Five-Star Collection... The Concert Jazz Band (I)

In late 1960, Gerry Mulligan shaped one of the most ambitious projects of his career: the Concert Jazz Band, an orchestra that, in the midst of the economic decline of big bands, openly defied the market conditions of the jazz scene at the time. Far from any retrospective gesture, the ensemble proposed a reformulation of modern orchestral language, transferring to the expanded format the principles of textural clarity, counterpoint, and interaction that Mulligan had developed in his pianeless formations since the early 1950s.

The initial support of the project was made possible thanks to an agreement with Norman Granz, producer of Verve Records, who guaranteed the financial backing necessary to keep an orchestra of these characteristics active. Within this framework, and in a remarkably brief span of time —between May 1960 and December 1961—, the Concert Jazz Band established the complete core of its discographic production.

In chronological order, this corpus can be reconstructed from five titles that are considered the main body of work of the orchestra:

The Concert Jazz Band — sessions from May and July 1960 in New York, Gerry Mulligan and the Concert Jazz Band on Tour — recordings from the October–November 1960 tour in the United States and Europe, Gerry Mulligan and the Concert Jazz Band at the Village Vanguard — recorded on December 11, 1960 in New York, Gerry Mulligan Presents a Concert in Jazz — sessions from July 1961 at Webster Hall, and Gerry Mulligan '63 — recorded in December 1962.

Viewed in this way, the project appears as a complete arc that coordinates studio, tour, and live documentation, allowing one to follow the evolution of the ensemble from its initial formulation to its point of maximum elaboration.

This artistic development, however, was abruptly interrupted by non-musical factors. Granz's sale of Verve to MGM put an end to the financing scheme that made the orchestra viable, forcing its dissolution shortly after the 1961 sessions, at the very moment when the group had reached its highest degree of cohesion and aesthetic definition.

Contemporary critical reception not only accompanied this process, but also consecrated it. In the pages of DownBeat magazine, three of these recordings obtained the maximum rating of five stars: the debut album The Concert Jazz Band, reviewed by Don DeMicheal in the December 8, 1960 issue; the live recording at the Village Vanguard; and Gerry Mulligan '63, whose assessment underscores the level of integration achieved by the orchestra in its final stage. Read together, these reviews trace a sort of critical arc that accompanies the trajectory of the group: from the initial affirmation of its viability, through the confirmation of its effectiveness live, to its consecration as one of the most accomplished orchestral achievements of modern jazz.

In that sense, the Concert Jazz Band asserts itself as one of the most unique orchestral formulations of its time, and one of the last great reformulations of the big band language in 20th-century jazz; although its existence was brief, the recordings it left behind still allow us today to perceive, with remarkable clarity, the creative impulse that gave it birth.

Without prejudice to focusing later on the two remaining productions that complete this corpus, let us dedicate the next three entries to examining the albums from this pentalogy that were honored by DownBeat magazine with its highest rating...

Gerry Mulligan

The Concert Jazz Band

In deciding on the instrumentation for the new band that makes its album debut here, Gerry Mulligan says: "I wanted the same clarity of sound and interplay of lines that I had in the smaller groups. 

"We have a clarinet in the reed section, not primarily for a clarinet-lead effect but for a sound contributing to the ensemble in general. As for the soloists, I wanted to use just a few men for the bulk of the solo work, so that they would be heard enough for the audience to become familiar to their styles."

What he has built, says Gerry, is essentially a concert band —a jazz band for listening— and it was on this premise that the band's first tour was arranged by Norman Granz for the fall of 1960. 

Further words are unnecessary. The album delivers its own exciting message: that this is the best new jazz orchestra of the year. *Leonard Feather (from the liner notes)*

Big bands in jazz have generally been of two sorts. The first reflects the thinking of such men as Fletcher Henderson and Don Redman, that of three sections –brass, reeds, rhythm –working as individual units within the whole, sometimes together, other times in opposition or in response to each other. While this concept is definitely tied to early jazz, it has stronger affiliations with brass bands and European music; and while there is room for individual contributions in the form of solos, the main emphasis is on group cohesion. The arranger is the controller. The major function of such bands is to provide dance music.

The other big-band concept stems from the thinking of Duke Ellington. The three sections are present as in the other, and the arranger is still important. But the individual members are not subservient to either section or pen. The part must fit the man, not vice versa. The spirit is that of a small jazz group, although the context is that of a big band. The brilliance and colors of numerous instruments can be achieved when desired, but –and this is the crucial difference between the two concepts –the creativity, freedom, and interaction of individuals found in small groups is retained. Such bands produce music the primary function of which is to stimulate the listener's ear, not his feet.

The Mulligan band is firmly in the Ellington camp. It is not an Ellington imitation, though Sweet and Low is a deep bow in Duke's direction, but reflects the feel, the spirit of Ellington –the feel, the spirit of small group jazz.

More specifically, it is an extension and expansion of Mulligan's concept as we've come to know it through his quartet and sextet: the combination of extremes –simplicity with complexity, cool intellectualism with hot-blooded emotion, sophistication with guts.

Because of these many facets and of the variety of emotional experience the band offers, I feel this is the most important big band in jazz today. (In person the impact of the band is even greater than on this album. It is unfortunate that Mulligan intends to disband, but the band is scheduled to reorganize later in 1961.)

It is not a blasting band; in many ways it is reminiscent of the Claude Thornhill Band when Gil Evans was writing for it. Attention is paid to blend, control, and dynamics. By using another baritone in the sax section, Mulligan retains fulness behind his solos. The brass is usually voiced close, giving it a subdued, almost muffled sound. Even in the shout choruses the brass keeps it head and depth.

Lewis and Clark, the rhythm section on all but one track and the one that toured with the band, are superlative. The rhythm is always firm yet never too tight. These two are the source of the band's relaxation. They push the whole band but do it unobtrusively. What Lewis plays fits so well and logically that at times the listener might miss his contribution, but on careful listening, you realize he's kicking everybody. Lewis is the Dave Tough of his time –a drummer felt more than heard.

The main soloists on the record are Mulligan, Brookmeyer, and Sims.

Mulligan builds his solos with more care than he has in some time. Each phrase relates to the next; each solo is like a story. He plays well on all tracks, but his most touching work is on Valentine and the lovely Django Reinhardt ballad Manoir de Mes Reves.

Brookmeyer's playing is the best I've heard him do. He seems to have found his true element in this band. Wit and melodiousness he always had, but here there's a fire that wasn't burning so brightly in the past. He has a gusty, burry, wonderful solo on his own arrangement of Advantage; in one place his fill over the saxes is nothing but a breathy slur –no brass sound, just breath.

Sims hasn't as much blowing room on the record as he has in person –he doesn't play in the section but is featured on a couple of tunes each set –but he has a meaty solo on Bweebida Bobbida.

This is one of the best records of 1960.

*Don DeMicheal (Down Beat, December 8, 1960 [5 stars])*

Side 1

1 - Sweet And Low

(Harry Warren, Al Dubin)

2 - Bweebida Bobbida

(Gerry Mulligan)

3 - Manoir De Mes Rêves (Django's Castle)

(Django Reinhardt)

4 - You Took Advantage Of Me

(Richard Rodgers, Lorenz Hart)

Side 2

5 - Out Of This World

(Harold Arlen, Johnny Mercer)

6 - My Funny Valentine

(Richard Rodgers, Lorenz Hart)

7 - Broadway

(Henry Woode, Teddy McRae, Bill Bird)

8 - I'm Gonna Go Fishin'

(Duke Ellington, Peggy Lee)

Gerry Mulligan (baritone sax); Don Ferrara, Conte Candoli, Nick Travis (trumpets [#1 to #7]);

Don Ferrara, Danny Stiles, Phil Sunkel (trumpets [#8];

Wayne Andre (trombone); Alan Raph (bass trombone);

Bob Brookmeyer (valve trombone); Dick Meldonian (alto sax); Gene Quill (alto sax, clarinet);

Zoot Sims[#1 to #7], Jim Reider [#8] (tenor saxes); Gene Allen (baritone sax, bass clarinet); 

Buddy Clark [#1 to #7], Bill Tackus [#8] (basses):

Mel Lewis [#1 to #7], Dave Bailey [#8] (drums).

Recorded at Plaza Sound Studios, New York City, May 21 [#8],

July 25 [#1 to #4] and July 27 [#5 to #7], 1960

✤✤✤✤

For those who prefer the digital version of the Concert Jazz Band's debut album, there are several options. One of them is the one presented by the Poll Winners Records label titled The Concert Jazz Band • The First Album.

This edition brings together the complete original Gerry Mulligan LP, The Concert Jazz Band (Verve V6-8388), which marked the discographic debut of this extraordinary big band formation. Its tracks feature the presence of stellar figures such as Zoot Sims, Bob Brookmeyer, Conte Candoli, Gene Quill, Mel Lewis, and, of course, Mulligan himself. As a bonus, the disc incorporates all surviving tunes from the band’s second studio session —recorded in between the three sessions that made up the original LP—, as well as three tracks recorded live in Milan, four months after completing the album.

Gerry Mulligan

The Concert Jazz Band

The First Album

1 - Sweet And Low

(Harry Warren, Al Dubin)

2 - Bweebida Bobbida

(Gerry Mulligan)

3 - Manoir De Mes Rêves (Django's Castle)

(Django Reinhardt)

4 - You Took Advantage Of Me

(Richard Rodgers, Lorenz Hart)

5 - Out Of This World

(Harold Arlen, Johnny Mercer)

6 - My Funny Valentine

(Richard Rodgers, Lorenz Hart)

7 - Broadway

(Henry Woode, Teddy McRae, Bill Bird)

8 - I'm Gonna Go Fishin'

(Duke Ellington, Peggy Lee)

9 - I Know, Don't Know How

(Gerry Mulligan)

10 - Barbara's Theme

(Johnny Mandel)

11 - Sweet And Slow (first version)

(Harry Warren, Al Dubin)

12 - Out Of This World (first version)

(Harold Arlen, Johnny Mercer)

13 - Go Home (live in Milan, 1960)

(Ben Webster)

14 - Apple Core (live in Milan, 1960)

(Gerry Mulligan)

15 - Barbara's Theme (live in Milan, 1960)

(Johnny Mandel)

#1 to #8:

Gerry Mulligan (baritone sax); Don Ferrara, Conte Candoli, Nick Travis (trumpets [#1 to #7]);

Don Ferrara, Danny Stiles, Phil Sunkel (trumpets [#8]);

Wayne Andre (trombone); Alan Raph (bass trombone);

Bob Brookmeyer (valve trombone); Dick Meldonian (alto sax); Gene Quill (alto sax, clarinet);

Zoot Sims[#1 to #7], Jim Reider [#8] (tenor saxes); Gene Allen (baritone sax, bass clarinet); 

Buddy Clark [#1 to #7], Bill Tackus [#8] (basses):

Mel Lewis [#1 to #7], Dave Bailey [#8] (drums).

Recorded at Plaza Sound Studios, New York City, May 21 [#8],

July 25 [#1 to #4] and July 27 [#5 to #7], 1960

#9, #10, #11, #12:

Gerry Mulligan (baritone sax); Don Ferrara, Danny Stiles, Phil Sunkel (trumpets);

Wayne Andre (trombone); Alan Raph (bass trombone); Bob Brookmeyer (valve trombone);

Dick Meldonian (alto sax); Gene Quill (alto sax, clarinet); Jim Reider (tenor sax);

Gene Allen (baritone sax, bass clarinet); Bill Tackus (bass); Dave Bailey (drums).

Recorded at Plaza Sound Studios, New York City, June 1, 2 and 3, 1960

#13, #14, #15:

Gerry Mulligan (baritone sax); Don Ferrara, Conte Candoli, Nick Travis (trumpets);

Wayne Andre (trombone); Alan Raph (bass trombone); Bob Brookmeyer (valve trombone);

Bob Donovan (alto sax); Gene Quill (alto sax, clarinet); Zoot Sims, Jim Reider (tenor saxes);

Gene Allen (baritone sax, bass clarinet); Buddy Clark (bass): Mel Lewis (drums).

Recorded live at Teatro Lirico, Milan, Italy, November 14, 1960

Trumpet Conclave (I)

Conte Candoli • Nick Travis • Dick Sherman

Bernie Glow • Phil Sunkel • Don Stratton • Al De Risi

Cool Gabriels 

One of the rather surprising developments in the jazz field over the past few years has been the comparative neglect of that most venerated of jazz instruments, the trumpet. Since about 1950, when jazz started its upward climb toward its present pinnacle of popularity and prosperity, there have been scores of jazz albums issued featuring saxes, pianos, guitars and trombones, but comparatively few featuring cool horns. In order to somewhat rectify what appears to be an unfair situation for 

modern trumpet players, and to show how enjoyable cool trumpets can sound, this album was conceived. Since it was to be a showcase for cool horn men, it had to show off many different styles of trumpet, and it had to feature both wellknown modern trumpeters as well as rising young horn men who were just beginning to obtain recognition for their work. In addition, it had to display these "Cool Gabriels" both as soloists and in ensemble, to prove the versatility of the men and their instrument. In all these respects, this album of cool horns has succeeded admirably.

*Radio Corporation of America, 1956 (liner notes)*

This rare and longtime hard-to-find album was conceived to show how enjoyable cool trumpets can sound. Featured "Cool Gabriels" are Conte Candoli, Nick Travis, Don Stratton, Bernie Glow, Phil Sunkel, Al de Risi and Dick Sherman. The tune contained in this album were selected specifically to give each "Gabriel" a chance to show his stuff and also to demonstrate the various moods that could be brilliantly exemplified wit a trumpet ensemble. The fun that the musicians had making these recordings is apparent on every selection, including the Gerry Mulligan tunes, the clever Al Cohn items 'Cupcake' and 'Spooky', John Benson Brooks' devilish 'Nick', Paul Selden's somber 'Something Blue', and Elliot Lawrence's ligh compositions. *Jordi Pujol*

Cool Gabriels is a trumpet conclave with Conte Candoli, Nick Travis, Dick Sherman, Don Stratton, and Phil Sunkel soloing over a background of alternating lead trumpets Bernie Glow and Al De Risi, Elliot Lawrence, Burgher (Buddy) Jones, Sol Gubin, and themselves. Glow solos on "Arms". The writing is by Lawrence, Al Cohn, Paul Selden, Gerry Mulligan (arranged by Lawrence), and John Benson Brooks. The scoring is clean, always flowing, and sometimes quite ingratiating.

The solos are also of a consistently controlled and assured level while the ensemble playing is sharp and alive. Yet there is little here that really clutches the emotions, little that is nakedly beneath the surface. It's like a good issue of a well-produced slick magazine — Time, let's say. For a more earthy, more deeply wailing trumpet meeting, try Savoy's Top Brass under Ernie Wilkins' direction. But this isn't a dull set by any means. It just doesn't let go enough. There are two takes of "The Swingin' Scot". A complete solo chart is helpfully provided.

*Nat Hentoff (Down Beat, November 28, 1956)*

Side 1

1 - Five O'Clock Shadow

(Lawrence, Reichner)

2 - Cupcake

(Al Cohn)

3 - Mostly Latin

(Elliot Lawrence)

4 - Something Blue

(Paul Selden)

5 - The Swingin' Scot (part 1 and part 2)

(Elliot Lawrence)

6 - Love Is Just Around The Corner

(Leo Robin, Lewis Gensler)

Side 2

7 - Elevation

(Elliot Lawrence, Gerry Mulligan)

8 - Spooky

(Al Cohn)

9 - Happy Hooligan

(Gerry Mulligan)

10 - Each Other's Arms

(Lawrence, Glenn, Reichner)

11 - Nick

(John Benson Brooks)

#1, #7, #8, #9:

Nick Travis, Bernie Glow, Conte Candoli, Don Stratton (trumpets);

Elliott Lawrence (piano); Burgher "Buddy" Jones (bass); Sol Gubin (drums).

#2, #3, #4, #6:

Nick Travis, Al De Risi, Conte Candoli, Don Stratton, Dick Sherman (trumpets);

Elliot Lawrence (piano); Burgher "Buddy" Jones (bass); Sol Gubin (drums).

#5, #10, #11:

Nick Travis, Bernie Glow, Conte Candoli, Don Stratton, Phil Sunkel (trumpets);

Elliott Lawrence (piano); Burgher "Buddy" Jones (bass); Sol Gubin (drums).

Recorded in New York City, June 1 (#1, #7, #8, #9),

June 12 (#2, #3, #4, #6) and June 14 (#5, #10, #11), 1956

Aaron Sachs - Quintet, Sextet And Octet Ensembles

Aaron Sachs (1923-2014) was a native New Yorker who grew up in the Bronx. After studying clarinet with private teachers, in 1941, still in his teens, Sachs landed his first job with Babe Russin, playing clarinet and alto saxophone, the latter through self-training. That same year, he joined vibraphonist Red Norvo's Septet, alongside fellow Bronx musicians Shorty Rogers and Eddie Bert. After a brief period with the Van Alexander orchestra in 1943, Aaron rejoined Norvo in January 1944, solidifying his reputation as a skilled clarinetist and earning the prestigious Esquire "New Star" award in 1945.

Between 1945 and 1946, he performed both instruments with Benny Goodman, Buddy Rich, and Charlie Ventura bands. In 1946, Sachs formed his quintet, Aaron Sachs and his Manor Re-bops, establishing himself as the first jazz musician to embrace bebop on the clarinet, preceding Tony Scott and John LaPorta.

In 1948 Aaron married singer Helen Merrill, a union that lasted only a few years, as they divorced in 1956.

His tenure with the Earl Hines sextet from 1952 to 1953 allowed him to develop his talent as a tenor saxophonist. He admitted, "I enjoy playing both instruments, but I am disappointed that the clarinet isn't used more, both in jazz and pop records today." Sachs had Lester Young as his main influence, and that's how he wanted to play both tenor sax and clarinet. Subsequently, Aaron led his own combo at Cafe Society in New York for a period. Later, he worked as a freelancer in commercial recording sessions, primarily playing the tenor saxophone. Sachs cited Lester Young as his main influence for both instruments.

Leonard Feather once remarked, "Aaron has proved that he can bring to both instruments the taste, style, and musicianship that bespeak artistry rather than mere versatility for its own sake."

This CD compilation features three albums recorded by Aaron between 1954 and 1957, showcasing his talent as an instrumentalist and composer alongside some of the finest jazz musicians from the New York scene. The arrangements of these recordings were skillfully crafted to provide a supportive backdrop for either clarinet or tenor saxophone, highlighting Sachs' versatility and artistry. *Jordi Pujol*

There was such a surfeit of great sax players in the 1950s that it’s understandable that many got overlooked. Here’s a chance to see what you’ve been missing with this rich reissue from Fresh Sound Records.

Aaron Sachs is not a household name, but he was with a number of important artists such as Shorty Rogers and Red Norvo. This single disc set finds him with some impressive company, giving his ideas to mostly originals in a sound that has “LA Cool” written all over for it, even though it was all recorded in The Big Apple.

He plays both a Lester Young-Zoot Sims inspired tenor, and a stripped down Buddy DeFranco styled clarinet, in quintet, sextet and octet settings, mixing and matching with Urbie Green/tb, Barry Galbraith-Jimmy Raney-Dick Garcia/g, Aaron Bell-Clyde Lombardi/b, Nat Pierce Hall Overton/p, Joe Roland/vibes and Osie Johnson/dr. Sachs blows like a West Coaster on "One Track" and is gorgeously fluffy on "Aaron’s Blues", fluttering on "Conversations" and sublime on "Why Shouldn’t I?" while digging in on the Basie-ish "Wiggins". His licorice stick is cool for "Kingfish" and flexible for "Gorme Has Her Day" with a nice bounce for "You're My Thrill". Warm and breezy.

*George W. Harris*

1 - One Track

(Sachs, Johnson)

2 - Helen

(Sachs, Johnson)

3 - Kingfish

(Quincy Jones)

4 - Conversation

(Sachs, Galbraith)

5 - The Bullfrog

(Quincy Jones)

6 - If You Are But A dream

(Jaffe, Fulton, Bonx)

7 - Aaron's Blues

(Aaron Sachs)

8 - You're My Thrill

(Gorney, Clare)

9 - Platter Pie

(Aaron Sachs)

10 - Why Shouldn't I?

(Cole Porter)

11 - Ah! The Pain

(Billy Ver Plank)

12 - Rondo Blues

(Phil Sunkel)

13 - Just Sick Blues

(Billy Ver Plank)

14 - Mona's Kimona

(Nat Pierce)

15 - Conversation

(Sachs, Galbraith)

16 - Blue Sophisticate

(Benny Golson)

17 - Countryfied

(Phil Sunkel)

18 - Wiggins

(Billy Ver Plank)

19 - Gorme Has Her Day

(Aaron Sachs)

20 - I Can't Believe

(Aaron Sachs)

21 - Hall's Loft

(Aaron Sachs)

22 - Nancy

(Van Heusen, Silvers)

#1 to #6, from the album Aaron Sachs Sextette (Bethlehem BCP-1008)

Aaron Sachs (clarinet [#3, #6], tenor sax [#1, #2, #4, #5]),

Urbie Green (trombone), Danny Bank (baritone sax),

Barry Galbraith (guitar), Clyde Lombardi (bass), Osie Johnson (drums).

Recorded in New York City, November 1954

#7 to #11, from the album Jazzville Vol.3 (Dawn DLP1114)

Aaron Sachs Sextet

Aaron Sachs (clarinet [#8, #19, #11), tenor sax (#7, #9),

Jimmy Cleveland (trombone), Joe Roland (vibes),

Dick Garcia (guitar), Aaron Bell (bass), Osie Johnson (drums)

Recorded in New York City, 1956

#12 to #22, from the album Clarinet and Co. (Rama RLP1004)

#12 to #18: Aaron Sachs Octet

Aaron Sachs (clarinet [#14, #17], tenor sax [#12, #13, #15, #16, #18]),

Phil Sunkel, Bernie Glow (trumpets), Frank Rehak (trombone), Gene Allen (baritone sax),

Nat Pierce (piano), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, February 18 and 21, 1957

#19 to #22: Aaron Sachs Quintet

Aaron Sachs (clarinet [#19-21] & tenor sax [#22]), Hall Overton (piano),

Jimmy Raney (guitar), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, March 4, 1957

Lee Konitz Meets Jimmy Giuffre

Lee Konitz Meets Jimmy Giuffre:

Altoist Lee Konitz is showcased during a set of adventurous Bill Russo arrangements for an orchestra and strings in 1958, pops up on half of Ralph Burns' underrated 1951 classic Free Forms (the most enjoyable of the four sets), and meets up with baritonist Jimmy Giuffre, whose arrangements for five saxes (including the great tenor Warne Marsh) and a trio led by pianist Bill Evans are sometimes equally influenced by classical music and bop. The least interesting date showcases Giuffre’s clarinet with a string section on his five-part "Piece For Clarinet And String Orchestra" and the 16 brief movements of "Mobiles". *vinylpussycat.com*

These two virtuoso reed players are among the most intrepid improvisers in jazz. In the Forties, Konitz was the alternative voice to Charlie Parker on alto saxophone, playing with a pure, cool sound, and he first came to prominence with the Miles Davis nine-piece band.

Lee Konitz meets Jimmy Giuffre, and it's a small masterpiece of pure jazz. Konitz is the main soloist on nine tracks of standards, ballads and originals, all beautifully scored by Giuffre for five saxophones plus a rhythm section of pianist Bill Evans, bassist Buddy Clark and drummer Ronnie Free. The music swings effortlessly and has the added joy of solos by Evans, the late great tenor saxophonist Warne Marsh and Giuffre himself, who plays baritone sax. *classical-music.com*

You And Lee:

A treasure! This album has been long out of print, although it was available on some compilations.

Before I proceed give the sound samples on You And Lee  a listen to get a sense of this album. For one thing, it's more of a big band ensemble. However, the arrangements by Jimmy Giuffre lift this into a different vibe than your typical big band fare. There is a definite West Coast touch to this album. Another feature is the rhythm section, which features Bill Evans on piano leading on most tracks, and Jim Hall on guitar on the remaining ones. That, too, gives this album a distinctive sound without breaking the continuity of the overall listening experience.

This was recorded in New York City for Verve on October 29 and 30, 1959. The core ensemble is comprised of Konitz on alto sax accompanied by a trumpet section (Marky Markowitz, Ernie Royal, Phil Sunkel), a trombone section (Eddie Bert and Billy Byers, with Bob Brookmeyer on valve trombone), Bill Evans on piano, Jim Hall on guitar, Sonny Dallas on bass and Roy Haynes on drums. *Mike Tarrani*

One of the lesser-known Lee Konitz albums, this LP features the altoist joined by six brass and a rhythm section for eight Jimmy Giuffre arrangements. The shouting brass contrasts well with Konitz's cool-toned solos and together they perform eight underplayed standards. Guitarist Jim Hall and pianist Bill Evans (who are on four songs apiece) are major assets behind Konitz on this pleasing set. * Scott Yanow*

Lee Konitz Meets Jimmy Giuffre

Featuring Bill Evans

This release presents the complete Lee Konitz albums You and Lee , and Lee Konitz Meets Jimmy Giuffre . These were Konitz and Bill Evans' earliest studio collaborations: on the first LP the pianist only played on one of the two sessions (Jim Hall replaced him on the other one), while on the second Evans was featured throughout the entire album. Both works were taped in 1959, and although Konitz and Evans had been previously recorded together in a concert setting, and would be taped in the same fashion during a 1965 European tour, their only other studio LP collaboration was the pianist’s 1977 album Crosscurrents. The great Jimmy Giuffre also participated on both records – on the first as arranger, and on the second as arranger and performer. *jazzmessengers.com*

Merged from two brilliant 1959 studio sessions, this disc is, just as the title and artist credits suggest, a showcase for three immense talents. Those expecting to hear the snap-crackle of Roy Haynes' snare or Bob Brookmeyer's punctuated counterpoints after reading the all-star lineup may be surprised to hear them relegated to the background, but any disappointment will end there. The brilliant playing of Lee Konitz and Bill Evans, paired with Jimmy Giuffre's sensitive arrangements, is enough to satisfy any true jazz lover.

Assembled for the album Lee Konitz Meets Jimmy Giuffre, the first band, a quintet of saxophones backed by the rhythmic underpinnings of Evans, bassist Buddy Clark and drummer Ronnie Free, immediately shows its musicality on the angular, quasi-atonal "Palo Alto. After a rundown of the pointillistic Giuffre arrangement, Konitz jumps in and alternately toys with and floats over the buoyantly swinging rhythm section and airy horn backgrounds. Konitz and Evans solo at length on "Somp'm Outa' Nothin'", which can only be described as a blues that has a hard time getting off the "one" chord. The arrangement is quintessential Guiffre, with its dense tone clusters and recurring rhythmic pedal; Evans takes incredible liberties with the harmonic structure and shows an early affinity for Monk.

Following a chamber-jazz reworking of "Darn That Dream", in which Giuffre masterfully exploits the subtle harmonic movements using a quintet of saxophones, the album is rounded out with a number of tracks from the '59 album You And Lee. Recorded five months after the initial Konitz/Giuffre studio session, this date finds a trio of trumpets and trombones replacing the saxophone section and adding a distinct edge to the music. Konitz is clearly the leader here; his probing, inventive solos are featured throughout the lineup of reworked standards, and the comping work is split by Evans' piano and the earthy guitar of Jim Hall. The tunes, especially "You Don't Know What Love Is", show Konitz at his best. He dazzles the listener with his sensitivity and invention and revels in the shimmering, transparent beauty evoked by Giuffre's arrangements. *Matthew Miller*

1 - Somp'm Outa' Nothin'

(Giuffre)

2 - Someone To Watch Over Me

(Gershwin, Gershwin)

3 - Uncharted

(Giuffre)

4 - Moonlight In Vermont

(Suessedorf, Blackburn)

5 - The Song Is You

(Kern, Hammerstein)

6 - Palo Alto

(Konitz)

7 - Darn That Dream

(VanHeusen, DeLange)

8 - When Your Lover Has Gone

(Swan)

9 - Cork 'n Bib

(Konitz)

10 - I’m Getting Sentimental Over You

(Bassman, Washington)

11 - You Don't Know What Love Is

(Raye, DePaul)

12 - I Didn't Know About You

(Ellington, Russell)

13 - Ev'rything I've Got (Belongs To You)

(Rodgers, Hart)

14 - You're Clear Out Of This

(Arlen, Mercer)

15 - You Are Too Beautiful

(Rodgers, Hart)

16 - The More I See You

(Warren, Gordon)

17 - You're Driving Me Crazy

(Donaldson)

#1 to #9: from the album Lee Konitz Meets Jimmy Giuffre (Verve Records MG V-8335)

Lee Konitz, Hal McKusick (as); Warne Marsh, Ted Brown (ts); Jimmy Giuffre (bs); Bill Evans (p); Buddy Clark (b); Ronnie Free (d).

Recorded in New York City, May 12 (#1 to #5) and May 13 (#6 to #9), 1959.

#10 to #17: from the album You And Lee (Verve Records MG V-8362)

Ernie Royal, Irving "Marky" Markowitz, Phil Sunkel (tp); Bob Brookmeyer (v-tb); Eddie Bert [except #14 to #17], Billy Byers (tb); Lee Konitz (as); Bill Evans [except #14 to #17](p); Jim Hall [#14 to #17](g); Sonny Dallas (b); Roy Haynes (d). Jimmy Giuffre (arranger).

Recorded in New York City, October 29 (#10 to #13) and October 30 (#14 to #17), 1959.

Phil Sunkel - His Jazz Band And His Music

Phil Sunkel II born as Philip Charles Sunkel, Jr. on November 26, 1925 in Zanesville, Ohio.

After serving in the Army in WWII at age 18 (combat and playing trumpet for the Army Band) overseas, he returned home and went to the Cincinnati Conservatory on the G.I. Bill where he honed his trumpet, flugelhorn, and cornet skills. He ended up in New York City in the 1950's and 60's, which was an exciting and vibrant time for jazz. In addition to albums of his own Jazz Concerto Grosso, and Every Morning I Listen to Phil Sunkel's Jazz Band, he appeared live and on numerous jazz albums as a sideman with the likes of Stan Getz, Gerry Mulligan, Gil Evans, Tito Rodriguez, Woody Herman, Dizzy Gillespie, Sauter-Finegan, Claude Thornhill, Charlie Barnet, Dick Meldonian, and many others. He was the trumpet player on the Merv Griffin Show in the early 1960's and played with the Playboy Club Orchestra for seven years, he played at numerous resorts, and played for Broadway musicals. He died on February 27, 2023 in his sleep in a nursing home in Queens, New York. *Walter Bruyninckx*

Phil Sunkel, cornet and trumpet player, was born in 1925 in Zanesville, Ohio. He played with the Claude Thornhill, Charlie Barnet, Stan Getz, Sauter-Finegan, Gerry Mulligan, Gil Evans and Tito Rodriguez bands. Leaving his role as a soloist aside, Phil mainly stood out as an arranger and composer of talent, being these recordings his most celebrated works and the only ones he did as a leader.

My idea of a jazzband, he said is something between a small combo and a big band incorporating the good features of both. Here we have the flexibility of a small group which allows the soloist a maximum of freedom, plus the color and drama produced by the different ensemble sounds.

The further possibilities of using a three voice group superimposed on a similarly conceived orchestral backdrop originated Sunkels most ambitious and outstanding work: "Jazz Concerto Grosso". *Jordi Pujol*

Phil Sunkel's name is unjustly missing from a lot of jazz reference works, though his considerable resume as a sideman includes recordings with Hal McKusick, Al Cohn, Lawrence Brown, Urbie Green, Gerry Mulligan, Erroll Garner, Jimmy Giuffre, Lee Konitz and Gil Evans, to name only a few. This first-call trumpeter evidently only made two records as a leader, both of them for ABC-Paramount in the mid-'50s. This album was the first under his own name, with a tentet including baritone saxophonist Gene Allen, alto saxophonist Dick Meldonian, trombonist Gene Hessler, and trumpeter Al Stewart. Sunkel's precise trumpet solos never fail to swing yet don't resort to showboating. His cool arrangements are comparable to those of Gerry Mulligan and Bob Brookmeyer, with most of the music devoted to Sunkel's tasty originals. *Ken Dryden*

Phil Sunkel's Jazz Band

Every Morning I Listen To... Phil Sunkel's Jazz Band

My idea of a jazzband is something between a small combo and a big band incorporating the good features of both. Here we have the flexibility of a small group which allows the soloist a maximum of freedom, plus the color and drama produced by the different ensemble sounds.

All the arrangements here were conceived with the purpose in mind of creating vehicles for the soloists ideas. Backgrounds were kept at a minimum and used only where they would enhance rather than distort the soloists ideas.

This album was recorded in three separate sessions — May 13, May 23, and June 14, 1956 in New York City. The same personnel was used throughout. Our intentions were to produce some happy spirited music. We had fun making this album and we hope you enjoy it.

*Phil Sunkel (liner notes)*

The set features a tight brace of three trumpets in the lead, alongside trombone, alto, tenor, and baritone — almost an extension of the sounds crafted at the tail end of the swing years, but with some nice modernist inflections too — somewhere in a space between Woody Herman and Stan Kenton, with lots of nice hues and tones in the horns. *dustygroove.com*

Side 1

1 - Jack's Theme

(Phil Sunkel)

2 - Polka Dots And Moonbeams

(Van Heusen, Burke)

3 - Train Ride

(Phil Sunkel)

4 - Old Wives' Tales

(Phil Sunkel)

5 - Every Mornin'

(Phil Sunkel)

Side 2

6 - How Strange

(Prozorowsky, Brent, Stothart, Kahn)

7 - The Animal Man

(Phil Sunkel)

8 - Chomp, Chomp Blues

(Phil Sunkel)

9 - Joe, The Architect

(Phil Sunkel)

10 - T. Blues

(Phil Sunkel)

Phil Sunkel, Al Stewart, Siggy Shatz (trumpets); Gene Hessler (trombone); Dick Meldonian (alto sax); Buddy Arnold (tenor sax); Gene Allen (baritone sax); George Syran (piano); Bob Petersen (bass); Harold Granowsky (drums).

Recorded in New York City, May 13, May 29 and June 14, 1956.

***

Gerry Mulligan And Bob Brookmeyer

Play Phil Sunkel's Jazz Concerto Grosso

I have always been fascinated by the acoustical and rhythmic possibilities of three voice writing. My first opportunity to do something professional in this direction came in 1955 when I joined the Stan Getz Sextet. Stan had previously commissioned me to write some things for his quintet and it was from this material that I now drew and enlarged upon to meet the needs of the new group. The instrumentation was valve trombone, cornet, and tenor backed by bass, drums and piano. The soft broad qualities of the valve trombone and cornet blended well with Stan's warm tenor sound and the resulting textures proved ideal for the moody intimate type things I had written.

My intentions were to retain the harmonic framework of these little songs while injecting a linear feeling into each of the individual horn parts. To do this, each voice 

was made to fall naturally and uncontrived and so designed rhythmically as to sustain the pulse and present a completeness within themselves. The bass, drums and 

piano served to underline, punctuate, and reinforce this linear harmonic activity. The further possibilities of using a three voice group superimposed on a similarly conceived orchestral backdrop soon presented itself as an interesting project for future consideration. 

About a year ago I hit upon a theme that seemed to be of a character suitable for this expanded type of treatment. 

The stark simplicity of its obvious construction made it perfect raw material for the compositional presentation I had in mind. Standing alone, this musical fragment had a naked, self-conscious air; but, after being melodically extended and placed in context, it suddenly took on a noble, earthy quality. This was exactly what I was looking for and with this good strong basic material at hand the piece began to shape itself. 

Now that the whole thing was straight in my own mind I presented the idea to the record company. Creed Taylor was immediately enthusiastic and suggested that I sound Gerry Mulligan and Bob Brookmeyer to appear as soloists. Gerry and Bob liked the idea and their acceptance pushed the work toward its final stages. The members of the band were chosen, the date set, and all that remained was the completion of the score. 

The sketches and fragments that had accumulated over the last year now shaped themselves into a meaningful whole, and we recorded the finished work on October 14, 1957.

*Phil Sunkel (liner notes)*

Although Gerry Mulligan and Bob Brookmeyer get top billing on this LP, the leader, composer, and arranger of all three compositions is cornetist Phil Sunkel. The full 15-piece band is heard on the nearly 16-minute "Jazz Concerto Grosso", with the full band supporting the solos of Mulligan (baritone sax), Brookmeyer (valve trombone), and the leader. The shorter pieces from the following day's session feature a septet with totally different personnel, except for the three major soloists. All of the music is enjoyable and falls clearly into the cool jazz genre, but it has languished in obscurity like Sunkel, though he was later a member of the acclaimed Gerry Mulligan Concert Jazz Band. This long deleted record will be somewhat difficult to locate. *Ken Dryden*

Side 1

1 - Jazz Concerto Grosso

Side 2

2 - Something For The Ladies

3 - Song For Cornet

(All compositions by Phil Sunkel)

#1:

Phil Sunkel (cornet); Nick Travis, Al Stewart, Don Stratton, John Wilson (trumpets); Frank Rehak (trombone); Bob Brookmeyer (valve trombone); Eddie Bert (bass trombone); Don Butterfield (tuba); Dick Meldonian (alto sax); Cliff Hoff, Bill Slapin (tenor saxes); Gerry Mulligan, Gene Allen (baritone saxes); Milt Hinton (bass); Osie Johnson (drums).

#2 and #3:

Phil Sunkel (cornet), John Wilson (fluegelhorn), Bob Brookmeyer (valve trombone), Jim Reider (tenor sax), Gerry Mulligan (baritone sax), Wendell Marshal (bass), Harold Granowsky (drums).

Recorded in New York City, October 14 (#1) and October 15 (#2, #3), 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.

Billy Ver Planck Orchestra - Jazz For Playgirls

Billy Ver Planck is a highly respected arranger, composer and trombonist, husband of the brilliant singer Marlene Ver Planck (Marlene Paula Pampinella), surely one of the most underrated vocalists of the last three decades. This is one of the three or four albums he did for Savoy in the 1950s using a big-sounding nine-piece band containing such notable soloists as trombonist Bill Harris, also saxist Phil Woods, trumpeter Joe Wilder and Eddie Costa doubling vibraphone and piano. The writing is excellent for it inspires the soloists and allows them space to deploy themselves. This was a particularly productive period for Woods, who takes off like a rocket on a number of tracks and is fea tured throughout "Whoo-ee!". The unique sound that was Bill Harris is still a joy, and when Ver Planck takes over the solo trombone role on one track it is obvious who he admires. The playing time could be better, but the work of Ver Planck and his colleagues is above reproach.

A nine man ball! Yes, that’s the best way to describe the exciting occurence in jazz captured in the enclosed album. Billy Ver Planck, versatile young trombonist-writer, has composed and arranged seven superb essays for jazz nonet that are sure to capture the vote of every jazz fan! Featuring the brilliant Bill Harris and Phil Woods, Seldon Powell, Eddie Costa, Joe Wilder and "a cast of thousands" as the ads say! Ver Planck and Ozzie Cadena, SAVOY A&R chief, have collaborated and individually contributed tunes, that Billy has given a wide range of interpretation. *H. Alan Stein (liner notes)*

A good straight ahead 1957 nonet album arranged and conducted by little known Billy Ver Planck featuring the alto sax of Phil Woods and the trombone of ex Woody Herman trombonist Bill Harris. One or the other, or both, solo on every track with occasional trumpet or tenor sax solo as well. 

The sequencing here is perfect beginning with the most popular tune first, although Horace Silver had just recorded it the previous year. Billy raises the tempo perhaps hoping to get some radio airplay too and the down tempo tunes are well placed. My only minor objection is the vibraphone playing of Eddie Costa on the longest track, comping behind Harris's playing and then taking a Lionel Hampton like solo of his own detracting a bit from the straight ahead nature of the album. Costa plays piano on the rest album. Keep a ear out for Phil Wood's cool but brief clarinet solo on "Winds". *John M. (Amazon customer)*

Arranger Billy Ver Planck leads a nones on some hard-swinging numbers; all but Horace Silver's "Señor Blues" were composed either by Ver Planck or producer Ozzie Cadena. Starring on these spirited sides are trombonist Bill Harris (who is heard at his most exciting on "Play Girl Stroll"), altoist Phil Woods (doubling on clarinet), Eddie Costa (doubling on vibes and piano) and trumpeter Joe Wilder. Ver Planck's arrangements make the group sound twice as big as it was yet have the feel of a small combo. A highly recommended disc. *Scott Yanow*

Side 1

1 - Señor Blues

(Horace Silver)

2 - Play Girl Stroll

(Ozzie Cadena)

3 - Aw, C'mon Sugah!

(Ozzie Cadena)

Side 2

4 - Whoo-ee!

(Ozzie Cadena)

5 - Miss Spring Blues

(Billy Ver Plank)

6 - Winds

(Billy Ver Plank)

7 - Du-udah-udah

(Billy Ver Plank)

#1 and #3 to #7:

Clyde Reasinger, Joe Wilder (trumpets); Bill Harris [#1 to #5], Billy Ver Planck [#6] (trombones); Phil Woods (alto sax); Seldon Powell (tenor sax); Gene Allen (baritone sax); Eddie Costa (vibes, piano); George Duvivier (bass); Bobby Donaldson (drums). 

Recorded at Van Gelder Studio, Hackensack, New Jersey, November 17, 1957

#2

Bernie Glow, Phil Sunkel (trumpets), Bill Harris (trombone); Phil Woods (alto sax); Seldon Powell (tenor sax); Sol Schlinger (baritone sax); Eddie Costa (vibes, piano); Wendell Marshall (bass); Gus Johnson (drums). 

Recorded at Van Gelder Studio, Hackensack, New Jersey, July 30, 1957

Billy Ver Planck (Arranger and conductor) 

The RCA Victor Jazz Workshop #1

One of the most smartest and innovative recordings in the mid-1950's was produced by Jack Lewis, RCA’s A&R man in California at the time.

In August 1955, the specialized publication Down Beat was in charge of anticipating the "project":

A major new project entitled "The RCA Victor Jazz Workshop" is now under way under the direction of that company’s jazz A&R man, Jack Lewis.

Details of the plan are shrouded in secrecy, but it is known that the "Workshop" will afford an opportunity for a number of young artists, some already RCA Victor contractees and others newly signed, to indulge in experimental work. There will be groups involving unusual instrumentation. One date already known to have been cut features Al Cohn with four trumpets and rhythm. Bob Brookmeyer is also contributing a number of arrangements and will be heard with at least two different style combos. Lewis says that the “Workshop” efforts will all be on 12″ LPs and will be released at the rate of one or two a month, in addition to the regular jazz releases.

*Down Beat, August 10, 1955 (page 4)*

A month later, it was reported again with a little more detail:

RCA-Victor is undertaking the most ambitious jazz recording schedule in its history. Jack Lewis, in charge of jazz for the label, recently released further details concerning his plans for the next few months. A key Victor undertaking is a Jazz Workshop series in which a number of leading jazz writer-players will be given complete freedom in choice of instrumentation, personnel, and the range of their writing ideas.

Among the musicians set to head individual Jazz Workshop LPs are Al Cohn, Bob Brookmeyer, Billy Byers, Manny Albam, Hal Schaefer, and several others. Lewis also is cutting an album by The New York saxophone quartet, consisting of Danny Bank, Hal McKusick, Cohn, and Ray Beckenstein. No rhythm section is used with this unique unit. Lewis is commissioning original compositions for the quartet from prominent jazz writers.

*Down Beat, September 21, 1955 (page 7)* 

Finally, six months later and in an advert revealing the album covers, Down Beat announced the release of the first two albums in the series, by Al Cohn and Hal Schaefer:

Like any art form, Jazz requires space and the opportunity to grow and search for new avenues of expression. It either finds these avenues and goes forward — or it stands still and dies. There is need today in Jazz for just such space and opportunity. 

And to meet this need, RCA Victor has undertaken a program bold and unique in modern music. 

A Jazz Workshop has been established where artists can enjoy the widest latitude in composition, arrangement and performance... where new sounds can be tried ... where different directions can be explored — and all without the necessity of conforming to established modes or patterns. 

Below are the first recordings made under these exciting, stimulating conditions —forerunners of a new, unhampered kind of music from the RCA Victor Jazz Workshop. Your record dealer invites you to hear them today! 

*Down Beat, March 21, 1956 (page 17)*

In summary, there were seven Jazz Workshop albums recorded in all:

★ Al Cohn (May 1955)

★ Hal Schaefer (October 1955)

★ Manny Albam (December 1955)

★ Billy Byers (December 1955)

★ Hal McKusick (March 1956)

★ George Russell (March 1956)

★ John Carisi (April 1956)

The release led by John Carisi consisted of in three recording sessions in April, May, and June of 1956 were assigned a release number, LPM-1371, but it remained in the vault until 1988 when Executive Producer Steve Backer tapped veteran jazz producer Ed Michel to put together a CD release of sessions from the Jazz Workshop series.

Unfortunately The New York saxophone quartet session never materialized, at least there is no record in the jazz discography literature with the artists mentioned in the Down Beat column. 

That's what the next seven posts will be about and here goes the first:

Al Cohn

Four Brass, One Tenor

The appropriate sounding of brass (to be specific, four brass and one tenor) heralds the advent, with these sides, of an ambitious new venture that will be welcomed by jazz cognoscenti everywhere: the RCA Victor JAZZ WORKSHOP. 

This will be the generic phrase applied to a series of enterprises, as varied in intent and content as they will be in ideation and instrumentation. Some of the workshop ventures will be, as the saying goes, "far out"; others will be less experimental musically but will essay new ideas instrumentally. Into the latter category falls Al Cohn’s Four Brass, One Tenor. 

As far as Al or I can recall, this is the first time the idea has ever been tried out. It was RCA Victor’s Jack Lewis who suggested that four trumpets might make a unique and effective cushion for a tenor saxophone. The plan was translated into action via the swinging pens of Messrs. Cohn and Albam and brought to reality in three sessions with an almost identical personnel.

Alone or together, these are among the great horn men of jazz today; but over and above it all, the assertively swinging tenor of Al Cohn soars superbly to lend vibrant power to this novel instrumental experiment. To paraphrase a song on one of these sides, this is one of those occasions when after the song is ended the melody, the harmony and the rhythm will all linger on.

*Leonard Feather (liner notes)*

This is the better though the less ambitious of the first two LPs released in Victor’s Jazz Workshop series, a project instituted by Jack Lewis. Against a background of four brass and rhythm, Al Cohn is heard in some of his best blowing on record, and his full tone and big beat are virilely complemented by Joe Newman, Bart Valve (Thad Jones), Nick Travis, and the alternating horns of Bernie Glow, Joe Wilder, and Phil Sunkel. On several numbers, Travis doubled on valve trombone.

The equally tall rhythm section is composed of Freddie Greene, Osie Johnson, Buddy Jones, and Dick Katz. Newman takes most of the trumpet solos, but there are choruses by the others, too, (including four-trumpet chases on two tracks). There are full solo identifications in Leonard Feather’s exact notes, which should serve as a model to Victor liner writers.

Manny Albam and Cohn arranged six apiece and contributed three agreeable originals each. The writing is just right for this context, clean, uncluttered, swinging. The brass team, as a result, shouts bitingly alongside Al when the mood is up and is appropriately gentler on other tracks. The excellent engineering, as on almost all Victor jazz LPs, is by Ray Hall, who should be given liner credit. Recommended. *Nat Hentoff*

The 1955 sessions that make up this Al Cohn LP were part of RCA Victor's Jazz Workshop series. In each of the three studio dates, the tenor saxophonist is matched up with a quartet of trumpeters, with the fourth chair differing on each date. Either Manny Albam or the leader contributed the arrangements of the almost even split between standards and originals. Cohn is in terrific form, boosted by the swinging rhythm section consisting of pianist Dick Katz, bassist Buddy Jones, guitarist Freddie Green, and drummer Osie Johnson. The trumpeters include Thad Jones (who appeared under the pseudonym Bart Valve on the original issue), Nick Travis (who doubles on trombone), Joe Newman, and either Joe Wilder, Bernie Glow, or Phil Sunkel rounding out the section. Newman takes most of the trumpet solos, except for Cohn's "Haroosh" (Jones) and "Every Time" (Wilder), while "Rosetta" and "Linger Awhile" both feature a chase among all four trumpeters. This very entertaining cool jazz album. *Ken Dryden*

Side 1

1 - Rosetta

(Hines, Woode)

2 - The Song Is Ended

(Irving Berlin)

3 - Linger Awhile

(Vincent Rose, Harry Owens)

4 - Every Time

(Farrar, Kent)

5 - Haroosh

(Al Cohn)

6 - Just Plain Sam

(Manny Albam)

Side 2

7 - I'm Coming Virginia

(Heywood, Cook)

8 - Cohn Not Cohen

(Al Cohn)

9 - A Little Song

(Al Cohn)

10 - Foggy Water

(Manny Albam)

11 - Sugar Cohn

(Manny Albam)

12 - Alone Together

(Schwartz, Dietz)

Al Cohn (tenor sax); Bernie Glow [#2, #8, #9, #10,#11], Joe Newman, Joe Wilder [#1, #4, #6, #12], Phil Sunkel [#3, #5, #7], Thad Jones [a.k.a. Bart Valve] (trumpets); Nick Travis (trumpet, trombone); Dick Katz (piano); Freddie Green (guitar); Buddy Jones (bass); Osie Johnson (drums).

Recorded at Webster Hall, New York City, May 9 (#1, #4, #6, #12), May 14 (#2, #8, #9, #10,#11) and May 16 (#3, #5, #7), 1955.