combines clean, crisp sounds with good jazz. It is sometimes delicate, sometimes forceful. Often quiet — more often, exciting. And always conceived and executed with good taste.

The sound the group gets is amazing. Six men manage to sound like a group twice its size. They make it seem easy. Piano and guitar (Jimmy Rowles and Tony Rizzi) work first as a unit then as independent voices. Bass and drums (Harry Babasin and Roy Harte) are ever-present but never flambuoyant. Dick's trombone is joined by Ted, at one time or another, on alto, tenor, soprano, baritone, flute, alto flute, piccolo, clarinet, and bass clarinet to give a startling aural exhibition — and did I say only six in the total aggregation?

Much of the group's balance and continuity are due to the subtle arrangements of Frank Comstock, Chuck Kopley, Bob Harrington, and Jim Emerson.

The brothers Nash could hardly have picked a more swinging group of tunes for their Liberty Records' debut. *Don Nelson (liner notes)*

Side 1

1 - I Remember You

(Schertzinger, Mercer)

2 - We'll Be Together Again

(Carl Fisher, Frankie Laine)

3 - Juntos

(Frank Constock)

4 - Prelude To A Kiss

(Ellington)

5 - Theme From "The Bad And The Beautiful"

(Raskin)

6 - I Could Write A Book

(Rodgers, Hart)

Side 2

7 - Back In Your Own Backyard

(Jolson, Rose, Dreyer)

8 - For Heaven's Sake

(Meyer, Bretton, Edwards)

9 - Cuban Verandah

(Harrington)

10 - The Nearness Of You

(Washington, Carmichael)

11 - Night Soliloquy

(Kent Kennan)

12 - You Are Too Beautiful

(Rodgers, Hart)

Ted Nash (alto, tenor, soprano and baritone saxes, flute, alto flute, piccolo, clarinet, bass clarinet),

Dick Nash (trombone), Tony Rizzi (guitar), Jimmy Rowles (piano),

Harry Babasin (bass), Roy Harte (drums).

Recorded at Western Recorders, Hollywood, California, December 1, 1955 and April 6, 1956