Five-Star Collection... Laurindo Almeida

Laurindo Almeida

Laurindo Almeida Quartet

Featuring Bud Shank

Laurindo Almeida was born Sept. 2, 1917 in São Paulo, Brazil. He played on the staff of Radio Mayrink Veiga in Rio de Janeiro and led his own orchestra at the Casino da Urca in Rio. He came to the United States in 1947 to join the Stan Kenton orchestra as featured guitar soloist. His extraordinary taste, beauty of sound and remarkable timing, almost without parallel among guitarists, gained him quick recognition throughout North as well as South America. 

This group of recordings effectively displays the current trend in broadening the jazz music horizons to include the folk music of other cultures as a basis for re-interpretation. 

The interesting cohesion of native Brazilian music with American jazz forms presents here an unusual excursion into modern sounds. This collection combines the talents of brilliant Brazilian guitar virtuoso, Laurindo Almeida, playing an unamplified Spanish Concert Guitar (finger style), and the bright jazz alto of ex-Stan Kenton-star Bud Shank. 

The compositions, with the exception of "Noctambulism", written by Harry Babasin, and "Hazardous", written by Dick Hazard, stem from the pens of composers from Almeida's native Brazil. "Tocata" was written expressly for this record session by one of Brazil's foremost classical composers, Radámes Gnattali. 

Harry Babasin, bass, and Roy Harte, drums, complete the quartet. Babasin is best known for his work with the Woody Herman Second Herd, the Benny Goodman orchestra and small band jazz groups. Most recently he collaborated with Oscar Pettiford in a group of recordings featuring Pettiford and himself playing cello duets. Roy Harte is well known for his work in the past with the Boyd Raeburn and Les Brown orchestras, and the Howard Rumsey Lighthouse All Stars.

*(from the liner notes)*

A valuably unusual collection. The freshly interacting lines are handled by Almeida and ex-Kentonite Bud Shank on alto, with Harry Babasin on bass and Roy Harte on drums. Brazilian-born Almeida is a master of the unamplified Spanish concert guitar and for years many jazz guitarists have admired his classical finger-style skill. The chance to hear him at length is alone worth the album, but there is a great deal more.

Each side is a carefully constructed small composition (four of the composers are from Brazil). But there are sections in each — least in Hazardous — that have the free feel of jazz improvisation and during these parts, Babasin and Harte provide an underlying jazz pulsation. So I expect that either the composers made provision for improvisation or Shank and Almeida inserted the interludes. The result, however you define it, justifies the statement in the notes: "...the interesting cohesion of native Brazilian music with American jazz forms presents here an unusual excursion into modern sounds".

After several listenings, I feel both the need and desire to hear this even more thoroughly. There is a refreshing lack of pretentiousness, but as simple as the lines and construction appear, they grow in emotive meaning with each hearing — as with Flamenco songs and dances though these so far seem to me to lack the depth of Flamenco music.

Shank blows with authoritative distinction. Babasin and Harte are excellent. Only objection is to the recording itself which could have had more bass and drums definition. Congratulations to Pacific Jazz on a legitimately different approach to contemporary sounds and structures.

*Nat Hentoff (Down Beat, March 10, 1954 [5 stars])*

1 - Tocata

(Radamés Gnattali)

2 - Hazardous

(Richard "Dick" Hazard)

3 - Cariñoso

(Alfredo da Rocha Viana Filho  ~ a.k.a Pixinguinha)

4 - Nonô

(Romualdo Peixoto)

5 - Noctambulism

(Harry Babasin)

6 - Blue Baião

(Humberto Teixeira, Luiz Gonzaga)

Laurindo Almeida (guitar), Bud Shank (alto sax), 

Harry Babasin (bass), Roy Harte (drums).

Recorded in Los Angeles, California, September, 1953

Five-Star Collection... Bud Shank

Bud Shank Quintet

Compositions Of Shorty Rogers

The purposes and aims of Nocturne's "Jazz in Hollywood" series have led to this presentation, featuring a group of musicians who have figured prominently in the Hollywood jazz vista. Bud Shank, brilliant ex-Kenton altoist, is featured, with a quintet made of Shorty Rogers, flugle horn and trumpet, Jimmy Rowles, piano, Harry Babasin, bass, and Roy Harte, drums, in a group of hitherto unrecorded originals by Shorty Rogers, the result being another excellent example of "Jazz in Hollywood". 

(...)

In 1953, [Bud Shank] appearing and recording with Shorty Rogers, Shelly Manne, Barney Kessel, Laurindo Almeida, Howard Rumsey’s Lighthouse All-Stars, and many others, Bud has definitely established himself as one of Hollywood's top jazz stars, of whom we are all destined to hear much. 

Among Hollywood's musicians, Shorty Rogers probably has contributed more to the jazz scene than any other who could be mentioned. Well-known talents, his swinging trumpet and writing styles, are again asserted herein, as are lesser-known talents on flugle horn and in a sensitive ballad conception. 

Rowles, Babasin, and Harte, as in Herbie Harper Quintet Album (NLP 1), again furnish that relaxed rhythmic support so conducive to sincere jazz effort. *(fom the liner notes)*

Nocturne's second LP is a joy unto the ears. First of all, it demonstrates further how excitingly inventive an altoist Bud Shank has become. And in his well-controlled, full-toned flutework on Lotus Bud, Shank indicates that he and Frank Wess would seem to be the leading contenders for the jazz flute diadem. On the other end of the front line is Shorty Rogers, blowing with his usual skilled enthusiasm and newly disclosing an incisive mastery of the flugel horn. The rhythm section (Roy Harte, Harry Babasin, and Jimmy Rowles) are as dynamically attuned as the front line, and Rowles' piano solos are always stimulating and economically conceived.

All of the tunes were written by Shorty. Thematically I prefer the slowly unfolding lines of Jasmine and Lotus Bud, but the casual figures of the up-tempo numbers lend themselves swingingly to ad lib elaboration, and Casa de Luz has particular, sharp distinction. The expressive gamut of this group is worth contrasting with the Mulligan and Baker units. There is no aura of the fragile glasshouse here. Recording is good; engineering is by John Neal. Whether there is such an entity as "west coast jazz" or not, this is fine work by any definition, geographical or just musical.

*Nat Hentoff (Down Beat, June 2, 1954 [5 stars])*

Side 1

1 - Casa De Luz

2 - Lotus Bud

3 - Left Bank

Side 2

4 - Shank's Pranks

5 - Jasmine

6 - Just A Few

(All compositions by Shorty Rogers)

Bud Shank (alto fute, ato sax), Shorty Rogers (flugelhorn),

Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drums).

Recorded at Western Recorders, Hollywood, California, March 25, 1954

Liberty Records • Jazz in Hollywood Series (XI)

Ted And Dick Nash

The Brothers Nash

✤Liberty (LJH 6011)✤

Ted Nash, birth name Theodore Malcolm Nash (October 31, 1922 – May 12, 2011) was a jazz musician who played saxophone, flute, and clarinet. He was a session musician in Hollywood studios. His brother is trombonist Dick Nash and his nephew is saxophonist Ted Nash, who is a member of the Jazz at Lincoln Center Orchestra led by Wynton Marsalis.

Nash was born in the Boston suburb of Somerville, Massachusetts. His goal was to become a classical flutist until he began playing saxophone in his early teens. His professional career began when he went on the road with a succession of dance bands. In 1944, he became tenor saxophonist for the Les Brown big band.With Brown he played on the number one hits "Sentimental Journey" and "My Dreams Are Getting Better All the Time", both sung by Doris Day.

In the late 1940s, after getting married, Nash settled in the Los Angeles and became active as a session musician in the Hollywood movie and television studios. In 1956, he recorded with Paul Weston's orchestra the album Day by Day, with vocals by his former colleague and close friend, Doris Day.

He was the featured soloist on The Music from Peter Gunn soundtrack, performing the alto saxophone solo on the theme and on the second bridge of "Dreamsville". He was known for his mastery of the extreme altissimo register of the saxophone. He wrote Ted Nash's Studies in High Harmonics for Tenor and Alto Saxophone published in 1946.

Through the 1950s and 1960s, he worked as a sideman for June Christy, Nat King Cole, Bing Crosby, Billy Eckstine, Ella Fitzgerald, Frank Sinatra, and Nancy Wilson. During the 1970s, he worked with Judy Collins and Quincy Jones. He retired in the 1980s.

Dick Nash, birth name Richard Taylor Nash (born January 26, 1928) is an American jazz trombonist most associated with the swing and big band genres.

He was born in Boston, Massachusetts and began playing brass instruments at ten. He became more interested in this after his parents died, and he was sent to Kurn Hattin Homes for Children in Vermont. At Kurn Hattin Homes, the first instruments he studied were the trumpet and bugle. His first professional work came in 1947 with bands like that of Tex Beneke. He served in the California National Guard from 1950 to 1952 and played for a band.

After his discharge from the military, he went back to Boston, where he attended Berklee College of Music. He then joined Billy May's band. Later he became a first-call studio musician in Los Angeles, California. He was composer, conductor Henry Mancini's favorite trombonist, and was featured soloist on several Mancini soundtracks, beginning with "Mr. Lucky" and "Peter Gunn". Nash's trombone is featured on the "Theme From Hatari!" from the soundtrack for the John Wayne film (1962), Breakfast at Tiffany's (1961), and Days of Wine and Roses. In 1959 he played bass trombone on Art Pepper + Eleven – Modern Jazz Classics.

His brother was the saxophonist Ted Nash and he has three children, Ted, also a saxophonist, Nikki, and Bill. *wikipedia.org*

This, [album] is in the nature of a new beginning for two brothers who have made names for themselves independently and are united at last in California with their music. 

Here, they have pooled their extreme musical talents and come up with an album of rare taste and quality. The music here is a pleasure to listen to. It combines clean, crisp sounds with good jazz. It is sometimes delicate, sometimes forceful. Often quiet — more often, exciting. And always conceived and executed with good taste.

The sound the group gets is amazing. Six men manage to sound like a group twice its size. They make it seem easy. Piano and guitar (Jimmy Rowles and Tony Rizzi) work first as a unit then as independent voices. Bass and drums (Harry Babasin and Roy Harte) are ever-present but never flambuoyant. Dick's trombone is joined by Ted, at one time or another, on alto, tenor, soprano, baritone, flute, alto flute, piccolo, clarinet, and bass clarinet to give a startling aural exhibition — and did I say only six in the total aggregation?

Much of the group's balance and continuity are due to the subtle arrangements of Frank Comstock, Chuck Kopley, Bob Harrington, and Jim Emerson.

The brothers Nash could hardly have picked a more swinging group of tunes for their Liberty Records' debut. *Don Nelson (liner notes)*

Side 1

1 - I Remember You

(Schertzinger, Mercer)

2 - We'll Be Together Again

(Carl Fisher, Frankie Laine)

3 - Juntos

(Frank Constock)

4 - Prelude To A Kiss

(Ellington)

5 - Theme From "The Bad And The Beautiful"

(Raskin)

6 - I Could Write A Book

(Rodgers, Hart)

Side 2

7 - Back In Your Own Backyard

(Jolson, Rose, Dreyer)

8 - For Heaven's Sake

(Meyer, Bretton, Edwards)

9 - Cuban Verandah

(Harrington)

10 - The Nearness Of You

(Washington, Carmichael)

11 - Night Soliloquy

(Kent Kennan)

12 - You Are Too Beautiful

(Rodgers, Hart)

Ted Nash (alto, tenor, soprano and baritone saxes, flute, alto flute, piccolo, clarinet, bass clarinet),

Dick Nash (trombone), Tony Rizzi (guitar), Jimmy Rowles (piano),

Harry Babasin (bass), Roy Harte (drums).

Recorded at Western Recorders, Hollywood, California, December 1, 1955 and April 6, 1956

Liberty Records • Jazz in Hollywood Series (III)

Herbie Harper

Featuring Bud Shank And Bob Gordon

✤Liberty LJH 6003✤

Hollywood, with its activity in the various fields of entertainment, has, for many years, attracted outstanding musisians of every category. Jazz men, in addition to many of our foremost concert artists, symphonic conductors and composers, make their homes in Hollywood. However, it is the development of local musical talents such as Bud 

Shank and Bob Gordon of which the film city can be most proud. Their emergence as full-fledged stars recalls the fact... Hollywood has been the birthplace of many a musical luminary. LIBERTY'S "JAZZ IN HOLLYWOOD" SERIES, in presenting Herbie Harper, Bud Shank and Bob Gordon, is adding a link in the never-ending chain of fine recorded jazz for which Hollywood is known.

⁂

On these sides, Herbie Harper, Bud Shank and Bob Gordon were in the company of many of Hollywood's (or the nation, for that matter) finest musical talent... the sparkling piano work of Jimmy Rowles on the Gordon sides, the inventive Marty Paich, who played and arranged the Shank sides, the splendid rhythmic backing of Harry Babasin on bass, and the strong drumming of Roy Harte. The combined creative effort of these artists will provide the listener with a representative musical glimpse of JAZZ IN HOLLYWOOD.  *Harry Babasin (liner notes)*

Trombonist Herbie Harper was one of the best underground talents on the LA cool jazz scene of the 50s — and although he cut albums like this, full of tight playing and imagination, he never really got the due that he deserved. He's heard here in two groupings — one with Bud Shank on tenor and baritone, the other with Bob Gordon on baritone. All the tracks are short and ensemble-heavy, with backing by a piano trio that features either Marty Paich or Jimmy Rowles. Titles include "The Happy Clown", "Five Brothers", "Jeepers Leapers", "Summertime", "Herbstone", and "New York City Ghost". *Dusty Groove, Inc.*

Side 1

1 - Now Playing

(Neal Hefti)

2 - The New York City Ghost

(Victor Young, Peggy Lee)

3 - The Happy Clown

(Marty Paich)

4 - Dinah

(Lewis, Young, Akst)

5 - Sanguine

(Marty Paich)

Side 2

6 - Five Brothers

(Gerry Mulligan)

7 - Summertime

(Gershwin)

8 - Herbstone

(Harper)

9 - Jive At Five

(Harry Edison, Count Basie)

10 - Jeepers Leapers

(McDougal)

Herbie Harper (trombone), with:

Bud Shank (tenor sax, baritone sax), Harry Babasin (bass), 

Marty Paich (piano), Roy Harte (drums) [#1 to #5].

Bob Gordon (baritone sax), Harry Babasin (bass),

Jimmy Rowles (piano), Roy Harte (drums) [#6 to #10].

Recorded at United Western Recorders, Los Angeles, California, 

February 27 (#4, #6, #7, #8,#9, #10) and September 16 (#1, #2, #3, #5), 1954

Herbie Harper - Jazz In Hollywood Series

Herbie Harper played for Charlie Barnet, Gene Krupa, and Benny Goodman in the last years of the Swing Era and established himself as a superior trombonist. In 1947, with bands dwindling, he found employement in the film, broadcasting, and recording studios of Holywood. Harper continued his involvement with jazz not only as a player but as an organizer and inspirational force. By 1953, when Los Angeles was becoming the  focal point of so-called West Coast Jazz, Harper was in the thick of it. His recordings for the small Nocturne label featured some of the bright stars of the period. They included the remarkable baritone saxophonist Bob Gordon, pianist Jimmy Rowles, and Bud Shank, heard here on tenor and baritone saxes rather than his customary alto and flute. Harper's horn, by turns quicksilver and blowsy, sets the pace.

Herbie Harper

Nocturne Records • Jazz In Hollywood Series

Although somewhat forgotten today, Herbie Harper was one of jazz's top trombonists of the 1950s. Even with the time he spent doing studio work, Harper was closely involved in the West Coast jazz movement in Los Angeles. This CD has Harper's two Nocturne dates, including the earliest session cut by the label. Harper is heard on a delightfully swinging set with baritonist Bob Gordon, pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte, and on two other sessions with Babasin, Harte and sometimes Bud Shank (on tenor and baritone rather than alto and flute), guitarist Al Hendrickson and/or pianist Marty Paich. The music includes cool renditions of swing-era songs, a few newer originals, and some offbeat material. Recommended. *Scott Yanow*

A great little package that features two rare 10" albums by trombonist Herbie Harper -- both issued by the short-lived Nocturne label in the 50s! Harper's sound here is totally great -- a tightly-crafted approach to his instrument that rivals that of some of his more famous contemporaries on the LA scene, but which is also served up with a bit of grit in the solos -- a slightly earthy feel at times that's a nice contrast to some of the more modern tendencies of the records. The first half of the CD features Harper in a quintet with Bob Gordon on baritone sax, Jimmy Rowles on piano, Harry Babasin on bass, and Roy Harte on drums -- and the Babasin/Harte team return on the second half, which features quartet and quintet sides with Al Hendrickson on guitar, Bud Shank on tenor, and Marty Paich on piano. Titles include "Patty", "Herbstone", "Five Brothers", "The New York City Ghost", "Julie Is Her Name", "Sanguine", "Now Playing", "6/4 Mambo", and "Bananera".  *dustygroove.com*

1 - Jeepers Deepers

(McDougall)

2 - Dinah

(Lewis, Young, Akst)

3 - Five Brothers

(Mulligan)

4 - Herbstone

(Harper)

5 - Summertime

(Gershwin, Gershwin, Heyward)

6 - Jive At Five

(Edison, Basie)

7 - Patty

(Hendrickson, Graas)

8 - The New York City Ghost

(Young, Lee)

9 - Julie Is Her Name

(Troup)

10 - Sanguine

(Paich)

11 - Now Playing

(Hefti)

12 - 6/4 Mambo

(Graas)

13 - Bananera

(Riddle)

14 - Indian Summer

(Herbert)

15 - The Happy Clown

(Paich)

#1 to #6:

Herbie Harper (trombone), Bob Gordon (baritone sax), Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drum).

United Western Recorders, Los Angeles, California, February 27, 1954.

#8, #10, #11, #15:

Herbie Harper (trombone), Bud Shank (tenor and baritone sax), Marty Paich (piano), Harry Babasin (bass), Roy Harte (drums).

United Western Recorders, Los Angeles, California, September 16, 1954.

#7, #9, #12, #13, #14:

Herbie Harper (trombone), Al Hendrickson (guitar), Harry Babasin (bass), Roy Harte (drums).

United Western Recorders, Los Angeles, California, September 27, 1954.