Lighthouse All-Stars Collection VI

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 5

★ In The Solo Spotlight ★

As Dick Williams vividly recounts in the original liner notes for the album, titled A FOGGY NIGHT AT THE HERMOSA BEACH LIGHTHOUSE, reaching The Lighthouse was not always an easy task. On those nights when the coastal fog became as thick as spider webs in a haunted house, hundreds of people — from university students to uniformed sailors — ventured from every corner of Los Angeles to crowd at its doors. 

What they sought was the sound of Howard Rumsey’s ensemble, a group of Stan Kenton alumni who had transformed a nearly empty venue into the true citadel of jazz in Southern California.

The atmosphere of the place was unique: a long, low, and dimly lit room, decorated with impressionistic paintings and photos of legends like June Christy, where jazz was experienced in an informal atmosphere but with impeccable technical quality.

The title of this volume, In the Solo Spotlight, captures that exact essence. Beyond the literal image of a spotlight illuminating a performer in the shadows, the title holds a deep musical and symbolic meaning. It represents the moment when the collective machinery of the All-Stars takes a step back so that each musician can project their own voice. In the language of jazz, the "solo" is the moment of truth, and here it becomes a showcase for the improvisation and individual genius of figures like Rumsey on double bass, Bob Cooper on tenor sax, or Bud Shank on alto. Being "under the reflector" is synonymous with prestige and audacity, allowing the listener to appreciate the unique personality of each member in isolation.

Ultimately, this album is a testament to creative freedom that allows us to feel the sea breeze of Hermosa Beach and see the glimmers of light on the instruments, reminding us that the best way to understand a group is by allowing each of its members to shine, for a moment, under their own spotlight.

Volume 5 of the Lighthouse All-Stars, C 2515, In The Solo Spotlight, would be the last release of the Lighthouse All-Stars on the 10'' LP format for Contemporary Records.  In was recorded in August of 1954 for release later that fall and Les Koenig would release three more albums in the 10'' LP format before adopting the 12'' LP format for releases on his label in 1955. The five Lighthouse regulars who appeared on Volume 4 would be joined by Stu Williamson (Claude’s brother), Bob Enevoldsen and Bob Gordon.

The nine selections on the CD reissue (nearly all the Lighthouse All-Stars' Contemporary recordings are now available in the OJC series) each extensively feature one or two top West Coast jazz players. Bassist Howard Rumsey's group was expanded to an octet, and showcased are trombonist Frank Rosolino ("Funny Frank"), tenor saxophonist Richie Kamuca, trumpeter Conte Candoli, drummer Stan Levey, Bob Cooper on tenor, trumpeter Stu Williamson, valve trombonist Bob Enevoldsen, pianist Claude Williamson, bassist Rumsey (on "Concerto for Doghouse"), and altoist Bud Shank. With the exception of the Rumsey feature (composed by Stan Kenton), all of the music was new, with the arrangements provided by pianist Dick Shreve, Bill Holman, Cooper, and Williamson. An excellent set. *allmusic.com*

Classic '50s California jazz from a legendary band named after a legendary venue. Lighthouse's jazz all-stars carve out swinging solo features, accompanied by tight ensemble support and arrangements that sparkle with creativity.

At one time or another I've owned all the CDs of Howard Rumsey and the lighthouse all stars. They're all spirited recordings of (generally) live sets at the famed Lighthouse cafe in Hermosa Beach, California.

I fell in love with California jazz after being introduced to Rumsey and the all stars. The groups varied in size (usually a quintet or sextet with extras) but produced a very characteristic sound that adhered to bebop but with some the edges smoothed. It sounds... now wait for it... Californian.

Since most were recorded during live sets, often during the famous Sunday afternoon jams, sound quality can vary from pretty good to "you're a member of the audience with a few beers in you already".

This particular CD is quite clear and the remastered sound is excellent. Parts of it were studio recorded, which adds to the clarity but the energy is still there.

This is as good a place as any to start if you're looking for a representative taste of small group jazz in LA during the 50s. Highly recommended. *John K. Gayley (amazon.com)*

1. Funny Frank

(Dick Shreve)

2. That's Rich

(Dick Shreve)

3. If You Are There

(Shreve, Sutton)

4. Stan

(Bill Holman, Stan Levey)

5. Coop

(Bob Cooper)

6. S & B

(Bill Holman)

7. Claude

(Claude Williamson)

8. Concerto For Doghouse [a.k.a Howard]

(Stan Kenton)

9. Bud (The Whippet)

(Claude Williamson)

#1 to #3:

Conte Candoli (trumpet), Frank Rosolino (trombone), Lennie Niehaus (alto sax),

Richie Kamuca (tenor sax), Pepper Adams (baritone sax),

Dick Shreve (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded at Contemporary's Studio, Los Angeles, California, March 12, 1957

#4 to #9:

Stu Williamson (trumpet), Bob Enevoldsen (valve trombone),

Bud Shank (alto sax), Bob Cooper (tenor sax), Bob Gordon (baritone sax),

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

Recorded in Los Angeles, California, August 17, 1954

Art Pepper and Sonny Redd: Two talents reunited

Art Pepper • Sonny Redd

Two Altos

Art Pepper • Sonny Redd is an album by American alto saxophonists Art Pepper and Sonny Redd. The four standards which appear on the album were recorded in Los Angeles with West Coast-jazz musicians between 1952 and 1954, whilst the two originals were recorded at Van Gelder Studio, in 1957. Regent Records, a subsidiary of Savoy Records, released these recordings in 1959. 

Following in the tradition of great alto saxophonists, a great star of today and a new star of today match their talents in a combination album of what's new and good in modern jazz. Following a tradition on the horn that featured such luminaries as Johnny Hodges, Don Redman, and Benny Carter... the alto saxophone was completely revamped, revitalized, and revved up under the influence of the late Charlie Parker. "Bird's" genius transformed this smaller member of the virile saxophone family into a thing of perfect beauty. He hastened its pace, transformed its tone, and gave a sky-high new horizon for its possibilities that has been untouched yet!

Perhaps the finest star on this horn today is Art Pepper. A bird-inspired disciple who has developed his own powerful voice, Art's allegiances have been with the so-called "West Coast" school of jazz, but he's a mighty swinger! 

Two tracks are extended vehicles for the combo led by young alto star Sonny Redd. A Detroiter, recently in New York, he has stirred great interest with his emotional, fiery alto style.

*Alan Stein (from the liner notes)*

Two of our favorite 50s alto talents together on one LP — both players who handle their instrument better than most of their contemporaries, and always with a unique and personal sound! The album offers four tracks by Art Pepper — recorded with groups that include Hampton Hawes on piano, Larry Bunker on drums, Jack Montrose on tenor, and either Russ Freeman or Claude Williamson on piano — and two tracks by Sonny Redd, recorded with a quintet that includes Pepper Adams on baritone, Doug Watkins on bass, Wynton Kelly on piano, and Elvin Jones on drums — more of a Prestige lineup than a Regent one, and really remarkable for the set. The Redd tracks — "Watkins Products" and "Redds Head" — are the longer and more enticing numbers on the set — but we should also say that we love Pepper's work for Regent, and think it's some of his best – and find his tracks pretty darn nice, too. Titles by Pepper include "Deep Purple", "Everything Happens To Me", "These Foolish Things", and "What's New". *Dusty Groove, Inc.*

1. Deep Purple

(Robbins, Parish)

2. Watkins Production

(Doug Watkins)

3. Everything Happens To Me

(Dennis, Adair)

4. Redd's Head

(Sonny Red)

5. These Foolish Things

(Maschwitz, Link, Strachey)

6. What's New

(Haggart, Burke)

#1, #6: Art Pepper Quintet

Art Pepper (alto sax), Jack Montrose (tenor sax),

Claude Williamson (piano), Monty Budwig (bass), Paul Ballerina (drums).

Recorded in Los Angeles, California, August 25, 1954

#2, #4: Sonny Redd Quintet

Sonny Redd (alto sax), Pepper Adams (baritone sax),

Wynton Kelly (piano), Doug Watkins (bass), Elvin Jones (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, November 12, 1957

#3: Art Pepper Quartet

Art Pepper (alto sax), Russ Freeman (piano), Bob Whitlock (bass), Bobby White (drums).

Recorded in Los Angeles, California, March 29, 1953

#5: Art Pepper Quartet

Art Pepper (alto sax), Hampton Hawes (piano), Joe Mondragon (bass), Larry Bunker (drums).

Recorded in Los Angeles, California, March 4, 1952

Mel Lewis Septet - Got 'Cha

Melvin Sokoloff (May 10, 1929 – February 2, 1990), was born in Buffalo, New York, to Russian-Jewish immigrant parents Samuel and Mildred Sokoloff. Known professionally as Mel Lewis, was a jazz drummer, session musician, professor, and author. He received fourteen Grammy Award nominations.

Lewis  started playing professionally as a teen, eventually joining Stan Kenton in 1954. His musical career brought him to Los Angeles in 1957 and New York City in 1963. In 1966 in New York, he teamed up with Thad Jones to lead the Thad Jones/Mel Lewis Orchestra. The group started as informal jam sessions with the top studio and jazz musicians of the city, but eventually began performing regularly on Monday nights at the famed venue, the Village Vanguard. In 1979, the band won a Grammy for their album Live in Munich. Like all of the musicians in the band, it was only a sideline. In 1976, he released an album titled Mel Lewis and Friends that featured him leading a smaller sextet that allowed freedom and improvisation.

When Jones moved to Denmark in 1978, the band became known as Mel Lewis and the Jazz Orchestra. Lewis continued to lead the band, recording and performing every Monday night at the Village Vanguard until shortly before his death from cancer at age 60. The band still performs on most Monday nights at the club. Today, it is known as the Vanguard Jazz Orchestra and has released several CDs. *wikipedia.org*

Although he was generally reluctant to solo, Mel Lewis was considered one of the definitive big band drummers, a musician who was best at driving an orchestra, but could also play quite well with smaller units. He started playing professionally when he was 15 and worked with the big bands of Boyd Raeburn (1948), Alvino Rey, Ray Anthony, and Tex Beneke. Lewis gained a great deal of recognition in the jazz world for his work with Stan Kenton (1954-1957), making the large ensemble swing hard. In 1957, he settled in Los Angeles, became a studio drummer, and worked with the big bands of Terry Gibbs and Gerald Wilson. Lewis went to New York to play with Gerry Mulligan's Concert Jazz Band in 1960, and he toured Europe with Dizzy Gillespie (1961) and the Soviet Union with Benny Goodman (1962). In 1965, Lewis formed an orchestra in New York with Thad Jones which grew to be one of the top big bands in jazz. When Jones surprised everyone by suddenly fleeing to Europe in 1979, Lewis became the orchestra's sole leader, playing regularly each Monday night at the Village Vanguard until his death. Lewis recorded as a leader in the 1950s for San Francisco Jazz Records, Mode (reissued on V.S.O.P.), and Andex and, after Thad Jones left their orchestra, Lewis recorded with his big band for Atlantic, Telarc, and Music Masters. *Scott Yanow*

About Got 'Cha, Mel Lewis' first album under his own name: Kenton drummer, Mel Lewis, surrounded by fellow Kentonites — Pepper Adams, Richie Kamuca, Jerry Coker, Ed Leddy, etc., in a most competent outing. Set essays coolish, modern Basie feeling in arrangements by Lennie Niehaus, Bill Perkins, Coker, Adams and Marabuto that arenlean and warmly melodic, for the most part, with much space for the soloists. Could be sold to the modern jazz enthusiast. Try "In a Mellowtone" as demo band... Pepper Adams emerges as a jazz soloist to be watched.

*Billboard, April 20, 1957*

1 - In A Mellowtone

(Duke Ellington)

2 - Leave Your Worries Behind

(Lennie Niehaus)

3 - A Winters Tale

(Pepper Adams)

4 - Sir Richard Face

(Bill Perkins)

5 - One For Pat

(Lennie Niehaus)

6 - 'Enry 'Iggins 'Ead

(Jerry Coker)

7 - El Cerrito

(Johnny Marabuto)

Ed Leddy (trumpet); Richie Kamuca, Jerry Coker (tenor saxes); Pepper Adams (baritone sax); Johnny Marabuto (piano); Dean Reilly (bass); Mel Lewis (drums).

Recorded in San Francisco, California, November 19 (#1, #2, #5), and November 20 (#3, #4, #6, #7), 1956.

Jerry Coker - Modern Music

Jazz saxophonist and pedagogue Jerry Coker was born in South Bend, Indiana (November 28, 1932). He attended Indiana University in the early 1950s, but left school to become a member of Woody Herman's Herd. Coker eventually earned undergraduate and graduate degrees while he taught jazz at Sam Houston State University (then Sam Houston State Teachers College). He recorded under his own name in the mid-1950s and as a sideman with Nat Pierce, Dick Collins, and Mel Lewis; later that decade he played with Stan Kenton. In 1960 he began teaching and increasingly turned to music education and composition. He taught at Duke University, University of Miami, North Texas State University, and started the Studio Music and Jazz program at the University of Tennessee, where he was a professor of music from the 1980s through the 2000s. *wikipedia.org*

Born in 1932, tenor saxophonist Jerry Coker first emerged as a major talent in Indiana University's brilliant jazz clique of the early '50s. While he was still a student he joined Woody Herman's Third Herd, leading to a year performing, recording and, in the spring of 1954, a European tour. Returning to Indiana that summer, he was at the heart of the university's thriving jazz movement which, in July 1955, recorded his album, Modern Music from Indiana University. Leading some talented students, Coker, as producer, wrote all the arrangements – with echoes of the Four Brothers sax sound – while his solo work revealed an affinity for Lester Young.

In 1956, settled in Oakland, he began to make a name himself as performer, composer and arranger, and joined Rudy Salvini's rehearsal band. He also recorded with them and with his own quartet in November for San Francisco Jazz Records.

While the Kenton band was playing in the Bay Area, Coker briefly replaced the injured Bill Perkins, but, despite his considerable reputation as a soloist, after the spring of 1957 his appearances on concert and on record have been rare. He has since mostly devoted himself to teaching and writing, which has obscured his talents as a player—a pity, as these recordings show just how good he was. *Jordi Pujol*

Jerry Coker

Composes – Arranges – Plays

Modern Music

From Indiana University

And The Bay Area

Jerry Coker should have been a household name (and maybe he will be among readers after this post). A composer, arranger and tenor saxophonist from Indiana, Coker in the 1950s and beyond had a beautiful ear and gorgeous sound. Coker recorded only one album and a few tracks as a leader in 1955. He also recorded as a sideman small groups led by Mel Lewis and Nat Pierce in the mid-'50s as well as a big band led by Rudy Salvini. In the early 1950s, he recorded and toured with Woody Herman's Third Herd and he recorded with Clare Fischer's band in the early 1960s. Except for two albums in the early 1980s (A Re-emergence and Rebirth for the Revelation label), that was pretty much it.

Coker played with Stan Kenton in 1957 and then he spent much of his career as an exceptional educator. He taught at the Monterey Peninsula Junior College in 1963, at Indiana University as head of their jazz program and then, in 1966, at Coral Gables University in Miami, developing first-rate BA and MFA degree programs. He left in 1972.

While in Miami, Coker played gigs for entertainers, including Frank Sinatra and Tony Bennett. Next came Pembroke State College and Duke University before he settled with his wife in Knoxville, Tenn. Over the course of his career, Coker wrote 20 jazz education books and is a member of the International Association of Jazz Educators Hall of Fame. Coker is still with us today.

Fortunately for us, Fresh Sound Records has gathered many of Coker's recordings between 1954 and 1956 on a single CD entitled Jerry Coker: Modern Music From Indiana University and the Bay Area. It is a stunning collection of jazz recordings that will leave your jaw hanging. The sound is a perfect blend of West and East Coast jazz styles during this period, and Coker's composing and arranging was extraordinary. It's highly melodic with tasteful harmony parts and exquisite blowing by everyone on the dates.

The 12 tracks from Modern Music From Indiana University feature a reed ensemble comprised of three different configurations. The first includes Jerry Coker, Bob Cowart and Louis Ciotti (ts) Jack Coker (p) Monk Montgomery (b) and Charlie Mastropaolo (d). The second adds Freddy Fox and Roger Pemberton on baritone sax. And finally Al Kiger (tp) and Jim Hewitt (tb) sit in on selected tracks.

Coker's reed writing was so gorgeous you'll want to cry. Heartfelt and fully maximized, the arrangements have a sensitive passion for the harmonized saxophone sound while the musicians have a nimble Four Brothers feel. The players on the session were all students at Indiana University, where Coker had attended college.

Next are three tracks (Coker's "You'll Stay" and "Giggling Oysters" and Wayne Crabtree's "Water's Edge") that feature Coker in a quartet setting in San Francisco: Al Kiger (tp) Jerry Coker (ts) Eddie Duran (g) and Dean Reilly (b). A Mel Lewis Sextet track, 'Enry 'Iggins 'Ead, composed and arranged by Coker, includes Kentonites Ed Leddy (tp) Jerry Coker and Richie Kamuca (ts) Pepper Adams (bar) John Marabuto (p) Dean Reilly (b) and Mel Lewis (d).

This is followed by a Rudy Salvini Orchestra album called Intro to Jazz, recorded at the Sands Ballroom in Oakland, Calif., in November 1956. The band on these five tracks include Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen and Billy Catalano (tp), Van Hughes, Archie Lecoque, Chuck Etter and Ron Bertuccelli (tb), Charles Martin (as), Jerry Coker, Tom Hart and Howard Dudune (ts), Virgil Gonsalves (bar), John Marabuto (p), Dean Reilly (b) and John Markham (d), with arrangements by Jerry Cournoyer, Jerry Mulvihill and Coker.

There are two bonus tracks recorded in Paris in 1954 with groups that included members of Woody Herman's Third Herd: First, Coker's "Embarkation", with Cy Touff (b-tp), Jerry Coker (ts), Ralph Burns (p), Jimmy Gourley (g), Jean-Marie Ingrand (b) and Chuck Flores (d). And Coker's "Thanks for You", featuring Jerry Coker (ts), Ralph Burns (p), Jean-Marie Ingrand (b) and Chuck Flores (d).

Coker was masterful, and in an ideal, selfish world, he would have moved to Los Angeles, recorded dozens of albums in the studios and written for television. Then again, hundreds of fledgling jazz musicians studying at the various universities where Coker taught would be poorer for it. I'm just thankful we have what we have here. So gorgeous. *Marc Myers*

1 - Limehouse Blues

(Braham, Furber)

2 - Old Crinkletoes

(Jerry Coker)

3 - Opus #1

(Oliver, Garris)

4 - Red Kelly's Blues

(Jerry Coker)

5 - Nancy

(Van Heusen, Silvers)

6 - Kigeria

(Jerry Coker)

7 - You Gotta Show Me

(Brooks, Castle)

8 - It’s You Or No One

(Cahn, Styne)

9 - Jack's Acts

(Jerry Coker)

10 - This Is Always

(Warren, Gordon)

11 - Lost April

(DeLange, Newman, Spencer)

12 - Clare-ity

(Jerry Coker)

13 - You'll Stay

(Jerry Coker)

14 - Water's Edge

(Crabtree)

15 - Giggling Oysters

(Jerry Coker)

16 - 'Enry 'Iggins 'Ead

(Jerry Coker)

17 - Yesterdays

(Kern, Harbach)

18 - Wail For Patrick

(Jerry Coker)

19 - Boot's Boots

(Cournoyer)

20 - Topsy Returns

(Jerome Mulvihill)

21 - Smithsonian

(Jerome Mulvihill)

22 - Embarkation

(Jerry Coker)

23 - Thanks For You

(Hanighen, Wright)

#1 to #12: from the album Modern Music from Indiana University (Fantasy 3-214)

Jerry Coker, Bob Cowart, Lou Ciotti (out on #10) (tenor saxes); Roger Pemberton (baritone sax); Jack Coker (piano); Monk Montgomery (bass); Charles Mastropaolo (drums). 

#2, #3, #5, #6, #8, #9, #11, #12: Freddy Fox (added on baritone sax).

#6, #8: Al Kiger (added on trumpet).

#5, #11: Jim Hewitt (added on trombone).

Recorded at Indiana University, Bloomington, July 1955.

#13 to #15 : Jerry Coker Quartet - from the album Intro to Jazz (San Francisco Jazz JR-1)

Alan Kiger (trumpet), Jerry Coker (tenor sax), Eddie Duran (guitar), Dean Reilly (bass).

Recorded at the Sands Ballroom, Oakland, November 1956.

#16: Mel Lewis Sextet - from the album Got ‘Cha (San Francisco Jazz JR-2)

Ed Leddy (trumpet); Richie Kamuca, Jerry Coker (tenor saxes); Pepper Adams (baritone sax); Johnny Marabuto (piano); Dean Reilly (bass); Mel Lewis (drums).

Recorded at the Sands Ballroom, Oakland, November 20, 1956.

#17 to #21: Rudy Salvini Orchestra - from the album Intro to Jazz (San Francisco Jazz JR-1)

Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen, Billy Catalano (trumpets); Van Hughes, Archie Lecoque, Chuck Etter, Ron Bertuccelli (trombones); Charles Martin (alto sax); Jerry Coker, Tom Hart, Howard Dudune [#17, #19, #20, #21], Charles Peterson [#18] (tenor saxes); Virgil Gonsalves (baritone sax); John Marabuto (piano); Dean Reilly (bass); John Markham (drums).

Recorded at the Sands Ballroom, Oakland, November 1956.

#22: from the album The Third Herdmen Blow in Paris, Vol.2 (Vogue LD.205)

or also The Herdsmen Play Paris (Fantasy 3-201)

Cy Touff (bass trumpet), Jerry Coker (tenor sax), Ralph Burns (piano),  Jimmy Gourley (guitar), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954.

#23: from the album The Third Herdmen Blow in Paris, Vol.1 (Vogue LD.204)

or also The Herdsmen Play Paris (Fantasy 3-201)

Jerry Coker (tenor sax), Ralph Burns (piano), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954. 

Quincy Jones - Go West, Man!

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

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

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

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

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

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

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

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

1 - Dancin' Pants

(Jimmy Giuffre)

2 - Blues Day

(Jimmy Giuffre)

3. Bright Moon

(Jimmy Giuffre)

4 - No Bones At All

(Johnny Mandell)

5 - The Oom Is Blues

(Charlie Mariano)

6. Be My Guest

(Lennie Niehaus)

7 - Medley: 

•What's New?

(Haggart, Burke)

•We'll Be Together Again 

(Fischer, Laine)

•Time On My Hands

(Adamson, Youmans, Gordon)

•You Go To My Head

(Coots, Gillespie)

•Laura

(Mercer, Raksin)

8 - London Derriere

(Johnny Mandel)

9 - Kings Road Blues

(Lennie Niehaus)

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

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

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

The Mitchells - Get Those Elephants Out'a Here

This album represents a three-way meeting as protracted in the planning as it was successful in the studio.

The patriotic Mitchells —Red, Whitey and Blue— had often talked about getting together for a record session, but it was not until a New York date with the André Previn trio brought the California-based Red temporarily back to New York, where Whitey works and Blue often visits, that the three were able to unite their musical ideas on tape. In fact, even the brothers Red and Whitey had never before had a chance to share a recording date.

"Get Those Elephants Outa Here!" is a title inspired by an exhortation with which Red and Whitey, in the days of their 1952 home practice sessions, were requested by their mother to remove their basses from the Mitchell living room. On this vigorous twelve-bar blues André plays piano, with both Red and Whitey manning the basses. Stereo listeners will hear Red on the left, Whitey on the right, with Red taking the second of the three solo bass choruses. Pepper, Blue, André and Frank Rehak blow three choruses apiece. After a short drum interlude the elephants return with the theme — probably the first jazz work ever designed for interpretation in this particular voicing.

This session was a continuous pleasure to record. Blue, who had just flown up from Florida, got a particular kick out of this union with his unrelated namesakes, and the mood throughout the date was singularly lacking in strain. Though I promised faithfully not to reproduce the corny "Three cheers for Red, Whitey and Blue!" crack uttered by a visitor to the studio, I must confess that the temptation to use it, in the light of the felicitous results of this convention, was unusually strong.

*Leonard Feather (liner notes)*

Bassist Whitey Mitchell is the leader of this fascinating 1958 studio session, which features his better-known older brother, Red Mitchell, on piano and bass, trumpeter Blue Mitchell (no relation), pianist André Previn, baritone saxophonist Pepper Adams, trombonist Frank Rehak, and drummer Frank Capp. One of just two dates recorded as a leader by Whitey Mitchell prior to his early retirement from jazz, there are plenty of inspired moments on this date. Red's three originals include the amusingly titled "Get Those Elephants Outa Here!" (their mother's favorite quip to get her sons to remove their basses from her living room), which is a lively feature for the two bassists. Red is the pianist on the boppish blues "Three Cheers", while "Fraternity" is a showcase for the two brothers, with both starting on bass and Red eventually switching over to piano. Whitey's tunes include the dark-toned minor-key "Monster Rally" (named in honor of a favorite cartoonist, Charles Addams, whose macabre drawings later led to the creation of the television series The Addams Family) and the easygoing "Blues for Brian", named for his young son. Blue Mitchell shines in Whitey's tasty arrangement of "Moten Swing". Long out of print, this Metrojazz LP will be extremely challenging to acquire. *Ken Dryden*

Side 1

1 - Get Those Elephants Outa Here!

(Red Mitchell)

2 - My One And Only Love

(Wood, Mellin)

3 - In The Wee Small Hours Of The Morning

(Mann, Hillian)

4 - Moten Swing

(Buster and Bennie Moten)

Side 2

5 - Monster Rally

(Whitey Mitchell)

6 - Three Cheers

(Red Mitchell)

7 - Blues For Brian

(Whitey Mitchell)

8 - Fraternity

(Red Mitchell)

Blue Mitchell (trumpet [#1, #2, #4 to #8]), Frank Rehak (trombone [#1, #2, #4, #5, #7]), Pepper Adams (baritone sax [#1, #2, #4 to #8]), André Previn (piano [#1, #2, #7]), Red Mitchell (piano [#3, #4, #6, #8], bass [#1, #2, #5, #7]), Whitey Mitchell (double bass), Frank Capp (drums).

Recorded in New York City, October 6, 1958.

Gene Ammons - Blue Gene

While adept in the aspects of bebop, in particular its love of harmonic substitutions, Gene Ammons more than Lester Young, Ben Webster or Charlie Parker, stayed in touch with the commercial blues and R&B of his day.

Also known as "The Boss", Gene was a jazz tenor saxophonist and the son of boogie-woogie pianist Albert Ammons. Gene Ammons began to gain recognition when he went on the road with trumpeter King Kolax's band in 1943 at the age of 18. He originally came to fame as a key soloist with Billy Eckstine's orchestra during 1944-1947, trading off with Dexter Gordon on the famous Eckstine record Blowing the Blues Away. Other than a notable stint with Woody Herman's Third Herd in 1949 and an attempt at co-leading a two tenor group in the early '50s with Sonny Stitt, Ammons worked as a single throughout his career, recording frequently (most notably for Prestige) in settings ranging from quartets and organ combos to all-star jam sessions.

The final of his series of jam sessions for Prestige features an excellent septet (the leader on tenor, trumpeter Idrees Sulieman, baritonist Pepper Adams, pianist Mal Waldron, bassist Doug Watkins, drummer Art Taylor and Ray Barretto on congas) stretching out on three original blues and the ballad "Hip Tip"; all four pieces were written by Waldron. Few surprises occur but everyone plays up to their usual high level. *Scott Yanow*

Way more than just an album with Gene Ammons as a leader —and instead, a set that truly earns the "all stars" listed on the cover — thanks to a great array of supporting players, and a very loose, open-ended jam session style that lets everyone get in plenty of solo space! Ammons' tenor is tremendous, but he's also a great collaborator here, too —working with Idrees Suliman on trumpet, Pepper Adams on baritone, Mal Waldron on piano, Art Taylor on drums, Doug Watkins on bass, and Ray Barretto on conga— in a mode that's maybe slightly tighter than some of the blowing sessions Prestige was doing at the time, but which still has that key longform creative energy that made the hardbop generation so great. Titles include "Blue Gene", "Scamperin", "Blue Greens 'N Beans", and "Hip Tip" — band all tracks are long, with plenty of focus on solos! *dustygroove.com*

Side 1

1 - Blue GeneMal Waldron

2 - Scamperin'

Side 2

3 - Blue Greens 'N Beans

4 - Hip Tip

(All compositions by Mal Waldron)

Gene Ammons (tenor sax), Idrees Suliman (trumpet), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), Arthur Taylor (drums), Ray Barretto (conga).

Recorded at Van Gelder Studio, Hackensack, New Jersey, May 2, 1958.