Lighthouse All-Stars Collection XXX ★ Closing The Circle

Howard Rumsey's Lighthouse All-Stars

Jazz Invention

40th Anniversary Reunion Concert

With this post, we reach the 30th post dedicated to legendary recordings made at the Lighthouse Cafe and those released by Howard Rumsey's Lighthouse All-Stars, with the bassist himself, bringing to a close a series that has meticulously traced the memory of both this iconic club and the group that defined West Coast jazz. And there is no better sense of closure for this cycle than this recording.

Celebrating four decades since the birth of the sound that put Hermosa Beach on the map was no ordinary occasion: it called for bringing the architects of that legend back to the stage. To commemorate the 40th anniversary of the very first notes played at the legendary club, the Lighthouse All-Stars reunited for a concert filled with emotional significance and deep meaning.

Although time had left its mark and the lineup was not quite that of the golden years—marked by the notable absence of Howard Rumsey on bass, as well as the irreplaceable loss of key figures like trombonist Frank Rosolino and drummer Shelly Manne—the spirit of the band remained intact. The reunion featured a formidable lineup: Bob Cooper on tenor saxophone, Bud Shank on alto, Conte Candoli on trumpet, Bob Enevoldsen on valve trombone, Claude Williamson on piano, Monty Budwig on bass, and John Guerin on drums.

With this chapter, we bring a grand finale to the series. However, in the world of jazz—where the record industry can always surprise us with the discovery of an unreleased recording by the Lighthouse All-Stars from their golden era in the 1950s—we prefer to call it a "Finale (For Now)", leaving the door open to whatever the archives might reveal in the future...

Howard Rumsey's Lighthouse All-Stars, formed in 1949, were probably the earliest sign that a new jazz centre was emerging, their mix of ex-Herman and ex-Kenton, as well as other California-based musicians forming the kernel of what would soon be all the rage as West Coast Jazz.

This happy reunion marked the 40th anniversary of that coalescence and, in so doing, sets at least one new standard for future reference; not only is this virtually the same line-up that recorded the group's first 12-inch IP (Rumsey's bass, Stan Levey's drums and the late Frank Rosolino's trombone are subbed), but the cover photograph is a 40-year-on mirror image of the original, posed on the same part of Hermosa's beach.

That aside, 40 years have made their music more robust, more obviously passionate, as witness the cooking climax to "Softly As In A Morning Sunrise", where the Shank/Cooper chase sequence excitingly telescopes into polyphony; or Mr Enevoldsen's swaggering reading of "That Old Feeling"; or the rocking "Broadway", which reveals the style's antecedents more clearly, perhaps, than even "Jazz Invention" or "Bernie's Tune", which most sharply focus on their salad days. All in all, there is a spirit in this music which transcends the merely recollective, probably because, rather than attempt to recall an increasingly distant past, these men are reinterpreting it through styles that have developed and grown. Bob Cooper could not have played a convincing "Gee, Baby" in the old days; he makes a moving job of it now, as does Bud Shank with his deeply-felt "Lover Man". It all adds up to a rewarding album. *Chris Sheridan (from Jazz Journal)*

1 - Jazz Invention

(Bob Cooper)

2 - Bernie's Tune

(Miller, Leiber, Stoller)

3 - Lover Man

(Davis, Ramirez, Sherman)

4 - Woody'n You

(Dizzy Gillespie)

5 - Softly, As In A Morning Sunrise

(Hammerstein, Romberg)

6 - That Old Feeling

(Brown, Fain)

7 - Broadway

(Woode, McRae, Bird)

8 - Gee, Baby, Ain't I Good To You

(Razaf, Redman)

9 - Topsy

(Battle, Durham)

10 - Billie’s Bounce

(Charlie Parker)

Bob Cooper (tenor sax, music director), Bud Shank (alto sax),

Conte Candoli (trumpet), Bob Enevoldsen (valve trombone),

Claude Wiliamson (piano), Monty Budwig (bass), John Guerin (drums).

Recorded live at Hermosa Civic Theatre, Hermosa Beach, California, February 12,1989

Lighthouse All-Stars Collection XXIX ★ Jazz On Television (II)

The relationship between jazz and television enjoyed its golden age in the mid-fifties in Los Angeles. Far from the rushed pace of conventional variety shows, network KABC-TV launched Stars of Jazz in 1956, a pioneering program hosted by pianist and composer Bobby Troup. The show not only offered live performances with sound quality and lighting unprecedented for the time, but it also treated jazz with an almost pedagogical respect—explaining arrangements, introducing the musicians, and documenting the effervescence of the West Coast scene in real time.

However, those broadcasts ran the risk of being forgotten in the television network archives. It was in the mid-seventies when the label Calliope Records took on a fundamental task of sound archaeology: rescuing the audio tapes and transcriptions from the Stars of Jazz broadcasts to release them on vinyl for the first time under the Sessions, Live series.

Through Calliope's catalog, the sessions recorded between 1956 and 1958 on the Hollywood soundstages came to light officially, allowing fans to hear unique takes, exclusive arrangements for television, and reunions of musicians that were never captured on traditional studio albums.

In this second post dedicated to jazz on the small screen, the label's two albums featuring Howard Rumsey's Lighthouse All-Stars—the central leitmotif of this series—will be presented.

◈◈◈◈

Sessions, Live

Lighthouse All-Stars

Julie London

Bud Shank

and

Chris Connor

(Calliope CAL-3030)

THE LIGHTHOUSE ALL STARS were led by Howard Rumsey, a former member of the Stan Kenton organization.

In 1949, Howard walked into a nightclub in Hermosa Beach, Calif. and sold the management on booking his group for a trial basis.

The result was a fifty two week gig for the next nine years.

Former members of the Lighthouse All Stars have included Shelly Manne, Jimmy Giuffre, Gerry Mulligan, Shorty Rogers and Bud Shank.

Featured guest soloists on these sessions were Bob Cooper, oboe; and Bud Shank, flute on The Nearness of You.

Viva Zapata features the trumpet and pen of Shorty Rogers.

Here's the All Stars, a group that epitomized the sound of West Coast jazz during the fifties.

MISS JULIE LONDON is also featured on side one.

Julie made her first singing debut on local radio in California at the age of three. She impersonated Marlene Dietrich singing Falling In Love Again.

In 1947, Life magazine named Julie the most promising young acting find of that year. On February 18, 1957 she made the cover of Life, only this time she was Julie London, singing star.

Julie's biggest hit was Cry Me A River in 1955.

THE BUD SHANK QUARTET kick off side two.

Bud plays alto and baritone sax plus the flute. He was born in Dayton, Ohio on May 27, 1926, and was regarded as the most important West Coast flutist during the late fifties and sixties.

CHRIS CONNOR hails from Kansas City, Missouri and was a former vocalist with Stan Kenton during the fifties. *(original liner notes)*

Side 1

1 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

2 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

3 - Free And Easy

(Henry Mancini, Bobby Troup)

4 - Midnight Sun

(Lionel Hampton, Sonny Burke, Johnny Mercer)

5 - Viva Zapata!

(Shorty Rogers)

#1, #2, #4, #5:

Howard Rumsey's Lighthouse All-Stars:

Conte Candoli (trumpet), Frank Rosolino (trombone), 

Bob Cooper (tenor sax, oboe [#2]), Bud Shank (alto sax, flute [#2])

Vince DeRosa (french horn), Victor Feldman (piano, vibes),

Howard Rumsey (bass), Stan Levey (drums), Jack Costanzo (bongós, percusión [#5])

#3, #4:

Julie London (vocals) with Howard Rumsey's Lighthouse All-Stars

Jimmy Rowles replaces Victor Feldman on piano.

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, May 19, 1958

Side 2

6 - Crazy Rhythm

(Irving Caesar, Joseph Meyer, Roger Wolfe Kahn)

7 - Lover Man

(Jimmy Davis, Ram Ramirez, James Sherman)

8 - 'S Wonderful

(George Gershwin, Ira Gershwin)

9 - Love Walked In

(George Gershwin, Ira Gershwin)

10 - The Lamp Is Low

(Peter DeRose, Bert Shefter, Maurice Ravel)

#6, #7, #10

Bud Shank Quartet:

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

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

#8, #9

Chris Connor (vocals) with The Bud Shank Quartet

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 26, 1956 (#6, #7, #10) and May 27, 1957 (#8, #9)

Off Note:

The dates printed on the original LP liner notes are incorrect. This type of chronological mismatch was very common among independent catalog and reissue labels during the 1970s, such as Calliope Records.

Working with magnetic tapes from television broadcasts and kinescope transcriptions salvaged nearly two decades after their original air date, the label frequently relied on imprecise handwritten notes on the master tape boxes or misplaced production indices from KABC-TV. Lacking the cross-referenced data from the Stars of Jazz production logs known today, Calliope lumped under the wrong date of November 5, 1956, what were actually two completely separate broadcasts recorded months apart (the Bud Shank Quartet set on November 26, 1956, and Chris Connor's set on May 27, 1957). An archival oversight that takes nothing away from the extraordinary historical value of these salvaged sessions.

◈◈◈◈

Sessions, Live

Lighthouse All-Stars

June Christy

and

Jimmy Giuffre

(Calliope CAL-3035)

THE LIGHTHOUSE ALL STARS were led by Howard Rumsey, a former member of the Stan Kenton organization.

In 1949 Howard walked into a nightclub in Hermosa Beach, California and sold the management on booking his group for a trial basis.

The result was a fifty two week gig for the next nine years.

Former members of the Lighthouse All Stars have included Shelly Manne, Jimmy Giuffre, Gerry Mulligan, Shorty Rogers and Bud Shank.

JUNE CHRISTY was the voice of Stan Kenton's band. She replaced Anita O'Day and became one of the most popular female vocalists during the late forties and fifties.

JIMMY GIUFFRE hails from Dallas, Texas and plays clarinet, tenor sax and flute.

He played a major role as clarinetist, saxophonist and personality in the groups of both Shorty Rogers and Shelly Manne during the fifties.

NELLIE LUTCHER started playing the piano around the middle of World War I.

She performed mostly on the West Coast and became a favorite at the Interlude Club on Sunset Strip. *(original liner notes)*

Side 1

1 - Somebody Loves Me

(George Gershwin, Ballard MacDonald, B.G. DeSylva)

2 - Sunday Mood

(Bob Cooper)

3 - I Want To Be Happy

(Vincent Youmans, Irving Caesar)

4 - That's All

(Bob Haymes, Alan Brandt)

5 - Witch Doctor

(Bob Cooper, Bob Gioga)

#1, #2, #5

Howard Rumsey's Lighthouse All-Stars:

Frank Rosolino (trombone), Bob Cooper (tenor sax, oboe [#2]),

Victor Feldman (piano, vibes, conga [#5]),

Howard Rumsey (bass), Stan Levey (drums).

#3, #4

June Christy (vocals) with Howard Rumsey's Lighthouse All-Stars

Lou Levy replaces Victor Feldman on piano.

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, March 3, 1958

Side 2

6 - Gotta Dance

(Jimmy Giuffre)

7 - Four Brothers

(Jimmy Giuffre)

8 - Blue Skies

(Irving Berlin)

9 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

10 - Two Kinds of Blues

(Jimmy Giuffre)

#6, #7, #10

The Jimmy Giuffre Three:

Jimmy Giuffre (tenor sax, clarinet), Jim Hall (guitar), Ralph Peña (bass).

#8, #9

Nellie Lutcher (piano, vocals), Ray Brown (bass), Alvin Stoller (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, January 7, 1957 (#6, #7, #10) and March 18, 1957 (#8, #9)

Off Note:

Once again, the documentation printed on the original Calliope Records cover presents notable discrepancies with the actual content on the tapes. For labels dedicated to rescuing radio and television material during the 1970s, it was common practice to work with broadcast tape duplicates that lacked accurate technical logs or carried confusing handwritten notes on the master boxes.

While Side 1 accurately places the Lighthouse All-Stars and June Christy performance on the March 3, 1958 broadcast, Side 2 suffers from an obvious cataloging oversight. The printed date of February 18, 1957 actually corresponds to an episode of Stars of Jazz featuring James Clay, Toni Harper, and Lorraine Geller—none of whom appear on this LP. Calliope mistakenly lumped under that single date two shows recorded more than two months apart: The Jimmy Giuffre Three session from January 7, 1957, and Nellie Lutcher’s vocal set from March 18, 1957 (backed by the station’s rhythm section rather than Giuffre's trio). An editorial slip that, while requiring historical clarification, does not lessen the magnificent audio testimony of these broadcasts.

◈◈◈◈

Lighthouse All-Stars Collection XXVIII ★ Jazz On Television (I)

Los Angeles Jazz Institute presents

Rare And Unissued Audio of

West Coast Jazz On Television

From the 1950s

Following the "historical route" of existing recordings by the Lighthouse All-Stars, including their mentor Howard Rumsey, we come across hard-to-find recordings covering the group's appearances on the television circuit. These will be two very special posts.

This first post rescues a collection of rare and unissued broadcast recordings made between 1953 and 1957. The core of the album consists of performances from the celebrated TV show Stars of Jazz (broadcast on ABC/KABC-TV starting in June 1956 and hosted by Bobby Troup), alongside invaluable television gems: from the Lighthouse All-Stars' historic appearance on the premiere broadcast of NBC's Monitor in 1955, to a newly discovered 12" acetate featuring Chet Baker on The Today Show, as well as the 1953 charity telethon with the Sonny Burke Orchestra and an appearance by the Dave Brubeck Quartet on Steve Allen's show.

Although very few kinescopes with the original video footage survived over the years, the audio archive has been meticulously preserved thanks to the work of the Los Angeles Jazz Institute—sourced from the collections of key figures like Jimmie Baker and Bob Andrews, as well as transcription discs recorded for the Armed Forces Radio Service (AFRS) and material later issued by Calliope Records—. Much of the historical rigor surrounding these broadcasts is owed to James Harrod's exhaustive research across his platforms (Jazz Profiles, Stars of Jazz blog, and Calliope Records blog), an essential reference for understanding this era.

A unique opportunity to experience the vibrancy of the Los Angeles scene live on television, preserved in a truly indispensable archival release.

1 - Anybody Hurt / Hey Bellboy

(Sonny Burke, Paul Francis Webster / Sonny Burke)

Gloria Wood and Pete Candoli with Sonny Burke Orchestra:

Gloria Wood (vocals), Pete Candoli (trumpet), Sonny Burke (piano, conductor).

[other personnel unidentified]

Recorded at KECA-TV (Channel 7), Cerebral Palsy Telethon,

Los Angeles, California, June 6, 1953

2 - Goodbye / I Get Along Without You Very Well

(Gordon Jenkins / Hoagy Carmichael)

Chet Baker

Chet Baker (trumpet, vocal), Russ Freeman (celeste).

[unidentified percussionist]

Recorded live on "The Today Show",

NBC Television Network, May 13, 1955

3 - Happy Town / Jazz Invention

(Bob Cooper / Bob Cooper)

Howard Rumsey's Lighthouse All-Stars:

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

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded live at The Lighthouse, Hermosa Beach, California,

"NBC Monitor Premiere", NBC Network, June 12, 1955

4 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

Dave Brubeck Quartet:

Dave Brubeck (piano), Paul Desmond (alto sax), Norman Bates (bass), Joe Dodge (drums).

Recorded live on "The Tonight Show hosted by Steve Allen",

NBC Television Network, February 22, 1956

5 - Doxy

(Sonny Rollins)

Shelly Manne and His Men:

Stu Williamson (trumpet), Charlie Mariano (alto sax),

Russ Freeman (piano), Leroy Vinnegar (bass), Shelly Manne (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, July 16, 1956

6 - Sweet Georgia Brown

(Ben Bernie, Maceo Pinkard, Kenneth Casey)

Red Norvo Ensemble:

Red Norvo (xylophone), Jack Montrose (tenor sax),

Robert Drasnin (reeds), Bill Kosinski (french horn),

Jimmy Wyble (guitar), Buddy Clark (bass), Bill Douglass (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, August 27, 1956

7 - Coolin' The Blues

(Hampton Hawes)

Hampton Hawes Trio:

Hampton Hawes (piano), Red Mitchell (bass), Leroy McCray (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, September 10, 1956

8 - Modus Operani

(Jack Montrose)

Jack Montrose Quintet:

Jack Montrose (tenor sax), Fred Waters (baritone sax),

Paul Moer (piano), Ralph Peña (bass), William Donley (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, December 10, 1956

9 -I Can't Believe That You're In Love With Me

(Jimmy McHugh, Clarence Gaskill)

Lennie Niehaus Quintet:

Lennie Niehaus (alto sax), Bill Perkins (tenor sax),

Paul Moer (piano), Buddy Clark (bass), Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, January 14, 1957

10 - Short Stop

(Shorty Rogers)

Shorty Rogers Big Band:

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

11 - Wow

(Shorty Rogers)

Kay Brown with Shorty Rogers Big Band:

Kay Brown (vocal) with

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

12 - Popo

(Shorty Rogers)

Shorty Rogers Big Band:

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

13 - Infra Rae

(Hank Mobley)

Claude Williamson Trio:

Claude Williamson (piano), Willfred Middlebrooks (bass),Billy Higgins (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, June 24, 1957

14 - Westlake Bounce

(John Graas)

John Graas Quintet:

John Graas (french horn), Sam Firmature (tenor sax),

Dick Grove (piano), Dick Fritz (bass), Ray Roten (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, August 5, 1957

15 - Makin' Whoopee

(Walter Donaldson, Gus Kahn)

Lucy Ann Polk with the Marty Paich Septet:

Lucy Ann Polk (vocal) with

Jack Sheldon, Don Fagerquist (trumpets);

Stu Williamson, Bob Enevoldsen (valve trombones);

Marty Paich (piano); Buddy Clark (bass); Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 11, 1957

16 - Blue Lou

(Edgar Sampson, Irving Mills)

Marty Paich Septet:

Jack Sheldon, Don Fagerquist (trumpets);

Stu Williamson, Bob Enevoldsen (valve trombones);

Marty Paich (piano); Buddy Clark (bass); Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 11, 1957

Lighthouse All-Stars Collection XXVII ★ Hampton Hawes║Sonny Clark

The Lighthouse All-Stars with 

Hampton Hawes 

and

Sonny Clark

The Pianoman

For this new chapter in the series, more recordings of immense historical value, rescued by Bob Andrews.

Since we already know how Andrews worked with his portable equipment back then, the technical quality of the tracks becomes secondary. What really matters here are the moments captured in the recorded concerts: the music in its purest and most direct form, exactly as it sounded at the time. An archival gem that deserves to be preserved.

Below are the album liner notes written by Keisuke Okada to delve into all the details of these sessions:

Sonny Clark and Hampton Hawes on the West Coast:

Sonny Clark, born and raised in eastern Pennsylvania, moved to Los Angeles with his brother upon the death of his mother when he was 20 years old. As a child, Sonny preferred to play boogie-woogie and stride piano using both hands, but upon reaching adulthood he awakened to modern jazz, and while being adopted by the boppers of L.A., he changed to a style where he used almost no left hand.

His first recording was in 1953 on the album "Wardell Gray Memorial Vol. 1" by Teddy Charles's West Coasters (Prestige), but at that time he played in a very marked (marcato) manner, a style identical to that of Hampton Hawes. It is not difficult to imagine from his execution that Hawes, his predecessor whom he met shortly after arriving in L.A., was an absolute influence on him.

It was the following year that rivalry emerged in Sonny. In just half a year, his touch became legato and he began to show such a change that the notes seemed to leap in staccato, almost as if he were a different person. It is likely that being recruited by Buddy DeFranco was a great stimulus. In 1955 he resided in San Francisco, and by that time his phrasing had completely broken away from Hawes's, establishing his own style. He returned to L.A. and was active as a member of Howard Rumsey's Lighthouse All-Stars until the end of 1956. This work captures his figure at that moment. After 1957 he moved to New York and made recordings for Blue Note with great momentum as a hard bopper. 

On the other hand, Hampton Hawes was born and raised in L.A., and since the 1940s he was a promising existence as a prodigy of bebop. His crisp style was already established since his first recording in 1947, and during the 20 years until he adopted modal techniques in the late 60s, he maintained this crisp and elegant style. Despite being black, he showed no heavy or muddy parts; his bright and cheerful style fit perfectly with the ideals of the Kenton musicians. As a result, his recordings from the first half of the 1950s were concentrated mainly on white bands.

The recordings included in this album are from when both were in top form before being drafted, and one can sense a performance full of energy. After this, Clark served in the army and remained in Japan along with bassist Nobby Totah, leaving a great influence on the jazz world of our country, but unfortunately he was repatriated due to drug problems. What he recorded after leaving prison is Contemporary's masterpiece, "The Trio Vol. 1".

In 1957, when Clark said goodbye to L.A., Hampton Hawes also decided to go on an Eastern tour. However, because he had run out of travel money, his fees were depleted and his physical condition was a disaster. With his body battered, he took refuge at Sonny Clark's house, but it is said that when he recovered his spirits, he spent his days begging for money from other musicians along with Clark. Charles Mingus, feeling sorry, hired them to record the album "Mingus Three" on Jubilee, and of course, Clark also stuck to that studio. Even the fearsome Mingus, in the middle of a solo and possibly due to the effects of drugs, stood up to go to the bathroom. During that time, it is said that Clark sat on the piano stool in his place. It is said that what Clark played were the "last 2 chords" of "I Can't Get Started," but from what I have been able to deduce, I imagine it was not just 2 chords. In any case, for Clark, who once had an identical style, it must have been easy to pass himself off as Hawes on the record. 

Highlights of this album:

Among the many recordings left by the Lighthouse All-Stars, these two sessions are among the best in terms of intensity and sense of swing. The liveliness and perfect control that Hawes shows in "Cherokee" surpass any performance after his discharge from the army. And there is no doubt that fans will crack a smile at the citation of "Body and Soul" in the piano solo of "Dickie's Dream," a piece from the Basie band's repertoire.

In the 1956 session on Side 2, it is also worth listening to Clark masterfully accompanying June Christy on tracks like "Now You Say Me Down To Dream" with arrangements by Bill Holman and the refreshing "Mambo Las Vegas," showing a facet that hard bop fans could not imagine. 

*Keisuke Okada (from the japanese liner notes)*

Side 1

1 - Cherokee

(Ray Noble)

2 - Dickie's Dream

(Count Basie, Lester Young)

3 - Solitude

(Duke Ellington, Eddie DeLange, Irving Mills)

4 - Body And Soul

(Johnny Green, Edward Heyman, Robert Sour)

Side 2

5 - Now I Lay Me Down To Dream

(Ted Fiorito, Eddy Howard)

6 - That's All

(Alan Brandt, Bob Haymes)

7 - Isn't This A Lovely Way To Spend An Evening

(Jimmy McHugh, Harold Adamson)

8 - 'Round Midnight

(Thelonious Monk)

9 - Mambo Las Vegas

(Bill Holman)

10 - When Sonny Gets Blue

(Bob Cooper)

Side 1:

Shorty Rogers (trumpet); Bob Cooper, Jimmy Giuffre (tenor saxes);

Milt Bernhart (trombone); Hampton Hawes (piano);

Howard Rumsey (bass); Shelly Manne (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, August 31, 1952

Side 2:

Bob Cooper (tenor sax, oboe [#6, #7]), Frank Rosolino (trombone), Sonny Clark (piano),

Howard Rumsey (bass), Stan Levey (drums), June Christy (vocals [#7, #8]).

Recorded live at The Lighthouse, Hermosa Beach, California, September 3, 1956

Lighthouse All-Stars Collection XXV ★ with Gerry Mulligan

Gerry Mulligan

Swing House

Gerry Mulligan On The West Coast 

Rare Ands Unissued Recordings • 1952

✤✤

More Mulligan at The Lighthouse

At the end of 1951, fleeing police pressure in New York, Gerry Mulligan embarked on a journey to the West Coast that would permanently reshape his career and the sound of modern jazz. Freshly arrived in Los Angeles, the saxophonist split his creative focus between commercial discipline—crafting dance arrangements for the Stan Kenton Orchestra—and the absolute freedom of the local club scene. It was in these informal settings that the passion and tape recorder of Bob Andrews captured, on an amateur yet historically invaluable basis, the very jam sessions that document Mulligan's transition toward worldwide acclaim and the birth of his legendary piano-less quartet. This crucial historical testament is beautifully captured by Ken Poston in the original liner notes:

At the end of 1951 Gerry Mulligan decided to leave New York and head west to Los Angeles. The vice squad had started putting heavy pressure on jazz musicians and Gerry didn’t want to put up with it any longer. His girlfriend, Gale Madden, had paved the way for Gerry to write arrangements for Stan Kenton once they got to Los Angeles. In the middle of the winter they left Manhattan and hitchhiked all the way to the west coast.

Once there they moved into the Harvey Hotel and Gerry fulfilled his writing assignment for Kenton. He also began sitting in around town at whatever jam sessions he could find. There were three places in particular that he frequented; the Showtime, in the San Fernando Valley, the Lighthouse in Hermosa Beach and the Haig in the mid-Wilshire district.

Most of the recordings on this collection were made by Bob Andrews, jazz fan, record store owner and amateur recording engineer. In 1952 he had just started to take his tape recorder to local jazz clubs and although nothing has materialized from the Showtime he did capture Gerry Mulligan several times at the Lighthouse and the Haig. In addition to the jam session recordings we’ve included a few of the lesser heard dance arrangements he wrote for Kenton in 1952.

This is an important historical document because it captures Gerry just a few months after his arrival in Los Angeles and follows his progress up to the point he forms the piano-less quartet. Although he had many accomplishments by the time he came to Los Angeles, he was far from a household name in the jazz world. By the end of the year he had gained world wide attention and was instrumental in establishing the west coast jazz phenomenon.

*Ken Poston (from the liner notes)*

1 - Indiana

(James F. Hanley, Ballard MacDonald)

This is the earliest of the Bob Andrews recordings that captured Gerry Mulligan sitting in around Los Angeles. This was actually recorded on a Saturday night and features Mulligan joining the Lighthouse rhythm section.

Gerry Mulligan (baritone sax), Frank Patchen (piano)

Howard Rumsey (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, May 10, 1952

2 - Robbins' Nest

(Illinois Jacquet, Sir Charles Thompson)

"Robbins' Nest" features Mulligan sitting in with the Lighthouse All Stars at one of the legendary Sunday sessions at the Lighthouse.

Gerry Mulligan (baritone sax); Shorty Rogers (trumpet);

Jimmy Giuffre, Bob Cooper (tenor saxes); Frank Patchen (piano);

Howard Rumsey (bass); Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 1, 1952

3 - Tiny's Blues

(Tiny Kahn)

Two nights later Mulligan was running the off-night jam session at the Haig and on this occasion Gerry played the tenor as opposed to the baritone. Tiny's Blues has been issued a few times over the years but always with the incorrect date. This recording comes from Bob Andrews original reel which has the recording date documented on the box.

Gerry Mulligan, Dave Pell (tenor saxes), Ted Ottison (trumpet);

Paul Smith (piano); Joe Mondragon (bass); Billy Wilson (drums).

Recorded live at The Haig, Los Angeles, June 3, 1952

4 - Rose Room

(Art Hickman, Harry Williams)

Bob Andrews captured Gerry once again the following week at the Haig. Gerry ran things from the bandstand but it was an open session for anyone who wanted to play. On this particular occasion both Conrad Gozzo and Gene Roland dropped by.

Gerry Mulligan (baritone sax); Conrad Gozzo, Gene Roland (trumpets);

Jimmy Rowles (piano); Howard Roberts (guitar); Joe Mondragon (bass); Unknown (drums).

Recorded live at The Haig, Los Angeles, June 10, 1952

5 - It's Sand Man

(Ed Lewis)

The jam sessions at the Lighthouse worked a little different than those at the Haig. Howard Rumsey invited specific guests although he did allow others to sit in throughout the day. This is the working Lighthouse All Stars with Andy Lambert subbing for Rumsey.

Gerry Mulligan (baritone sax), Shorty Rogers (trumpet),

Jimmy Giuffre (tenor sax), Milt Bernhart (trombone),

Frank Patchen (piano), Andy Lambert (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 14, 1952

6 - Between The Devil And The Deep Blue Sea

(Harold Arlen, Ted Koehler)

More from the June 14 session. Aaron Sachs and Tommy Potter were both in town with Earl Hines band and Howard recruited them to come down for the session.

Gerry Mulligan (baritone sax), Aaron Sachs (clarinet),

Jimmy Giuffre (tenor sax), Frank Patchen (piano),

Tommy Potter (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 14, 1952

7 - Get Happy / Utter Chaos

(Harold Arlen, Ted Koehler / Gerry Mulligan)

Red Norvo came in as the featured attraction and the house piano was put into storage. Instead of continuing the jam session format on Tuesday nights Gerry formed his own group and the "piano-less quartet" was born. Gerry handpicked the group from musicians he had played with around town and included Chet Baker at the suggestion of Bob Whitlock. This recording was not made by Bob Andrews, but by another fan that sent the tape to Mulligan many years later. August 1952 is the date written on the tape box although it's possible it comes from a bit later. If it is August of 1952 it would be right at the beginning of the quartet.

Gerry Mulligan Quartet:

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

Bob Whitlock (bass), Chico Hamilton (drums).

Recorded live at The Haig, Los Angeles, August, 1952

8 - Bweebida Bobbida

(Gerry Mulligan)

In October of 1952 Shorty Rogers had been a regular member of the Lighthouse All Stars for a year. Shorty had recorded under his own name, separate from the All Stars, and was really beginning to make a name for himself. Howard Rumsey used to allow him to take nights off from the Lighthouse so he could lead his own band for special engagements. During the fall Shorty formed a super group that included both Mulligan and Chet Baker as well as Art Pepper and Wardell Gray. The Mulligan group had completed their first engagement at the Haig and recorded their first sides for the new Pacific Jazz label. This Shorty Rogers group did at least two engagements. The first was a Gene Norman concert at The Rendezvous Ballroom, which was released on two LAJI members only CDs. This engagement took place at the 5-4 Ballroom in south central Los Angeles.

Shorty Rogers and His Giants:

Shorty Rogers, Chet Baker (trumpets); Art Pepper (alto sax);

Wardell Gray (tenor sax); Gerry Mulligan (baritone sax);

John Graas (french horn); Hampton Hawes (p);

Joe Mondragon (bass); Lawrence Marable (drums).

Recorded live at 5-4 Ballroom, Los Angeles, October 10, 1952

9 - Too Marvelous For Words

(Richard A. Whiting, Johnny Mercer)

"Too Marvelous for Words" was featured a few times by the Kenton Orchestra including this 1952 broadcast of the Bob Snydor Show. The original handwritten score is dated February 4, 1952.

Stan Kenton Orchestra:

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets);

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones);

George Roberts (bass trombone);  Dick Meldonian, Vinnie Dean (alto saxes);

Lee Elliott, Bill Holman (tenor saxes); Bob Gioga (baritone sax);

Stan Kenton (piano); Sal Salvador (guitar) Don Bagley (bass) Stan Levey (drums).

Bob Snydor Show, Bristol, Connecticut, July 13, 1952

10 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

"All the Things You Are" was featured regularly during the New Concepts of Artistry in Rhythm period and was a feature for Buddy Childers. This recording comes from a Concert in Miniature broadcast from September of 1952. The original score is dated March 9, 1952.

Stan Kenton Orchestra:

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets);

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones);

George Roberts (bass trombone); Lee Konitz, Vinnie Dean (alto saxes);

Bill Holman, Richie Kamuca (tenor saxes); Bob Gioga (baritone sax);

Stan Kenton (piano); Sal Salvador (guitar); Don Bagley (bass); Stan Levey (drums).

Concert in Miniature, Fort Sheridan, Illinois, September 2, 1952

11 - Dancing In The Dark

(Arthur Schwartz, Howard Dietz)

"Dancing in the Dark" wasn't played often but had stayed in the book for many years. It was one of the earliest arrangements Gerry wrote not long after his arrival in Los Angeles. The original score is dated January 19, 1952.

Stan Kenton Orchestra:

Jack Sheldon, Frank Higgins, Billy Catalano, Bob Ojeda, Bud Brisbois (trumpets);

Billy Smiley, Archie LeCoque, Kurt Larsen, Jim Amlotte, Bob Olson (trombones);

Steve Perlow, Bill Perkins, Lennie Niehaus, Bill Trujillo, Bill Robinson (reeds);

Stan Kenton (piano); Red Kelly (bass); Jerry McKenzie (drums).

Holiday Ballroom, Chicago, Illinois, October 10, 1958

12 - Where Or When

(Richard Rodgers, Lorenz Hart)

"Where or When" is another dance arrangement that stayed in the book for a long time. The original score is dated January 19, 1952.

Stan Kenton Orchestra:

Frank Huggins, Bud Brisbois, Rolf Ericson, Joe Burnett, Roger Middleton (trumpets);

Archie LeCoque, Kent Larsen, Jimmy Knepper (trombones);

Jim Amlotte, Bill Smiley (bass trombones); Lennie Niehaus (alto sax);

Bill Trujillo, John Bonnie (tenor saxes); Billy Root, Sture Swenson (baritone saxes);

Stan Kenton (piano); Scott LaFaro (bass); Jerry McKenzie (drums).

County Fair Building, Ukiah, California, February 26, 1959

13 - Begin The Beguine

(Cole Porter)

The original score to "Begin the Beguine" is dated March 1952. Gerry never said much about his dance charts for Kenton other than joking he was given "dogs work." He did however make special note of Begin the Beguine since Artie Shaw was one of his early idols.

Stan Kenton Orchestra:

Bud Brisbois, Dalton Smith, Bill Chase, Danny Nolan, Rolf Ericson (trumpets);

Bob Fitzpatrick, Kent Larsen, Bill Smiley (trombones);

Jim Amlotte, Bob Knight (bass trombones); Lennie Niehaus (alto sax);

Bill Trujillo, Ronnie Rubin (tenor saxes); Jack Nimitz, Marvin Holladay (baritone saxes);

Stan Kenton (piano); Peter Chivily (bass); Jimmy Campbell (drums); Mike Pacheco (percussion).

Enlisted Mens Club, Barstow, California, January 30, 1960

Lighthouse All-Stars Collection XXIV ★ Rarities at The Lighthouse

Los Angeles Jazz Institute 

Presents

West Coast Rarities

✤✤

Gerry Mulligan, Lennie Niehaus and Bud Shank at The Lighthouse

Apart from the unitary and official recordings that have been presented within the Lighthouse All-Stars collection, there are many stray private recordings that are gradually becoming known. One of them is this compendium with unreleased recordings compiled from original sources from the Los Angeles Jazz Institute archive.

Specifically, there are only three live recordings at the Lighthouse Cafe, although the others are of equal importance as they involve equally famous settings related to the West Coast Jazz movement of the 1950s.

Through this valuable material, which spans from 1952 to 1958, we witness the birth and consolidation of a vibrant musical scene in Southern California. The audio testimonies show us the inner history of its protagonists at key moments, such as a Gerry Mulligan newly arrived in the city and about to revolutionize the genre with his pianoless quartet, or the debut of Shorty Rogers' Big Band during an early morning television charity telethon.

The album also functions as a cartographic journey through the night spots that defined the era, taking the listener beyond the Lighthouse to enter jazz temples as legendary as The Haig, the Rendezvous Ballroom in Balboa, Zardi's, or the Peacock Lane, and even singular events like the grand opening of a record store. Likewise, the document highlights the close camaraderie and spirit of collaboration among West Coast musicians, fostering spontaneous summits where figures of the stature of Stan Getz joined established groups.

It is also worth noting the enormous logistical and historical value of some of these tracks, which document the famous off-nights at the Lighthouse, when on Mondays and Tuesdays the club opened its doors to guest ensembles such as the Lennie Niehaus Quintet. It should be noted that the recordings contained on this compact disc come from a variety of sources, some of which were recorded under non-professional conditions; however, the editors have rightly considered that the extreme rarity and unique character of these performances preclude and compensate for any flaws that the quality of the original sound may present.

1 - Elevation

(Gerry Mulligan)

At the time of this recording, Gerry Mulligan had been in Los Angeles for about five months but had yet to find regular work. He wrote some arrangements for Stan Kenton and participated in jam sessions all over town. This rare recording finds Mulligan, prior to the formation of his "pianoless" quartet, sitting in on one of the Sunday sessions at The Lighthouse.

Howard Rumsey's Lighthouse All-Stars:

Shorty Rogers (trumpet), Jimmy Giuffre (tenor sax), Bob Cooper (tenor sax),

Gerry Mulligan (baritone sax), Frank Patchen (piano),

Howard Rumsey (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 1, 1952

2 - Move

(Denzil Best)

"Move" was recorded live at The Haig during one of the first appearances of the new Gerry Mulligan Quartet. The group played the four Tuesdays in August while the Red Norvo Trio was the featured attraction throughout the week. It was during these first Tuesday nights that the Quartet became a sensation prompting the formation of Pacific Jazz Records. Before long both Mulligan and Chet Baker would become major jazz stars.

The Gerry Mulligan Quartet:

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

Bob Whitlock (bass), Chico Hamilton (drums).

Recorded live at the Haig, Los Angeles, August, 1952

3 - Short Snort

(Shorty Rogers)

This live concert, recorded at the Rendezvous Ballroom in Balboa, features a dream line-up put together by Shorty Rogers specifically for this date. A true summit meeting of the giants of West Coast jazz.

Shorty Rogers and His Giants:

Shorty Rogers, Chet Baker (trumpets); Art Pepper (alto sax);

Wardell Gray (tenor sax); Gerry Mulligan (baritone sax);

Bob Enevoldsen (valve trombone); Hampton Hawes (piano);

Joe Mondragon (bass); Lawrence Marable (drums).

Recorded live at the Rendezvous Ballroom, Balboa Beach, September 28, 1952

4 - Short Stop

(Shorty Rogers)

This television broadcast from 1953 marked the debut of Shorty Rogers Big Band. It comes from a 25 hour Cerebral Palsy telethon hosted by Jack Webb. The show began at 11pm on Friday night and continued until midnight Saturday. Jazz fans had to stay up late if they wanted to see Shorty's new big band. The jazz segment didn't get underway until 3 o'clock in the morning.

Shorty Rogers Big Band:

Shorty Rogers, Conrad Gozzo, Tommy Reeves, Reuben McFall (trumpets);

Jack Dulong, Bud Shank, Bill Perkins, Don Davidson (reeds);

Herbie Harper, Harry Betts, Bob Enevoldsen (trombones);

John Graas (french horn); Paul Sarmento (tuba);

Marty Paich (piano); Joe Mondragon (bass); Shelly Manne (drums)

Cerebral Palsy Telethon, KBCA Channel 7, Los Angeles, June 6, 1953

5 - The Goof and I

(Al Cohn)

"The Goof and I " was recorded live at the Grand Opening of Larsen's Record Room in El Segundo and features the swinging 1955 version of the All-Stars with that great front line of Candoli, Shank, Cooper and Rosolino.

Howard Rumsey's Lighthouse All-Stars:

Conte Candoli (trumpet), Bud Shank (alto sax),

Bob Cooper (tenor sax), Frank Rosolino (trombone),

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded live at Larsen's Record Room, El Segundo, March 4, 1955

6 - Topsy

(Edgar Battle, Eddie Durham)

By 1955, Shorty Rogers was a very busy man. In addition to his ever growing studio work, the Giants had recently started recording for Atlantic Records and had also begun a long engagement at Zardi's Jazz Club on Hollywood Blvd. Shorty's boyhood friend from the Bronx, Stan Getz, was in Los Angeles at the time and is found here sitting in with the Giants.

Shorty Rogers and His Giants with Stan Getz:

Shorty Rogers (trumpet), Jimmy Giuffre (clarinet), Stan Getz (tenor sax),

Pete Jolly (piano), Ralph Pena (bass), Shelly Manne (drums).

Recorded live at Zardi's, Hollywood, August 4, 1955

7 - Everybody Moan

(Ernie Wilkins)

Maynard Ferguson had spent the latter part of 1956 in New York with his Birdland Dream Band. After the Birdland engagement and subsequent recordings for Vik records he returned to Los Angeles and re-formed the West Coast Dream Band. That band was booked for the holidays at the Peacock Lane Club which was located at Hollywood Blvd. and Western Ave.

Maynard Ferguson and His Orchestra:

Maynard Ferguson, Ed Leddy, Joe Burnett, Tom Slaney (trumpets);

Herb Geller, Richie Kamuca, Nino Tempo, Willie Maiden (reeds);

Bob Fitzpatrick, Bob Burgess (trombones);

Paul Moer (piano); Red Kelly (bass); Mel Lewis (drums).

Recorded live at Peacock Lane, Hollywood, January 4, 1957

8 - Just Friends

(John Klenner, Sam M. Lewis)

By the late 1950s, The Lighthouse All-Stars worked Wednesday - Saturday plus the Sunday Concerts. Mondays and Tuesdays featured groups booked specifically for the off-nights. During the summer of 1957, the off night group was The Lennie Niehaus Quintet. This rare recording was made from the audience on one of those Monday or Tuesday nights.

The Lennie Niehaus Quintet:

Lennie Niehaus (alto sax), Bill Perkins (tenor sax),

Paul Moer (piano), Buddy Clark (bass), Mel Lewis (drums).

Recorded live at the Lighthouse, Hermosa Beach, July, 1957

9 - Do Nothin' Till You Hear From Me / Theme

(Duke Ellington / Bud Shank)

During the holiday season of 1957-58 Bud Shank returned to the familiar surroundings of the Lighthouse this time leading his own successful Quartet. The quartet was captured here for the KMLA "Nightlife" program.

Bud Shank Quartet:

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

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

KMLA "Nightlife" Broadcast

Recorded live at the Lighthouse, Hermosa Beach, January 1, 1958

Lighthouse All-Stars Collection XXIII ★ with Zoot Sims (II)

Zoot Sims

Lover Man

Zoot Sims On The West Coast • 1954

The tireless search for recordings that complete the historical puzzle of the Lighthouse All-Stars occasionally yields major surprises. Although the bulk of this volume takes us to an intimate and domestic setting, its inclusion in our Lighthouse All-Stars Collection series is fully justified by an exceptional historical rescue: the presence of Zoot Sims, as a stellar guest, on the stage of the mythical club in Hermosa Beach.

Once again, the miracle is due to Bob Andrews, who, equipped with his now-famous home recorder and a single microphone, managed to record a unique moment in the history of West Coast Jazz. We find ourselves specifically on the night of March 9, 1954. That evening already possessed a historical character for the group itself, as it marked the debut of the legendary drummer Stan Levey in the lineup, occupying the seat just vacated by Max Roach. The All-Stars performed with one of their most powerful incarnations: the horn section aligned Bob Cooper, Bud Shank, Frank Rosolino, and Stu Williamson, complemented by Claude Williamson on piano and the indefatigable Howard Rumsey on double bass.

Andrews set up his microphone and recorded the session. In fact, our previous blog post covered the album Zoot Sims with The Lighthouse All-Stars • 1954, which captured the official session recorded the very next day. Toward the end of the night, Zoot Sims took the stage with his tenor sax to join the band.

Regarding this valuable piece, which appears in this edition under the title "Lighthouse Days," the producer of the release, Toshinari Shiroshita, offers us a fascinating chronicle of its nature and execution in the liner notes:

The titles of the songs performed changed depending on the occasion at the jam session, adopting names like "Groovy Eyes" or "Goof and I". For this edition, we preferred to use the title "Lighthouse Days", just as Andrews originally noted it in his personal memorandum.

The structure of the piece treats us to an impressive succession of solos in a strict order: it begins with Zoot Sims himself, followed by Stu Williamson, Bud Shank, Frank Rosolino, Bob Cooper, and finally, Claude Williamson on piano. The dynamism of the performance reaches its peak in the final chorus, where an extremely interesting exchange of bars breaks out between the drums and each of the soloists, preventing the piece from falling into a simple improvisation routine. Stan Levey's intervention, with a short but highly sharp and precise drum solo, is irrefutable proof that we are dealing with a first-rate instrumentist.

In terms of the five pieces that complete this album, while the Lighthouse recording is the magnet for completists of the series, the rest of the tracks that round out this volume do not envy its historical importance at all. These five instrumental tracks take us to a much more exclusive setting whose exact date remains a mystery, cataloged simply on an unknown day of that same year, 1954: the intimacy of the home.

As Toshinari Shiroshita himself comments in the insert notes:

This is a valuable record of a very unusual rehearsal session, recorded when Zoot Sims (1925–1985), whose activities took place mainly on the East Coast, returned to his parents' home in California (a town near the Los Angeles International Airport). This rehearsal session was released on LP in 1991 by the Norma label under the title Pinky and Zoot, but the 5 tracks with the addition of vocalist Pinky Winters were released on CD in 2010 as "Pinky +12". This Lover Man being released now is composed of the purely instrumental tracks (without Pinky's vocals) from that session, and includes an unreleased track that was not included in the Norma LP.

Regarding the musicians participating in tracks #1 to #5 at Zoot's house, isn't it true that, except for Zoot, they are musicians who have hardly been heard of? For Zoot, whose activities took place mainly on the East Coast, a session on the West Coast in the mid-1950s like this one is extremely rare, but the reality of the L.A. scene runs deep. It is said that musicians like Heale and Inosencio played in top-tier big bands such as those of Benny Goodman or Woody Herman... His tenor sax style is in the line of Lester Young, and his talent was not only recognized by West Coast musicians but also enjoyed high popularity in Europe.

Pianist Timmy Inosencio was a music teacher at an L.A. high school in his later years and, according to Pinky Winters, was the band instructor at the high school Pinky's eldest daughter attended around 1970. He was a talented jazz musician who, since his high school days, aspired to be a professional jazz pianist and had acquired a solid technique and a great sense of swing. It seems he was a gifted musician who confirmed early on that 'you can't make a living from jazz' and chose that path. Trumpeter Marvin 'Tricky' Heale was Zoot's cousin. John Dorman was erroneously credited on the Norma LP as a trombonist, but Pinky testifies that he was a bass trumpet player and had no blood relation to Irving. Bassist Jim Wolf was Pinky's husband at the time.

1 - Dancing On The Ceiling

(Richard Rodgers, Lorenz Hart)

2- Popo

(Shorty Rogers)

3 - These Foolish Things (Remind Me Of You)

(Jack Strachey, Harry Link)

4 - I'll Remember April

(Don Raye, Gene DePaul, Pat Johnston)

5 - Lover Man

(Jimmy Davis, Roger Ramirez, Jimmy Sherman)

6 - Lighthouse Days

(Frank Patchen)

#1 to #5:

Zoot Sims (tenor sax), Marvin "Tootie" Hale (trumpet), John Dorman (bass trumpet),

Timothy "Timmy" Inocencio (piano), Jim Wolf (bass), Gary Hale (drums).

Recorded during a rehearsal at Zoot Sims' home, Inglewood, California, 1954

#6:

Zoot Sims, Bob Cooper (tenor saxes); Bud Shank (alto sax); 

Stu Williamson (trumpet); Frank Rosolino (trombone);

Claude Williamson (piano); Howard Rumsey (bass);  Stan Levey (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, March 9, 1954

Lighthouse All-Stars Collection XXII ★ with Zoot Sims (I)

Zoot Sims

With

The Lighthouse All-Stars • 1954

As we near the end of our "Lighthouse All-Stars Collection" jazz series, which brings together official albums and exclusive private recordings of the emblematic ensembles led by Howard Rumsey, it is now the turn of Zoot Sims, the absolute protagonist of this album.

Although musical historiography frequently links him to the West Coast jazz movement, Sims developed the bulk of his activity in New York during the 1950s. In those years, the jazz environment humorously ironized that he only traveled to the West Coast when he ran out of money in New York. Regardless of these anecdotes, his figure consolidated an exceptional respect and affection among the public and jazz fans in Japan. This discographic record constitutes a magnificent testimony of one of his most successful historic collaborations alongside the Lighthouse All-Stars.

Released on February 25, 2009, this album represents the world premiere CD release of a precious and previously unreleased documentary document. The Lighthouse All-Stars comprised the musicians who had established themselves as regulars at the long-running California jazz club, centered around bassist Howard Rumsey. The recording captures a brilliant improvisation session (jam session) in which Zoot Sims intervenes as a special guest, integrating with the regular lineup. It is an indispensable sound document that preserves with absolute fidelity the vibrant energy, spontaneity, and swing characteristic of a golden era for jazz, standing out as a rare West Coast performance where the special guest takes the first solo on every single track. The album's track list is integrated by three tracks: Frank Patchen's original composition "Goofy Eyes", an impeccable reading of the standard "All The Things You Are", and Milt Jackson's iconic "Bags Groove".

1 - Goofy Eyes

(Frank Patchen)

2 - All The Things You Are

(Oscar Hammerstein II, Jerome Kern) 

3 - Bags Groove

(Milt Jackson)

Zoot Sims, Bob Cooper (tenor saxes); Bud Shank (alto sax);

Stu Williamson (trumpet [#2]); Frank Rosolino (trombone);

Claude Williamson (piano); Howard Rumsey (bass); Stan Levey (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, March 10, 1954

Lighthouse All-Stars Collection XXI ★ with Stan Getz (II)

Stan Getz

With

The Lighthouse All-Stars • 1953

Having presented in our previous post Stan Getz's extraordinary stint at the Lighthouse on September 14, 1952, chronology now moves us eight months forward. We find ourselves on May 31, 1953, to examine a fundamental document that records, once again, the participation of the tenor sax giant and jazz musician par excellence as a guest alongside the Lighthouse Allstars. This new series of exciting live performances at the Lighthouse Café on Pier Avenue, Hermosa Beach, California, was captured by recording engineer Bob Andrews using a single microphone and a tape recorder.

Getz was born on February 27, 1927, in Philadelphia. His real name was Stanley Gayetzki, but his parents changed it due to discrimination. Discovered by Woody Herman's producer, by the late 1940s and into the 1950s he had already made a name for himself, being acclaimed during those years as "The Sound." He can be considered an exceptional musician who remained at the forefront throughout his entire life, continuing his musical activity until shortly before passing away from liver cancer in California on June 6, 1991.

On the other hand, the Lighthouse Allstars—the band backing Getz on this occasion—were the house group at the club. Although Shorty Rogers and Jimmy Giuffre were the central figures of the ensemble at that time, for this session we have Teddy Charles on vibes, Russ Freeman on piano, leader Howard Rumsey on bass, and Shelly Manne on drums.

The vibrant beach atmosphere can be felt throughout this magnificent compilation of live West Coast Jazz. The festive crowd enjoyed these jam sessions, and their enthusiasm drove the band, inspiring an energy that transforms the dynamics wherever the recording is played. If some of the horns—Getz, Bob Cooper, and Jimmy Giuffre—seem slightly off-mic, it must be kept in mind that these are neither perfectly balanced nor professionally mixed recordings. However, it is by no means a sloppy audience tape; the overall sound is surprisingly consistent, and the music is exceptional, including brilliant passages by vibraphonist Teddy Charles.

Amidst this impeccable rhythm section, Getz sounds divine on every track, in any company, no matter what happens. Great moments abound in this superb compilation, where two extensions of Basie's repertoire stand out in particular: an interpolation of nearly 12 minutes of Harry "Sweets" Edison's "Jive at Five" and a magnetically modern rendition of Eddie Durham's "Topsy". Ultimately, the album stands as a valuable session that splendidly captures Getz's golden era in 1953.

Off Note:

It is imperative to warn the reader and collector about the gross editorial errors carried by the CD edition of this volume (coordinated under the Interplay/Norma label).

In the first place, the front cover incurs a flagrant chronological error by dating the session as 1954, when historical documentation and the liner notes themselves unanimously confirm that the recording took place on May 31, 1953.

Allow me the boldness of presenting this album cover as it should have been, if only as an illustration:

In the second place (and as a warning to those who can read the Japanese text), an analysis of the liner notes—signed by producer Yasunori Iwanami—reveals an alarming lack of editorial oversight. The text enthusiastically describes the performance of songs that are not present on the CD, surely due to recycling generic information from the complete All-Stars sessions, completely ignoring the actual content of the disc.

As if that were not enough, the tray card adds two other monumental errors:

a) "Jive At Five" is listed as "Jive Jumpin'" and credited to Claude Williamson. This is a doubly egregious blunder, given that "Jive at Five" is an absolute classic by Count Basie and Harry "Sweets" Edison from 1938. By mistitling it, they confuse the piece with a later composition or arrangement, stripping the track of its true historical roots.

b) "So Long Broadway" is presented under the title "Heading Hermosa" and credited to Stu Williamson, which is nothing short of a record label fantasy. They decided to alter the original title of the composition to provide some "local color" related to Hermosa Beach, burying the song's real name.

Let us then separate the wheat from the chaff: the music of Getz and the All-Stars in May '53 is sublime, but the packaging of this edition is a true disappointment that we take charge of amending here. The correct information is as follows:

1 - Only Have Eyes For You

(Al Dubin, Harry Warren)

2 - Jive At Five (as Jive Jumpin')

(Count Basie, Harry "Sweets" Edison)

3 - Moonlight In Vermont

(John Blackburn, Karl Suessdorf)

4 - Love Me Or Leave Me

(Gus Kahn, Walter Donaldson)

5 - So Long Broadway (as Heading Hermosa)

(Teddy Charles)

6 - Topsy

(Eddie Durham, Edgar Battle)

Stan Getz, Bob Cooper (tenor saxes); Jimmy Giuffre (baritone sax);

Teddy Charles (vibes); Russ Freeman (piano); Howard Rumsey (bass); Shelly Manne (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, May 31, 1953

(to be continued...)