Five-Star Collection... Erroll Garner

Erroll Garner

That's My Kick

This was Erroll Garner's first traditional studio album in five years and perhaps his most ambitious album ever as a composer. The selections were surely inspired by the new array of musicians assembled for the sessions, including percussionist José Mangual, who would go on to play with Garner for the rest of his career. The electric atmosphere captured on tape here is at times raucous and always palpably joyful.

The Erroll Garner Octave Remastered Series represents the heart of Erroll Garner's recorded catalog. Spanning 12 albums and the last 18 years of Garner's career, this collection of music is among the most important in the history of jazz. It represents an artist in his prime, with full creative and commercial control of his output following his break with Columbia Records. *mackavenue.com*

Actually, this isn't a recording. It's live music in your living room — and it's a ball. It romps with a lack of inhibitions and tenseness rarely captured in the uptight and businesslike sterility of a recording studio. The feeling is one of now and close. The musicians were playing for the fun of it right then and not for some vague and unknown listener someplace and sometime else.

Immediacy and presence: Empathy and joy. The life hasn't been programmed out of the human beings here, as it so often is in our "advanced" society, in favor of that glossy God Technology, which will soon program the life out of all of us if we are not careful. It takes a man with the energy of Erroll Garner to achieve audio-fidelity with humanity, not at the sacrifice of it.

Erroll is the only guy around who can sound like two different instruments playing at two different tempos at the same time, and still swing. His left hand is a guitar pushing the beat, his right a pianist lagging. They meet, somehow, and where they do is right where the rhythm section is — the right place to be. Erroll's time is here extended; extended to and meshed perfectly with the rhythm section. The bongos and the balance reflect a more important role for the accompaniment than in Erroll's past. They nest together like lovers in a haystack, five people making music together — as one. (...)

Primarily, though, we owe him thanks for the happy energy his music gives to us and to that extent this record adds to his vital body of recorded works. It is the same joy, even more so.

*Michael Zwerin (from the liner notes)*

Garner's first album in many years without his custom-tailored rhythm section (and with the addition of bongos and guitar) finds him in excellent form, and top-drawer Garner is as good as they come.

A peculiar snobbishness has kept a number of jazz critics from giving Garner his due. Partly, it's the old claptrap: can a musician become a star attraction and remain a creative artist, and variants of this jive question; and partly, it's the ease with which Garner makes music, and the joy he takes in his work — there just isn't enough Sturm und Drang to satisfy those who insist that an artist must suffer to be great.

This distorted perspective (which fortunately has not affected Garner's career one whit) has brought about an absurd situation: though he has been proving it for more than 20 years, one still feels compelled to repeat that Garner is one of the few truly great and original figures to emerge in jazz since the mid-40s; a unique and astonishing musician whose work brings beauty and happiness to the world.

There are no fewer than six Garner originals on this record, all of them substantial. My favorite, as far as interpretation is concerned, is the latin-tinged Afinidad, on which the pianist really gets into something, and the rhythm section achieves a floating feeling, not least due to Ryerson's first-class support, and the late George Jenkins' excellent drumming (these two players are present only on this and the lilting, melodic title track).

Of the other Garner pieces, Gaslight is a vintage ballad in the romantic Misty mold, tastefully played — and if you want to hear full-bodied piano-sound at its fullest, watch for Garner's climax.

Nervous Waltz is a delightful piece, its melody akin to Kick (not the bridge, though). Garner's marvelous ability to produce a lagging swing (his time, generally speaking, is out of sight) is displayed to perfection here. Passing Through, a catchy up-tempo piece, has some - fine single note passages and never stops flowing, while the gospel-flavored Like It Is indicates that Garner could really get Ramsey Lewis and his ilk in bad trouble.

Garner has an amazing ability to revitalize material that others have wrung dry. Who would think that Autumn Leaves could still sound fresh? It does under Garner's fingers, moving at a brisk, unsentimental clip, with his orchestral conception of the piano to the fore.

Contemporary harmonies are in evidence here, and even more so on Necessarily, perhaps the most brilliant single performance in the set. The voicings in the exposition are marvelous, and the ensuing improvisation full of surprises.

The other standards — Smile, Moon, More — are more "routine" Garner, but that, too, means superior music. Besides, whenever you begin to anticipate Garner, he pulls you up with a startling idea. On More, it's a fascinating contrapuntal break; on Smile, the transitional chords linking the exposition and second chorus (speaking of "freedom"...) and on Moon, the surprise introduction.

Of the rhythm players not mentioned above, Mangual has the greatest empathy with Garner. He became a regular in the new Garner quartet organized after this session. Hinton is solid, as expected, and Lovelle a bit reticent. The guitar has been dispensed with, and with Garner's left hand in action, it won't be missed. The new group has been received with enthusiasm, and the next Garner album should be something to look forward to. But aren't they all?

*Dan Morgenstern (Down Beat, August 24, 1967 [5 stars])*

 

1 - That's My Kick

(Erroll Garner)

2 - The Shadow Of Your Smile

(Johnny Mandel, Paul Francis Webster)

3 - Like It Is

(Erroll Garner)

4 - It Ain't Necessarily So

(George Gershwin, Ira Gershwin)

5 - Autumn Leaves

(Jacques Prévert, Johnny Mercer, Joseph Cosma)

6 - Blue Moon

(Richard Rodgers, Lorenz Hart)

7 - More

(Nino Oliviero, Norman Newell, Riziero Ortolani)

8 - Gaslight

(Erroll Garner)

9 - Nervous Waltz

(Erroll Garner)

10 - Passing Through

(Erroll Garner)

11 - Afinidad

(Erroll Garner)

12 - She Walked on

(Erroll Garner)

#1, #11, #12:

Erroll Garner (piano), Milt Hinton (bass), Art Ryerson (guitar),

George Jenkins (drums), Johnny Pacheco (bongos).

Recorded at RCA Studios, New York City, April 13, 1966

#2 to #10:

Erroll Garner (piano), Milt Hinton (bass), Wally Richardson (guitar),

Herbert Lovelle (drums), José Mangual (bongos).

Recorded at RCA Studios, New York City, November 19, 1966

Al Cohn and Shorty Rogers - Equal and Different

Al Cohn • Shorty Rogers

East Coast — West Coast Scene

This album is in no way a contest, but a sincere effort to bring about a comparison of East and West Coast styles. Everything was essayed on an equal footing — the same 

instrumentation was used, an outstanding arranger-soloist of each school was chosen as leader, individual members were allowed considerable latitude for an exhibition of their solo capacities. Consequently, most of the arrangements are of the loose variety, within which the leaders and sidemen are able to demonstrate their improvisational talents. That is why this album has two sets of notes, just as it has two absolutely distinct types of modern jazz. Each different in its own peculiar way, each offering a musical excitement of the highest order. *Jack Lewis (liner notes)*

⁂

About Al Cohn and His "Charlie's Tavern" Ensemble:

Take a group of top-flight jazz musicians, put them in a room to themselves — even in "Charlie's Tavern," the established oasis of New York jazzmen — and it's a safe bet that they'll come up with some pretty wild music. But take a group of East Coast instrumentalists, put them in a small, but wonderfully active recording studio, and  it's an equally sure thing that they'll "cut" just about anything anyone has to offer. For swinging jazz in a modern idiom I'll take the East — in Charlie's Tavern it's Al Cohn three to one.

In the final analysis, there may not be a great deal to choose from between jazz of these two coastal schools — each is obviously loaded with men of enormous invention and talent. But, as representative of what is happening in the environs of Manhattan, these sides are wonderfully expressive of what comparisons are being made. *Bill Zeitung (liner notes)*

⁂

About Shorty Rogers and His Augmented Giants:

The West Coast jazz scene has for some time been almost completely dominated by Shorty Rogers who has kept modern jazz alive when many despaired of anything but Dixieland living through the famine. In his writing and playing he has almost single-handedly created and nurtured a definite West Coast style. The loose, swinging beat, the complex harmonies that have more than ever before brought a rapport between classical music and jazz — above all, the constant experimenting for something new in voicing, instrumentation or phrasing — all these things help to define the West Coast style, the Shorty Rogers style. The two are inseparable.

This record is, I fell, a fine demonstration of the West Coast jazz scene. The best man in the area, truly great arrangements by Shorty, variety of tempos — the musicians could ask no more, nor could the listener. Here are some of the finest things happening in jazz today, played by the most articulate spokesmen — the West Coast jazzmen themselves. *Paul Krupa (liner notes)*

A classic session in the tried and true marketing style of "East Coast vs West Coast" jazz, with one side of tracks by a group led by Al Cohn, and featuring Gene Quill, Hal McKusick, and Joe Newman. The other side's got Shorty Rogers representin' on the West Coast, with Jimmy Giuffre, Zoot Sims, Bud Shank, and Shelly Manne. The album's a nice batch of tracks, in the tightly arranged style that characterizes many of these mid-50's RCA jazz sessions. However, since Cohn's measured playing could never really be taken for New York Hot, and since his longtime partner Zoot Sims is part of Rogers' West Coast group, it's hard to say that these sides are really any sort of true battle between the coasts. Instead, though, the tracks are nice and long, with more room for solos than usual, and titles that include "Loki", "Cool Sunshine", and "Inside Out". *Dusty Groove, Inc.*

Side 1

1 - Inside Out

(Al Cohn)

2 - Autumn Leaves

(Joseph Kosma)

3 - Serenade For Kathy

(Al Cohn)

Side 2

4 - Cool Sunshine

(Shorty Rogers)

5 - Loki

(Shorty Rogers)

6 - Elaine's Lullaby

(Shorty Rogers)

#1 to #3: Al Cohn And His Charlie's Tavern Ensemble

Joe Newman (trumpet); Eddie Bert, Billy Byers (trombones);

Hal McKusick, Gene Quill (alto saxes)

Al Cohn (tenor sax); Sol Schlinger (baritone sax); Sanford Gold (piano);

Billy Bauer (guitar); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, October 26, 1954

#4 to #6: Shorty Rogers And His Augmented Giants

Shorty Rogers (trumpet); Milt Bernhart, Bob Enevoldsen (trombones); Zoot Sims (tenor sax);

Jimmy Giuffre (clarinet, tenor sax, baritone sax); Lennie Niehaus, Bud Shank (alto saxes);

Pete Jolly (piano); Barney Kessel (guitar); Curtis Counce (bass); Shelly Manne (drums).

Recorded in Los Angeles, California, September 11, 1954

Leonard Feather Presents… ★1956 • 1958★

 In the late 1950s, Leonard Feather (1914-1994), a jazz historian and critic, and occasional composer, and pianist and bandleader Dick Hyman (1927) had an influence on American jazz that bordered on mastery.

The two men owed their success to their almost encyclopedic knowledge of all the successive styles, from the beginning. Thus they formed an all-star group bringing together the cream of East Coast musicians, at a time when cool jazz was flourishing in California.

This album brings together three sessions recorded between 1956 and 1958 by a brilliant ensemble, capable of showcasing inspired soloists, served by Dick Hyman's subtle and effective arrangements. The latter, who also wrote several compositions with Feather, is the cornerstone of groups propelled by rhythms of astonishing flexibility. As for the value of the soloists, a single glance at the composition of these combos is enough to get an idea. Virtuosity and inspiration are the order of the day, not to mention the audacity and innovations, both on the melodic and rhythmic levels. Finally, it is necessary to underline the relevance of a booklet which provides a most complete insight into the whole. *Jacques Aboucaya*

Leonard Feather & Dick Hyman

East Coast All Stars

This musical journey features four captivating East Coast All Stars jazz ensembles, guided in collaboration by the talented Leonard Feather and Dick Hyman, who, through their compositions and arrangements, present a diverse repertoire brimming with stimulating solos.

The first session highlights a six-piece unit, boasting a front line drawn entirely from the Count Basie band: Thad Jones, Benny Powell, and Frank Wess. From the rhythmic vitality of "The Goof 'n' I" to the refined elegance of "Beverly Hills" and the timeless charm of "The Sidewalks of New York", each track exemplifies the ensemble’s cohesion and the creativity of soloists.

Delving into the Hi-Fi Suite, Feather and Hyman lead two nine-piece orchestras on a sonic exploration. With contributions from Joe Newman, Jerome Richardson, Benny Powell, and Don  Elliot, the orchestrations offer a captivating blend of textures and tones, with various reed instruments providing a fascinating display of soundscapes, from the inventive "Feedback Fugue" to the lively "Squawker" and the flavorful "Hi-Fi Pie".

The subsequent line-up showcases the rhythmic intricacies of "Bass-Reflex", the melodic allure of "Tweeter", the resonant depths of "Woofer", and the ethereal beauty of "Reverberation". Here, Thad Jones, Benny Powell, Oscar Pettiford, Jerome Richardson, Frank Wess, and Bill Barber deliver compelling solo performances.

Concluding this set, the fourth All Stars band presents a dynamic rendition of Jay Livingston’s "Keep It Simple", arranged by Dick Hyman. Featuring all horns in a captivating six-minute workout, the ensemble's virtuosity shines through, offering a fitting conclusion to this exciting musical journey. *Jordi Pujol*

1 - The Goof 'n' I

(Al Cohn)

2 - Beverly Hills

(Leonard Feather)

3 - The Sidewalks Of New York

(Lawlor, Blake, P.D.)

4 - Here's Pete

(Pete Rugolo)

5 - Feedback Fugue

(Feather, Hyman)

6 - Squawker

(Leonard Feather)

7 - Hi-Fi Pie

(Leonard Feather)

8 - Bass-Reflex

(blues in 5/4, P.D.)

9 - Tweeter

(Feather, Hyman)

10 - Woofer

(Feather, Hyman)

11 - Reverberation

(Feather, Hyman)

12 - Keep It Simple

(Livingston, Evans)

#1 to #4: from the album West Coast Vs. East Coast (MGM Records E3390)

Thad Jones (trumpet), Benny Powell (trombone), Frank Wess (tenor sax, flute),

Dick Hyman (piano, organ), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, January 1956

#5 to #11, from the album Hi Fi Suite (MGM Records E3494)

#5 to #7: 

Joe Newman (trumpet), Benny Powell (trombone), Jerome Richardson (alto sax, piccolo), 

Frank Wess (tenor sax, flute), Romeo Penque (baritone sax, clarinet), Dick Hyman (piano),

Oscar Pettiford (bass), Osie Johnson (drums), Don Elliott (vibes, miscellaneous percussion).

Recorded in New York City, June 16, 1956

#8 to #11:

Thad Jones (trumpet), Benny Powell (trombone), Bill Barber (tuba [except on #8]),

Jerome Richardson (alto sax, piccolo), Frank Wess (tenor sax, flute),

Phil Bodner (baritone sax, oboe), Dick Hyman (piano),

Oscar Pettiford (bass), Kenny Clarke (drums).

Recorded in New York City, July 11, 1956

#12: from the album Oh, Captain! (MGM Records E3650)

Art Farmer (trumpet), Jimmy Cleveland (trombone), Sahib Shihab (alto sax, baritone sax),

Tony Scott (clarinet, baritone sax), Jerome Richardson (tenor sax, baritone sax, alto flute),

Dick Hyman (piano), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, February 14, 1958

Rare And Obscure Argo Recordings (XIII)

Hank Jones

Here's Love

"Here's love", a musical version of the great film "Miracle on 34th Street" says "down with Scrooge and up with Tiny Tim" and in general, you don't have to be a screwball to believe in love or...Santa Claus.

The Hank Jones Quartet interpretation will become the definitive jazz presentation of Meredith Wilson's great score to "Miracle on 34th Street." Hank Jones has captured in the jazz idiom the flavor of Wilson's musical menu for Here's Love."

The artistry of Milt Hilton on bass, Elvin Jones on drums, and Kenny Burrell on guitar, welded cohesively by the remarkable ingenuity of Hank Jones, makes for many minutes of easy listening.

For good music aficionados, this will be Christmas all year round with the musicality of the Hank Jones Quartet a perennial gift from St. Nicholas himself.

I have said a lot of things about this album, but there's one thing you may have noticed we did not say and that would be to refer to this album as...square. So here's color, here's rhythm, here's enjoyment... HERE'S LOVE! *(From liner notes)*

Highlight is the interplay between Hank Jones and Kenny Burrell;

excellent music and arranging (5 stars):

I've owned this album for quite some time and decided to pull it out and listen with fresh ears. While this is not exactly a 'must-have' album, the musicianship is uniformly excellent and the arranging is masterful. Every track is based on a musical titled Here's Love, all of which were originally composed by Meredith Willson. There is where the arrangements shine because orchestral pieces have been distilled down into jazz quartet format and they sound rich and full.

The sound samples on this page will provide enough information to get a good sense of the music. The center of the music is Hank Jones' piano and Kenny Burrell's guitar. Both take turns with melody and harmony, and create some real studio magic (hence, the five stars.) Milt Hinton on bass and Hank's brother Elvin on drums are the perfect rhythm section. If you are a bassist focus on Hinton. He makes it sound simple and easy, but he is doing some incredible things that make the piano and guitar stand out. Elvin is masterful, especially on brushes, but he does have a few moments when he seems to over play. It does not detract from the music, and after a few listens I cannot imagine a more perfect drummer for this album.

This was recorded for the Argo label at Rudy van Gelder's Englewood Cliffs, NJ studio in a single session on October 19, 1963. While musicians will find this album to be rich in ideas, especially the interplay between piano and guitar, anyone who loves jazz quartets will probably love this album. *Mike Tarrani (amazon reviewer)*

1 - Here's Love

2 - My Wish

3 - You Don't Know

4 - Dear Mister Santa Claus

5 - That Man Over There

6 - Arm In Arm

7 - The Big Clown Balloons

8 - Love, Come Take Me Again

9 - Pine Cones And Holly Berries

10 - My State, My Kansas, My Home

(All compositions by Meredith Wilson)

Hank Jones (piano), Kenny Burrell (guitar), Milt Hinton (bass), Elvin Jones (drums).

Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey, October 19, 1963.

Enrique Villegas - An Argentinian in New York

Enrique "Mono" Villegas born in Buenos Aires (August 3, 1913) into an aristocratic family. He studied piano under the guidance of the composer Alberto Williams. Trained in classical music, he soon abandoned this genre to embrace jazz. He held his first concert at the Teatro Odeón at 19 years old, and performed his first composition, "Jazzeta", in 1941. After forming some ensambles (notably the Santa Anita Sextet and Los Punteros) and collaborating to several recordings, he recorded the first album under his name in 1952.

In the mid-1950s he was put under contract by Columbia Records and moved to New York City; after two albums he decided to terminate the contract due to artistic disagreements with the label. He then toured extensively in Europe, United States and Latin America for eight years, before coming back in Buenos Aires where he formed two trio ensambles, first with Jorge López Ruiz and Eduardo Casalla, and then with Alfredo Remus and Néstor Astarita, and recorded several albums.

Enrique Villegas was the first jazz pianist to perform at famed Teatro Colón.

He died in Buenos Aires (July 11, 1986), from complications due to a hip broken in a car accident.

Enrique Villegas

Complete New York Sessions

1955-1957

The playing of Argentinian pianist Enrique Villegas (1913-1986) was unique, exciting and continuously interesting, with a special character of its own founded on his classical training and jazz inclinations. He moved to the United States in 1955, when he was already well-known in his country, with the intention of establishing himself in North America as a Jazz pianist. His nightclub debut at the Cafe Bohemia was an instant success, and his performances were acclaimed by both critics and public.

His career was already on its way, but two years after his arrival in New York, he drastically decided, due to artistic discrepancies with his record label, to return to Buenos Aires. This CD contains the two historic trio albums Villegas recorded during his stint in New York City. *Jordi Pujol*

Argentinian pianist Enrique "El mono" Villegas (1913-1986) was one of Argentina's biggest jazz exports, along with Gato Barbieri. He spent his exemplary career living and working in Buenos Aires, where he made his debut recording in 1944 and his last in 1977. To mark the 20th anniversay since his death in 1986, Fresh Sound Records has published this 2 LPs-on-1 CD compilation with the two terrific albums he recorded for the Columbia label in New York.

Villegas moved to the United States in 1955, when he was already well-known in his country, with the intention of establishing himself in North America as a professional jazz pianist. Although he didn't stay in USA that long, his nightclub debut at the Café Bohemia was an instant success, and his performances were acclaimed by both critics and public alike. This CD contains the only two historic trio albums Villegas recorded in studio during his stint in New York. *jazzmessengers.com*

1 - Ain't Misbehavin'

(Razaf, Waller, Brooks)

2 - Yesterdays

(Harbach, Kern)

3 - What Is This Thing Called Love

(Cole Porter)

4 - Chopin Prelude

(Frédéric Chopin)

5 - Lazy Bones

(Mercer, Carmichael)

6 - Where Or When

(Rodgers, Hart)

7 - Sometimes I'm Happy

(Caesar, Youmans)

8 - Embraceable You

(G. and I. Gershwin)

9 - Poor Butterfly

(Garner, Hubbell)

10 - Jelly Roll Blues

(Jelly Roll Morton)

11 - I Ain't Got Nobody

(Graham, Williams)

12 - Black Beauty

(Duke Ellington)

13 - Honeysuckle Rose

(Waller, Razaf)

14 - Rosetta

(Hines, Woods)

15 - Jumpin' At The Woodside

(Count Basie)

16 - Night In Tunisia

(Gillespie, Paparelli)

17 - Django

(John Lewis)

18 - Scruby

(Friedrich Gulda)

19 - Western Reunion

(Gerry Mulligan)

#1 to #9: from the album Introducing Villegas (Columbia CL 787)

Enrique Villegas (piano), Milt Hinton (bass), Cozy Cole (drums).

Recorded in New York City, September 8 and 9, 1955.

#10 to #19, from the album Very, Very Villegas (Columbia CL 877)

Enrique Villegas (piano), Milt Hinton (bass), Cozy Cole (drums).

Recorded in New York City, March 13, April 10 and May 2, 1957.

John "Johnny" Carisi - His Music And His Orchestras

John Carisi born in Hasbrouck Heights, New Jersey, February 23, 1922, died New York, October 8, 1992. Studied trumpet and theory in high school, composition with Stephan Wolpe (1948-1950), trumpet with Carmine Caruso (1953-1954). Played in his youth with Babe Russin, George Handy, Herbie Fields and joined Glenn Miller's army band in 1943. Played with Skitch Henderson, Claude Thornhill and Charlie Barnet. Aside of that also active in the classical field, writing compositions for chamber groups and also composed a jazz piece called "Israel" that was recorded by Miles Davis. In the 60's he continued to write compositions for jazz as well as classical performers. Three of his compositions were recorded on Impulse with an orchestra under direction of Gil Evans. Carisi himself played on this recording some of the trumpet parts. *Walter Bruyninckx*

Johnny Carisi is destined to be chiefly remembered for composing "Israel," a complex blues that was recorded by Miles Davis' Birth Of The Cool nonet. Otherwise his career was primarily spent in obscurity. Carisi, who was mostly self-taught on trumpet, played early on with little-known groups although he had a stint in 1943 with Glenn Miller's Army Air Force Band. Starting in the mid-40's, Carisi's writing was sophisticated and advanced enough for him to contribute arrangements to the books of Ray McKinley, Charlie Barnet and Claude Thornhill. Never a major soloist, Carisi played trumpet with Claude Thornhill's Orchestra a bit during 1949-1950. Although he worked fairly steadily as a writer, Johnny Carisi recorded only a few albums under his own name. He had an opportunity to remake "Israel" in 1956 for a Bluebird set not released until the CD era, and he utilized a "Guitar Choir" in an unusual reworking of the music from Showboat (playing trumpet on "Nobody Else But Me"). In 1961 Carisi shared an Impulse LP (Into The Hot) with Cecil Taylor and in 1968 he wrote the arrangements for trumpeter Marvin Stamm's Machinations album. Otherwise Johnny Carisi wrote for the studios, was involved part-time with classical music and was a music educator. *Scott Yanow*

Johnny Carisi

The Music Of Johnny Carisi

Israel

One of the most important movements in the late 40s and early 50s jazz, was the conscious effort of well-schooled, classically informed, creative jazz musicians to reflect not only their training but also a greater sense of structure and order in the jazz music they played and improvised on. It was a movement led by writers like Gil Evans, Gerry Mulligan, Ralph Burns, Tiny Kahn and Johnny Carisi, among others. Some, like Mulligan and Kahn, were also celebrated instrumentalists, but they all embraced both large and small group music.

Trumpeter Johnny Carisi (1922-1992), whose name endures as a notable one in this groundbreaking general movement, worked originally for bands such as Ray McKinley's and, more significantly, Claude Thornhill's, in which he also played at a period when the band was famed for its contemporary, boppish book written by Evans and Mulligan.

Appropriately, this compilation contains Carisi's own 1956 recordings as a leader, as well some of his most celebrated compositions and arrangements played by other great groups, all fine examples of his contribution to this development in jazz. But, apart from his extensive and varied background as both player and writer, the one composition that made him a jazz legend is Israel, one of Miles Davis' loveliest record arrangements, and for which Johnny Carisi will always be remembered. *Jordi Pujol*

Johnny Carisi name will always be associated with Israel — his highly original take on the 12-bar form premiered by the ground-breaking Miles Davis nonet in 1949. He revisits it here with his own Jazz Workshop as well as on a chart for Gerry Mulligans CJB. Miles original solo has been transcribed for both ensembles. A few years ago Ray Passman added a lyric which has been recorded by the delightful Meredith d'Ambrosio among others under the title Its Your Dance.

The opening tracks have plenty of Eddie Wassermans fine Prez-inspired tenor especially on "Honeysuckle Rose" and "Lestorian Mode". The latter was also recorded by Brew Moore, Mulligan and Kai Winding in 1949 but it has yet to be reissued on CD. That doyen of the New York recording scene Barry Galbraith shows on "Barry's Tune" just why Mulligan once described him as an altogether beautiful musician. "Springsville" (misspelt on the sleeve) was recorded by the composer a year before Miles Davis and Gil Evans gave it their seal of approval on Miles Ahead. There are also two of Carisis dramatic excursions into 12-tone territory - "Moon Taj" and "Angkor Wat". As a trumpet soloist he has some notable Phil Sunkel-like statements especially on "How About You?" and "Hips".

This comprehensive retrospective of Johnny Carisi — one of the most unsung people in the history of music according to Bob Brookmeyer — is most welcome. It should help focus attention on a vital but sometimes overlooked contributor to the celebrated Birth Of The Cool project. *Gordon Jack*

1 - Israel

(Johnny Carisi)

2 - Honeysuckle Rose

(Razaf, Waller)

3 - Lestorian Mode

(Johnny Carisi)

4 - Barry's Tune

(Johnny Carisi)

5 - How About You?

(Freed, Lane)

6 - Hips

(Johnny Carisi)

7 - Springville

(Johnny Carisi)

8 - Breakfast With Joe

(Johnny Carisi)

9 - Walkin' On Air

(Johnny Carisi)

10 - Little John

(Johnny Carisi)

11 - Springville

(Johnny Carisi)

12 - Plain Bill From Bluesville

(Johnny Carisi)

13 - Israel

(Johnny Carisi)

14 - Angkor Wat

(Johnny Carisi)

15 - Barry's Tune

(Johnny Carisi)

16 - Moon Taj

(Johnny Carisi)

17 - Israel

(Johnny Carisi)

#1 to #7 were recorded for the album RCA Victor Jazz Workshop Johnny Carisi that was scheduled as LPM 1371 but never released.

#1:

Johnny Carisi (trumpet), Urbie Green (trombone), Ray Beckenstein (clarinet, alto sax), Eddie Wasserman (tenor sax), Danny Bank (baritone sax), Barry Galbraith (guitar), Russ Saunders (bass), Herb Wasserman (drums).

Recorded at Webster Hall Studio, New York City, April 21, 1956

#2 to #7:

Johnny Carisi (trumpet), Urbie Green (trombone), Ray Beckenstein (clarinet, alto sax), Eddie Wasserman (tenor sax), Sol Schlinger (baritone sax), Barry Galbraith (guitar), Milt Hinton (bass), Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, May 5 (#2 to #4) and May 11 (#5 to #7), 1956.

#8: Al Cohn Octet, from the album Al Cohn - Mr. Music (RCA Victor LJM1024)

Joe Newman (trumpet); Billy Byers (trombone); Gene Quill (alto sax); Al Cohn, Sol Schlinger (tenor saxes); Sanford Gold (piano); Buddy Jones (bass); Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, December 23, 1954.

#9: Tony Scott Tentet, from the album The Touch of Tony Scott (RCA Victor LPM 1353)

Johnny Carisi, Joe Wilder (trumpets); Jimmy Cleveland, Urbie Green (trombones); Tony Scott (clarinet); Danny Bank (baritone sax); Bill Evans (piano); Barry Galbraith (guitar); Milt Hinton (bass); Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, July 5, 1956.

#10 to #12, from the album All About Urbie Green and His Big Band (ABC-Paramount ABC137)

#10:

Johnny Carisi, Nick Travis, Joe Wilder (trumpets); Urbie Green, Jack Green, Chauncey Welsch (trombones); Bill Barber (tuba); Ray Beckenstein, Hal McKusick (alto saxes); Al Cohn (tenor sax); Sol Schlinger (baritone sax); Dave McKenna (piano); Jack Lesberg (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, August 5, 1956.

#11, #12:

Doc Severinsen, Phil Sunkel, Johnny Carisi (trumpets); Urbie Green, Lou McGarity, Rex Peer (trombones); Bill Barber (tuba); Ray Beckenstein, Hal McKusick (alto saxes); Al Cohn (tenor sax); Danny Bank (baritone sax); Dave McKenna (piano); Vinnie Burke (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, August 23, 1956.

#13: Gerry Mulligan And The Concert Jazz Band, from the album A Concert in Jazz (Verve V6-8415)

Don Ferrara, Nick Travis, Doc Severinsen (trumpets); Bob Brookmeyer (valve trombone); Willie Dennis (trombone); Alan Raph (bass trombone); Gene Quill, Bob Donovan (alto saxes); Gerry Mulligan, Gene Allen (baritone saxes); Bill Crow (bass); Mel Lewis (drums); John Carisi (arranger).

Recorded at Webster Hall Studio, New York City, July 10, 1961.

#14 to 16: Johnny Carisi And His Orchestra, from the Gil Evans' album Into the Hot (Impulse AS-9)

[Note: Though Gil Evans's Out Of The Cool for Impulse in late 1960 was well-received by critics, he decided to leave the new label when Impulse founder Creed Taylor left to head Verve. In addition, Evans didn't have enough material for a followup, so he turned over his remaining Impulse recording dates to Carisi and Cecil Taylor. Here are Carisi's three beautiful compositions that he arranged and conducted for the album, which came out under Gil Evans's name anyway in 1962.]

#14:

Johnny Carisi, Johnny Glasel, Doc Severinsen (trumpets); Urbie Green (trombone); Jimmy Buffington (French horn); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Milt Hinton (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, September 14, 1961.

#15:

Johnny Carisi, Johnny Glasel, Clark Terry (trumpets); Urbie Green (trombone); Bob Brookmeyer (valve trombone); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Art Davis (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, October 1, 1961

#16: 

Johnny Carisi, Johnny Glasel, Joe Wilder (trumpets); Urbie Green (trombone); Bob Brookmeyer (valve trombone); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Art Davis (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, October 31, 1961.

#17: from the 78 rpm disc Miles Davis And His Orchestra (Capitol 57-60011)

Miles Davis (trumpet), J.J. Johnson (trombone), Sandford Siegelstein (French horn), Bill Barber (tuba), Lee Konitz (alto sax), Gerry Mulligan (baritone sax), John Lewis (piano), Nelson Boyd (bass), Kenny Clarke [aka L.A. Salaam] (drums).

Recorded at WOR Studios, New York City, April 22, 1949.

***

John Carisi

The New Jazz Sound Of Show Boat

Carisi's sole album recorded under his name that gave us a glimpse of his inventive arranging skills and trumpet playing was The New Jazz Sound Of "Show Boat". Recorded for Columbia over three sessions in September 1959, the album featured Carisi arranging, conducting and playing trumpet. What's remarkable about the album is how orchestral it sounds with relatively few instruments featured. At first, too few.

The September 8th recording date was something of a washout. Only one track out of four was accepted by producer Teo Macero —"Nobody Else But Me". The personnel featured Carisi (tp,arr,cond), Barry Galbraith, Jimmy Raney, Billy Bauer, Howard Collins and Allan Hanlon on guitars; Milt Hinton on bass; and Osie Johnson on drums.

Upon hearing the playback, Macero likely felt the album needed a couple of additional horns to give the album greater variety, either because Carisi wasn't a big enough name to drive jazz-album sales or because Carisi's trumpet wasn't flashy enough.

So on September 18, the same group assembled in the studio with the addition of alto saxophonist Phil Woods as the soloist. The tracks were Make Believe, Why Do I Love You? and I Have the Room Above Her. Woods sat out on two of the tracks — "It Still Suits Me" and "Bill".

Then on September 24, the same core group returned but this time valve trombonist Bob Brookmeyer replaced Woods on "Ol' Man River", "Can't Help Lovin' Dat Man" and "I Might Fall Back On You". Brookmeyer sat out on "Life Upon the Wicked Stage".

The three tracks handed over to Carisi by Woods and Brookmeyer gave him three solo trumpet tracks he lost when Macero rejected the three from September 8.

The resulting album is a masterpiece of arranging and among only a handful of jazz interpretations of Broadway musicals that elevated the original scores to something way more interesting.

*Marc Myers*

Side 1

1 - Make Believe

2 - Nobody Else But Me

3 - I Might Fall Back On You

4 - I Have The Room Above Her

5 - Bill

Side 2

6 - Can't Help Lovin' That Man

7 - Life Upon The Wicked Stage

8 - Ol' Man River

9 - Why Do I Love You?

10 - I Still Suits Me

(All compositions by Oscar Hammerstein II and Jerome Kern)

John Carisi And The Guitar Choir:

John "Johnny" Carisi (trumpet, conductor); Phil Woods (alto sax [#1, #4,  #9]); Bob Brookmeyer (valve trombone [#3, #6, #8]); Jimmy Raney, Tommy Kay, Barry Galbraith, Billy Bauer, Howard Collins [#1, #2, #4, #5, #9, #10], Allen Hanlon [#3, #6, #7, #8] (guitars); Milt Hinton [#1, #2, #4, #5, #9, #10], Teddy Kotick [#3, #6, #7, #8] (basses); Osie Johnson [#1, #2, #4, #5, #9, #10],  Mousey Alexander [#3, #6, #7, #8] drums).

Recorded at Columbia Studios, 30th St., New York City, September 8 (#2, #5), September 18 (#1, #4, #9, #10) and September 24 (#3, #6, #7, #8), 1959.

Sandole Brothers And John La Porta - Rare And Obscure Jazz Albums

About Modern Music from Philadelphia:

Operating solely on an artistic basis, The Brothers Sandole band was not a commercial venture, but a band decidedly different, daring and experimental. Dennis and Adolph Sandole were music teachers in Philadelphia, who actually wanted to keep teaching but felt that their music was completely original, and so harmonically different in scope that it deserved to be heard on its own merits. The dense, full character of its original figures gave the unit a distinct big band sound, and all the improvisation fits into a well-written pattern. Four of the ten scores presented here are by Dennis, two of them so concise they are over in amatter of seconds; the rest are by Adolph. All compositions by the Sandole brothers are actually cleverly planned pictures, and flawlessly performed. You'll find the entire album to be a rewarding experience, but unfortunately, it was the only one they recorded. A must-have for any jazz collector. *Jordi Pujol*

Incredible jazz material from one of the least-known and least-appreciated groups working on the east coast during the 50s. Dennis and Adolphe Sandole had an incredible talent for writing -- and in the short time they recorded together, they served up some amazing tracks with a wonderful group sound that recalls some of the Mingus Jazz Workshop recordings with John La Porta. *dustygroove.com*

About Conceptions:

John La Porta was a most skilled musician and teacher. He was always looking for new forms of expression, and maybe that is why he was often misunderstood. His distinctive approach to jazz was never casual, and his album Conceptions might be the most pristine reflection of his ideas. His objective was to obtain the widest possible variety of colors, dynamics and moods by using various combinations of instruments. All the writing here is by La Porta except for Juan Tizol's Perdido. The Septet compositions offer awider set of colors to work with and a wider ensemble sound, setting a good line and a developing, satisfying structure. The Quartet sides provide for a more virtuoso type of playing and rhythmic experimentation, difficult to handle in a larger group. The Duets are five very short dialogues between La Porta, alto sax, and Louis Mucci, trumpet, and provide humorous divertissements between the longer compositions. Throughout these performances, La Porta plays alto sax and clarinet with strength, beauty and consistency, Mucci is shown as a careful trumpeter with a beautiful tone and lyrical feeling, while the underrated pianist Wally Cirillo also has several fine passages. *Jordi Pujol*

The modernist clarinet-alto sax man plays mainly his own compositions. As a writer or as a soloist, he's interested in small doses, but interest wanes with over exposure as he never catches fire. Avant-garde followers will support this favorite of the clique, but the market is limited to the cognoscenti. *Billboard, September 22, 1956*

1 - Wings Over Persia

(Adolph Sandole)

2 - Way Down

(Adolph Sandole)

3 - Drums

(Adolph Sandole)

4 - Perhaps One Touf Of...

(Dennis Sandole)

5 - Grenadine

(Dennis Sandole)

6 - The Boys From Istambul

(Adolph Sandole)

7 - The Tamaret

(Dennis Sandole)

8 - Arabu

(Adolph Sandole)

9 - Pieces Of Eight

(Adolph Sandole)

10 - Magic Carpet

(Adolph Sandole)

11 - Concertina For Clarinet

(John La Porta)

12 - Nightfly Vigil

(John La Porta)

13 - Perdido

(Juan Tizol)

14 - Triplets, You Say?

(John La Porta)

15 - Small Blue Opus

(John La Porta)

16 - Littel Fantasy

(John La Porta)

17 - Absentee

(John La Porta)

18 - Washday

(John La Porta)

19 - En Rapport

(John La Porta)

20 - Lou's Tune

(John La Porta)

21 - Fermé La Porta

(John La Porta)

#1 to #10: The Brothers Sandole

from the album Modern Music from Philadelphia (Fantasy 3-209)

Art Farmer (trumpet); Sonny Russo (trombone); John LaPorta (alto sax); Teo Macero (tenor sax); Adolph Sandole [#2, #4, #5, #6, #7, #9, #11], George Barrow  [#1, #3, #8, #10] (baritone saxes); Al Del Governatore (piano); Dennis Sandole (guitar); Wendell Marshall [#2, #4, #5, #6, #7, #9], Milt Hinton [#1, #3, #8, #10] (basses); Clem DeRosa (drums).

Recorded at Fine Sound, New York City, July 1955.

#11 to #21: John La Porta Septet, Quartet and Duo

from the album Conceptions (Fantasy 3-228)

John LaPorta (clarinet, alto sax), Louis Mucci (trumpet), Sonny Russo (trombone), Sol Schlinger (baritone sax), Wally Cirillo (piano), Wendell Marshall (bass), Clem DeRosa (drums).

Recorded at Fine Sound, New York City, June 4 and 5, 1956. 

Hal Schaefer - Rare And Oscure Jazz Albums

Like Erroll Garner, Hal Schaefer had his own distinctive jazz piano style and transformed every song he played into pure magic. He could turn standards inside out with a swinging fury and, with his right hand, whip up improvised lines that left listeners dazzled.

Born in 1925 in Queens, N.Y., Schaefer began playing professionally as a teen at resorts in the Catskill Mountains a few hours north of New York.

By the mid-1940s, he was playing and recording with Tommy Dorsey and Boyd Raeburn. During this time, he led a trio that played during intermissions at Duke Ellington concerts.

In 1947, he settled in Los Angeles and teamed with vocalist Peggy Lee and her husband, guitarist Dave Barbour, on record dates. He also squeezed in a session with Bob Cooper's band backing vocalist June Christy. In the early 1950s, he made records for MGM with Woody Herman and singer Billy Eckstine.

By early 1953, he was swept by the movie industry and began working as Marilyn Monroe's vocal coach and accompanist, helping her get up to speed for her solo vocal on Diamonds Are a Girl's Best Friend for the film Gentlemen Prefer Blondes, a song he arranged while working closely with film choreographer Jack Cole. He also worked with her on the music and arrangements for "There's No Business Like Show Business" and "River of No Return" in 1954.

Like many men who came into Monroe's orbit, Schaefer was lulled into thinking their relationship was more than it was. According to Schaefer, he became her lover in 1954 and confidant during the nine months she was married to Joe DiMaggio and beyond. Then Schaefer's relationship with the actress began slipping away. In July 1955, he said, he tried to commit suicide over his inability to hold onto her.

During this period of sexual despair, Schaefer recorded two albums for RCA as a leader — Just Too Much, a trio date months before his suicide attempt, and Jazz Workshop with a sextet months after being released from the hospital. Both are glorious recordings. 

On Just Too Much, recorded in late 1954 and early 1955, the album featured Schaefer (p,cel), Joe Mondragon (b) and Alvin Stoller (d). Schaefer sounds spectacular throughout the album, taking on "Thou Swell", "The Song Is You", "It Could Happen to You" and "St. Louis Blues" among others, creating impossibly inventive renditions that became musical catnip for the listener.

On the Jazz Workshop album, recorded over three sessions in the fall of 1955, the tracks on the first date were "Spring Is Here", "Isn't It Romantic", "Real Lee" and "A New Sound". The band Schaefer arranged featured Jimmy Nottingham and Nick Travis (tp), Schaefer (p), Milt Hinton (b), Don Lamond and Ed Shaughnessy (d).

On "Blues Skies", "This One's for Jack", "A Song of Love" and "I'm Gonna Sit Right Down and Write Myself a Letter", the personnel included Billy Byers, Urbie Green, Fred Ohms and Chauncey Welsch (tb); Tom Mitchell (b-tb); Hal Schaefer (p); Milt Hinton (b) and Osie Johnson (d).

And on "Imagination", "Dancing in the Dark", "Of Things Gone By" and "Let's Have a Cerebration", the musicians were Hal McKusick, Sam Marowitz and Phil Woods (as); Hal Schaefer (p); Milt Hinton (b) and Osie Johnson (d).

"This One's for Jack" must have been for Jack Lewis, RCA's head of jazz A&R at the time, when the 12-inch album format was brand new for pop records. Lewis created the Jazz Workshop series to give top artists a chance to lead a recording session of their own conception. The series also let Lewis quickly fill his quota of newly recorded albums for RCA's 12-inch LP pipeline.

Prior to Schaefer's suicide attempt, a jealous Joe DiMaggio with Frank Sinatra and others broke down the door of the wrong apartment at 3 a.m. looking for Monroe and Schaefer. Following this event, the pianist was regularly harassed in the days before trolling and social media. So much so that Schaefer feared his hands would be broken by goons in retribution and left Hollywood in the late 1950s.

In New York, he continued to play and record jazz albums as well as coach star singers such as Barbra Streisand, Chita Rivera, Rita Moreno and Julie Wilson. He moved to Florida in the 1990s and died in December 2012. Marilyn Monroe died of a barbiturate overdose in August 1962 that was widely considered a suicide. *Marc Myers *

Hal Schaefer

Rare And Oscure Jazz Albums

Hal Schaefer (1925-2012) was an extremely talented, thoughtful, and polished New York pianist who, by the age of 30, had already immersed himself in many musical circles. From an inauspicious start as a teenager playing with Lee Castle, he went on to join Ina Ray Hutton’s band for two years before settling in Los Angeles in 1943. There, he played with the bands of Benny Carter, Harry James, and Boyd Raeburn, with whom he gained notable recognition.

From the late 1940s onwards he accompanied Peggy Lee and Billy Eckstine before breaking into the world of film as an arranger and rehearsal pianist. His studio work would include the lucrative role of vocal coach to some of Hollywood's biggest stars, including Marilyn Monroe.

In 1954, affected by personal problems, Hal decided to leave the movieland scene behind to start a jazz recording career. His debut album as a leader, Just Too Much, came out in 1955 on the RCA Victor label, on which Hal performed in a trio with Joe Mondragon and Alvin Stoller and attracted considerable attention from jazz fans and critics alike.

Hal returned to New York City in 1955, the same year that RCA Victor inaugurated a new series of recordings titled The Jazz Workshop, which was specifically intended to showcase new ideas in jazz orchestration, composition, and instrumentation. His producer Jack Lewis asked Hal to record his second album as part of the series. With the simple title of Hal Schaefer, the music featured Hal’s creative writing as well as his skilled andmindful approach as a soloist. For this project he used piano, bass, and drums, adding different instrumentation in each of the three recording sessions: one with three reeds, one with five trombones, and the last with two trumpets, himself on harpsichord and an extra drummer. There are several stimulating as well as humorous moments in the writing, largely involving the freshly changing textures with especially charming ballads and sparkling new ideas in jazz. *Jordi Pujol*

1 - All The Things You Are

(Kern, Hammerstein II)

2 - I’ll Remember April

(Ray, DePaul, Johnson)

3 - You Are Too Beautiful

(Rodgers, Hart)

4 - Between The Devil And The Deep Blue Sea

(Arlen, Koehler)

5 - I’m Glad There Is You

(Madeira, Dorsey)

6 - The Song Is You

(Kern, Hammerstein II)

7 - Thou Swell

(Rodgers, Hart)

8 - St. Louis Blues

(W.C. Handy)

9 - Yes

(Hal Schaefer)

10 - Have You Met Miss Jones?

(Rodgers, Hart)

11 - You Stepped Out Of A Dream

(Brown, Kahn)

12 - Montevideo

(Hal Schaefer)

13 - Dancing In The Dark

(Dietz, Schwartz)

14 - Imagination

(Van Heusen, Burke)

15 - This One's For Jack

(Hal Schaefer)

16 - A Song Of Love

(Hal Schaefer)

17 - Isn't It Romantic

(Rodgers, Hart)

18 - A New Sound For The Blue

(Hal Schaefer)

19 - Let’s Have A Cerebration

(Hal Schaefer)

20 - Of Things Gone By

(Hal Schaefer)

21 - Blue Skies

(Irving Berlin)

22 - I’m Gonna Sit Right Down And Write Myself A Letter

(Young, Ahlert)

23 - Spring Is Here

(Rodgers, Hart)

24 - Real Lee

(Hal Schaefer)

#1 to #12: from Just Too Much: The Progressive Piano of Hal Schaefer (RCA Victor LPM-1106)

Hal Schaefer (piano), Joe Mondragon (bass), Alvin Stoller (drums).

Recorded in Los Angeles, California, December 27, 1954 (#5, #6, #7, #12), January 4, 1955 (#2, #4, #8, #10) and January 10, 1955 (#1, #3, #9, #11).

#13 to #24, from The RCA Victor Jazz Workshop (RCA Victor LPM-1199)

#13, #14, #19, #20:

Hal McKusick, Sam Marowitz, Phil Woods (alto saxes); Hal Schaefer (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, November 28, 1955.

#15, #16, #21 , #22: 

Billy Byers, Urbie Green, Freddie Ohms, Chauncey Welsh (trombones); Tommy Mitchell (bass trombone); Hal Schaefer (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, November 9, 1955.

#17, #18, #23, #24: 

Jimmy Nottingham, Nick Travis (trumpets); Hal Schaefer (harpsichord); Milt Hinton (bass); Don Lamond, Ed Shaughnessy (drums).

Recorded in New York City, October 17, 1955.

Harry Lookofsky - Stringsville

Harry Lookofsky was born in Paducah, Kentucky in 1913 and studied classical violin in St. Louis where he joined the St. Louis Symphony Orchestra in the mid-1930s. An early admirer of Joe Venuti, Lookofsky eventually became recognized as one of the earliest accomplished bebop jazz violinists. His technique became particularly recognized on his album Stringsville. Lookofsky was one of many early jazz violinists who occasionally played tenor violin, an instrument he cited for its similar tonal qualities to the tenor saxophone. Another relatively unknown unique characteristic about Lookofsky's playing is that the bebop solos on Stringsville were completely written out and arranged as opposed to improvised as most jazz musicians do. An accomplished studio musician, Lookofsky also experimented heavily with multitrack recording in order to produce a unique sound with several overlaid violin tracks meant to imitate the sound of a horn section in a big band orchestra.

Following his departure from St. Louis in 1938, Lookofsky joined the NBC Symphony Orchestra under Arturo Toscanini for a time while continuing to play jazz on the side. He continued his career as a classical symphony violinist later as concertmaster at ABC following Toscanini's retirement in 1954.

Stringsville was Lookofsky's one major feature release. Aside from his classical and studio recording work, he was more often a contributing artist and/or arranger on other's albums. Over the years, his many jazz collaborators included Quincy Jones, Jaco Pastorius, Sarah Vaughan, George Benson, and Freddie Hubbard. *wikipedia.org*

The violin as a solo instrument has been jazz's forgotten child. In the swing period there were a few violinists (Joe Venuti, Ray Nance, Eddie South and Stéphane Grappelly, for instance) who made significant contributions to the jazz scene, but one looks for it in modern jazz in vain. Many people seemed to feel that the violin did not "belong" — and the violinist often tried to justify himself in the jazz context by using his instrument for comic effect rather than for serious music-making. 

Harry Lookofsky's Stringsville is a bold and brilliantly successful attempt to blend strings with a modern jazz ensemble as if they were just so many horns. He has 

proved for once and for all that the violin can swing. Being the versatile musician that he is, he proves that the viola and tenor violin can swing, too! By means of multiple tracking, he keeps as many as a dozen string lines going at once. From the way Bob Brookmeyer and the other musicians on this date were playing you can tell that they were excited with the sounds Harry was producing. This was no dull academic experiment; it was lively communication, it was jazz. 

*Gary Kramer (liner notes)*

Stringsville challenges the essential rules and definitions of bebop like few records before or since — not only does Harry Lookofsky wield as his weapons violins and violas, but his music hinges as much on technological innovation as it does on technical prowess. Lookofsky transcends contemporaries like Stuff Smith and Stéphane Grappelli for sheer artistry, conjuring remarkably athletic solos rooted in the traditions of classical music but with the creative phrasing and rhythmic intensity of bop -- his performances boast a dark, dramatic edge that pushes the violin into a bold new dimension. No less revelatory is Lookofsky's mastery of tape manipulation: for each track he contributes multiple layers of accompaniment that further establish Stringsville as a truly singular proposition. But it's an approach that by definition runs counter to jazz's improvisational ethos, posing myriad questions about the nature of music and the merits of a critical hierarchy that favors following the rules over breaking them. *Jason Ankeny*

Side 1

1 - 'Round Midnight

(Hanighen, Williams, Monk)

2 - Moose The Mooche

(Charlie Parker)

3 - I Let A Song Go Out Of My Heart

(Ellington, Mills, Redmond, Nemo)

4 - Little Willie Leaps

(Miles Davis)

Side 2

5 - Move

(Denzil Best)

6 - Champagne Blues

(Bob Brookmeyer)

7 - Give Me The Simple Life

(Bloom, Ruby)

8 - Dancing On The Grave

(Bob Brookmeyer)

Harry Lookofsky (violins, violas and tenor violins) with

#2, #4, #6, #7, #8:

Bob Brookmeyer (valve trombone [#2, #4, #6, #8]), Hank Jones (piano), Paul Chambers (bass), Elvin Jones (drums).

Recorded in New York City, January 20, 1959.

#1, #3, #5:

Hank Jones (piano), Milt Hinton (bass), Elvin Jones (drums). 

Recorded in New York City, June 22, 1959.

Al Cohn And The Sax Section

If one had to define the most striking quality of the sax section in the dance or jazz orchestra, it would be variety of sound. Though saxophones have a relatively small range and uniform tone, the woodwinds (piccolo, flute, oboe, bassoon, clarinet, bass clarinet and English horn) have more extensive ranges and are used in varying ways to make the reed section the flexible unit it is... The numerous instrumental combinations that are possible give this section wide scope. Challenging arrangements permit full exploitation of the sound spectrum. 

The evolution of the sax section is the result of the various changes in conception of dance and jazz music, and the maturation of arranging procedures.

In this period of temporary stability before the next possible big change in the sax section, Epic thought the time ripe to record a contemporary sax section. In order to fully exploit its many possibilities an arranger was selected who was completely oriented in jazz and dance music and nationally recognized for his unique scoring talent... Al Cohn. 

Because he was scoring merely for reeds and rhythm, Al felt it necessary to take special care in making the arrangements for this LP. Without the brass instruments to enhance or balance things, the saxes —woodwinds had to be utilized in a most stimulating fashion— rhythmically and harmonically to hold interest. Even a section as colorful as the reeds will suffer from the limitation of sameness, if not provocatively scored for. Al Cohn's handling of the section leaves little to be desired. *Burt Korall (liner notes)*

Al Cohn's writing for small groups is always appealing, and this set is no exception. Leading three separate groups consisting of various reeds (and no brass) plus a rhythm section, Cohn obtains marvelous results from his groups of all-stars and veteran session musicians. The first session concentrates on saxophones, including Cohn and Eddie Wasserman on tenor saxes, Sam Marowitz and Gene Quill on alto saxes, with Sol Schlinger on the baritone sax. Cohn's swinging "Shazam" brings the swing era to mind, while "Tears by Me Out the Heart" is a warm ballad. The second meeting is more of a mixed bag, with Boomie Richman, Peanuts Hucko, Romeo Penque, Phil Bodner, Charlie O'Kane, and the leader switching out between various reed instruments from one track to the next. Particularly effective is Cohn's exotic arrangement of "While My Lady Sleeps," featuring two flutes in the lead, backed by oboe, clarinet, and bass clarinet. The final date matches three tenor saxophonists (Zoot Sims and Eddie Wasserman joining the leader) and Sol Schlinger again on baritone. The feeling throughout these tracks touches on the work of the big bands of Duke Ellington, Count Basie, and Woody Herman, always swinging, with plenty of hot solos and tight ensembles. This long-unavailable record is worth acquiring. *Ken Dryden* 

This CD contains sides made by three different groupings of reedmen and rhythm section. The usual big band section, as featured in group one, gets a fine sound and offers Al Cohn and Gene Quill a framework for some excellent soloing. John Williams is heard from, too, with his solidly swinging piano style. 

The second grouping, with a woodwind instrumentation lends a different coloration to the section. Peanuts Hucko is featured on clarinet, Phil Bodner plays good flute, and Boomie Richman sounds great on bass clarinet.

The third set has three tenors and a baritone. A "Four Brothers" sound with Al and Zoot soloing and Hank Jones playing really lovely piano —tasty, clean, and swinging— behind them and on his own solos. As an experiment in the various shapes a sax section can be drawn in, this was a very successful project. *Jordi Pujol* 

1 - Shazam

(Al Cohn)

2 - The Mellow Side

(Al Cohn)

3 - Shutout

(Al Cohn)

4 - Double Fracture

(Al Cohn)

5 - While My Lady Sleeps

(Kahn, Kaper)

6 - Shorty George

(Gibson, Basie)

7 - The Return Of The Redhead

(Al Cohn)

8 - Villa Rowboats

(Al Cohn)

9 - Solsville

(Al Cohn)

10 - Don’t Worry ‘Bout Me

(Koehler, Bloom)

11 - Blues for the High Brow

(Al Cohn)

12 - Tears By Me Out The Heart

(Al Cohn)

#1, #4, #9, #12:

Sam Marowitz, Gene Quill (alto saxes); Al Cohn, Eddie Wasserman (tenor saxes); Sol Schlinger (baritone sax); Johnny Williams (piano); Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, May 24, 1956.

#3, #5, #8, #10:

Romeo Penque (clarinet, alto sax, oboe, English horn), Phil Bodner (flute, clarinet), Peanuts Hucko (clarinet), Boomie Richman (bass clarinet), Charlie O’Kane (flute, bass clarinet), Johnny Williams (piano), Milt Hinton (bass), Don Lamond (drums).

Recorded in New York City, June 5, 1956.

#2, #6, #7, #11:

Al Cohn, Eddie Wasserman, Zoot Sims (tenor saxes); Sol Schlinger (baritone sax); Hank Jones (piano); Milt Hinton (bass); Don Lamond (drums).

Recorded in New York City, June 28, 1956. 

Barry Galbraith - Guitar And The Wind

With this album, guitarist Barry Galbraith, an important but relatively unheralded presence on many jazz recordings on this coast, steps out of his usual role of the supporting, contributing player, and becomes the principal speaker. Equipped to be just that, Galbraith, naturally and with definable grace, makes his instrument sing and swing, issue forth a full yet engagingly personal voice.

Playing an instrument that has a wealth of tradition both in and out of the jazz area, Galbraith shows an awareness of this in his playing, verbally underlining his position during our conversations concerning this album. 

Galbraith, as a person, is. unintrusive yet decisive; unassuming yet authoritative; and like many jazz musicians, his instrument has proven more than an adjunct to his personality, but THE friendly medium through which the flow of his thoughts find most compatible expression.

As some of his colleagues have noted, Galbraith has a "natural" flare that lends the impression of the "easy and everyday" to the musically valuable or difficult. Whether playing at a social gathering, on a job or recording date, he is "inside his horn", fully concentrated, oblivious to extraneous bother.

Self taught, Barry has proceeded through the hallowed halls of the school of experience, remembering and assembling, pointing up, underlining the important along the way.

This album is shaped to delineate a variety of moods in addition to the softer, romantic feeling that has, by constant association, assumed priority in definition of the word, mood.

*Burt Korall (liner notes)*

Barry Galbraith was one of New York's busiest session jazz guitarists in the 1950s and '60s. Between 1941 and the late 1970s, he was on 620 recording dates, a staggering total. How many albums did he record as a leader under his name? Just one — Guitar and the Wind, for Decca. What a shame that Decca didn't record a few more like this one. Recorded in January 1958 over three days, the album is beautifully arranged, swings tastefully and is a gorgeous example of what made Galbraith special. His chord voicings were seductive and his improvised runs were tasty and unbeatable.

*Marc Myers*

A nicely varied set spotlighting the artist in several approaches — all of them effective. When Galbraith has the melody or is improvising, he shows a fresh, inventive style. In backing other instruments, harmonically or percussively, he also shines. His admirers will find this one of his best efforts. His style can be traced to Charlie Christian and Gerge Van Eps. Small combo and larger group selections are done with equal good taste.

*Billboard, April 21, 1958 [Special Merit Jazz Album]*

1 - Bull Market

(Billy Byers)

2 - A Portrait Of Jennie

(Gordon Burdge, J. Russel, Robinson)

3 - Judy's Jaunt

(Al Gilbert)

4 - Nina Never Knew

(Milton Drake, Louis Alter)

5 - Walking (Down)

(Carpenter)

6 - A Gal In Calico

(Robin, Schwartz)

7 - I Like To Recognize The Tune

(Richard Rodgers, Lorenz Hart)

8 - Any Place I Hang My Hat

(Johnny Mercer, Harold Arlen)

9 - Love Is For The Very Young

(David Raksin)

10 - Holiday

(Al Gilbert)

11 - Ya' Gotta Have Rhythm

(Osie Johnson)

12 - What Am I Here For?

(Duke Ellington)

Barry Galbraith (guiar), with:

#1,#4, #8, #12

Urbie Green, Chauncey Welsch, Frank Rehak (trombones); Dick Hixson (bass trombone); Bobby Jaspar (flute, tenor sax); Eddie Costa (piano, vibes); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 16, 1958.

#2, #6, #7, #10 

Bobby Jaspar (flute, tenor sax), Phil Bodner (flute, clarinet, bass clarinet), Romeo Penque (clarinet, flute, English horn), Spencer Sinatra (clarinet, flute); Eddie Costa (piano, vibes), Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 21, 1958.

#3, #5, #9, #11

Bobby Jaspar (flute), Eddie Costa (piano), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, January 28, 1958.