Liberty Records • Jazz in Hollywood Series (V)

Hollywood Saxophone Quartet

Jazz In Hollywood

✤Liberty LJH 6005✤

For even the most avid and best-informed jazz aficionados, the music in this album may be a huge surprise — and reed players, too, will find much to astonish and delight. The Hollywood Saxophone Quartet was composed of four gifted studio saxophonists, who organized the unit mainly to play original music by contemporary composers with a rhythm section added. In a collection of beautifully played arrangements written by some superbly skilled craftsmen such as Lennie Niehaus, Marty Paich, Russ Garcia, and Jack Montrose, the shadings of tone these men achieve are incredibly delicate and profuse in their colorings. The sheer technical ability, ensemble work, rapport and execution is remarkable — and they swing all the way through. *Jordi Pujol*

As Charlie Emge's liner notes point out, the Hollywood saxophone quartet has suceceded in "creating a true ensemble, an ensemble comparable to that of the fine string quartets". This is not the sax ensemble work of the type that Paul Whiteman used to feature, or even Stan Kenton on Opus in Pastels. It is a collection of beautifully played arrangements that were written by some mighty skilled craftsmen, and which come much closer to the jazz idiom than previous efforts.

The saxes are Russ Cheever, soprano; Jack Dumont, alto; Morrie Crawford, tenor, and Bill Ulyate, barritone, and their rapport and execution is most remarkable.

But there is no room open for improvisation, and though the writing generally is interesting, only Marty Paich's Toccata makes the men extend themselves and presents them with a real challenge. Billy May's Cheek to Cheek contains some genuine humor, Russ Garcia's Commotions is worth hearing, and Lennie Niehaus' Make the Most shows some good construction, but perhaps it would have been wiser not to term this a jazz album. For judged on the basis of its musical creativity it could not merit more than three stars. If judged on sheer technical ability and ensemble work, it would get the full five. Thus the compromise rating. Recording quality is superb.

*Jack Tracy (Down Beat, November 30, 1955)*

The saxophone, from Weidoeft to Trumbauer to Parker, has been subject to widely varying conceptions by performers good and bad. As a result, it is difficult for both teachers and players to say to a student with conviction:

"This is the right (or wrong) way to play saxophone".

In the Hollywood Saxophone Quartet, one hears, in my opinion, the four instruments represented — straight soprano, alto, tenor and baritone — played in a manner that establishes a standard. Not only have its members established a standard for individual performance, but they have succeeded in creating a true ensemble, an ensemble comparable to that of the fine string quartets. It didn't happen over-night, nor by chance. The members of the quartet, all successful career musicians, formed the unit some years ago solely for the purpose of playing music for their own enjoyment and for those persons fortunate enough to hear them at private gatherings. 

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Now that the word "jazz"’ has become more meaningless than ever — it was always the wrong word for the wrong music — I hesitate to use it in relation to the music offered in this album. However, for those who understand that "jazz" is an influence rather than something separate and apart from other forms of music — an influence present to a degree in most forms of contemporary musical expression — the music presented here by the Hollywood Saxophone Quartet could very well open a new world of musical enjoyment. *Charles Emge (liner notes)*

Side 1

1 - Toccata In F

(Paich)

2 - Nightcap

(Niehaus)

3 - New York City Ghost

(Victor Young, Peggy Lee)

4 - You Brought A New Kind Of Love

(Fain, Kahal, Norman)

5 - Autumn In New York

(Vernon Duke)

6 - There'll Never Be Another You

(Jacobs, Tinturin)

Side 2

7 - Mixed Commotions

(Russ Garcia)

8 - Cheek To Cheek

(Irving Berlin)

9 - Make The Most Of It

(Niehaus)

10 - Ghost Of A Chance

(Crosby, Washington, Young)

11 - All The Things You Are

(Kern, Hammerstein)

12 - Dancing On The Ceiling

(Rodgers, Hart)

Russ Cheever (soprano sax), Jack Dumont (alto sax), Morrie Crawford (tenor sax),

Bill Ulyate (baritone sax), Mike Rubin (bass), Dick Cornell (drums).

Recorded at Capitol Studios, Hollywood, California, September 8 and 14, 1955

Liberty Records • Jazz in Hollywood Series (II)

Dom Frontiere Sextet

Dom Frontiere And His El Dorado

✤Liberty LJH 6002✤

Dominic Frontiere (1931-2017) had barely turned four when he began learning the basic accordion technique. Having mastered his instrument through his classical studies, Dom became interested in modern music. In 1950, he moved to Hollywood, where he lost no time in establishing himself, not only as the leading accordionist in the movie industry but as a composer and arranger as well. He also appeared playing in several films, but 1955 brought him something special.

In March, Dom was signed to a term recording contract with Liberty Records, which led to his first album recording as a leader in the summer, conducting a sextet made up of renowned fellow Hollywood studio musicians. The album came out in the fall with the title Dom Frontiere and his El Dorado.

 His skill with the accordion was indisputable. "In the hands of a master [the accordion becomes] much more than a polka party instrument", Down Beat magazine admitted.

Starting in 1960 and over twenty years, the scores he penned for popular TV series and films, garnered him awards and international recognition as the firstrate composer he was.

This young instrumentalist and arranger revealed his talent and personal approach to the world, by skillfully blending the harmonies of classical music with the rhythm and improvisation of jazz. Dominic Frontiere and his stimulating musical confreres bring us a varied repertoire of well known melodies and originals in their own spirited, happy and swinging way. *Jordi Pujol*

When LIBERTY gave me the test pressing of this album I took it to the radio station with me and played it for engineers, announcers, salesmen, writers, maintenance men and anyone who might be wandering through the halls. I took it home and played it for my wife. I asked my best friend, a fellow jazz enthusiast, to come over and hear it. We played it along with recordings of other accordionists... we turned it up and listened to every note for musicianship, balance, fidelity... we played it in the background 

for atmosphere effect. After I felt I had thoroughly "tested" this finished product I recalled Dom’s words that "an accordionist is only as good as his instrument". It might be interesting to note that six different accordions were tested before a decision was made as to which produced the best sound. The instrument that won out was the custom-made Gretsch "El Dorado" the prototype which is now in full scale production.

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No matter how you play this album — softly in the background while having dinner, or volume wide open on a hi-fi set — it's great! If you like classical music you'll be impressed with the technique and charmed by the humor; if you're a "pop" fan you'll find this as wonderful for dancing as it is for what might be called "putting on a good stack of records"; and if you're a jazz enthusiast... you'll FLIP! *Jack Wagner (liner notes)*

Side 1

1 - Mr. B

(Bach, Frontiere)

2 - Poinciana

(Simon)

3 - Leap For Joy

(Frontiere)

4 - September In The Rain

(Warren, Dubin)

5 - Perpetual Motion

(Paganini)

6 - Tenderly

(Gross, Lawrence)

Side 2

7 - Nola

(Arnt)

8 - Breeze And I

(Lecuona, Stillman)

9 - I'll Be Seeing You

(Fain, Kahal)

10 - Where's The Melody

(A Variation Of 24th Caprice By Paganini)

(Paganini, Frontiere)

11 - Beguine For Bette

(Frontiere)

12 - My Heart Stood Still

(Rodgers, Hart)

Dom Frontiere (accordion), Abe Most (clarinet), Bill Ulyate (bass clarinet),

Jack Marshall (guitar), Mike Rubin (bass), Nick Fatool (drums).

Recorded at Capitol Records, Hollywood, California, between July and August, 1955