Five-Star Collection... Thomas Talbert

Thomas Talbert

Bix • Duke • Fats

Leon Beiderbecke, Edward Ellington and Thomas Waller were three card-holding musicians, getting their money every Friday, playing a cornet and a couple of pianos, and writing their compositions. They are known in the jazz world's casual I-want-to-be-one-of-the-gang style, as Bix, Duke and Fats. Where the aficionados gather, no further identification is necessary. Bix did most of his writing in the latter twenties. Fats swung right up to his death in 1943. Some of his last work, written for the show, Early To Bed, was his best. Duke Ellington is still very much on the scene and working constantly. The thirties and early forties were a highly creative period for him.

(...)

Fats led a small group of good men. They were mainly a foil for his contagious, exuberant and slyly humorous personality. Bix worked through the Midwest with many small combinations. He played in Gene Goldkette’s bands. Except for recording with small pickup groups, he played his last years with Paul Whiteman. It is said that Henry Busse received the larger share of the hot chair parts. Duke Ellington has been a leader from the beginning, composing and arranging for his own band in prolific quantity.

But they all worked the country's saloons where jazz grew up. This is a world apart from the Broadway, West End or Hollywood composer who has only the current show on his mind. And with the lyricist to carry the day if the tune goes false. They were right in the midst of the instruments that were making the pulse that jazz is all about. And there's the tie-in for an album such as this. Three styles, yes... but all stemming from the same background. *Thomas Talbert (liner notes, 1956)*

The world has changed so much since this music was recorded but the beauty of the compositions has remained constant. I spent a lot of time selecting the material for the album and then the arrangements were written in four late summer weeks. Bond Street, the first, was  finished August 19 and the last, Orange Bright on  September 13. The final recording, the  Ellington tune with ten men, was September 14. There was an individual session for each composer as I used a different instrumentation to enhance how I heard each of their voices.

I remember the warm fall evening, after the Beiderbecke session, as my friend and copyist George Green and I walked west on Forty-second Street. It was not as bizarre a  locale then and we were going to meet Joe Wilder at Dixon's on Eighth Avenue for an early dinner. I was filled with satisfied accomplishment as we quietly spoke of the chamber-music recording challenge and of Joe's marvelous playing. It was a good day and the Wilder solos still soar.

They all did. What a joy it is for an arranger to have his writing, his  dream, played with such verve and empathy. New York had a shine on it in the '50s and it was exhilarating to be part of it.

*Thomas Talbert (liner notes, 1993)*

This is a stunning piece of work by all concerned. Talbert's writing is fresh and moody, and the performances, particularly the solo work, are firstrate.

There is a smooth blend of the horns, spiced by some bright brass figures, in the arranged passages. As for the solos, it's difficult to describe them without using hand motions or including a copy of the record in the magazine.

Wilder emerges as a trumpet man of stature and delicacy. His taste and flexibility are particularly evident on the Beiderbecke pieces, Mist, Candlelight, and Dark. Galbraith also is heard soulfully on the Bix tracks. Cleveland and Bert split the trombone solo spots, with Jimmy percussively exciting and Bert blowing warmly and with restraint.

The Talbert original, Green Night, is a moody, impressionistic work with actually none of the flavor of the three men to whom homage is paid by this album, but rather a logical extension of the mood created by the compositions.

This album is no tribute in style to Bix, Fats, and Duke. Rather, it is a collection of creations based on their works, The closest to a literal reading is Duke's Koko, which smacks of period Ellington in the rich opening ensemble prodded by Pettiford's throbbing bass.

One final word should be said about Wallington, whose presence is a vital thing, and whose solos and fills are a delight to hear.

Packaging is handsome, with the cover perhaps the most attractive jazz cover presented in many months. Talbert's notes are literate and illuminating, a fine argument for having musicians or leaders write the words about their music.

This is a great record, conceived and executed with taste and artistry.

*Dom Cerulli (Down Beat, June 27, 1957 [5 stars])*

1 - Clothes Line Ballet

(Fats Waller)

2 - In A Mist

(Bix Beiderbecke)

3 - Bond Street

(Fats Waller)

4 - Prelude To A Kiss

(Duke Ellington, Irving Gordon, Irving Mills)

5 - Green Night & Orange Bright

(Thomas Talbert)

6 - Black And Blue

(Fats Waller, Andy Razaf, Harry Brooks)

7 - Candlelights

(Bix Beiderbecke)

8 - Keepin' Out Of Mischief Now

(Fats Waller, Andy Razaf)

9 - In The Dark

(Bix Beiderbecke)

10 - Do Nothin' Till You Hear From Me & Ko-Ko

(Duke Ellington, Bob Russell) & (Duke Ellington)

Thomas "Tom" Talbert (arrangements, conductor)

#1, #3, #6, #8:

Joe Wilder, Nick Travis (trumpets); Eddie Bert, Jimmy Cleveland (trombones);

Aaron Sachs (tenor sax, clarinet); George Wallington (piano);

Oscar Pettiford (bass); Osie Johnson (drums).

Recorded in New York City, August 24, 1956

#2, #7, #9:

Joe Wilder (trumpet), Jim Buffington (french horn), Joe Soldo (flute),

Danny Bank (clarinet, bass clarinet), Harold Goltzer (bassoon), Barry

Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, September 7, 1956

#4, #5, #10:

Joe Wilder (trumpet), Eddie Bert (trombone), Jim Buffington (french horn),

Herb Geller (alto sax), Joe Soldo (alto sax, fute), Aaron Sachs (tenor sax, clarinet),

Danny Bank (baritone sax, bass clarinet), Claude Williamson (piano [#5]),

Barry Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, September 14, 1956

Trumpet Conclave (II)

 In the previous post, about the so-called "Cool Gabriels", we can checked out Nat Hentoff's review. While he didn't completely dismiss them, he did raise a few eyebrows — mainly pointing out that some of the solos felt a bit too restrained:

"The solos are also of a consistently controlled and assured level while the ensemble playing is sharp and alive. Yet there is little here that really clutches the emotions, little that is nakedly beneath the surface. It's like a good issue of a well-produced slick magazine", Hentoff wrote.

He then took the chance to recommend another trumpet session — one he clearly thought packed more emotional punch:

"For a more earthy, more deeply wailing trumpet meeting, try Savoy's Top Brass under Ernie Wilkins' direction", he said.

And knowing how tough Hentoff could be when it came to handing out stars, it's worth paying attention. Top Brass actually got the full five stars from him — the highest rating in Down Beat. So, let's take his word for it and give Top Brass the spotlight it deserves.

Ernie Wilkins Presents

Top Brass

Featuring Five Trumpets

Top Brass is a modern and expanded reincarnation of several of the Keynote sessions in the '40s when a pride of several lions on one particular instrument was assembled to exchange ideas and styles. In this case, five trumpeters (Ernie Royal, Idress Su-lieman, Joe Wilder, Ray Copeland, and  Donald Byrd) blow in various Ernie Wilkins’ settings backed without flaw  by Hank Jones, Kenny Clarke, and Wendell Marshall. Three of the originals are by Ernie; one he co-wrote with Earl Van Riper, and "Dot's What" is by Johnny Mandel. The lines are sprightly and Ernie, who arranged all, is his usual spare, swinging, estimable self.

On the first five, the hornmen alternate in the various chairs from lead on. The complete notes identify all positions and solos, and provide good, concise biographical backgrounds (and some spelling mistakes). Most of the second side is devoted to ballad explorations by each trumpeter, and the comparison of approaches is illuminating and enjoyable all down the line. Note particularly Joe Wilder's "Willow Weep For Me", one of the most movingly lyrical solos ever recorded. On the up-tempos, everybody swings and each has several individual statements of worth to make. The recorded sound is appropriately bright. All hail to Savoy and Ozzie Cadena for thinking this one up, and to Mr. Wilkins and his friends for making it work so excitingly.

*Nat Hentoff (Down Beat, April 4, 1956)

Although he was a better than average saxophonist with Count Basie, by the time of these 1950s sessions for Savoy, Ernie Wilkins was working exclusively as an arranger and composer. Most of the music within this compilation comes from a 1955 session with trumpeters Donald Byrd, Ray Copeland, Ernie Royal, Idrees Sulieman, and Joe Wilder, pianist Hank Jones, bassist Wendell Marshall, and drummer Kenny Clarke. Four of the first five tracks are swinging originals by Wilkins, and there's also an obscure Johnny Mandel blues, "Dot's What." The remaining music from the first session is a ballad medley where each trumpeter is featured in turn playing a personal favorite, all of which have become time-tested standards. If there's any complaint about this studio date at all, it is the excess reverb used at times, which is surprising due to Rudy Van Gelder's usually impeccable sound. The bonus tracks are from another Wilkins-led session from 1957; trumpeters Art Farmer, Charlie Shavers, Emmett Berry, and Harold "Shorty" Baker join Royal, with Don Abney taking over on piano and Bobby Donaldson on drums. Both of Wilkins' originals, "Blues in 6/4" and "Trumpets All Out," are enjoyable even if they never became widely known. *Ken Dryden*

Ernie Wilkins wrote the lines for this collection of five trumpeters — Joe Wilder, Ernie Royal, Ray Copeland, Indres Sulieman and Donald Byrd — and rhythm — Hank Jones, Wendell Marshall and Kenny Clark. Savoy was kind enough to carefully note each solo and section position of each trumpeter on each selection. All of it is rather moderate modern, mostly on the boppy kick (some of the solos are less than that). But over-all it's an interesting, certainly a swinging, album; five tracks have section work and then individual solos while the other side features one ballad apiece. Aside from Donald Byrd, who is overshadowed here, it would be hard to finally pick among the four, especially on the ballads, for which and for Hank's comping, the album draws its major favor. *Metronome • Music USA (June, 1956)*

1 - 58 Market Street

(Ernest Wilkins, Earl Van Riper)

2 - Trick Or Treat

(Ernest Wilkins)

3 - Speedway

(Ernest Wilkins)

4 - Dot's What

(Johnny Mandel)

5 - Top Brass

(Ernest Wilkins)

Ballad Medley:

6 - Willow Weep For Me

(Ann Ronell)

7 - Imagination

(Johnny Burke, Jimmy Van Heusen)

8 - It Might As Well Be Spring

(Oscar Hammerstein II, Richard Rodgers)

9 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

10 - Taking A Chance On Love

(Vernon Duke, Ted Fetter, John Latouche)

11 - Blues In 6/4

(Ernest Wilkins)

12 - Trumpets All Out

(Ernest Wilkins)

#1 to #10: from the album Top Brass Featuring 5 Trumpets (Savoy Records MG 12044)

Donald Byrd, Ray Copeland, Ernie Royal, Idrees Sulieman, Joe Wilder (trumpets);

Hank Jones (piano); Wendell Marshall (bass); Kenny Clarke (drums).

Recorded at Rudy Van Gelder Studios,Hackenshack, New Jersey, November 8, 1955

#11 and #12: from the album Trumpets All Out (Savoy Records MG 1209)

Art Farmer, Ernie Royal, Charlie Shavers, Emmett Berry, Harold Baker (trumpets);

Don Abney (piano); Wendell Marshall (bass); Bobby Donaldson (drums).

Recorded at Rudy Van Gelder Studios,Hackenshack, New Jersey, January 15, 1956

Billy Ver Planck Orchestra - Jazz For Playgirls

Billy Ver Planck is a highly respected arranger, composer and trombonist, husband of the brilliant singer Marlene Ver Planck (Marlene Paula Pampinella), surely one of the most underrated vocalists of the last three decades. This is one of the three or four albums he did for Savoy in the 1950s using a big-sounding nine-piece band containing such notable soloists as trombonist Bill Harris, also saxist Phil Woods, trumpeter Joe Wilder and Eddie Costa doubling vibraphone and piano. The writing is excellent for it inspires the soloists and allows them space to deploy themselves. This was a particularly productive period for Woods, who takes off like a rocket on a number of tracks and is fea tured throughout "Whoo-ee!". The unique sound that was Bill Harris is still a joy, and when Ver Planck takes over the solo trombone role on one track it is obvious who he admires. The playing time could be better, but the work of Ver Planck and his colleagues is above reproach.

A nine man ball! Yes, that’s the best way to describe the exciting occurence in jazz captured in the enclosed album. Billy Ver Planck, versatile young trombonist-writer, has composed and arranged seven superb essays for jazz nonet that are sure to capture the vote of every jazz fan! Featuring the brilliant Bill Harris and Phil Woods, Seldon Powell, Eddie Costa, Joe Wilder and "a cast of thousands" as the ads say! Ver Planck and Ozzie Cadena, SAVOY A&R chief, have collaborated and individually contributed tunes, that Billy has given a wide range of interpretation. *H. Alan Stein (liner notes)*

A good straight ahead 1957 nonet album arranged and conducted by little known Billy Ver Planck featuring the alto sax of Phil Woods and the trombone of ex Woody Herman trombonist Bill Harris. One or the other, or both, solo on every track with occasional trumpet or tenor sax solo as well. 

The sequencing here is perfect beginning with the most popular tune first, although Horace Silver had just recorded it the previous year. Billy raises the tempo perhaps hoping to get some radio airplay too and the down tempo tunes are well placed. My only minor objection is the vibraphone playing of Eddie Costa on the longest track, comping behind Harris's playing and then taking a Lionel Hampton like solo of his own detracting a bit from the straight ahead nature of the album. Costa plays piano on the rest album. Keep a ear out for Phil Wood's cool but brief clarinet solo on "Winds". *John M. (Amazon customer)*

Arranger Billy Ver Planck leads a nones on some hard-swinging numbers; all but Horace Silver's "Señor Blues" were composed either by Ver Planck or producer Ozzie Cadena. Starring on these spirited sides are trombonist Bill Harris (who is heard at his most exciting on "Play Girl Stroll"), altoist Phil Woods (doubling on clarinet), Eddie Costa (doubling on vibes and piano) and trumpeter Joe Wilder. Ver Planck's arrangements make the group sound twice as big as it was yet have the feel of a small combo. A highly recommended disc. *Scott Yanow*

Side 1

1 - Señor Blues

(Horace Silver)

2 - Play Girl Stroll

(Ozzie Cadena)

3 - Aw, C'mon Sugah!

(Ozzie Cadena)

Side 2

4 - Whoo-ee!

(Ozzie Cadena)

5 - Miss Spring Blues

(Billy Ver Plank)

6 - Winds

(Billy Ver Plank)

7 - Du-udah-udah

(Billy Ver Plank)

#1 and #3 to #7:

Clyde Reasinger, Joe Wilder (trumpets); Bill Harris [#1 to #5], Billy Ver Planck [#6] (trombones); Phil Woods (alto sax); Seldon Powell (tenor sax); Gene Allen (baritone sax); Eddie Costa (vibes, piano); George Duvivier (bass); Bobby Donaldson (drums). 

Recorded at Van Gelder Studio, Hackensack, New Jersey, November 17, 1957

#2

Bernie Glow, Phil Sunkel (trumpets), Bill Harris (trombone); Phil Woods (alto sax); Seldon Powell (tenor sax); Sol Schlinger (baritone sax); Eddie Costa (vibes, piano); Wendell Marshall (bass); Gus Johnson (drums). 

Recorded at Van Gelder Studio, Hackensack, New Jersey, July 30, 1957

Billy Ver Planck (Arranger and conductor) 

Herbie Mann - Flute Mann • Salute To The Flute

The flute, an honorable pastoral spirit in the classical orchestra and chamber groups, is only beginning to be more than glancingly accepted by jazz critics. The jazz musicians, always more hospitable and curious than the critics, have, with rare exceptions, not objected to its increasing inclusion in jazz record sessions and regular combos and orchestra. There have been, however, several dourly skeptical writers, most notably in England, who feel the flute is not capable of projecting all the heat and urgency of elemental jazz. 

It is absurd (it seems instantly axiomatic to me) to proscribe any instrument as being inherently alien to jazz. It is the player, after all, who is transmitting the message; the instrument is his means, and if his message is heated and urgent, it will get through. In any case, an increasing number of jazz musicians, especially within the past four and five years, have become intrigued with and soon assured on the instrument; and it is not at all outré to bring a flute to a jam session on an average gig. 

A majority of the jazz flutists, however, utilize the instrument secondarily. Frank Wess of the Basie and Jerome Richardson, for example, are primarily tenors although their transformation of the flute into a vessel afire may eventually make the flute their first instrument. Buddy Collette distributes his calm skills about equally among the clarinet, alto, tenor and flute. Bud Shank is still an altoist first and Sam Most continues to concentrate on the clarinet although both have become flute-facile too. Bobby Jaspar of the J. J. Johnson quintet is regarded by his colleagues as a tenor who, on the side, plays warm, singing flute.

Mann, on the other hand, although a professional tenor saxophonist and clarinetist, can be considered the first of the younger jazzmen to regard the flute as his major instrument. Born in Brooklyn on March 16, 1930, he gained experience during three years with an Army band in Trieste and first became known on the jazz scene through his work with the Mat Mathews combo in 1953 and 1954. He started playing flute as well as other reeds with Mat, and as he explains the context at the time, "it was impossible for me to be influenced by any other flute player then, because there were hardly any. I had that advantage. I had heard and been impressed by Harry Klee's flute on a Mary Ann McCall album in the early '50's, but it has been a trumpet player, Miles Davis, who has actually been my one major influence on flute". *Nat Hentoff (liner notes)*

This Columbia LP (a 1981 reissue of an Epic album titled Salute to the Flute) found flutist Herbie Mann accompanied for the first time by a big band on five of the nine selections. Prior to 1959, virtually all of Mann's recordings were bop-oriented, and this one is no exception. Whether it be "Little Niles", "When Lights Are Low", "Beautiful Love" or even "Old Honky Tonk Piano Roll Blues", Mann proves to be an excellent bop soloist; other important players on this date include trumpeter Joe Wilder, altoist Anthony Ortega, pianist Hank Jones, guitarist Joe Puma and bassist Oscar Pettiford. This LP will be a difficult one to find. *Scott Yanow*

The best of the plethora of Mann sets that have hit the market recently. With the aid of excellent musicians, in example, Hank Jones, Anthony Ortega, Joe Puma, Oscar Pettiford, Joe Wilder, Urbie Green, etc., and arrangements by A. K. Salim and Gigi Gryce, the flutist is heard in big, medium-sized and small band contexts, and the music is at once pleasant, interesting, and provides adequate blowing space. Set should be appealing to jazz coterie, and those not so heavily oriented as well. Try "Little Niles" and "A Ritual" as demo bands. *Billboard, October 28, 1957*

Side 1

1 - When The Lights Are Low

(Benny Carter)

2 - Little Niles

(Randy Weston)

3 - Old Honkie Tonk Piano Roll Blues

(Herbie Mann)

4 - Pretty Baby

(A. K. Salim)

Side 2

5 - Beautiful Love

(Victor Young, Wayne King, Egbert Van Alstyne)

6 - Hip Scotch

(Joe Puma)

7 - Song For Ruth

(Herbie Mann)

8 - Noga's Nuggets

(Oscar Pettiford)

9 - A Ritual

(Herbie Mann)

Herbie Mann (flute, alto flute); Bernie Glow, Don Stratton, Joe Wilder (trumpets); Urbie Green, Chauncey Welsch (trombones); Anthony Ortega (alto sax); Dick Hafer (alto and tenor sax); Dave Kurtzer (tenor sax); Sol Schlinger (baritone sax); Joe Puma (guitar); Hank Jones (piano); Oscar Pettiford (bass); Gus Johnson [#1, #3, #5, #6, #8, #9]), Philly Joe Jones [#2, #4, #7] (drums).

Recorded in New York City, April 18 (#2, #4, #7) and April 29 (#1, #3, #5, #6, #8, #9), 1957. 

The RCA Victor Jazz Workshop #1

One of the most smartest and innovative recordings in the mid-1950's was produced by Jack Lewis, RCA’s A&R man in California at the time.

In August 1955, the specialized publication Down Beat was in charge of anticipating the "project":

A major new project entitled "The RCA Victor Jazz Workshop" is now under way under the direction of that company’s jazz A&R man, Jack Lewis.

Details of the plan are shrouded in secrecy, but it is known that the "Workshop" will afford an opportunity for a number of young artists, some already RCA Victor contractees and others newly signed, to indulge in experimental work. There will be groups involving unusual instrumentation. One date already known to have been cut features Al Cohn with four trumpets and rhythm. Bob Brookmeyer is also contributing a number of arrangements and will be heard with at least two different style combos. Lewis says that the “Workshop” efforts will all be on 12″ LPs and will be released at the rate of one or two a month, in addition to the regular jazz releases.

*Down Beat, August 10, 1955 (page 4)*

A month later, it was reported again with a little more detail:

RCA-Victor is undertaking the most ambitious jazz recording schedule in its history. Jack Lewis, in charge of jazz for the label, recently released further details concerning his plans for the next few months. A key Victor undertaking is a Jazz Workshop series in which a number of leading jazz writer-players will be given complete freedom in choice of instrumentation, personnel, and the range of their writing ideas.

Among the musicians set to head individual Jazz Workshop LPs are Al Cohn, Bob Brookmeyer, Billy Byers, Manny Albam, Hal Schaefer, and several others. Lewis also is cutting an album by The New York saxophone quartet, consisting of Danny Bank, Hal McKusick, Cohn, and Ray Beckenstein. No rhythm section is used with this unique unit. Lewis is commissioning original compositions for the quartet from prominent jazz writers.

*Down Beat, September 21, 1955 (page 7)* 

Finally, six months later and in an advert revealing the album covers, Down Beat announced the release of the first two albums in the series, by Al Cohn and Hal Schaefer:

Like any art form, Jazz requires space and the opportunity to grow and search for new avenues of expression. It either finds these avenues and goes forward — or it stands still and dies. There is need today in Jazz for just such space and opportunity. 

And to meet this need, RCA Victor has undertaken a program bold and unique in modern music. 

A Jazz Workshop has been established where artists can enjoy the widest latitude in composition, arrangement and performance... where new sounds can be tried ... where different directions can be explored — and all without the necessity of conforming to established modes or patterns. 

Below are the first recordings made under these exciting, stimulating conditions —forerunners of a new, unhampered kind of music from the RCA Victor Jazz Workshop. Your record dealer invites you to hear them today! 

*Down Beat, March 21, 1956 (page 17)*

In summary, there were seven Jazz Workshop albums recorded in all:

★ Al Cohn (May 1955)

★ Hal Schaefer (October 1955)

★ Manny Albam (December 1955)

★ Billy Byers (December 1955)

★ Hal McKusick (March 1956)

★ George Russell (March 1956)

★ John Carisi (April 1956)

The release led by John Carisi consisted of in three recording sessions in April, May, and June of 1956 were assigned a release number, LPM-1371, but it remained in the vault until 1988 when Executive Producer Steve Backer tapped veteran jazz producer Ed Michel to put together a CD release of sessions from the Jazz Workshop series.

Unfortunately The New York saxophone quartet session never materialized, at least there is no record in the jazz discography literature with the artists mentioned in the Down Beat column. 

That's what the next seven posts will be about and here goes the first:

Al Cohn

Four Brass, One Tenor

The appropriate sounding of brass (to be specific, four brass and one tenor) heralds the advent, with these sides, of an ambitious new venture that will be welcomed by jazz cognoscenti everywhere: the RCA Victor JAZZ WORKSHOP. 

This will be the generic phrase applied to a series of enterprises, as varied in intent and content as they will be in ideation and instrumentation. Some of the workshop ventures will be, as the saying goes, "far out"; others will be less experimental musically but will essay new ideas instrumentally. Into the latter category falls Al Cohn’s Four Brass, One Tenor. 

As far as Al or I can recall, this is the first time the idea has ever been tried out. It was RCA Victor’s Jack Lewis who suggested that four trumpets might make a unique and effective cushion for a tenor saxophone. The plan was translated into action via the swinging pens of Messrs. Cohn and Albam and brought to reality in three sessions with an almost identical personnel.

Alone or together, these are among the great horn men of jazz today; but over and above it all, the assertively swinging tenor of Al Cohn soars superbly to lend vibrant power to this novel instrumental experiment. To paraphrase a song on one of these sides, this is one of those occasions when after the song is ended the melody, the harmony and the rhythm will all linger on.

*Leonard Feather (liner notes)*

This is the better though the less ambitious of the first two LPs released in Victor’s Jazz Workshop series, a project instituted by Jack Lewis. Against a background of four brass and rhythm, Al Cohn is heard in some of his best blowing on record, and his full tone and big beat are virilely complemented by Joe Newman, Bart Valve (Thad Jones), Nick Travis, and the alternating horns of Bernie Glow, Joe Wilder, and Phil Sunkel. On several numbers, Travis doubled on valve trombone.

The equally tall rhythm section is composed of Freddie Greene, Osie Johnson, Buddy Jones, and Dick Katz. Newman takes most of the trumpet solos, but there are choruses by the others, too, (including four-trumpet chases on two tracks). There are full solo identifications in Leonard Feather’s exact notes, which should serve as a model to Victor liner writers.

Manny Albam and Cohn arranged six apiece and contributed three agreeable originals each. The writing is just right for this context, clean, uncluttered, swinging. The brass team, as a result, shouts bitingly alongside Al when the mood is up and is appropriately gentler on other tracks. The excellent engineering, as on almost all Victor jazz LPs, is by Ray Hall, who should be given liner credit. Recommended. *Nat Hentoff*

The 1955 sessions that make up this Al Cohn LP were part of RCA Victor's Jazz Workshop series. In each of the three studio dates, the tenor saxophonist is matched up with a quartet of trumpeters, with the fourth chair differing on each date. Either Manny Albam or the leader contributed the arrangements of the almost even split between standards and originals. Cohn is in terrific form, boosted by the swinging rhythm section consisting of pianist Dick Katz, bassist Buddy Jones, guitarist Freddie Green, and drummer Osie Johnson. The trumpeters include Thad Jones (who appeared under the pseudonym Bart Valve on the original issue), Nick Travis (who doubles on trombone), Joe Newman, and either Joe Wilder, Bernie Glow, or Phil Sunkel rounding out the section. Newman takes most of the trumpet solos, except for Cohn's "Haroosh" (Jones) and "Every Time" (Wilder), while "Rosetta" and "Linger Awhile" both feature a chase among all four trumpeters. This very entertaining cool jazz album. *Ken Dryden*

Side 1

1 - Rosetta

(Hines, Woode)

2 - The Song Is Ended

(Irving Berlin)

3 - Linger Awhile

(Vincent Rose, Harry Owens)

4 - Every Time

(Farrar, Kent)

5 - Haroosh

(Al Cohn)

6 - Just Plain Sam

(Manny Albam)

Side 2

7 - I'm Coming Virginia

(Heywood, Cook)

8 - Cohn Not Cohen

(Al Cohn)

9 - A Little Song

(Al Cohn)

10 - Foggy Water

(Manny Albam)

11 - Sugar Cohn

(Manny Albam)

12 - Alone Together

(Schwartz, Dietz)

Al Cohn (tenor sax); Bernie Glow [#2, #8, #9, #10,#11], Joe Newman, Joe Wilder [#1, #4, #6, #12], Phil Sunkel [#3, #5, #7], Thad Jones [a.k.a. Bart Valve] (trumpets); Nick Travis (trumpet, trombone); Dick Katz (piano); Freddie Green (guitar); Buddy Jones (bass); Osie Johnson (drums).

Recorded at Webster Hall, New York City, May 9 (#1, #4, #6, #12), May 14 (#2, #8, #9, #10,#11) and May 16 (#3, #5, #7), 1955.

Trigger Alpert - Trigger Happy!

A traditional jazz bassist and bandleader, Trigger Alpert issued one album on Riverside in 1956 titled Trigger Happy! It had an all-star lineup with Tony Scott, Zoot Sims, Al Cohn, Joe Wilder, Urbie Green, and Ed Shaugnessy joining Alpert. Alpert studied music at Indiana University in the late '30s, then played with Alvino Rey in New York during 1940; he toured and recorded with Glenn Miller in the early '40s. Alpert worked briefly with Tex Beneke and did a radio program with Benny Goodman. He later recorded with Bud Freeman, Ella Fitzgerald, Muggsy Spanier, Roy Eldridge, Louis Armstrong, Ray McKinley, and Bernie Leighton in 1945 and 1946. He worked with Frank Sinatra, Woody Herman, and Jerry Jerome in 1946 and 1947, and had recording sessions with Artie Shaw, Coleman Hawkins, the Sauter-Finegan Orchestra, Mundell Lowe, Don Elliott, Gene Krupa, and Buddy Rich from 1950-1962. During that time, he also worked for CBS. Alpert left the music business in 1970, becoming a photographer. *Ron Wynn*

Trigger Alpert is not a name familiar to me but he is, obviously, a man with great connections because he persuaded Zoot Sims, Al Cohn, Joe Wilder, Urbie Green, Tony Scott and Ed Shaughnessy to join him for this 1956 studio set; a mouth -watering prospect. He, also, used the same powers of persuasion to enlist the considerable arranging talents of Marty Paich and Dick Hyman who, together with Tony Scott, produce sparkling treatments of the lesser known tunes of Gershwin, Rodgers and Porter.

The music lives up to its promise, eight delightful mid tempo tracks of straight ahead, uncomplicated music. The pianoless septet combining tenor and baritone saxes, trombone, trumpet, and clarinet with Sims doubling on alto, Scott on tenor and Cohn on baritone sax is an exciting and unique one.

Predictably the solo count is high. Sims has never been known to play a boring note and Joe Wilders masterly muted trumpet work is outstanding especially on The Likes of You. Tony Scotts capricious clarinet adds a surrealist touch.

But the big plus for me is the unsurpassable Urbie Green, a man heard from too little today. His immaculate, cultured sound is one of the great joys of Mainstream jazz and here he is in majestic form. Alpert proves to be a sturdy, musicianly bassist and Shaughnessy is, as usual, a trustworthy anchor.

The music is so craftily scored that it gives the impression of a jam session. It has the feeling that it was all done in first takes. What is very obvious is that all the musicians are having fun. *John Martin (The Jazz Rag Magazine)*

Side 1

1 - Treat Me Rough

(G. & I.Gershwin)

2 - Looking At You

(Cole Porter)

3 - Love Me Tomorrow (But Leave Me Alone Today)

(Duke-Latouche)

4 - Trigger Happy

(Tony Scott)

5 - Tranquilizer

(Dick Hyman)

Side 2

6 - I Like The Likes Of You

(Duke-Harbach)

7 - I Wish I Were In Love Again

(Rodgers-Hart)

8 - I Dont Want To Be Alone Again

(Jimmy Smith-Johnny Mercer)

9 - Trigger Fantasy

(Trigger Alpert)

10 - Wheres That Rainbow?

(Rodgers-Hart)

Joe Wilder (trumpet), Urbie Green (trombone), Tony Scott (clarinet, tenor sax), Zoot Sims (alto and tenor sax), Al Cohn (tenor and baritone sax), Herman "Trigger" Alpert (bass), Ed Shaughnessy (drums).

Recorded at Reeves Sound Studios, New York City, October 29, November 23 and 30, 1956.