Five-Star Collection... John Mehegan

John Mehegan

The First Mehegan

In this album Savoy is proud to present to the Jazz listening audience, another recital by one of the finest of contemporary pianists, Johnny Mehegan. This is volume one of what we respectfully title "The First Mehegan", also noting that Johnny is a teacher of improvisation at Juilliard Conservatory in New York City where he has taught the ageless beauty of classical music and the new vitality of Jazz. As the expressive medium in this session, we choose the trio and quartet, presenting other modern Jazz giants to support Johnny's ideas. The quartet sides feature Chuck Wayne, an extremely swinging and authoritative guitarist, and Vinnie Burke on bass, plus the new drum star Joe Morello. Trio-wise we have Charles Mingus, a great bassist and personality in modern Jazz, and also a legitimate composer in his own right, plus Kenny Clarke, the "daddy" of modern drummers. Throughout, they all support the mood and add a swinging presence to the performance.

(...)

I feel that the outstanding characteristic of Mehegan's musical invention is in its simplicity, and in the exhaustive depth and subtlety of his expression. However, by simplicity, this is definitely not the connotation of "easy" or "uninspired", rather, as an artist friend has expressed, "his is a studied simplicity". That is the application of artistic restraint, wherein the musician selects with delicate skill the concise figure, offering the light stroke as opposed to the grandiose flourish or the contrived statement. (...) It has been my pleasure to know Johnny but a few months, but in that time he has earned a professional and personal respect of no small import. I suggest a similar realization of his magnitude and scope would surely benefit our Jazz-art.  *Jack McKinney (from the liner notes)*

Here is a real talent, one who has a gleaming jazz future. There is confidence in Mehegan's attack, and knowledge in his notes, and he swings. John has absorbed many influences, from Teddy Wilson and Nat Cole to Bud Powell and Lennie Tristano, but he has welded them all into an expression of his own beliefs and personality. He has a message.

First four sides have Charlie Mingus on bass and Kenny Clarke, drums. Last four spot guitarist Chuck Wayne, bassist Vinnie Burke, and drummer Joe Morello.

Aside from Mehegan, who plays superbly on all the bands, you may be as impressed as I was by Mingus on Thou Swell, Chuck Wayne on Stella, on which he and Mehegan play like Siamese twins, and by the drumming of both Clarke and Morello — always pulsating, always helpful, always tasteful.

This one Savoy calls The First Mehegan. The second is already being eagerly awaited by at least one person. *Jack Tracy (Down Beat, August 10, 1955 [5 stars])*

Side 1

1 - Cherokee

(Noble, Shapiro)

2 - The Boy Next Door

 (Martin, Blane)

3 - Blue's Too Much

(David)

4 - Thou Swell

(Rodgers, Hart)

Side 2

5 - Taking A Chance On Love

(Duke, Fetter, Latouche)

6 - Uncus

(Mehegan)

7 - Sirod

(Mehegan, Miles)

8 - Stella By Starlight

(Washington, Young) 

#1 to #4:

John "Johnny" Mehegan (piano), Charles Mingus (bass), Kenny Clarke (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, January 30, 1955

#5 to #8:

John "Johnny" Mehegan (piano), Chuck Wayne (guitar),

Vinnie Burke (bass), Joe Morello (drums).

Recorded in New York City, June 10, 1954

Five-Star Collection... Dave Brubeck

The Dave Brubeck Quartet

Gone With The Wind

A good deal has been said in print about the merits of the Dave Brubeck Quartet, what it stands for in relation to jazz, what it has contributed to the facade of jazz, etc., and as you listen to the easy flow of melodic lines and the development of each standard composition in this recording, you will know that this is the Quartet at its best. We feel that the music speaks for itself, and that no words need be said here by way of explanation.

From the very first take, we all knew that this was going to be a swinging session, and it was. I believe it is significant that three-fourths of the compositions contained herein are "first-takers", if I may coin a word. On listening to the first play-back by Dave and the group, the comment would almost invariably be: "That's it! Let's make the next one". This happened throughout the entire session in the studio, until it was time to leave for Dave's evening concert at Orange Grove College in Costa Mesa, California, where we also recorded.

Some of the compositions that were used as a basis for improvisation here were played by the group for the first time at the recording studio, and in several cases the arrangements you hear were not previously planned, but worked out spontaneously while recording.

*Teo Macero (from the liner notes)*

The Dave Brubeck Quartet is swinging these days. This is common knowledge. Here is an album that has captured this particular aspect of the group very well. There are interesting solos passages, in particular a delightful percussion excursion by Joe Morello on "Short'nin' Bread" and a fine long bass solo by Gene Wright on "Ol' Man River". Paul Desmond plays throughout with his usual melodic intensity, shimmering tone and long, swooping lines. There's more solid jazz content in this LP than is usually granted Brubeck, yet it is still the middle-of-the-road modern jazz that has the strongest appeal to the layman. As an introduction to Brubeck's work and as a fair sampling of him in his swinging, or recent period, this LP ranks high.

*Ralph J. Gleason (HiFi Stereo Review, November, 1959)*

It has often been noted that since the addition of Morello and Wright, the Brubeck group has swung more; this LP is the best example so far of this freedom and swing. In this collection of southern songs, the quartet achieves a looseness and rapport of greater degree than their previous albums. And how these men listen to each other!

A few words about Brubeck's playing might be in order at this point. Dave has been severely criticized in the past for his heavy handedness, but little has been said about the man's harmonic concept, his remarkable sense of time, and his ability to construct solos with a beginning, middle, and end. Some of these heaviness remains, but it is overshadowed now by these positive qualities. All of these facets of the Brubeck talent are very much in evidence in this album, especially on "The Lonesome Road" and "Georgia On My Mind".

Desmond is his usual eloquent self, displaying a virility in some of his work that has been lacking sometimes in the past. Wright provides solid support throughout and does a good job on River, his featured spot. Morello cooks all the way, using brushes most of the time. His wit and humor shine throughout the LP, but they shine the brightest on Bread in which he plays "melody".

This is a happy, swingin' LP lacking in pretentiousness and played by a group of men who obviously enjoy their work and each other. *Don DeMichael (Down Beat, October 1, 1959 [5 stars])*

Side 1

1 - Swanee River

(Stephen Foster)

2 - The Lonesome Road

(Gene Austin, Nat Shilkret)

3 - Georgia On My Mind

(Stuart Gorrell, Hoagy Carmichael)

4 - Camptown Races

(Stephen Foster)

Side 2

5 - Camptown Races

(Stephen Foster)

6 - Short'nin' Bread

(Traditional)

7 - Basin Street Blues

(Spencer Williams)

8 - Ol' Man River

(Jerome Kern, Oscar Hammerstein II)

9 - Gone With The Wind

(Hebert Magidson, Allie Wrubel)

Dave Brubeck (piano), Paul Desmond (ato sax), Gene Wright (bass), Joe Morello (drums). 

Recorded in Los Angeles, California, April 22 (#1, #2, #3, #7, #9) and 23 (#4, #5, #6, #8), 1959

Sam Most... ★1956★

Sam Most Quartet

Musically Yours

A reputation as a jazz instrumentalist represents the cumulativa efforts of years of intense study and trainning, and the diligent application of time and talent toward perfection. Most musicians have a  working knowledge of the other horn, but for success as soloists they usually concentrate on the mechanics of one instrument best suited to the interpretations of their creative thoughts.

This rule-of-thumb doesn't apply to Sam most. This multi-talented young man has a flair for anything musical, and because he has proven himself equally at home on flute or clarinet it necessitated dividing this LP between the two instrume.nts to display Sam's talent appropriately. Admittedly, his flute improvisation is an outgrowth of his clarinet skill, but he has demonstrated such facility with this newly found jazz voice that he must be ranked among the handful of reed men who are its exponents.

⁂

If your taste in reedy jazz runs to flute and/or clarinet, you have what the doctor ordered right in your hands. The inventive mind of Sam Most, in company with Bob Dorough, Bill Crow and Joe Morello, has produced a rewarding session that is your to enjoy so long as records and turntables still exist.

*Joe Quinn (liner notes)

One of the loosest, most relaxed albums ever from flute man Sam Most — cut with a cool quartet that also features Bob Dorough on piano, Bill Crow on bass, and Joe Morello on drums! The inventive touches of all the rhythm players are really felt strongly — creating these modern moments that really have Sam stretching out on his instrument, and moving it way past any cliches of a few years before. Most handles flute on almost all the tracks, but also throws in some great clarinet as well — with archly-crafted solos that really swing, but with kind of an arch modernist tone — in the manner of some of Jimmy Giuffre's best rhythm-bound work of the 50s. Titles include "Obvious Conclusion", "Stella By Starlight", "Two For Three", and "House Of Bread Blues".

 *Dusty Groove, Inc.*

1 - Stella By Starlight

(Young, Washington)

2 - Hush-A-Bye

(Seelen, Fain)

3 - Obvious Conclusion

(Most)

4 - Autumn Leaves

(Kosma, Mercer)

5 - If I Had You

(Shapiro, Connelly)

6 - Body And Soul

(Green, Heyman, Sour, Eyton)

7 - House Of Bread Blues

(Most)

8 - Two For Three

(Most)

Sam Most (flute, clarinet), Bob Dorough (piano), Bill Crow (bass), Joe Morello (drums).

Recorded in New York City, July, 1956

Joe Morello - Collections

Intro is extremely happy with the result of this st. However, it is said that confession is good for the soul, therefore we must confess that there was some skepticism about the results of this album, not because the musicians present, but because of the handicaps under which this set was done. The decision to do this album was quite sudden, caused by the fact that drummer Joe Morello, was in town for two days, on the way to San Francisco to join the Dave Brubeck Quartet. Therefore, three sessions had to be packed into one day. It is certainly no secret that Morello is one of the most sensational new drummerson the jazz scene today. Naturally, an oportunity to record him couldn't be passed by.

When you hear the great jazz in this set, and especially Joe Morello, who contributed so much, you will understand why we wished to take advantage of Joe's short stay in town.

*Don Clark (liner notes)*

Joe Morello was virtually unknown when he recorded this date for the Intro label in January of 1956. While he did have a handful of gigs with both Stan Kenton and Marian McPartland under his belt, it would be several months before his association with Dave Brubeck's classic quartet. Perhaps this fact was on the minds of the folks at Intro, because initial pressings of the album gave very little indication that Morello was, in fact, the session's leader. Instead, it was packaged rather like a jam session date in that Red Norvo, Art Pepper, Gerry Wiggins, and Morello all received equal billing on the front cover. Add to this a different title (Collections) printed on both the jacket and spine and it's a wonder people refer to it as The Joe Morello Sextet at all. Regardless, the most interesting performances on this record are by the similarly young Pepper, who appears on five of the album's ten tracks. Pepper sticks to alto sax on all but the appropriately titled original "Tenor Blooz," and delivers a meatier-than-expected tone for an alto player. Fine performances by both Norvo and Wiggins help make this a timeless West Coast jazz release. No real surprises here, but every track is a gem. Easily recommended for fans of the genre. *Brandon Burke*

Quite a rare one from the LA scene of the late 50s — a one-off session that features a group led by Red Norvo on vibes, and also including Art Pepper on alto and tenor, Howard Roberts on guitar, Gerry Wiggins on piano, Joe Morello on drums, and Ben Tucker on bass. The unlikely group really gell well together — thanks especially to Pepper, who plays with that strong and soulful line that he's got on some of the better tiny label sessions that he recorded at the time. Tracks include "Tenor Blooz", "Little Girl", "Pepper Steak", "Yardbird Suite", and "Straight Life". *dustygroove.com*

1- Tenor Blooz

(Art Pepper)

2 - You're Driving Me Crazy

(Walter Donaldson)

3- Sweet Georgia Brown

(Ben Bernie, Maceo Pinkard, Kenneth Casey)

4 - Little Girl

(Francis Henry, Madeline Hyde)

5- Pepper Steak

(Art Pepper)

6 - Have You Met Miss Jones?

(Richard Rodgers, Lorenz Hart)

7 - Yardbird Suite

(Charlie Parker)

8 - I Don't Stand A Ghost Of A Chance With You

(Victor Young, Bing Crosby, Ned Washington)

9 - I've Got The World On A String

(Harold Arlen, Ted Koehler)

10 - Straight Life

(Art Pepper)

Art Pepper (alto sax [#2, #5, #7, #10], tenor sax [#1]), Red Norvo (vibes), Gerry Wiggins (piano), Howard Roberts (guitar), Ben Tucker (bass), Joe Morello (drums).

Recorded at United Western Recorders, Los Angeles, California, January 3, 1957.