Charlie Mariano - Part Of A Great Jazz Testament

Charlie Mariano (1923-2009), a Boston native born to Italian immigrants, discovered his passion for jazz in the late 1930s after being inspired by Lester Young and Johnny Hodges. He quickly  embraced the alto saxophone as his instrument and began jamming around Boston. Drafted in 1942, Mariano spent three years in an Army Air Corps band. Upon being discharged, he enrolled at Schillinger House to pursue his studies, but soon, influenced by the groundbreaking work of Charlie Parker and Dizzy Gillespie, he also immersed himself in Boston's vibrant modern jazz scene of the late 1940s, joining Ray Borden's orchestra and also performing at venues such as Hi-Hat, Wally's Paradise, and Eddie Levine's club.

In 1949, Mariano became a key figure in Nat Pierce's band and recorded his first two sides as a leader on the local Motif label, showcasing his modern style, and although he gained some attention among jazz critics, Charlie was still relatively unknown outside of Boston.

It was not until he recorded the 10-inch album titled "The New Sounds from Boston" —which included trumpeter Joe Gordon— for the Prestige label in December 1951 that Mariano's talents as a composer, arranger, and soloist were introduced to jazz audiences across the country.

In 1953, he recorded four more excellent albums, with releases on Prestige, Fantasy, and two on the Imperial label, leading groups that included other Boston jazz legends such as Dick Twardzik, Herb Pomeroy, and Jaki Byard. Not content with being solely a performer, that year he co founded the Jazz Workshop, advocating for musical education and experimentation. In early January 1954, he embarked on a tour with Stan Kenton, eventually finding himself on the West Coast, where he spent the next four years actively participating in the thriving California jazz scene.

Under the title Boppin' In Boston, this compilation of recordings from 1947-1953 serves as a testament to the early years of Charlie Mariano's extensive career. Although he initially played too much like Bird to be regarded as individually distinctive, from 1951 Mariano began creating a distinct voice with his alto saxophone, combining the innovations of bebop language with his own unique style. His contributions to jazz, as a performer and educator, solidified his legacy as one of Boston's most celebrated and revered jazz musicians. *Jordi Pujol*

Charlie Mariano

Boppin' In Boston • 1947~1953

The Fresh Sound label from Barcelona, Spain has during the past couple of decades put out hundreds (probably thousands at this point) of superior jazz reissues, most from the 1945-1965 period. Thanks to the diligence of Jordi Pujol, a countless number of sessions have been saved from obscurity and been given the attention and packaging that they deserve.

Recent reissues include a pair of box sets featuring American saxophonists who first emerged during the classic bebop era. One of them dedicated to Charlie Mariano (1923-2009), a talented alto-saxophonist who was born, raised and often based in Boston. The two-CD set Boppin' In Boston • 1947~1953 has most of the highpoints from the first part of Mariano’s career. Starting with a ballad feature on “What’s New” with the Ray Borden Orchestra, Mariano is heard with groups (including a big band) led by pianist Nat Pierce and at the head of a variety of bop oriented combos. Among his sidemen are the forgotten but colorful bebop trumpeters Gait Preddy (whose career should have gone much further), Joe Gordon, Dick Collins, and Herb Pomeroy, trombonist Sonny Truitt, and pianists Roy Frazee (another talented but forgotten great), Dick Twardzik, Richard Wyands, and Jaki Byard. Mariano was clearly influenced by Charlie Parker, particularly during this era, but his own individual voice is heard gradually emerging. He would later spend time as a member of the Stan Kenton Orchestra, be part of the West Coast jazz scene in Los Angeles, and explore avant-garde jazz and fusion during his later years in Europe. Boppin’ In Boston shows that he was a very skilled player from the start.

This box set has extensive and definitive liner notes from Jordi Pujol along with superior sound. Highly recommended. *Scott Yanow*

* CD 1 *

1 - What's New

(Haggart-Burke)

2 - Boppin' In Boston

(Nat Pierce)

3 - Is This The Thing?

(Nat Pierce)

4 - Body Aand Soul

(Green, Sour, Heyman, Eyton)

5 - Sheba

(Charlie Mariano)

6 - Babylon

(Sonny Truit)

7 - King Edward The Flatted Fifth

(Chaloff, Burns)

8 - It Might As Well Be Spring

(Rodgers, Hammerstein II)

9 - King For A Day

(Fiorito, Lewis, Young)

10 - Boston Uncommon [Master A]

(Charlie Mariano)

11 - Boston Uncommon [Master B]

(Charlie Mariano)

12 - The Wizard [Master A]

(Charlie Mariano)

13 - The Wizard [Master B]

(Charlie Mariano)

14 - Mariners

(Charlie Mariano)

15 - Tzoris

(Charlie Mariano)

16 - Autumn In New York

(Vernon Duke)

17 - Aviary

(Charlie Mariano)

18 - Bye, Bye, Blues

(Hamm, Bennett, Lown, Gray)

19 - Bess, You Is My Woman

(G. and I. Gershwin)

20 - Barsac

(Charlie Mariano)

21 - Stella By Starlight

(Young, Washington)

22 - I'm Old Fashioned

(Kern, Mercer)

23 - Erosong

(Charlie Mariano)

#1: Ray Borden Big Band

Ray Borden, Gait Preddy, Bill Adams, Buddy Hartford (trumpets); 

ert Goodspeed, Joe Fine, Joe Laconi (trombones); 

Charlie Mariano, Sebastian Giacco (alto saxes);

Chuck Stentz, George Green (tenor saxes); Gordon Barrantine (baritone sax);

Nat Pierce (piano); Steve Hester (guitar); Frank Vaccaro (bass); Joe McDonald (drums).

Recorded at Ace Recording Studios, Boston, December 1947

#2 to #4: Charlie Mariano / Nat Pierce Sextet

Gait Preddy (trumpet), Charlie Mariano (alto sax),

Nat Pierce (piano), Steve Hester (guitar), Frank Vaccaro (bass), Joe McDonald (drums).

Recorded at Ace Recording Studios, Boston, January 1948

#5 and #6: Charlie Mariano Octet

Don Stratton (trumpet), Mert Goodspeed (trombone),

Charlie Mariano (alto sax), Randy Henderson (tenor sax),

George Green (baritone sax), Nat Pierce (piano),

Frank Gallaguer (bass),Joe McDonald (drums).

Recorded in Boston, March 25, 1949

#7: Serge Chaloff / Ralph Burns Septet

Gait Preddy (trumpet), Mert Goodspeed (trombone),

Charlie Mariano (alto sax), Serge Chaloff (baritone sax),

Ralph Burns (piano), Frank Vaccaro (bass), Pete DeRosa (drums).

Recorded in Boston, July 7, 1949

#8: The Nat Pierce Orchestra

Don Stratton, Roy Caton, Bud Wilson, Dud Harvey (trumpets),

Bob Carr, Frank "Ace" Lane, Sonny Truitt (trombones),

Charlie Mariano, Dave Chapman (alto saxes),

Randy Henderson, Andie Pirie (tenor saxes), George Myers (baritone sax),

Nat Pierce (piano), Frank Gallaguer (bass), Joe McDonald (drums).

Recorded in Boston, November 1950

#9: Charlie Mariano / Nat Pierce Sextet

Sonny Truitt (trombone), Charlie Mariano (alto sax),

Nat Pierce (piano), Chet Kruley (guitar), Frank Gallagher (bass), Joe McDonald (drums).

Recorded in Boston, probably late 1950

#10 to #14: Charlie Mariano Octet

Joe Gordon (trumpet), Sonny Truitt (trombone), Charlie Mariano (alto sax),

Jim Clark (tenor sax), George Myers (baritone sax),

Roy Frazee (piano), Jack Lawlor (bass), Gene Glennon (drums).

Recorded in Boston, December 1951

#15: Charlie Mariano Sextet

Joe Gordon (trumpet), Sonny Truitt (trombone), Charlie Mariano (alto sax),

Roy Frazee (piano), Jack Lawlor (bass), Carl Goodwin (drums).

Recorded in December 1951

#16: Charlie Mariano Quartet

Charlie Mariano (alto sax), Roy Frazee (piano), Jack Lawlor (bass), Carl Goodwin (drums).

Recorded in December 1951

#17: Charlie Mariano Septet

Joe Gordon (trumpet), Sonny Truitt (trombone), Charlie Mariano (alto sax),

Jim Clark (tenor sax), Dick Twardzik (piano), Jack Lawlor (bass), Carl Goodwin (drums).

Recorded in Boston, December 1951

#18 to #23: Charlie Mariano Boston All Stars

Herb Pomeroy (trumpet), Charlie Mariano (alto sax),

Dick Twardzik (piano, tom-tom [#20]), Bernie Griggs (bass), Jimmy Weiner (drums).

Recorded in Boston, January 27, 1953

* CD 2 *

1 - Come Rain Or Come Shine

(Arlen, Mercer)

2 - My Friend Ethel

(Sonny Truitt)

3 - After Coffee

(Sonny Truitt)

4 - Trouble Is A Man

(Alec Wilder)

5 - Let's Get Away From It All

(Dennis, Adair)

6 - The Thrill Is Gone

(Brown, Henderson)

7 - The Nymph

(Vince Guaraldi)

8 - I've Told Every Little Star

(Kern, Hammerstein II)

9 - Diane's Melody

(Jaki Byard)

10 - Harangue

(Herb Pomeroy)

11 - Sweet And Lovely

(Arnheim, Tobias)

12 - Ryan's Love

(Jack Crown)

13 - This Is Heaven

(Sherman Feller)

14 - How About You?

(Fred, Blane)

15- My Nancy

(Charlie Mariano)

16 - Jan

(Jack Crown)

17 - Chanticleer

(Jack Crown)

18 - Chopin Excerpts

(DP, Adap. Charlie Mariano)

19 - April Afternoon

(Mariano, Pomeroy)

20 - Chandra

(Jaki Byard)

21 - Sagapo

(Jaki Byard)

22 - When Your Lover Has Gone

(E.A. Swan)

23 - It's Magic

(Styne, Cahn)

24 - American Indian

(Herb Pomeroy)

#1 to #8: Charlie Mariano Sextet

Dick Collins (trumpet), Sonny Truitt (trombone), Charlie Mariano (alto sax),

Richard Wyands (piano), Vernon Alley (bass), Joe McDonald (drums).

Recorded in San Francisco, 1953

#9 to #24: Charlie Mariano Quintet

Herb Pomeroy (trumpet), Charlie Mariano (alto sax),

Jaki Byard (piano), Jack Carter (bass), Peter Littman (drums).

Recorded in Boston, November 1953

Art Blakey & Joe Gordon - The Complete Art Blakey On EmArcy

The textbook method of studying jazz history frequently creates and perpetuates misconcenptions, overemphasizing certain individuals at the expense of others. While Art Blakey should be a familiar name to all jazz fans, Joe Gordon and Gigi  Gryce have been somewhat forgotten. However,  in their time, both men were extremely well respected and worked with manyof the figures who made the textbook roll call.

The 1954s sessions recorded for EmArcy label collected here, have long been favorites of connoisseurs of the intense but accessible sounds know as hard bop, a style wich was developed in the mid-1950s. However, they have been hard to come by, and this is their first complete appearance on a United States compact disc. 

Blakey

&

Introducing Joe Gordon

A fantastic hard bop reissue! This CD combines two rare early sessions by Art Blakey – one recorded under his name, the other under the leadership of trumpeter Joe Gordon, a fantastic player who died an early death, and never got to record as much as he should have. Both albums were only ever issued on rare 10" LPs during the mid 50s, and they're combined here with great sound, great notes, and two bonus tracks. The set's over 70 minutes in length, and every cut crackles with a sinister intensity that's just fantastic – made all the more special by a host of original compositions by both Gordon and Gigi Gryce, who arranged one of the session. One session features Gordon on trumpet, Gigi Gryce on alto, and Walter Bishop on piano; the other features Gordon, Charlie Rouse, and Junior Mance – and Blakey is on drums throughout. Titles include "Evening Lights", "Rifftide", "Lady Bob", "Eleanor", "Minority", "Hello", "Mayreh", and "Futurity".  *Dusty Groove, Inc.*

This compilation assembles some long unavailable bop sessions led by either Art Blakey or trumpeter Joe Gordon as a collectable Verve Elite Edition reissue CD. Blakey's quintet includes Gordon pianist Walter Bishop, Jr. and alto saxophonist Gigi Gryce, who composed most of the music. "Minority" has long since become a standard among boppers but "Salute To Birdland" is almost as good; the remaining tracks are quite as strong. Gordon's set leads off with Coleman Hawkins' well known riff tune "Rifftide"; Pianist Junior Mance provides Gordon with some strong backing and a young Charlie Rouse adds a spirited tenor sax solo. Gordon's playing is a little choppy on his tunes "Xochimilco" and "Evening Lights", while his lyrical take of "Body And Soul" is strangely backed by Blakey's tom toms. This is a mandatory acquisition for Blakey fans and those who enjoy bop. *Ken Dryden*

1 - Minority

(Gigi Gryce)

2 -Salute To Birdland

(Gigi Gryce)

3 - Eleanor

(Gigi Gryce)

4 - Futurity

(Gigi Gryce)

5 - Simplicity

(Gigi Gryce)

6 - Strictly Romantic

(Gigi Gryce)

7 - Hello

(Gigi Gryce)

8 - Mayreh

(Horace Silver)

9 - Rifftide

(Coleman Hawkins)

10 - Lady Bob

(Quincy Jones)

11 - Grasshopper

(Quincy Jones)

12 - The Theme

(Kenny Dorham)

13 - Bous Bier

(Quincy Jones)

14 - Xochimilco

(Joe Gordon)

15 -Evening Lights

(Joe Gordon)

16 - Body And Soul

(Edward Heyman, Frank Eyton, John Green, Robert Sour)

#1 to #8: from the album Blakey, EmArcy (MG 26030)

Joe Gordon (trumpet), Gigi Gryce (alto sax), Walter Bishop, Jr. (piano), Bernard "Bernie" Griggs (bass), Art Blakey (drums).

Recorded at Fine Sound, New York City, May 20, 1954.

#9 to #14: from the album Introducing Joe Gordon, EmArcy (MG 26046) and EmArcy (MG 36025)

#15 and #16: from the album The Jazz School, EmArcy (MG-36093)

Joe Gordon (trumpet), Charlie Rouse (tenor sax), Junior Mance (piano), James "Jimmy" Schenk (bass), Art Blakey (drums).

Recorded at Fine Sound, New York City, September 3 (#11, #12, #14, #15) and September 8 (#9, #10, #13, #16), 1954.

Horace Silver - Silver's Blue

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

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

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

*Horace Silver (liner notes [2005])*

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

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

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

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

*Eugene Chadbourne*

The Horace Silver Quintet

Silver's Blue

1 - Silver's Blue

(Horace Silver)

2 - To Beat Or Not To Beat

(Horace Silver)

3 - How Long Has This Been Going On?

(Ira and George Gershwin)

4 - I'll Know

(Frank Loesser)

5 - Shoutin' Out

(Horace Silver)

6 - Hank's Tune

(Hank Mobley)

7 - The Night Has A Thousand Eyes

(Buddy Bernier, Jerry Brainin)

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

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