Lighthouse All-Stars Collection XXVI ★ Richie Kamuca

Richie Kamuca

West Coast to East Coast

Live Recordings 1957-1966

Back in action, Outlet kicks off the second half of the year by resuming its series dedicated to Howard Rumsey's Lighthouse All-Stars and the live recordings made at the legendary Lighthouse club.

This time, the focus is on saxophonist Richie Kamuca and the quintet he co-led with trumpeter Conte Candoli in 1957. These recordings were previously released by the Xanadu label under the title Bebop Revisited, Volume 5 in 1985.

For this post, we've chosen the recent release from the Barcelona-based label Fresh Sound Records, featuring notes by its owner, Jordi Pujol:

Richie Kamuca (1930–1977) was one of the finest tenor saxophonists of his generation, though never granted the full recognition his artistry deserved. Rising to prominence with Stan Kenton and Woody Herman in the early 1950s, he settled in Los Angeles in 1956 and soon became a leading voice on the West Coast scene, recording and performing with Chet Baker, Shelly Manne, Bill Perkins, Conte Candoli, and many others. Equally at home in big bands, studios, and small groups, Kamuca blended the cool lyricism of Lester Young with the fluent drive of Stan Getz and Zoot Sims, ultimately forging a highly personal style.

This collection brings together live performances from the Lighthouse in 1957, from the celebrated Stars of Jazz television show of that same year, and from his New York period in inspired Half Note sessions with the Roy Eldridge Quintet in 1965–66. Warm-toned, inventive, and deeply melodic, Kamuca is heard here at full maturity: an unjustly overlooked master of the tenor saxophone.

After arriving in Los Angeles in the summer of 1956, Richie Kamuca joined Howard Rumsey's All-Stars at the famed Lighthouse club in Hermosa Beach. He spent a month there replacing Bob Cooper, who was vacationing in Hawaii with June Christy at the time.

He soon established a strong association with the West Coast jazz scene, receiving calls from record producers and fellow musicians alike to appear as a sideman on numerous sessions led by artists such as Chet Baker, Johnny Richards, Marty Paich, Bill Perkins, Stan Levey, Gus Mancuso, Mel Lewis, and Bill Holman. He also spent a brief period with the Med Flory–Al Porcino band, rejoined Stan Kenton for the orchestra's 1956 summer European tour, and later joined Maynard Ferguson after Kenton disbanded following a series of Bay Area engagements in November. Ferguson's saxophone section featured Herb Geller on alto, Kamuca and Nino Tempo on tenors, and Willie Maiden on baritone.

In April 1957, Kamuca returned to the Lighthouse to perform with the house band, which included Conte Candoli on trumpet, Dick Shreve on piano, Stan Levey on drums, and Red Mitchell on bass, replacing Howard Rumsey. Mitchell, who had originally played piano, switched to bass while working with Chubby Jackson in 1949. By then he had earned a formidable reputation as a member of pianist Hampton Hawes's outstanding trio, which also included Kenny Burrell on guitar. Earlier, Mitchell had worked with singer Jackie Paris and guitarist Mundell Lowe, and in 1956 he released his first album as a leader.

During the Lighthouse session that opens this CD, the group stretched out on two standout performances, "Allen's Alley" (also known as "Wee"), by Denzil Best, and Candoli's own "Counting", both of which showcased the band's remarkable cohesion and inventiveness. Kamuca displayed a strong Zoot Sims influence, moving confidently and fluently through the changes with his characteristically relaxed tone, while Candoli matched him with assured solos full of wit and imagination, including a quotation from "The Jeep Is Jumpin'". Shreve and Kamuca supplied effective supporting riffs, and Shreve contributed tasteful, economical solos in a Basie-like manner. Red Mitchell proved indispensable throughout, his rock-solid walking bass lines constantly drawing the ear, and he also delivered an outstanding solo that confirmed his place in the lineage of great bassists such as Jimmy Blanton, Oscar Pettiford, and Ray Brown.

The atmosphere remained relaxed yet highly energized, particularly on "Counting", a blues that allowed Kamuca to unfold one of his most fluent statements while Candoli's phrasing reflected his roots in the Dizzy Gillespie tradition. Both performances also highlighted the band's love of rhythmic exchanges, with Kamuca, Candoli, and Levey trading eights, fours, and even altered subdivisions, demonstrating both technical command and a playful sense of swing. These extended performances capture a group thoroughly enjoying itself while operating at a very high musical level. *Jordi Pujol (from the liner notes)*

1 - Allen's Alley

(Denzil Best)

2 - Counting

(Conte Candoli)

3 - Too Close For Comfort

(Jerry Bock, Larry Holofcener, George David Weiss)

4 - What's New

(Bob Haggart, Johnny Burke)

5 - Just Friends

(John Klenner, Sam M. Lewis)

6 - Sweet Sue

(Will J. Harris, Victor Young)

7 - Comin' Home Baby

(Herbie Mann)

8 - Stompin' At The Savoy

(Benny Goodman, Chick Webb, Edgar Sampson)

9 - Hackensack

(Thelonious Monk)

10 - Take The "A" Train

(Billy Strayhorn)

11 - In A Mellotone

(Duke Ellington)

#1 and #2

The Conte Candoli~Richie Kamuca Quintet:

Conte Candoli (trumpet), Richie Kamuca (tenor sax),

Dick Shreve (piano), Red Mitchell (bass), Stan Levey (drums).

Recorded live at the Lighthouse, Hermosa Beach, California, April 17, 1957

#3 #4, #5

The Richie Kamuca~Leroy Vinnegar Quintet:

Richie Kamuca (tenor sax), Carl Perkins (piano),

Leroy Vinnegar (bass), Tony Bazley (drums).

Recorded at "Stars of Jazz" TV show,

ABC Studios, Los Angeles, California, October 21, 1957

#6 to #11

Roy Eldridge~Richie Kamuca Quintet:

Roy Eldridge (trumpet); Richie Kamuca (tenor sax); Dick Katz (piano);

Tommy Potter [#10], Don Moore [#11] (basses); Eddie Locke (drums).

Recorded live at the Half Note, New York City,

August 20, 1965 (#6 to #9) and March, 25, 1966 (#10, #11)

Herb Geller Quintet

Herb Geller

Stax Of Sax

Herb Geller is a blowing soloist. "STAX OF SAX" is Herb Geller blowing a whole lot of variety and mood and style out of his alto. Add to that solos, tempos and treatments, plus integrated teamwork from five of the best musicians out of the West.

"STAX OF SAX" puts the full style of Herb Geller on display. Here is evidence of the atmosphere and influence, the technical mastery and the assimilation. Here are Herb's statement in rhythm, in melody, in form and in content.

The group accomplish blends and effects in solo and ensemble work that point up the links of understanding from the pulse of the bass and the drums to the improvisations of the alto and the piano and the vibes. There is a unity of expresión and musical idea.

Herb Gelles is a blowing soloist. Herb Geller blows a whole lot of alto in "STAX OF SAX", piling imagination and feeling on esciting technique. *Mort Goode (liner notes)*

This somewhat obscure recording by the bop-oriented altoist Herb Geller features him in a 1958 quintet with vibraphonist Victor Feldman, pianist Walter Norris, bassist Leroy Vinnegar and drummer Anthony Vazley. Other than a session for Atco, this was Geller's last American album until 1993; it would be 1975 before he recorded as a leader again. Geller is in fine form on three of his originals and two standards ("Change Partners" and "It Might as Well Be Spring"). Originally cut for Jubilee, this Fresh Sound CD is part of an extensive series that has brought back many forgotten dates from the 1950s. Bop collectors will enjoy this one. *Scott Yanow*

An incredible album from saxophonist Herb Geller — one that's quite different than his better-known sides for Mercury, and which features Geller blowing in an amazingly evocative tone! The first three tracks on the album are haunting originals by Herb — tunes that have a more open style than some of his more tightly arranged work, and which show the kind of fascination with sound structures that would show up much more heavily in later years. The group features Victor Feldman on vibes, Walter Norris on piano, Leroy Vinnegar on bass, and Anthony Vazley on drums — and the mix of vibes with Geller's horn is an especially nice element, one that adds to the haunting feel of the whole set. Titles include "Nightmare Alley", "A Cool Day", "The Princess", "Change Partners", and "It Might As Well Be Spring". *Dusty Groove, Inc.*

1 - Nightmare Alley

(Herb Geller)

2 - A Cool Day

(Herb Geller)

3 - The Princess

(Herb Geller)

4 - Change Partners

(Irving Berlin)

5 - It Might As Well Be Spring

(Rodgers, Hammerstein)

Herb Geller (alto sax), Victor Feldman (vibes),

Walter Norris (piano), Leroy Vinnegar (bass), Anthony Vazley (drums).

Recorded at Radio Recorders, Hollywood, California, December 12, 1957

[other source gives: Recorded in Los Angeles, 1958]

Buddy Collette And Teddy Edwards - The Crown Sessions

Buddy Collette (1921-2010) and Teddy Edwards (1924-2003) were two prominent, individual jazz musicians whose beginnings were firmly rooted in the Los Angeles Central Avenue jazz and rhythm and blues scene of the 1940s.

Buddy, born in Los Angeles, gained recognition in 1946 as an alto saxophone and clarinet player, performing alongside musicians like Lucky Thompson and Charlie Mingus. In 1950, he became the first Black musician to work in Los Angeles film and TV studios, further establishing his reputation in jazz through his versatility as a woodwind player. His collaborations with the Chico Hamilton Quintet and his own albums as a leader showcased his talents as a composer and thoughtful jazz musician.

Teddy, a native of Jackson, Mississippi, was credited with recording the first bop solo on tenor saxophone in 1946 on "Up in Dodo's Room" with Howard McGhee's sextet. He was an early associate of jazz greats like Dexter Gordon, Sonny Criss, Art Pepper, Max Roach, and Clifford Brown. Known for his charging, up-tempo, bluesy style, Edwards was equally adept at producing a sweet, burnished tone from the tenor sax, making him a significant influence on other tenor saxophonists like Harold Land and Sonny Rollins.

Throughout their extensive careers, both musicians remained deeply connected to Los Angeles as their home base and source of inspiration.

In the tracks included on this CD, recorded between 1959 and 1960, we hear Buddy Collette and Teddy Edwards in two rare quartet sessions, navigating through a set of blues and originals. The uniqueness of these recordings lies in the fact that they were originally scattered across several Crown label albums, without any personnel or composer information, often indiscriminately attributed to different jazz artists, with the musicians not always properly credited. Here, for the first time, they are grouped together in a single collection. *Jordi Pujol*

1 - What's Up?

2 - Hideaway

3 - Reunion

4 - Joggin'

5 - Evergreen

6 - Bye Bye

7 - The Groove

8 - Lucky Me

9 - Miss Beat

10 - I'll Get Away

11 - The Grind, Part 1

12 - The Grind, Part 2

13 - Across Town

#1 to #8:

Buddy Collette (tenor sax), Gerald Wiggins (piano),

Joe Comfort (bass), Bill Douglass (drums).

#1, #2, #3: from Way Out Wardell (Crown CLP-5278)

#4 : from Gerry Mulligan/Chet Baker/Chico Hamilton/Buddy Collette/Gerald Wiggins (Crown CLP-5289)

#5, #6, #7, #8: from Groovin’ High (Crown CLP-5284)

#9 to 13:

Teddy Edwards (tenor sax), Joe Castro (piano), Leroy Vinnegar (bass), Billy Higgins (drums).

#9, #10 from: Sonny Criss/Gerald Wiggins/Erroll Garner/Stan Getz (Crown CLP-5292) 

#11, #12, #13: from Erroll Garner/Wardell Gray/ Barney Kessel/Gerald Wiggins Crown (CLP-5293)

Recorded at Modern Records Studio, Hollywood, between 1959 and 1960.

Richie Kamuca Quartet

When jazz scholars make a thumbnail appraisal of musical talent, they invariably begin with influences. This fact of analysis is at times readily apparent; at other times quite obscure. It's purpose, basically, is to trace the thread of originality back to a known source, and then to compare what the younger man has done with the thought schemes developed by his forerunners.

In Richie Kamuca, the young tenor player featured on this LP, we find a clearcut example of present-day tenor techniques firmly rooted in the accepted traditions of jazz playing for that instrument. Throughout his performance, Richie demonstrates the shifting patterns of contemporary music woven over the firmly established departure lines.

Programming for an LP is always a challenge to the artist, and Richie took particular pains and delight in assembling the tunes heard here.

Once around the turntable, and the listener will find convincing proof that in Richie Kamuca, we have a strong link between the schools in the art form he represents. This quartet recording — his first for any label — is a noteworthy equation to the high standards of that art.

*Joe Quinn (liner notes)*

Considering his talent, it is very surprising that tenor saxophonist Richie Kamuca led so few record dates throughout his career — just three during 1956-58 and three for Concord in 1977. This quartet set (a MOD LP reissued by V.S.O.P. on CD) features the excellent cool-toned tenor in a quartet with pianist Carl Perkins, bassist Leroy Vinnegar and drummer Stan Levey. Only the brief playing time (just over 30 minutes) keeps this set from getting a higher rating, for Kamuca is in prime form. Highlights include "Just Friends", "What's New" and "Cherokee". *Scott Yanow*

Pure genius from tenor saxophonist Richie Kamuca — a magical exercise in tone and balance, played by Richie with that warm and raspy style that we love so much in his work! Kamuca's probably best known for his bigger group work of the 50s, but on a session like this he steps out as a marvelously creative soloist — working at a good bop-inspired clip, but also taking the time to explore deeper, more personal ideas through his well-voiced solos on the set. Even on more familiar numbers, Richie steps out with a sense of personality that transforms the tunes to his own way of thinking — and he's very well aided in this work by a crack rhythm section that includes Carl Perkins on piano, Leroy Vinnegar on bass, and Stan Levey on drums. *dustygroove.com*

1 - Just Friends

(Klenner, Lewis)

2 - Rain Drain

(Richie Kamuca)

3 - What's New

(Haggart, Burke)

4 - Early Bird

(Carl Perkins)

5 - Nevertheless

(Kalmar, Ruby)

6 - My One and Only Love

(Wood, Mellin)

7 - Fire One

(Carl Perkins)

8 - Cherokee

(Ray Noble)

Richie Kamuca (tenor sax), Carl Perkins (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded at Radio Recorders, Hollywood, California, June 1957.

Howard Lucraft - Showcase For Modern Jazz

Until 1950, Mr. Lucraft was a 'name' band leader in England, and was featured regularly by the British Broadcasting Corporation, both with his band and as an arranger and commentator, etc. for many of the national jazz broadcasts. 

Since 1950, he has resided in Hollywood, functioning on both sides of the fence — as an arranger-composer for leading bands and groups, and as a critic and editorial representative for "Metronome" (U.S.A.), "Encyclopedia of Jazz", and "Melody Maker" (Great Britain). 

In 1954, jointly with Stan Kenton, he started JAZZ INTERNATIONAL. This is the famous world-wide organization of jazz enthusiasts and musicians whose chief purpose is the universal propagation of the art.

Mr. Lucraft is the producer of the "Jazz International Show" on radio, broadcast by over 100 radio stations throughout the United States and Canada, and director of a "Jazz International Show" for the Armed Forces Radio. The latter is said to have 100 million listeners in all parts of the world. In addition, Lucraft produced and hosted the "Jazz International" weekly TV show in Los Angeles.

*(Liner Notes)*

At the weekly meetings of the Hollywood chapter of the JAZZ INTERNATIONAL organization, it has been my privilege to present some of the greatest jazz artists in the world. This album features a large number of the star West Coast instrumentalists regularly involved. 

In writing all the music I tried to present these exciting musicians in some varying styles of modern jazz. The arrangements are simple with full freedom for the guys to express themselves. We tried to create good swinging, melodic and inventive jazz. *Howard Lucraft* 

Side 1

1 - Blue Moon

(Richard Rodgers, Lorenz Hart)

2 - I'll Never Say "Never Again" Again

(Harry Woods)

3 - California Zephyr

(Howard Lucraft)

4 - I May Be Wrong (But I Think You're Wonderful)

(Henry Sullivan, Harry Ruskin)

5 - Larrissa

(Howard Lucraft)

Side 2

6 - Midnight Sun

(Sonny Burke, Lionel Hampton)

7 - Smog A La Mode

(Howard Lucraft)

8 - Jazz For Gene

(Howard Lucraft)

9 - Two Part Contention

(Dave Brubeck)

Howard Lucraft [a.k.a. John Doe] (leader, arranger and guitar [#1, #4, #5, #7]) with:

#1, #4, #7:

Bud Shank (alto sax, flute); Buddy Collette (clarinet, baritone sax); Red Mitchell (bass); Mel Lewis (drums).

Recorded in Hollywood, California, June 24, 1957.

#3, #6, #9: 

Art Pepper (alto sax), Bob Cooper (tenor sax, oboe), Claude Williamson (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded in Hollywood, California, July 8, 1957.

#2, #5, #8:

Charlie Mariano (alto sax, baritone sax); Conte Candoli, Stu Williamson (trumpets); Frank Rosolino (trombone); Pete Jolly (piano, accordion); Leroy Vinnegar (bass); Shelly Manne (drums).

Recorded in Hollywood, California, July 15, 1957.

Quincy Jones - Go West, Man!

In Southern California the evenings are cool, as many an Easterner has found out to his discomfort. But periodically the sequence of chilly dusks is broken by a hot, dry, sometimes rather nervous wind, that sweeps from the interior and changes the entire atmosphere of the area. Then you see the retired Idaho farmers sitting on their verandahs rocking back and forth and watching the traffic. 

They call this wind a Santa Ana. This album is NOT called a Santa Ana, but it does bring a warm, almost hot breeze to Southern California, or West Coast, jazz which shows that it need not always be cool. 

And it’s time some real effort was made to demonstrate to the world that everything recorded in the Hollywood studios is not more Brooks Brothers tan Madison Avenue and not more emotionally restrained than a London native in a room full of Americans. As Betty Roche wroje to Jimmy Lyons, whose nightly KNBC, San Francisco eee has been a breath of warmth in what has sometimes seemed a wilderness of cool sounds, "it's good to hear the swingers". 

Quincy Jones, who produced this album, selected the personnel, picked the instrumentation and arrangers, is a West Coast product himself — he’s from Chicago originally but settled in Seattle when he was 10 and was raised there. For that matter, most of the so-called West Coast musicians are originally from the East, or at least not the West, and they don't always play in that tight little style that has become known as West Coast. They can get pretty funky, especially, as Shelly Manne says, "if they’ve eaten enough in those all-night hamburger joints". 

In ten years of writing on jazz for Down Beat and in the San Francisco Chronicle, I have never known what "West Coast" was, really, except in terms of individuals and only then for a specific time and a specific performance. This album will do considerable good if it makes people realize, as I hope it does, that all winds do not blow cool on the Pacific Coast. Sometimes they blow hot, too. *Ralph J. Gleason (liner notes)*

There is a bit of mis-information surrounding this album, and I’ve seen more than one inaccurate review, so to clear up a few things first, Go West Man! is not a big band album and the arrangements on here are not by Quincy Jones. Although there is some good music on here, in some ways, this second album in Quincy Jones’ young career is somewhat of a disappointment. Jones’ first album was a great success and revealed a young big band arranger with some fresh new sounds, so I would imagine his new fans were disappointed to find out that Jones only served as a conductor and producer, not arranger, on his follow-up LP. There are three different mid-sized groups that Jones works with on here, including two groups led by saxophone summits and one group led by a trumpet quartet. All three groups have a piano, bass and drums rhythm section. Each of the three groups is given three songs which leads to nine songs total on the album if you are keeping score at home.

All three of these groups are very talented, but possible top honors goes to an all-star sax five-some that includes Art Pepper and Charlie Mariano. The west coast sax players are known for their silky smooth ensemble work, and this group is a good example. The liner notes claim the other sax group is made up of three tenors, but there is quite clearly a fourth man on baritone, and one of the supposed tenors sounds suspiciously high. The arrangements for the nine tracks were provided by Jimmy Giuffre, Lennie Niehaus and Charlie Mariano. “London Derriere”, with its striking sounds made up of trumpets with Harmon mutes, is the arrangement that sounds the most like Quincy. This album is recommended for fans of west coast jazz, there so much great saxophone playing on here, both in ensemble and in solos, but Quincy Jones fans may be disappointed by the somewhat misleading presentation and slap together nature of this album. *jazzmusicarchives.com*

Quincy turns his soul jazz arranging style to a band filled with West Coast players, and he gets them to groove a lot more than you'd expect! Players include Herb Geller, Art Pepper, Charlie Mariano, Bill Perkins, and Walter Benton. The tracks are short, with tight solo space, and most of them were written and arranged by West Coasters like Jimmy Giuffre, Lennie Niehaus, and Johnny Mandel. Titles include "Be My Guest", "London Derriere", "Kings Road Blues", "The Oom Is Blues", and "Bright Moon".  *dustygroove.com*

1 - Dancin' Pants

(Jimmy Giuffre)

2 - Blues Day

(Jimmy Giuffre)

3. Bright Moon

(Jimmy Giuffre)

4 - No Bones At All

(Johnny Mandell)

5 - The Oom Is Blues

(Charlie Mariano)

6. Be My Guest

(Lennie Niehaus)

7 - Medley: 

•What's New?

(Haggart, Burke)

•We'll Be Together Again 

(Fischer, Laine)

•Time On My Hands

(Adamson, Youmans, Gordon)

•You Go To My Head

(Coots, Gillespie)

•Laura

(Mercer, Raksin)

8 - London Derriere

(Johnny Mandel)

9 - Kings Road Blues

(Lennie Niehaus)

Conte Candoli, Pete Candoli, Harry "Sweets" Edison, Jack Sheldon (trumpets [#2, #4, #8]); Benny Carter, Herb Geller, Charlie Mariano, Art Pepper (alto saxes [#1, #6, #9]); Pepper Adams (baritone sax [#3, #5, #7]); Walter Benton, Buddy Collette, Bill Perkins (tenor saxes [#3, #5, #7]); Lou Levy [#1, #6, #9], Carl Perkins [#2 to #5, #7, #8] (pianos); Red Mitchell [#1, #6, #9], Leroy Vinnegar [#2 to #5, #7, #8] (basses); Shelly Manne [#1, #3, #5, #6, #7, #9], Mel Lewis [#2, #4, #8] (drums).

Jimmy Giuffre, Johnny Mandel, Charlie Mariano, Lennie Niehaus (arrangements); Quincy Jones (conductor).

Recorded in Los Angeles, California, February 25, 1957.

Stan Levey - ''Grand Stan''

Stan Levey was one of the leading drummers of his generation who was not only involved in the formative years of bebop, but was accepted as one of its most important drummers, alongside greats like Kenny Clarke and Max Roach. Stan was a major influence in what was called "west coast jazz" or the "cool school". His crisp, melodic style continued to have more in common with bop than cool, and he inspired every group he ever played in.

Of the 2000 some recordings Stan was featured on, he surprisingly only appeared as leader on only a handful. The best of those rare sessions was his 1957 Bethlehem Records release Grand Stan cut in the midst of his stint with Howard Rumsey’s Lighthouse All-Stars and featuring accompaniment from Sonny Clark (pianist), Conte Condoli (trumpet), Richie Kamuca (tenor saxophone) and Leroy Vinnegar (bass). 

A beautiful west coast jazz program, Levey leaves the players plenty of room to more than show their stuff throughout especially trombonist Frank Rosolino who manages to consistently steal the show. The formidable 8-song set is  highlighted by "Angel Cake", "Hit That Thing" and "Blues At Sunrise". *ccd.pl review*

Stan Levey was a significant bebop drummer who brought stimulation and innovation to such bands as the Gillespie/Parker Quintet (1945-46), the Stan Kenton Band (1952-54) and the Lighthouse All-Stars ( 1954-60) where he was anchoring the rhythm section at the time of this recording.

In this 1957 outing called Grand Stan were three Stan Kenton Band alumni, trumpeter Conte Candoli, tenor sax stalwart Richie Kamuca, and trombone virtuoso Frank Rosolino. Joining this cohort was the still unheralded pianist Sonny Clark who later participated in a seminal release with Buddy De Franco  and another with guitarist Grant Green. Finally bassist Leroy Vinnegar who was highly sought after on the West Coast for his big toned walking bass style.

Benefiting from arrangements by Marty Paich, Bob Cooper, Bill Holman and Sonny Clark, the band blows up a storm through a collection of popular standards and original compositions from Cooper, Holman and Clark.

Side A opens with "Yesterdays" which was written by Jerome Kern & Otto Harbach in 1933 for the musical Roberta. In an arrangement by Marty Paich that stretches the construct of the original melody, the number becomes a feature for trombonist Frank Rosolino. He powers through his long solo in his well-known staccato style, with Vinnegar’s pulsing bass in noticeable support. 

Another Kern number is "Why Do I Love You" written in conjunction with Oscar Hammerstein II, and it is again arranged by Paich to feature the pianist Sonny Clark. Done at a super fast tempo, Clark demonstrates he can swing with ease and yet stay within the framework of the number. Levey’s drumming is a propulsive boost to the arrangement.

This side closes with the title track "Grand Stan" which was written by Bob Cooper another Kenton alumnus. Designed in a medium tempo, it has a boppish line and chord progressions that give the soloists a chance to offer several easy-going choruses. All the front line jump at the chance to be heard, which they do to perfection.

Side B starts with a Bill Holman original "Hit That Thing". In this up tempo gem, there are sensational opening choruses from Richie Kamuca on tenor sax, Conte Candoli on trumpet, and Rosolino on trombone. However the majority of the time on this track is taken up with a lengthy but well executed drum solo from Stan Levey. Given the fantastic stick work exhibited in his drum solo, it is hard to imagine that Levey was entirely self-taught. Not only that, he played left-handed even though he was naturally right-handed. His first drum influence was Chick Webb, but later Max Roach had the greatest impact on his development.

A 1946 B-movie entitled The Time, The Place and The Girl became recognized for only one thing. That was the Leo Robin/Arthur Schwartz song "A Gal In Calico". The number has found a place in jazz repertoires and the Bill Holman arrangement here will help cement that reputation. Opening with tight voicing of the melody among the front line, the players use that as the jumping off point to deliver a series of choruses that demonstrate some compelling and prolific soloing. All of which is a worthy model of how a simple number can become a jazz showcase.

Bob Cooper’s original number "Tiny’s Tune" closes Side B. In this head arrangement there are a number of lengthy exciting choruses strung together starting with a single note winner from Sonny Clark. This is followed by turns from Kamuca, Candoli and Rosolino each of which shows a fierce drive and a sense of vitality they brought to the recording. *Pierre Giroux*

1 - Yesterdays

(Harbach, Kern)

2 - Angel Cake

(Clark)

3 - Why Do I Love You

(Hammerstein II, Kern)

4 - Grand Stan

(Cooper)

5 - Hit That Thing

(Holman)

6 - Blues At Sunrise

(Clark)

7 - A Gal In Calico

(Schwartz, Robin)

8 - Tiny's Tune

(Cooper)

Conte Candoli (trumpet), Frank Rosolino (trombone), Richie Kamuca (tenor sax), Sonny Clark (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded in Hollywood, California, November 1956.

Chet Baker & Art Pepper - The real birth of "Playboys"

Chet Baker & Art Pepper

The Route

Dick Bock, owner and producer of Pacific Jazz Records, had some strange habits. Among them were switching takes when a tune went from 10" lp to 12" lp. Often he would gather together anthologies of unreleased material from various artists and various sessions. On the occasion of this Baker-Pepper sextet date, which actually has its players working in a variety of combinations, an album was never realized. Instead, various tracks would emerge on various anthologies in the late fifties. Releasing these performances in such scattered form over time gave the session a status of almost non-existence. To make matters worse, some tunes kept reappearing on new anthologies in shorter and shorter forms through editing.

Just three months after this session, Bock brought Baker and Pepper together again in a sextet format. The rest of the personnel was different. The repertoire consisted of re-recordings of Pepper's "Tynan Time" and "Minor Yours" and four compositions written and arranged by Jimmy Heath. That date, released in its entirety as PLAYBOYS, was carefully planned and structured to be an album. Baker and Pepper were at the top of their creative powers and the results were superb. The session at hand is no less brilliant, but when you look at the totality of the work, there is no unifying thread, just fabulous music.

Perhaps at the time, the varied contents of this session dictated its fate of scattered release. But it is not a fate that it deserved. Having that day reconstructed on one disc is not only a tribute to the brilliance and range of its participants, but also to jazz itself. *Michael Cuscuna (liner notes)*

This 1989 CD issue compiles all known sides cut during a July 26, 1956, session led by Chet Baker (trumpet) and Art Pepper (alto sax). Keen-eyed enthusiasts will note that this particular date occurred during a remarkable week -- July 23 through July 31 -- of sessions held at the behest of Pacific Jazz label owner and session producer Dick Bock at the Forum Theater in Los Angeles. The recordings made during this week not only inform The Route, but three other long-players as well: Lets Get Lost (The Best of Chet Baker Sings), Chet Baker and Crew, and Chet Baker Quintet at the Forum Theatre. Likewise, these were the first sides cut by Baker since returning from his triumphant and extended stay in Europe. The Route compiles all 11 tracks by the sextet featuring Richie Kamuca (tenor sax), Pete Jolly (piano), Leroy Vinnegar (bass), and Stan Levey (drums) in support of Baker and Pepper. Bock had no immediate plans to use these recordings for any one album; that is to say he incorporated the tracks throughout various compilations released on Pacific Jazz. Three months later, however, Baker and Pepper did record with completely different personnel for the expressed purpose of issuing what would become known as Playboys and alternately Picture of Heath. Perhaps encouraged by the swinging interaction on Pepper's "Tynan Time" and "Minor Yours", both tracks were featured at this session as well as during the Picture of Heath collaboration. There are a few unexpected moments of sheer brilliance spread throughout, such as the Baker-penned title track, which contains supple and nicely contrasting solos from Kamuca and Vinnegar -- whose solid pendulum accuracy swings all through this collection. The Route is recommended for completists as well as curious consumers wishing to expand their knowledge of the light and airy rhythms that typify the cool West Coast jazz scene of the mid-'50s. *Lindsay Planer*

1 - Tynan Time

(Pepper)

2 - The Route

(Baker)

3 - Sonny Boy

(Jolson, De Sylva, Brown, Henderson)

4 - Minor Yours

(Pepper)

5 - Little Girl

(Henry, Hyde)

6 - Ol' Croix

(Pepper)

7 - I Can't Give You Anything But Love

(McHugh, Fields)

8 - The Great Lie

(Gibbon, Calloway)

9 - Sweet Lorraine

(Burwell, Parrish)

10 - If I Should Love You

(Robin, Rainger)

11 - Younger Than Springtime

(Rodgers, Hammerstein)

Chet Baker (trumpet), Art Pepper (alto sax), Richie Kamuca (tenor sax), Pete Jolly (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded at Forum Theatre, Los Angeles, California, July 26, 1956.

Conte Candoli - Little Band • Big Jazz

Best-known as the trumpet section leader in Doc Severinsen's Tonight Show Band, Conte Candoli was a fine all-around jazz stylist most at home in the worlds of bop and West Coast cool jazz. Younger by four years than his similarly accomplished trumpet-playing brother Pete, Conte was born Secondo Candoli in Mishawaka, IN, on July 12, 1927. He first patterned himself after players like Harry James, Roy Eldridge, and Dizzy Gillespie, later discovering Miles Davis and Clifford Brown. His first job came at age 16, when brother Pete recommended him for a summer gig with Woody Herman's Thundering Herd; after graduating high school, he joined full-time. He went on to play with several other bands, including Stan Kenton, whom he left in 1954 to form his own band. After leading some recording dates, he soon found a more comfortable existence, moving to Los Angeles and taking session jobs in between gigs with Howard Rumsey's Lighthouse All-Stars. After about four years, he left in 1960 to work with drummer Shelly Manne, while he and Pete both enjoyed top-dog status in the L.A. session community. In 1968, Candoli took a part-time gig with the Tonight Show Band and joined permanently in 1972, when the show officially moved to Burbank. During the '70s, he was also a member of Supersax, among other L.A. all-star outfits, and also continued his periodic collaborations with his brother. Candoli retired from the Tonight Show along with Johnny Carson in 1992, and continued to play until a battle with cancer slowed his activities. Candoli died in a convalescent home on December 14, 2001.

Opportunities to lead his own record date have been surprisingly rare through the years for the talented bop trumpeter Conte Candoli. This obscure LP is one of only two albums Candoli headed during 1958-84! Candoli teams up with other West Coast players of the era (tenor saxophonist Buddy Collette, pianist Vince Guaraldi, bassist Leroy Vinnegar and drummer Stan Levey) for six of his fairly basic originals including such numbers as "Muggin' The Minor", "Mambo Diane" and "Countin' The Blues". *Steve Huey*

Side 1

1 - Muggin' The Minor

(Candoli)

2 - Mambo Diane

(Candoli)

3 - Countin' The Blues

(Candoli)

Side 2

4 - Zizanie

(Candoli)

5 - Macedonia

(Candoli, Guaraldi)

6 - Little David

(Candoli, Guaraldi)

Conte Candoli (trumpet), Buddy Collette (tenor sax), Vince Guaraldi (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded in Hollywood, California, February 3, 1960.

Herb Geller - Quartet & Sextette

Herb Geller

Herb Geller Plays

Young Mr. Geller is a Californian who's played his modern alto in such bands as the Thornhill, May, Wald and Millinder. Here he fronts a combo wich, in addition to himself, includes his wife Lorraine, on piano; Lawrence Marable on drums and Courtis Counce on bass. The result is a fluid and fluent jazz concert of standards and originals. All the musicians are facile, and Geller demonstrates a warm tone which is rarely heard from jazz altoists. The modernists will go for this.

*Billboard, February 12, 1955*

Herb Geller is definitely one of the greatest alto players in the West-Coast era: He left gems of leader sessions on EmArcy and Jubilee labels in the 1950s. Of course he continued to play and recorded many of fine plays after he left to Europe (and after his wife / a piano player Lorraine Geller's death), but many may agree that he climbed to the artistic peak in his 1950s.

This album, his very first first leader session on EmArcy, presents us his smooth, imaginative and beautiful alto play backed up with a piano trio. A-1, althouth too famous popular tune, he re-arranged into an agressive and speedy bop tune with a modulation to another... Great! *microgroove.jp*

Side 1

1. Sleigh Ride

(Leroy Anderson)

2. Silver Rain

(Herb Geller)

3. Alone Together

(Dietz, Schwartz)

4. Happy Go Lucky

(Loesser, McHugh)

Side 2

5. Breaking Through The Sound Barrier

(Herb Geller)

6. Kahagon

(Herb Geller)

7. You Stepped Out Of A Dream

(Conn, Nacio Herb Brown)

8. A Room With A View

(Coward)

Herb Geller (alto sax), Lorraine Geller (piano), Curtis Counce (bass), Lawrence Marable (drums).

Recorded in Los Angeles, California, August 6 (#4, #5, #6, #7) and August 9 (#1, #2, #3, #8), 1954.

⁂

Herb Geller

Sextette

The best showcase so far for Geller's Parker-inspired alto sax. Also acceptable-to-good solos by Conte Candoli on trumpet, Ziggy Vines on tenor and Mrs. Geller on piano. Fine bass work by both Leroy Vinnegar and Red Mitchell. Geller's fluid, relaxed alto in the thing, however, and a good example is "Rockin' Chair". There are two more standards and five originals, mostly in the Parker-Gillespie lineage. *Billboard, January 21, 1956*

Herb Geller is definitely one of the greatest Alto players in the West-Coast era: He left gems of leader sessions on EmArcy and Jubilee labels in the 1950s. Of course he continued to play and recorded many of fine plays after he left to Europe (and after his wife / a piano player Lorraine Geller's death), but many may agree that he climbed to the artistic peak in his 1950s.

This album, his 2nd 12-inch LP release (3rd LP in recorded order), captures his finest plays in this era. His improvisations are delicate, fluent and beautiful, but in the same time have power of persuasion. Lorraine Geller also plays finest solos throughout.

Both sides are inevitable, but especially Side-B is great: steady and solid ensemble on "Vone Mae", relaxed and comfortable swing on "Rockin' Chair", straightahead improvisation with sharpened rhythm section on "Owl Eyes", an unique arrangements of famous song on "You'd Be So Nice To Come Home To" ... yes I love them all. *microgroove.jp*

Side 1

1 - Outpost Incident

(Herb Geller)

2 - Crazy He Calls Me

(Russell, Sigman)

3 - Gin For Fuguelhorns

(Herb Geller)

4 - Tardi At Zardi's

(Herb Geller)

Side 2

5 - Vone Mae

(Bruz Freeman)

6 - Rockin' Chair

(Hoagy Carmichael)

7 - Owl Eyes

(Herb Geller)

8 - You'd Be So Nice To Come Home To

(Cole Porter)

#1, #2, #6, #8:

Herb Geller (alto sax), Conte Candoli (trumpet), Ziggy Vines (tenor sax), Lorraine Geller (piano), Keith Mitchell [a.k.a Red Mitchell] (bass), Eldridge "Bruz" Freeman (drums).

Recorded in Los Angeles, California, August 19, 1955.

#3, #4, #5, #7:

Herb Geller (alto sax), Conte Candoli (trumpet), Ziggy Vines (tenor sax), Lorraine Geller (piano), Leroy Vinnegar (bass), Eldridge "Bruz" Freeman (drums).

Recorded in Los Angeles, California, August 22, 1955.

Stan Getz - West Coast Jazz

In 1955 the difference between East/West Coast jazz was a hot topic, with critics and fans capable of taking zealous musical alliances with one or the other. The title of this disc, West Coast Jazz, was conceived as a joke, considering all musicians involved were originally from the East Coast and did not play exclusively in the laid-back, commercially profitable, cool style, as pigeonholed by some. Stan Getz was in California for his part in the film the Benny Goodman Story, where he picked up a week long gig at Zardi's in Hollywood. The pickup band that greeted him featured a great rhythm section: Lou Levy (piano), Leroy Vinnegar (bass), and Shelly Manne (drums), along with Conte Candoli (trumpet). These musicians connected with Getz immediately, having crossed paths previously. Impressed with this lineup, he took them into the studio to record West Coast Jazz. Generally unlike West Coast jazz of the time, the rapid group interplay with energized bop solos, still stand out particularly on "Shine" and Dizzy Gillespie's "A Night in Tunisia". *Al Campbell*

Name power, talent and display-worthy cover tag this as a leader. Getz and Manne are the big names, of course, tho Candoli too has a following. The new star, comparatively, is Levy, whose remarkable jazz performances should win him first fligt recognition in no time. The stuff is modern, always interesting, and it swings powerfully when it's supposed to. For musicians and for fans, this one is tops. *Billboard, October 15, 1955*

Side 1

1 - East Of The Sun (West Of The Moon)

(Bowman)

2 - Four

(Davis)

3 - Suddenly It's Spring

(Van Heusen, Burke)

Side 2

4 - Night In Tunisia

(Paparelli, Gillespie)

5 - Summertime

(Gershwin, Heyward

6 - Shine

(Dabney, Brown, McPherson)

Stan Getz (tenor sax), Conte Candoli (trumpet), Lou Levy (piano), Leroy Vinnegar (bass), Shelly Manne (drums).

Recorded in Hollywood, August 9 (#2) and 15 (#1, #3, #4, #5, #6), 1955.