Lighthouse All-Stars Collection XXVIII ★ Jazz On Television (I)

Los Angeles Jazz Institute presents

Rare And Unissued Audio of

West Coast Jazz On Television

From the 1950s

Following the "historical route" of existing recordings by the Lighthouse All-Stars, including their mentor Howard Rumsey, we come across hard-to-find recordings covering the group's appearances on the television circuit. These will be two very special posts.

This first post rescues a collection of rare and unissued broadcast recordings made between 1953 and 1957. The core of the album consists of performances from the celebrated TV show Stars of Jazz (broadcast on ABC/KABC-TV starting in June 1956 and hosted by Bobby Troup), alongside invaluable television gems: from the Lighthouse All-Stars' historic appearance on the premiere broadcast of NBC's Monitor in 1955, to a newly discovered 12" acetate featuring Chet Baker on The Today Show, as well as the 1953 charity telethon with the Sonny Burke Orchestra and an appearance by the Dave Brubeck Quartet on Steve Allen's show.

Although very few kinescopes with the original video footage survived over the years, the audio archive has been meticulously preserved thanks to the work of the Los Angeles Jazz Institute—sourced from the collections of key figures like Jimmie Baker and Bob Andrews, as well as transcription discs recorded for the Armed Forces Radio Service (AFRS) and material later issued by Calliope Records—. Much of the historical rigor surrounding these broadcasts is owed to James Harrod's exhaustive research across his platforms (Jazz Profiles, Stars of Jazz blog, and Calliope Records blog), an essential reference for understanding this era.

A unique opportunity to experience the vibrancy of the Los Angeles scene live on television, preserved in a truly indispensable archival release.

1 - Anybody Hurt / Hey Bellboy

(Sonny Burke, Paul Francis Webster / Sonny Burke)

Gloria Wood and Pete Candoli with Sonny Burke Orchestra:

Gloria Wood (vocals), Pete Candoli (trumpet), Sonny Burke (piano, conductor).

[other personnel unidentified]

Recorded at KECA-TV (Channel 7), Cerebral Palsy Telethon,

Los Angeles, California, June 6, 1953

2 - Goodbye / I Get Along Without You Very Well

(Gordon Jenkins / Hoagy Carmichael)

Chet Baker

Chet Baker (trumpet, vocal), Russ Freeman (celeste).

[unidentified percussionist]

Recorded live on "The Today Show",

NBC Television Network, May 13, 1955

3 - Happy Town / Jazz Invention

(Bob Cooper / Bob Cooper)

Howard Rumsey's Lighthouse All-Stars:

Bud Shank (alto sax, flute), Bob Cooper (tenor sax, oboe), Frank Rosolino (trombone),

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

Recorded live at The Lighthouse, Hermosa Beach, California,

"NBC Monitor Premiere", NBC Network, June 12, 1955

4 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

Dave Brubeck Quartet:

Dave Brubeck (piano), Paul Desmond (alto sax), Norman Bates (bass), Joe Dodge (drums).

Recorded live on "The Tonight Show hosted by Steve Allen",

NBC Television Network, February 22, 1956

5 - Doxy

(Sonny Rollins)

Shelly Manne and His Men:

Stu Williamson (trumpet), Charlie Mariano (alto sax),

Russ Freeman (piano), Leroy Vinnegar (bass), Shelly Manne (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, July 16, 1956

6 - Sweet Georgia Brown

(Ben Bernie, Maceo Pinkard, Kenneth Casey)

Red Norvo Ensemble:

Red Norvo (xylophone), Jack Montrose (tenor sax),

Robert Drasnin (reeds), Bill Kosinski (french horn),

Jimmy Wyble (guitar), Buddy Clark (bass), Bill Douglass (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, August 27, 1956

7 - Coolin' The Blues

(Hampton Hawes)

Hampton Hawes Trio:

Hampton Hawes (piano), Red Mitchell (bass), Leroy McCray (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, September 10, 1956

8 - Modus Operani

(Jack Montrose)

Jack Montrose Quintet:

Jack Montrose (tenor sax), Fred Waters (baritone sax),

Paul Moer (piano), Ralph Peña (bass), William Donley (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, December 10, 1956

9 -I Can't Believe That You're In Love With Me

(Jimmy McHugh, Clarence Gaskill)

Lennie Niehaus Quintet:

Lennie Niehaus (alto sax), Bill Perkins (tenor sax),

Paul Moer (piano), Buddy Clark (bass), Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, January 14, 1957

10 - Short Stop

(Shorty Rogers)

Shorty Rogers Big Band:

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

11 - Wow

(Shorty Rogers)

Kay Brown with Shorty Rogers Big Band:

Kay Brown (vocal) with

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

12 - Popo

(Shorty Rogers)

Shorty Rogers Big Band:

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

13 - Infra Rae

(Hank Mobley)

Claude Williamson Trio:

Claude Williamson (piano), Willfred Middlebrooks (bass),Billy Higgins (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, June 24, 1957

14 - Westlake Bounce

(John Graas)

John Graas Quintet:

John Graas (french horn), Sam Firmature (tenor sax),

Dick Grove (piano), Dick Fritz (bass), Ray Roten (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, August 5, 1957

15 - Makin' Whoopee

(Walter Donaldson, Gus Kahn)

Lucy Ann Polk with the Marty Paich Septet:

Lucy Ann Polk (vocal) with

Jack Sheldon, Don Fagerquist (trumpets);

Stu Williamson, Bob Enevoldsen (valve trombones);

Marty Paich (piano); Buddy Clark (bass); Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 11, 1957

16 - Blue Lou

(Edgar Sampson, Irving Mills)

Marty Paich Septet:

Jack Sheldon, Don Fagerquist (trumpets);

Stu Williamson, Bob Enevoldsen (valve trombones);

Marty Paich (piano); Buddy Clark (bass); Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 11, 1957

Jack Montrose and Red Norvo : Another good pair

Tenor saxophonist and composer Jack Montrose was a premier exponent of the West Coast jazz movement. His terse phrasing and smooth tone remain the quintessence of California cool. Born December 30, 1928, in Detroit, Montrose spent the first several years of the Depression in Chicago until poverty forced his family to relocate to Chattanooga, Tennessee. Upon teaching himself saxophone he joined a local dance band at the age of 14, and after several tours of the South he relocated to Southern California, where in 1947 he joined the John Kirby Sextet, beginning a long and fertile collaboration with Kirby's baritone saxophonist, Bob Gordon. Montrose continued working with Kirby while studying at Los Angeles State College, and after the bandleader's 1952 death he supported Shorty Rogers and Art Pepper. Upon graduating in 1953, Montrose earned notoriety as a session musician and arranger, contributing to dates headlined by Chet Baker, Clifford Brown, and Dave Pell. After returning from a six-month tour with Stan Kenton in mid-1954, Montrose reunited with Gordon for the Pacific Jazz LP Meet Mr. Gordon.

In 1955, the saxophonists convened for an acclaimed Atlantic date, Arranged/Played/Composed by Jack Montrose, followed by a Pacific Jazz session headlined by the former. But by the time of both albums' commercial release, Gordon was dead, killed in a fatal auto accident on August 28, 1955, at the age of only 27.

Montrose resurfaced in 1957 with a pair of RCA releases, Blues and Vanilla and The Horn's Full.

Reviewing Jack Montrose's albums posted here, it can be seen that only these last two albums are missing to complete his main recordings as a leader between the mid-1950s. Let's make the completists happy...

Jack Montrose

Blues and Vanilla

And

The Horn's Full

The two LPs compiled here are among the best works by the late Jack Montrose (1926-2006), a fine tenor sax player, remarkable jazz composer and arranger, and a key figure in the 1950s West Coast jazz movement. The first includes Montrose's extended work Concertino da Camera (subtitled Blues and Vanilla), his most ambitious project, devised within an essentially contrapuntal structure. The quintet sides prove the cleverly conceived aspects of his compositional concepts, with their sense of symmetry in the use thematic material. Montrose is accompanied here by some strong voices with a high level of individual performance such as Joe Maini, Shelly Manne, Jim Hall, Barney Kessel, and Red Norvo. The interplay, sympathy and good feeling between them are something to hear and one that doesn’t pall with repeated hearings.

Blues and Vanilla

Jack Montrose's first LP for RCA is a long-out-of-print collectable that is fairly obscure due to the paucity of jazz recordings that he made in the decades that followed this 1957 release. The cool-toned nature of the tenor saxophonist's compositions and arrangements fits in with the so-called West Coast jazz genre, though like many of the musicians labeled as such, Montrose is not a native of the region. The first section of his extended piece "Concertino da Camera (Blues and Vanilla)" is built upon a swinging blues theme that utilizes a call-and-response between the rhythm section (anchored by vibraphonist Red Norvo) and the saxophonists (Montrose is joined by alto saxophonist Joe Maini); the second part gradually integrates three separate themes with some wild counterpoint. The second side of the disc includes a quintet with guitarist Jim Hall, bassist Max Bennett, and drummer Bill Dolney joining Montrose and Norvo for several more originals by the leader and an inventive arrangement of Duke Ellington's "Don't Get Around Much Anymore" that incorporates a counter-melody against the main theme. Montrose's approach to "Bernie's Tune" also adds new depth to this favorite of '50s-era jam sessions. *Ken Dryden -All Music Guide*

The Horn's Full

Although a somewhat obscure set which has not yet been reissued on CD, this outing by tenor saxophonist Jack Montrose was put out by Fresh Sound Records in the 1980s. Montrose, an excellent improviser who was also a talented arranger, teams up with vibraphonist Red Norvo, either Barney Kessel or Jim Hall on guitar, Lawrence Wooten or Max Bennett on bass and Mel Lewis or Bill Dolney on drums to perform six of his originals and five swing-era standards. The music is greatly uplifted by Montrose's inventive arrangements and has many concise solos. Despite the quality, Montrose would not have his next opportunity to lead a record date for 28 years.

*Scott Yanow -All Music Guide*

1 - Concertino Da Camera (Blues and Vanilla)

(Jack Montrose)

2 - Bockhanal

(Jack Montrose)

3 - Don't Get Around Much Anymore

(Ellington, Russell)

4 - A Dandy Line

(Jack Montrose)

5 - For The Fairest

(Jack Montrose)

6 - Crazy She Calls Me

(Sigman, Russell)

7 - Dark Angel

 (Jack Montrose)

8 - Bernie's Tune

(Bernie Miller)

9 - Headline

(Jack Montrose)

10 - Rosanne

(Osser-Osser)

11 - Polka Dots And Moonbeams

(Burke, Van Heusen)

12 - The Little House

(Jack Montrose)

13 - Solid Citizen

(Jack Montrose)

14 - Do Nothin' Till You Hear From Me

(Duke Ellington)

15 - True Blue

(Jack Montrose)

16 - The Horn's Full

(Jack Montrose)

17 - Goody Goody

(Malneck, Mercer)

#1 to #5 and #8 from the album Blues and Vanilla (RCA LPM-1451)

#6, #7 and #9 to #17 from the album The Horn's Full (RCA LPM-1572)

#1:

Jack Montrose (tenor sax), Joe Maini (alto sax),

Red Norvo (vibes), Buddy Clark (bass), Shelly Manne (drums).

Recorded at Radio Recorders, Hollywood, California, November 13, 1956

#2 to #9:

Jack Montrose (tenor sax), Red Norvo (vibes),

Jim Hall (guitar), Max Bennett (bass), Bill Dolney (drums).

Recorded at Radio Recorders, Hollywood, California,

December 24 (#2 to #5), and 26 (#6 to #9), 1956

#10 to #17:

Jack Montrose (tenor sax), Red Norvo (vibes),

Barney Kessel (guiotar), Lawrence "Red" Wooten (bass), Mel Lewis (drums).

Recorded at Radio Recorders, Hollywood, California,

September 10 (#10 to #13), and 11 (#14 to #17), 1957

Red Norvo: A hidden gem

Red Norvo

Ad Lib

Featuring Buddy Collette

One of the hippest Red Norvo records ever — a rare outing for Liberty that features Buddy Collette on reeds, bringing in a new level of color to the Norvo group! Red's work on vibes is precise and nicely chromatic — often coming across in waves of sound on the mellower tracks, and with a poppingly melodic quality on the more upbeat ones. Other players include Dick Shreve on piano, Bill Douglass on drums, and either Curtis Counce or Joe Comfort on bass — and titles include "A Few Days After Xmas", "Tar Pit Blues", "Shreve-Port", "The Brushoff", and "Fifth Column". *Dusty Groove, Inc.*

How does the man do it? Year in and year out, Red continues to maintain standards of musicianship and ideational interest that have been associated with him for better than a quarter-century on records. The latest pair of LPs (Ad Lib and Music To Listen To Red Norvo By) will add further luster to Red's reputation; there is little to choose between them except for the added interest of Bill Smith's writing on the second set.

"What Is There to Say?" typifies the Liberty sides (Ad Lib). The melody is neatly rephrased in strikingly effective vibes-flute unison, with accents by brushes and rhythm. Shreve is his usual spare, incisive self; Red, Buddy, and the bassist (why don't they tell us who played on which tracks?) all capture the spirit of the easy tempo and sunny-afternoon mood.

It's the same on most of the other items, with Buddy's clarinet most effective on "Shreve-port" and "School", his alto pleasant on "Waterfront". The latter tends to become rhythmically logey; the piano gets a fine funky sound (or sounds out of tune, whichever way you prefer to look at it). The originals (three by Buddy, two by Dick) are all light and charming, especially "Xmas", Buddy’s "Frenesi"-like, up-tempo blues. *Leonard Feather (Down Beat, September 19, 1957)*

When you cross bridges, combine schools, intertwine the swinging with the cool, you could not choose two better ingredients than Red Norvo and Buddy Collette for the purpose.

Red's great vibe work has been one of jazz's standout commodities for years, whether rocking some small group of his own or backstopping a great vocalist such as the late, great Mildred Bailey. Red's soft tasty beat with the right ideas in just the right places has given his work that individual stamp which defies eras and fads. Red is certainly one of the "jazz greats" of the music world.

Watching him in a session, leading the way with his own ideas, one readily comprehends Red's mastery of his instrument. For Red to come through with continuously brilliant performances have become commonplace.

It is only natural that an artist with the conception of Norvo should reach out and attract artists of equal stature. Such is the case of "The Man of Many Parts", Buddy Collette. This master of the reed family, is a new artist only in the sense of being discovered but lately by the jazz aficionados.

Buddy has long been one of the stalwarts of the West Coast scene. Not only has he shown to advantage with various jazz groups but being a full, well-schooled musician, he has been sought after for the more mundane vocations of the studio orchestra chair and serious musical projects.

However, it is in jazz, obviously Buddy's first love, that he has risen to giant proportions. In Ad Lib, Buddy's and Red's talents blend so beautifully that we are forced to re-evaluate some earlier conceptions of the cool scene. Here, at least, it is not all technique and a nose tilted haughtily at the solid beat. Here, at least — Red, Buddy, and their cohorts manage to interject a feeling of warmth and swinging, listenable, understandable and over-all projection of a wonderful mood in jazz.

Ad Lib showcases Buddy Collette's new discovery. His name's Dick Shreve and his fresh and scintillating pianistic slyle stamps him as a sure-fire bet to join his illustrious compatriot in the Jazz Hall of Fame. *Simon Jackson (liner notes)*

Side 1

1 - What Is There To Say

(Vernon Duke, E. Y. Harburg)

2 - Shreve-Port

(Dick Shreve)

3 - 96th Street School

(Buddy Collette)

4 - Fifth Column

(Dick Shreve)

5 - The Brushoff

(Buddy Collette)

Side 2

6 - I Cover The Waterfront

(Johnny Green, Edward Heyman)

7 - A Few Days After Xmas

(Buddy Collette)

8 - Mad About The Boy

(Noel Coward)

9 - Tar Pit Blues

(Dick Shreve)

Buddy Collette (flute, clarinet [#3, #4, #5, #9], alto sax [#6]);

Red Norvo (vibes); Dick Shreve (piano); Bill Douglass (drums);

Curtis Counce [#1, #5, #6, #7], Joe Comfort  [#2, #3, #4, #8, #9] (basses).

Recorded in Hollywood, California, December 18 [#1, #5, #6, #7], 1956;

December 27 [#2, #3, #4], 1956 and January 4 [#8, #9], 1957

Liberty Records • Jazz in Hollywood Series (XII)

Red Norvo • In Hi-Fi

Vibe-Rations

✤Liberty (LJH 6012)✤

That Red Norvo now wears a beard (which makes him look somewhat like one of Saul Steinberg's cats) has nothing whatever to do with his having been born Kenneth Norville about forty-seven years ago in Beardstown, Illinois, but it is symbolic of his standing as one of the evergreen geniuses of jazz; Red was in Chicago in the late twenties when Eddie Condon and that bunch were, and although it was difficult for him to wheel his instrument, then the xylophone (Red says "zillaphone"), to the sessions at which they drank bad gin and played much music that was probably almost as bad but sounded great partly because it was fresh and exciting (and partly 

because of the gin), he nevertheless won the respect of all, even that of the staid Goodman, who later hired him when he was between combinations of his own; and at the risk of challenging the Times' Gilbert Millstein's title of World's Longest-Opening-Paragraph Writer, I must add that Red continued to grow and grow until the kids who play progressive began to pay strict awestruck attention to his work on the vibes (which replaced the "zillaphone"), a continuing homage which he has acknowledged by uttering the beard. 

Few other musicians can make that claim, let alone that transition. 

⁂

I don't want to talk about the music except to say that it is strikingly representative of the personality of its creator: I am no musician, and it speaks for itself, swinging with lightness of touch beautifully fitting for the profound and humorous imagination that conceives it. I have spent the happiest times I've ever had with jazz listening to Red Norvo play, and I have had some of the happiest times I've ever had with another human being listening to Red Norvo talk. I want to talk about Red the human being: 

In the summer of 1956 when I was in Hollywood on some magazine jobs, I went to hear him (Norvo) every night I could make it at Ken Brown's place in Santa Monica. I would sit there marveling as he played "Rhee! Oh Rhee!" (my favorite) and the rest, and between sets we would sit around and talk about the days seven or eight years ago when he was playing at the Embers in New York and after hours hd and I and Eddie Condon would go to a Chinese restaurant where the proprietor would bring us a teapot full of what Condon always called "slant-eyed whisky". After the playing and reminiscing were over – I'm talking about the Hollywood visit again – Red and I would go out somewhere and eat. One night I noticed that he was strangely quite. I didn't want to ask what was wrong. He is sometimes shy, I thought this was one of his shy nights, and he couldn't bring himself to say much (in that Embers period, he often thought of more to say than some of us felt was necessary; but he had not yet gone on the wagon, then) We ate, said good night, and he went over to his house in Santa Monica and I went back to my hotel. The next evening he apologized. He said, "I'm sorry for being so quiet last night. We had to take our little boy to the hospital yesterday. It was sort of serious. I started to tell you about it but then I knew you'd worry and I didn't want to spoil your evening".

That is one side of him. Adjectives may now be filled in at random, and all the noble one will do.

⁂

That's Red. Here, on these selections, is the man's music. He has augmented his trio with Jack Montrose, who plays tenor, second flute and clarinet; Bob Drasnin, first flute: Bill Kosinski, English horn; and Bill Douglass, drums. Eugene Wright plays bass, and Bill Dillard, who was burned to death a few weeks after these sides were recorded, is the guitarist and composer, with Red, of "Rhee! Oh Rhee!" and "Porsche". 

Like everything else about Norvo, they are remarkable, and it is my great pleasure to commend them to everyone who loves jazz. *Richard Gehman (liner notes)*

On Vibe-Rations, Red's associates are the late Bill Dillard, guitar; Jack Montrose, tenor, clarinet, flute; Robert Drasnin, flute; Bill Kosinski, English horn; Gene Wright, bass; Bill Douglass, drums. The rhythm section has the rare combination of pulsating sureness and a light, ensemble-conscious, fluid, knitted sound. Dillard's loss was obviously a great one. He plays here with impressive warmth, ideas, and time. Red himself is, as always, youthfully imaginative and a marvelously relaxed master of the vibes. At 47, he remains a musician who transcends stylistic lines. His contributions to jazz have been many and major. He is the best and the most personal soloist on the date. Montrose blows good, vigorous tenor, Drasnin's flute is skilled but lacks funk. Kosinski makes his assignments. Chief liability of the set are the anemic arrangements, most bloodless in the rather wispy ensemble sound, and the rather routine nature of the ensemble figures. The date would have been more successful either as a straight blowing session or with more challenging frameworks. Anyway, it's worth owning for Red, the rhythm section, and Dillard. Good, pointed notes by Dick Gehman, and fine sound. *Nat Hentoff (Down Beat, December 12, 1956)*

Side 1

1 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

2 - It Could Happen To You

(Burke, Van Heussen)

3 - All This And Heaven Too

(DeLange, Van Heusen)

4 - Fascinatin' Rhythm

(G. and I. Gershwin)

Side 2

5 - Rhee! Oh! Rhee

(Dillard, Norvo)

6 - Get Out Of Town

(Cole Porter)

7 - Ship Without A Sail

(Rodgers, Hart)

8 - Porsche

(Dillard, Norvo)

Red Norvo (vibes), Jack Montrose (tenor sax, clarinet, flute), Robert Drasnin (flute),

Bill Kosinski (English horn), Bill Dillard (guitar), Gene Wright (bass), Bill Douglass (drums).

Recorded in Hollywood, California, May 21 [#1 to #4, #6, #7] and May 28 [#5, #8], 1956

Joe Morello - Collections

Intro is extremely happy with the result of this st. However, it is said that confession is good for the soul, therefore we must confess that there was some skepticism about the results of this album, not because the musicians present, but because of the handicaps under which this set was done. The decision to do this album was quite sudden, caused by the fact that drummer Joe Morello, was in town for two days, on the way to San Francisco to join the Dave Brubeck Quartet. Therefore, three sessions had to be packed into one day. It is certainly no secret that Morello is one of the most sensational new drummerson the jazz scene today. Naturally, an oportunity to record him couldn't be passed by.

When you hear the great jazz in this set, and especially Joe Morello, who contributed so much, you will understand why we wished to take advantage of Joe's short stay in town.

*Don Clark (liner notes)*

Joe Morello was virtually unknown when he recorded this date for the Intro label in January of 1956. While he did have a handful of gigs with both Stan Kenton and Marian McPartland under his belt, it would be several months before his association with Dave Brubeck's classic quartet. Perhaps this fact was on the minds of the folks at Intro, because initial pressings of the album gave very little indication that Morello was, in fact, the session's leader. Instead, it was packaged rather like a jam session date in that Red Norvo, Art Pepper, Gerry Wiggins, and Morello all received equal billing on the front cover. Add to this a different title (Collections) printed on both the jacket and spine and it's a wonder people refer to it as The Joe Morello Sextet at all. Regardless, the most interesting performances on this record are by the similarly young Pepper, who appears on five of the album's ten tracks. Pepper sticks to alto sax on all but the appropriately titled original "Tenor Blooz," and delivers a meatier-than-expected tone for an alto player. Fine performances by both Norvo and Wiggins help make this a timeless West Coast jazz release. No real surprises here, but every track is a gem. Easily recommended for fans of the genre. *Brandon Burke*

Quite a rare one from the LA scene of the late 50s — a one-off session that features a group led by Red Norvo on vibes, and also including Art Pepper on alto and tenor, Howard Roberts on guitar, Gerry Wiggins on piano, Joe Morello on drums, and Ben Tucker on bass. The unlikely group really gell well together — thanks especially to Pepper, who plays with that strong and soulful line that he's got on some of the better tiny label sessions that he recorded at the time. Tracks include "Tenor Blooz", "Little Girl", "Pepper Steak", "Yardbird Suite", and "Straight Life". *dustygroove.com*

1- Tenor Blooz

(Art Pepper)

2 - You're Driving Me Crazy

(Walter Donaldson)

3- Sweet Georgia Brown

(Ben Bernie, Maceo Pinkard, Kenneth Casey)

4 - Little Girl

(Francis Henry, Madeline Hyde)

5- Pepper Steak

(Art Pepper)

6 - Have You Met Miss Jones?

(Richard Rodgers, Lorenz Hart)

7 - Yardbird Suite

(Charlie Parker)

8 - I Don't Stand A Ghost Of A Chance With You

(Victor Young, Bing Crosby, Ned Washington)

9 - I've Got The World On A String

(Harold Arlen, Ted Koehler)

10 - Straight Life

(Art Pepper)

Art Pepper (alto sax [#2, #5, #7, #10], tenor sax [#1]), Red Norvo (vibes), Gerry Wiggins (piano), Howard Roberts (guitar), Ben Tucker (bass), Joe Morello (drums).

Recorded at United Western Recorders, Los Angeles, California, January 3, 1957.

Jack Millman And His All-Stars

Trumpet and flugelhorn player Jack Millman was just 17 when he "sat in" with Lionel Hampton and was then invited by Hamp to join the band for a 6-week stint at the Paramount Theatre in Los Angeles. Just before he was drafted in the Army he joined the Stan Kenton Orchestra for a West Coast Road Tour. When he completed his service he came out to form and manage his own jazz groups throughout the 50's that played the West Coast scene extensively. Presented here is Millman's classic 1955 recordings featuring some of the greatest West Coast jazz players of all time.

A rare session as a leader by trumpeter Jack Millman – one that's based around his own compositions, and which a large group of west coast players alongside some lesser-known 50s talents! Players include Fred Aguirre, Lin Halliday, Artie Anto, Mike Pacheco, Curtis Counce, Herb Geller, Jimmy Giuffre, Howard Roberts, and Don Friedman – playing arrangements of Millman tunes by Shorty Rogers, Jimmy Giuffre, Jack Montrose, and Pete Rugolo. Tracks are short, but have wonderfully constructed horn passages – as well as some very nice use of Latin percussion – and titles include "Tom & Jerry", "Bolero De Mendez", "Groove Juice", "Pink Lady", "The Turk", and "Bambi".  *dustygroove.com*

A stimulating presentation of the modern jazz compositions of an outstanding writer, Jack Millman. The wide range of his written work is amply outlined here, and given tremendous interest since each of the 12 compositions included in this album is arranged by different man. Shorty Rogers, Jimmy Giuffre, Jack Montrose and Pete Rugolo are some of the prominent names. The instrumentalists also vary from item to item, but are taken from the ranks of the West Coast's finest musicians. Most of the music is light and listenable, written with a delicate balance of construction and careful selection of instrumentation. The stature of the arrangers and participating musicians will automatically garner good initial sales. *Billboard, November 19, 1955*

Jack Millman

And His All-Stars

1 - Groove Juice

2 - Pink Lady

3 - Too Much

4 - Ballade For Jeannie

5 - The Turk

6 - When You're Near

7 - Tom And Jerry

8 - So Goes My Love

9 - Bolero De Mendez

10 - Just a Pretty Tune

11 - Cathy Goes South

12 - Bambi

(All compositions by Jack Millman)

#1:

Jack Millman (flugelhorn), Bob Enevoldsen (valve trombone), Herb Geller (alto sax), Jimmy Giuffre (tenor sax), Bob Gordon (baritone sax), Claude Williamson (piano), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Jimmy Giuffre

Recorded in Los Angeles, June 1, 1955

#2:

Jack Millman (flugelhorn), Buddy Collette (flute), Bob Gordon (bass clarinet), Claude Williamson (piano), Howard Roberts (guitar), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Shorty Rogers

Recorded in Los Angeles, June 1, 1955

#3:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Ray Vázquez (baritone sax), Don Friedman (piano), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Jack Montrose

Recorded in Los Angeles, May 25, 1955

#4:

Jack Millman (trumpet), Maynard Ferguson (valve trombone), Buddy Collette (alto sax), Jack Montrose (tenor sax), Bob Gordon (baritone sax), Gerald Wiggins (piano), Curtis Counce (bass), Chico Hamilton (drums).

Arrangements by Lyle Murphy

Recorded in Los Angeles, May 18, 1955

 #5:

Jack Millman, Conte Candoli (trumpets); Gerald Wiggins (piano); Frank Flynn (vibes); Curtis Counce (bass); Chico Hamilton (drums); Mike Pacheco, Artie Anton, Fred Aguirre (percussion).

Arrangements by Jack Millman

Recorded in Los Angeles, May 18, 1955

#6:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Don Anderson (vibes), Don Overberg (guitar), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Chico Álvarez

Recorded in Los Angeles, May 25, 1955

#7:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Don Friedman (piano), Don Anderson (vibes), Don Overberg (guitar), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Gerald Wiggins

Recorded in Los Angeles, May 25, 1955

#8:

Jack Millman (flugelhorn), Ray Vázquez (baritone sax), Don Friedman (piano), Don Anderson (vibes), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Bill Holman

Recorded in Los Angeles, May 25, 1955

#9:

Jack Millman (flugelhorn); Buddy Collette (flute); Herb Geller (alto sax); Jimmy Giuffre (clarinet); Bob Gordon (baritone sax); Howard Roberts (guitar); Red Mitchell (bass); Shelly Manne (drums); Mike Pacheco, Jack Costanzo, Bob Enevoldsen (percussion).

Arrangements by Pete Rugolo

Recorded in Los Angeles, June 1, 1955

#10:

Jack Millman (trumpet), Bob Enevoldsen (valve trombone), Buddy Collette (flute), Jimmy Giuffre (tenor sax), Bob Gordon (baritone sax), Claude Williamson (piano), Red Norvo (vibes), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Frank Erickson

Recorded in Los Angeles, June 1, 1955

#11:

Jack Millman (trumpet); Buddy Collette (flute, alto sax); Jack Montrose (tenor sax, clarinet); Bob Gordon (baritone sax); Frank Flynn (vibes); Curtis Counce (bass); Chico Hamilton (drums); Mike Pacheco, Artie Anton, Fred Aguirre, Maynard Ferguson (percussion).

Arrangements by Johnny Mandel

Recorded in Los Angeles, May 18, 1955

#12:

Jack Millman (trumpet), Maynard Ferguson (valve trombone), Buddy Collette (alto sax), Jack Montrose (tenor saxs), Barney Kessel (guitar), Frank Flynn (vibes), Chico Hamilton (drums).

Arrangements by Gene Roland

Recorded in Los Angeles, May 18, 1955

All sessions recorded at Decca Studios and United Western Recorders