Five-Star Collection... The Swinging Swedes

The Swinging Swedes • The Cool Britons

New Sounds From The Old World

This LP disc is unique in several respects. For the first time on any record, it presents a compact and complete picture of the best in modern jazz from the two European countries that have taken an undisputed lead, over all others outside the United States, in developing first-class talent in this field. For the first time it combines in one comprehensive LP the best in writing, in thinking and performing, that the brilliant young stars of Great Britain and Sweden have given the jazz world.

Every musician on Summertime, Pick Yourself Up and the double-length Cream of the Crop was selected, in a poll taken by Estrad magazine among 25 Swedish music critics, as the No. 1 man on his instrument — and the superb arrangements were the work of the No. 1 penman, Gösta Theselius, whom we hailed in Down Beat as the most brilliant new arranger on the jazz scene, irrespective of country.

(...)

No less remarkable is the swinging spirit of the all-star British groups under the leadership of Johnny Dankworth. Born in London in 1927, Johnny extracts his mellifluous tone and modern style from a plastic saxophone, an idea that has since been copied by several top American jazzmen. On the first two tunes, Birdland Bounce, Leapin' in London, Johnny conducts the winners of a poll conducted among readers of the English weekly Melody Maker, playing two of his own arrangements. The other two numbers, Tea for Me, Cherokee, are played by Johnny with his own combo, which was elected the country's No. 1 small band in the poll.

(...)

All in all, the performances in this double-header might well be described by one of the Swedish titles; they are, in every respect, the cream of the crop. *Leonard Feather (liner notes)*

New Sounds from the Old World is the apt title of this LP, which puts the best British and Swedish jazz back to back.

British titles are eloquent testimony to the triple talents of Johnny Dankworth, as alto man and arranger on all four sides, leader of the bigger group of Melody Maker poll winners on the first two numbers and of his own award-winning combo on the last pair. They also show off a fine trumpet man, Jimmy Deuchar, Ronnie Scott's tenor, several other confident soloists, and rhythm section work that's most effective on Bounce, the best item of the bunch.

We've already saluted the Swedes' Summertime and Pick, released as a single. The six-minute Crop is no less impressive. Theselius wrote a fascinating 12-bar theme and intermittent flashes of arrangement that break up the solo passages admirably but leave plenty of room for everyone to expound at length: Ericson's trumpet, Persson's trombone, Wickman's clarinet, Domnerus' alto, Norin's tenor, Gullin's baritone, Linde's vibes, Hallberg's piano, Carlberg's guitar, and, backing them all beautifully, Brehm's bass and Norén's drums. We've heard hundreds of Scandinavian sides, and to our knowledge this was the most successful date ever cut by the Swedes. Don’t miss it.

*Down Beat, Chicago, March 25, 1953*

Note: At the time of this review, the magazine did not identify the author. They only expressed: “Records in this section are reviewed and rated in terms of their musical merit.” In this case, the five stars went to The Swinging Swedes. The Cool Britons received only four stars.

Side 1

The Swinging Swedes

1 - Pick Yourself Up

(Jerome Kern, Dorothy Fields)

2 - Summertime

(George Gershwin)

3 - Cream Of The Crop

(Gösta Theselius)

Side 2

The Cool Britons

4 - Birdland Bounce (a.k.a. Brand's Essence)

(Traditional, arr. Johnny Dankworth)

5 - Leapin' In London (a.k.a. Marshall's Plan)

(Traditional, arr. Johnny Dankworth)

6 - Tea For Me (a.k.a. Seven Not Out)

(Johnny Dankworth)

7 - Cherokee

(Ray Noble)

#1, #2, #3:

Rolf Ericson (trumpet), Åke Persson (trombone), Putte Wickman (clarinet),

Arne Domnérus (alto sax), Carl-Henrik Norin (tenor sax), Lars Gullin (baritone sax),

Ulf Linde (vibes), Bengt Hallberg (piano), Sten Carlberg (guitar),

Simon Brehm (bass), Jack Norén (drums).

Recorded in Stockholm, Sweden, September 5, 1951

#4, #5:

Kenny Baker (trumpet), Gordon Langhorn (trombone), Henry McKenzie (clarinet),

Ronnie Chamberlain (soprano sax), Johnny Dankworth (alto sax), Ronnie Scott (tenor sax),

Dave Shand (baritone sax [#4]), Victor Feldman (vibes), Ralph Sharon (piano),

Ivor Mairants (guitar), Charlie Short (bass), Jack Parnell (drums).

Recorded in London, England, February 3, 1951

#6, #7:

Jimmy Deuchar (trumpet), Eddie Harvey (trombone), Johnny Dankworth (alto sax),

Don Rendell (tenor sax), Bill LeSage (piano), Eric Dawson (bass), Tony Kinsey (drums).

Recorded in London, England, July 29, 1950

Rare And Obscure Argo Recordings (I)

Ralph Sharon & Friend

2:38 a.m.

I don’t know what the record people call it when they ask you to write a few notes about someone who has worked as closely with you as Ralph Sharon has with me, but I do know that he has provided me with an excellent vehicle for my own talent. It’s always a pleasure to work with him and his fine group.

We were playing the Chez Paree in Chicago, when Argo Records asked Ralph to do this album for them. The night the record was cut, the club management kindly consented to let us break the last set early, so Ralph and the boys could get over to the studio. The session began at 2:38 A.M., and I think it’s a good title for this album because it kind of gives you the idea of what went on. The boys were pretty relaxed by this time, and they told me later that someone had brought in a floor lamp for light — everything was real subdued. Relaxed as they were, the sounds just had to come out as fine as they did. I was surprised when I learned that they completed the session at 5:40 A.M., 3 hours ahead of schedule. 

Ralph Sharon’s music speaks for itself and there isn’t much more I can say, except to name his fine group. They are all really great! Now, I wish you the same thrill hearing them as I have working with them... so listen and have a ball! *Tony Bennett (liner notes)*

Here's an interesting jazz effort on the Argo label. It features pianist Ralph Sharon with friend Candido who handles the congo drums. Billy Exner handles the snare drums and Allan Mack in on bass. The music is rhythmic and swinging, sparked by Sharon piano and the Candido congo work. Tunes include originals and an-occasional standard, with "Blues" and "Friends Blues" both by Sharon, among the album's best. *Billboard, November 10, 1958*

Side 1

1 - Blues

(Ralph Sharon)

2 - Ol' Man River

(J. Kern, O. Hammerstein II)

3 - Garden In The Rain

(C. Gibbons, I. Dyrenforth)

4 - Linguine Lover's Lullaby

(Ralph Sharon)

5 - Teach Me Tonight

(Cann, DePaul)

Side 2

6 - Friend's Blues

(Ralph Sharon)

7 - How Long Has This Been Going On

(G. and I. Gershwin)

8 - Time

(Shapiro, Lynn)

9 - I'll Never Be The Same

(F. Signorelli, M. Malneck, G. Kahn)

10 - Love Me Or Leave Me

(Kahn, Donaldson)

Ralph Sharon (piano), Allan Mack (bass), Billy Exner (drums),

Candido (conga), Tony Bennett (scat on #6)

Recorded at the Chez Paree nightclub, Chicago, June 3, 1958.

Ralph Sharon - Easy Jazz

Apart from being a great jazz artist in his own right, Ralph Sharon proves in this album through his arrangements and leadership, that he can make other great artist’s play well while performing with him. He provides inspiration, ideas, and generates a tremendous beat throughout. We think most musicians and laymen will agree that the all stars improvising around Ralph Sharon arrangements, had a most stimulating experience at the session. 

It would be superfluous to write here about these great musicians since all are outstanding in their field. Each one a leader in his own right. 

You will also find in the course of each selection performed at this session, that each musician was still developing and creating excellent new ideas.

Ralph Sharon is an English born musician who dedicated himself to the piano for more than 15 years. He played with Ted Heath’s Orchestra, Frank Weir and Jack Parnell Quartet. He has composed and published many original compositions in the modern idiom. *Liner notes*

An apt title for this American-made set by the British pianist, even tho his cohorts include such intense avant-gardists as Charlie Mingus, Teddy Charles and J. R. Montrose, plus Joe Puma and Kenny Clarke.

Program is tasteful, light and non-aggressively modern -keyed mainly to Sharon's piano. The names will make some sales, tho this isn't their usual groove. Of the several originals, "Man on the Couch" is an interesting trial track. *Billboard, November 3, 1956*

Side 1

1 - Manhattan

(Rodgers)

2 - Two Sleepy People

(Carmichael)

3 - Have You Met Miss Jones

(Rodgers, Hart)

4 - Man On The Couch

(Sharon)

5 - Just Because We're Kids

(Sharon)

6 - Darn That Dream

(Van Heusen, De Lango)

Side 2

7 - Mood For Mitch

(Sharon)

8 - There's A Small Hotel

(Rodgers)

9 - Love Walked In

(Gershwin)

10 - Can't Get Out Of This Mood

(Loesser, McHugh)

11 - Plutocrat At The Automat

(Sharon)

12 - Slightly Oliver

(Sharon)

Ralph Sharon (piano), J. R. Montrose (alto sax), Joe Puma (guitar), Teddy Charles (vibes), Charles Mingus (bass), Kenny Clark (drums).

Recorded in New York City, May 27, 1955.