Gigi Gryce and Donald Byrd's Laboratory

One of the finest groups of the late 50s, the Jazz Lab was co-led by the inimitable horn players Gigi Gryce and Donald Byrd. Although the group worked extensively from February to September of 1957 it broke up shortly after. However, all of their albums together have become jazz classics. 

Some of the group's creation and history can be read in the chapter "In the laboratory" of the book Rat Race Blues: The Musical Life of Gigi Gryce, co-authored by Noal Cohen and Michael Fitzgerald:

By the measure of recording activity, at least, Gryce's jazz career peaked in 1957. This would be his most productive period nor only as a leader, but as a sideman and writer on several recording sessions of high quality and great importance. It was at this time also that he would solidify his group conception of jazz, utilizing as a unifying element his series of recordings as co-leader of a quintet with Donald Byrd. And having entered the elite group of New York musicians capable of filling roles in a variety of settings, he was now getting sufficient work to ensure financial security.

A very important event occurred in early 1957 when Gryce and Donald Byrd decided to join forces and co-lead the Jazz Lab ensemble. Seven years Gryce's junior, Byrd (1932-2013) relocated from his native Detroit to New York permanently in 1955, and soon thereafter was ensconced in the jazz scene, working and recording with nearly all of the hard bop stalwarts including Jackie McLean, John Coltrane, George Wallington, Art Blakey, and Horace Silver. He shared with Gryce a formal musical training, having received a Bachelor of Music degree from Wayne State University in 1954. Byrd also studied in Paris with Nadia Boulanger (1963) and later became an educator, obtaining advanced degrees from Manhattan School of Music and Columbia University. At the time of his death [2013] he was teaching at Delaware State University as a distinguished artist-in-residence.

Fluent and lyrical, Byrd's style, like that of Art Farmer before him, fit beautifully with the conception of Gryce, spinning long, graceful lines in his solos. His facility at very fast tempi was notable, and in general his approach was somewhat more aggressive than that of Farmer, but not to the extent that it conflicted with or overshadowed that of Gryce. Furthermore, Byrd had an interest in writing and would contribute both originals and arrangements of standard tunes to the group's repertoire.

The name "Jazz Lab" might suggest an esoteric or academic approach to ensemble performance, but in reality the music the band offered was most accessible. It consisted of original compositions (many taken from Gryce's publishing company) and cleverly reworked standards. Blues were an important component of the repertoire. Gryce, who appeared to be the more dominant musical force of the two co-leaders, summed up the philosophy the band espoused: The Modern Jazz Quartet will come to a club or concert and play very soft subtle music, and then Blakey will come around like thunder. We're trying to do both, and a few other things he-sides. Insofar as I can generalize, our originals and arrangements concentrate on imaginative use of dynamics and very strong rhythmic and melodic lines. We try to both give the listener something of substance that he can feel and understand and also indicate to the oriented that we're trying to work in more challenging musical forms and to expand the language in other ways.

One advantage, we hope, of the varied nature of our library, which is now over a hundred originals and arrangements, is that in the course of a set, almost any listener can become fulfilled. If he doesn't dig one, he may well dig the next because it will often be considerably different. Several people write for us in addition to Donald Byrd, myself, and others within the group. We have scores by Benny Golson, Ray Bryant, and several more.

A point I'm eager to emphasize is that the title, Jazz Lab, isn't meant to connote that we're entirely experimental in direction. We try to explore-all aspects of modern jazz—standards, originals, blues, hard swing, anything that can be filled and transmuted with jazz feeling. Even our experimentations are quite practical; they're not exercises for their own sake. They have to communicate feeling. For example, if we use devices like counterpoint, we utilize them from inside jazz. We don't go into Bach, pick up an invention or an idea for one, and then come back into jazz. It all stays within jazz in feeling and rhythmic flow and syncopation. In any of our work in form, you don't get the feeling of a classical piece. This is one of the lessons I absorbed from Charlie Parker. I believe that one of the best — and still fresh — examples of jazz counterpoint is what Charlie did on "Chasing the Bird".

We want to show how deep the language is; in addition to working with new forms, we want to go back into the language, show the different ways the older material can be formed and re-formed. We want to have everything covered. My two favorite musicians among the younger players may give a further idea of what I believe. Sonny Rollins and Benny Golson are not playing the cliches, and they play as if they have listened with feeling and respect to the older men like Herschel Evans, Chu Berry, and Coleman Hawkins. They're not just hip, flashy moderns.

In its brief existence of barely a year, the Jazz Lab quintet utilized some of the finest rhythm section accompanists available: pianists Tommy Flanagan, Wynton Kelly, Hank Jones, and the underappreciated Wade Legge (1934-1963), a great talent who passed away at the age of only 29; bassists Wendell Marshall and Paul Chambers; and drummers Art Taylor and Osie Johnson. During this period, the Jazz Lab recorded for no fewer than five different labels, at thirteen sessions, producing a total of six LPs, all of which helped to establish a high standard for ensemble performance within the hard bop genre.

Donald Byrd • Gigi Gryce

The Complete Jazz Lab Sessions

This four-disc collection contains all of the recordings of one of the most interesting jazz groups from the late ‘50s, the Jazz Lab, compiled here for the first time ever on one release. Co-led by Gigi Gryce and Donald Byrd, this set comprises the group’s five original studio albums (including all existing supplementary tunes and alternate takes from the sessions), presented here in their entirety and in chronological order. This edition also includes the Jazz Lab’s only known live performance, taped at the Newport Jazz Festival in 1957. As a bonus, a complete Oscar Pettiford LP, which constitutes the only other small group collaboration of Gryce and Byrd, and is a precursor to the Jazz Lab sound, as well as a rare 1955 Gigi Gryce quartet session (with Pettiford on bass) in its entirety, which despite having no real relation to the later Gryce-Byrd formation, was issued under the title of Jazz Laboratory Series (probably Gryce chose the group’s name based on that previous release!). *jazzmessengers.com*

Two front line horns plus a three-piece rhythm section were to hard bop what three guitars and drums were to rock ’n’ roll. The main obstacle for both has always been precisely how to set oneself apart from hordes of similar practitioners. An imaginative composer/arranger as well as a fiery alto sax player, Gigi Gryce put all his energies into setting himself apart from his contemporaries with his Jazz Lab enterprise, sharing top billing with Donald Byrd. Though a major player during the mid-1950s via his work with Brownie, Monk, Lee Morgan and Benny Golson, today Gryce is seldom mentioned in dispatches despite the fact that The Jazz Lab recorded prolifically during an eight-month period. Yet it was to be financial considerations (and lack of regular gigs) opposed to the quality of the product that caused the project to fold prematurely while their closest contemporaries such as The Jazz Messengers and Horace Silver’s Quintet valiantly soldiered on. The Jazz Lab came is all shapes and sizes. The 1957 nonet that taped "Nica’s Tempo", "I Remember Clifford" and "Little Niles"’ among others offers more than just a passing nod and a wink in the direction of both Miles’ Birth Of The Cool and Shorty Rogers’ Giants. However, it’s the five-handed line-up that featured either Hank Jones or Wynton Kelly that wins the day. *jazzwise.com*

This wonderful and well produced compilation is everything this little short lived band recorded. The band was only in existence in 1957 and should be recognized for it's importance to Jazz mainstream of the time. Byrd and Gryce were very distinctive players and Gryce's writing enhances the band's output.

All Music Guide's critic Arwulf Arwulf resumes the Jazz Lab Sessions with the following words:

All this group's music should be studied and sabores over long periods of time, even across decades spanning entire lifetimes. These recordings have matured remarkably well and should endure to be cherished by post-post-post-postmodern jazz heads of the distant future.

*CD  1*

1 - Nica's Tempo

(Gigi Gryce)

2 - Smoke Signal

(Gigi Gryce)

3 - Speculation

(Horace Silver)

4 - Over The Rainbow

(Harod Arlen, E. Y. Harburg)

5 - Sans Souci

(Gigi Gryce)

6 - I Remember Clifford

(Benny Golson)

7 - Little Niles

(Randy Weston)

8 - Blue Concept

(Gigi Gryce)

9 - Love For Sale

(Cole Porter)

10 - Geraldine

(Wade Legge)

11 - Minority

(Gigi Gryce)

12 - Zing! Went The Strings Of My Heart

(James F. Hanley)

*CD 2*

1 - Straight Ahead

(Lee Sears)

2 - Wake Up!

(Lee Sears)

3 - Exhibit A

(Lee Sears)

4 - Ergo The Blues (take 2)

(Hank Jones)

5 - Ergo The Blues (take 3)

(Hank Jones)

6 - Capri

(Gigi Gryce)

7 - Splittin' (a.k.a. Ray's Way)

(Ray Bryant)

8 - Passade

(Hank Jones)

9 - Byrd In Hand

(Donald Byrd)

10 - Blue Lights

(Gigi Gryce)

11 - Onion Head

(Donald Byrd)

12 - Isn’t It Romantic?

(Richard Rodgers, Lorenz Hart)

*CD 3*

1 - Batland

(Gigi Gryce, Lee Sears)

2 - Bangoon

(Hank Jones)

3 - Imagination

(Jimmy Van Heusen, Johnny Burke)

4 - X-Tacy

(Donald Byrd)

5 - Satellite

(Gigi Gryce)

6 - An Evening In Casablanca

(Gigi Gryce)

7 - Social Call

(Gigi Gryce)

8 - Stablemates

(Benny Golson)

9 - Steppin' Out

(Gigi Gryce)

10 - Medley: Early Morning Blues / Now, Don't You Know

(Cy Coleman, Joe McCarthy)/(Lee Sears)

11 - Early Bird

(Donald Byrd)

12 - Elgy

(Donald Byrd)

13 - Oh Yeah!

(Duke Jordan)

*CD 4*

1 - Splittin' (a.k.a. Ray's Way)

(Ray Bryant)

2 - Batland

(Gigi Gryce, Lee Sears)

3 - Love For Sale

(Cole Porter)

4 - Kamman's A'Comin'

(Oscar Pettiford)

5  Minor 7th Heaven

(Osie Johnson)

6 - Stardust

(Hoagy Carmichael, Mitchell Parish)

7 - Bohemia After Dark

(Oscar Pettiford)

8 - Oscalypso

(Oscar Pettiford)

9 - Scorpio

(Mary Lou Williams)

10 - Titoro

(Billy Taylor)

11 - Don’t Squawk

(Oscar Pettiford)

12 - Another One

(Quincy Jones)

13 - Sometimes I'm Happy

(Vincent Youmans, Irving Caesar)

14 - Embraceable You

(George and Ira Gershhwin)

15 - Jordu

(Duke Jordan)

#1 to #8 (CD1): from the album

Jazz Lab (Columbia CL998)

#1, #2, #3

Donald Byrd (trumpet), Gigi Gryce (alto sax), Benny Powell (trombone),

Julius Watkins (french horn), Don Butterfield (tuba), Sahib Shihab (baritone sax),

Tommy Flanagan (piano), Wendell Marshall (bass), Art Taylor (drums).

Recorded in New York City, February 4, 1957

#4, #5

Donald Byrd (trumpet), Gigi Gryce (alto sax),

Tommy Flanagan (piano), Wendell Marshall (bass), Art Taylor (drums).

Recorded in New York City, February 5, 1957

#6, #7, #8

Donald Byrd (trumpet), Gigi Gryce (alto sax),

Benny Powell or Jimmy Cleveland [depending on the source] (trombone),

Julius Watkins (french horn), Don Butterfield (tuba), Sahib Shihab (baritone sax),

Wade Legge (piano), Wendell Marshall (bass), Art Taylor (drums).

Recorded in New York City, March 13, 1957

#9 to #12 (CD1), and #1, #2 (CD2): from the album

Gigi Gryce and the Jazz Lab Quintet (Riverside 12-229)

#9 to #11 (CD1)

Donald Byrd (trumpet), Gigi Gryce (alto sax),

Wade Legge (piano), Wendell Marshall (bass), Art Taylor (drums).

Recorded in New York City, February 27, 1957

#12 (CD1), #1, #2 (CD2)

Donald Byrd (trumpet), Gigi Gryce (alto sax),

Wade Legge (piano), Wendell Marshall (bass), Art Taylor (drums).

Recorded in New York City, March 7, 1957

#3 to #9 (CD2): from the album

New Formulas from the Jazz Lab (RCA-Victor Jap RCA6015)

Donald Byrd (trumpet), Gigi Gryce (alto sax),

(Hank Jones (piano), Paul Chambers (bass), Art Taylor (drums).

Recorded in New York City, July 30 (#3, #4, #5), July 31 (#6, #7) and August 1 (#8, #9), 1957

#10 to #12 (CD2) and #1 to #4 (CD3):

from the album Jazz Lab (Jubilee JLP1059)

Donald Byrd (trumpet), Gigi Gryce (alto sax),

(Hank Jones (piano), Paul Chambers (bass), Art Taylor (drums).

Recorded in New York City, August 9, 1957

#5 to #12 (CD3): from the album

Modern Jazz Perspective (Columbia CL1058)

#5, #6, #7

Donald Byrd (trumpet), Gigi Gryce (alto sax),

Wynton Kelly (piano), Wendell Marshall (bass), Art Taylor (drums).

Recorded in New York City, August 30, 1957

#8, #9

Donald Byrd (trumpet), Gigi Gryce (alto sax), Jimmy Cleveland (trombone),

Julius Watkins (french horn), Don Butterfield (tuba), Sahib Shihab (baritone sax),

Wynton Kelly (piano), Wendell Marshall (bass), Art Taylor (drums).

Recorded in New York City, September 5, 1957

#10, #11, #12

Donald Byrd (trumpet), Gigi Gryce (alto sax), Wynton Kelly (piano),

Wendell Marshall (bass), Art Taylor (drums), Jackie Paris (vocal, banjo).

Recorded in New York City, September 3, 1957

#1 to #3 (CD4): from the album

Jazz Laboratory at Newport (Verve MGV8238)

Donald Byrd (trumpet), Gigi Gryce (alto sax),

Hank Jones (piano), Wendell Marshall (bass), Osie Johnson (drums).

Recorded live at the Newport Jazz Festival,

Freebody Park, Newport, Rhode Island, July 5, 1957

*Bonus Albums*

#4 to #12 (CD4): from the album

Oscar Pettiford (Bethlehem BCP33)

Donald Byrd, Ernie Royal (trumpets); Gigi Gryce (alto sax);

Bob Brookmeyer (valve trombone); Jerome Richardson (flute, tenor sax);

Don Abney (piano); Oscar Pettiford (bass, cello); Osie Johnson (drums).

Recorded in New York City, August 12, 1955

#13 (CD3) and #13 to #15 (CD4): from the album

The Jazz Laboratory Series: Do It Yourself Jazz Vol.1 (Signal S101/Savoy MG12145)

Gigi Gryce (alto sax), Duke Jordan (piano), Oscar Pettiford (bass), Kenny Clarke (drums):

Recorded at Van Gelder Studio, Hackensack, New Jersey, March 7, 1955

Leonard Feather Presents… ★1956 • 1958★

 In the late 1950s, Leonard Feather (1914-1994), a jazz historian and critic, and occasional composer, and pianist and bandleader Dick Hyman (1927) had an influence on American jazz that bordered on mastery.

The two men owed their success to their almost encyclopedic knowledge of all the successive styles, from the beginning. Thus they formed an all-star group bringing together the cream of East Coast musicians, at a time when cool jazz was flourishing in California.

This album brings together three sessions recorded between 1956 and 1958 by a brilliant ensemble, capable of showcasing inspired soloists, served by Dick Hyman's subtle and effective arrangements. The latter, who also wrote several compositions with Feather, is the cornerstone of groups propelled by rhythms of astonishing flexibility. As for the value of the soloists, a single glance at the composition of these combos is enough to get an idea. Virtuosity and inspiration are the order of the day, not to mention the audacity and innovations, both on the melodic and rhythmic levels. Finally, it is necessary to underline the relevance of a booklet which provides a most complete insight into the whole. *Jacques Aboucaya*

Leonard Feather & Dick Hyman

East Coast All Stars

This musical journey features four captivating East Coast All Stars jazz ensembles, guided in collaboration by the talented Leonard Feather and Dick Hyman, who, through their compositions and arrangements, present a diverse repertoire brimming with stimulating solos.

The first session highlights a six-piece unit, boasting a front line drawn entirely from the Count Basie band: Thad Jones, Benny Powell, and Frank Wess. From the rhythmic vitality of "The Goof 'n' I" to the refined elegance of "Beverly Hills" and the timeless charm of "The Sidewalks of New York", each track exemplifies the ensemble’s cohesion and the creativity of soloists.

Delving into the Hi-Fi Suite, Feather and Hyman lead two nine-piece orchestras on a sonic exploration. With contributions from Joe Newman, Jerome Richardson, Benny Powell, and Don  Elliot, the orchestrations offer a captivating blend of textures and tones, with various reed instruments providing a fascinating display of soundscapes, from the inventive "Feedback Fugue" to the lively "Squawker" and the flavorful "Hi-Fi Pie".

The subsequent line-up showcases the rhythmic intricacies of "Bass-Reflex", the melodic allure of "Tweeter", the resonant depths of "Woofer", and the ethereal beauty of "Reverberation". Here, Thad Jones, Benny Powell, Oscar Pettiford, Jerome Richardson, Frank Wess, and Bill Barber deliver compelling solo performances.

Concluding this set, the fourth All Stars band presents a dynamic rendition of Jay Livingston’s "Keep It Simple", arranged by Dick Hyman. Featuring all horns in a captivating six-minute workout, the ensemble's virtuosity shines through, offering a fitting conclusion to this exciting musical journey. *Jordi Pujol*

1 - The Goof 'n' I

(Al Cohn)

2 - Beverly Hills

(Leonard Feather)

3 - The Sidewalks Of New York

(Lawlor, Blake, P.D.)

4 - Here's Pete

(Pete Rugolo)

5 - Feedback Fugue

(Feather, Hyman)

6 - Squawker

(Leonard Feather)

7 - Hi-Fi Pie

(Leonard Feather)

8 - Bass-Reflex

(blues in 5/4, P.D.)

9 - Tweeter

(Feather, Hyman)

10 - Woofer

(Feather, Hyman)

11 - Reverberation

(Feather, Hyman)

12 - Keep It Simple

(Livingston, Evans)

#1 to #4: from the album West Coast Vs. East Coast (MGM Records E3390)

Thad Jones (trumpet), Benny Powell (trombone), Frank Wess (tenor sax, flute),

Dick Hyman (piano, organ), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, January 1956

#5 to #11, from the album Hi Fi Suite (MGM Records E3494)

#5 to #7: 

Joe Newman (trumpet), Benny Powell (trombone), Jerome Richardson (alto sax, piccolo), 

Frank Wess (tenor sax, flute), Romeo Penque (baritone sax, clarinet), Dick Hyman (piano),

Oscar Pettiford (bass), Osie Johnson (drums), Don Elliott (vibes, miscellaneous percussion).

Recorded in New York City, June 16, 1956

#8 to #11:

Thad Jones (trumpet), Benny Powell (trombone), Bill Barber (tuba [except on #8]),

Jerome Richardson (alto sax, piccolo), Frank Wess (tenor sax, flute),

Phil Bodner (baritone sax, oboe), Dick Hyman (piano),

Oscar Pettiford (bass), Kenny Clarke (drums).

Recorded in New York City, July 11, 1956

#12: from the album Oh, Captain! (MGM Records E3650)

Art Farmer (trumpet), Jimmy Cleveland (trombone), Sahib Shihab (alto sax, baritone sax),

Tony Scott (clarinet, baritone sax), Jerome Richardson (tenor sax, baritone sax, alto flute),

Dick Hyman (piano), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, February 14, 1958

Charlie Rouse, Julius Watkins And The Jazz Modes

The Jazz Modes was a jazz group with a truly distinctive sound, which was only active between 1956 and 1959. The group's sound was built on its unusual instrumentation. Despite a typical jazz rhythm section of piano, bass and drums, the front line blended the sounds of the French horn and tenor saxophone. The band was formed by French horn player Julius Watkins and tenor saxophonist Charlie Rouse.

Julius Watkins was virtually the father of the jazz French horn. He started playing French horn at the age of nine, although he worked with the Ernie Fields orchestra on trumpet (1943-1946). In the late ’40s, he took some French horn solos on records by Kenny Clarke and Babs Gonzales, and spent 1949 as a member of the Milt Buckner big band. After three years of study at the Manhattan School of Music, Watkins started appearing on small-group dates including a pair of notable sessions led by Thelonious Monk in 1953-1954.

Possessor of a distinctive tone and a fluid bop-oriented style, Charlie Rouse was in Thelonious Monk's Quartet for over a decade (1959-1970) and, although somewhat taken for granted, was an important ingredient in Monk’s music. Rouse was always a modern player and he worked with Billy Eckstine's orchestra (1944) and the first Dizzy Gillespie big band (1945), making his recording debut with Tadd Dameron in 1947. Rouse popped up in a lot of important groups including Duke Ellington's Orchestra (1949-1950), Count Basie's octet (1950), on sessions with Clifford Brown in 1953, and with Oscar Pettiford's sextet (1955). 

After the Jazz Modes experience, Watkins toured with Quincy Jones' big band (1959-1961); did plenty of studio work (including the Miles Davis-Gil Evans collaborations); and recorded with Charles Mingus (in 1965 and 1971), Freddie Hubbard, John Coltrane (the Africa sessions), and the Jazz Composer's Orchestra, among many others.

For his part, Rouse joined Thelonious Monk for a decade of extensive touring and recordings. In the 1970s he recorded a few albums as a leader, and in 1979 he became a member of Sphere. Charlie Rouse’s unique sound began to finally get some recognition during the 1980s. He participated on Carmen McRae’s classic Carmen Sings Monk album and his last recording was at a Monk tribute concert.

With slight personnel variations, The Jazz Modes recorded a total of five albums, most of which are now very hard to find. All of these LPs are included in the following collection in their entirety and in chronological order.

As a bonus, we have included three further complete albums, all of which were originally issued as 10" LPs. Oscar Pettiford’s Oscar Rides Again is the only other existing album, outside of the Jazz Modes body of work, to feature both Rouse and Watkins in the front line. The two volumes by the Julius Watkins Sextet, on the other hand, present Watkins in the company of other celebrated tenor saxophonists: Frank Foster and Hank Mobley.

Charlie Rouse And Julius Watkins

The Complete Jazz Modes Sessions

The three discs in this set collect all the work by this short lived group, The Jazz Modes. Of particular interest are the two albums under Julius Watkins' name he recorded for the Blue Note label-now available on CD, or used if you can find them. Talking about these two albums, the personnel consists of Watkins-French horn, Hank Mobley-tenor sax, Duke Jordan-piano, the great Oscar Pettiford-bass, and Art Blakey-drums, with Perry Lopez-guitar.

The remaining albums have slightly differing personnel, but the core players are Watkins (who played with Coltrane, Mingus, Miles Davis, Gil Evans, and many others), Charlie Rouse (who played with Monk for years)-tenor sax, and Gildo Mahones-piano. Other players throughout consist of Art Taylor, Kenny Clarke, Paul Chambers, and Sahib Shibab. There's a few others showing up on bass and drums, along with Eileen Gilbert-on mostly wordless soprano vocals, Janet Putnam-harp (on 2 tracks only), and Chino Pozo-congas. This release is closer to 3 1/2 "stars" — the half for experimenting with the soprano voice in a jazz setting. Otherwise this is straight 1950's jazz-before the great changes began to happen in the 1960's.

The 30 page booklet contains an essay on the group as a whole, the primary players, original liner notes, (then) contemporary reviews, and a number of photos and reproductions of the album covers. Also included is song information, dates and who plays on which album. Again, some of this music is perhaps 3 or 3 1/2 "stars". But overall you have to give the principle players much credit for trying something new and different-especially during the relatively button-downed 1950's. A word about the vocals. To present day ears Eileen Gilbert's vocals will come as a bit of a shock. While her voice is a fine soprano, the juxtaposition within a jazz setting is hard to get into. Remember, this was the late 50's, and Rouse and Watkins (especially) were experimenting with a different approach to jazz. Some may like the combination, some will not. But underneath the vocals is some well arranged jazz. So you've been warned.

Don't let the French horn scare you away. This is some fine/very fine straight ahead jazz as they played it in the late 50's. The rhythm section(s) keep everything moving along on the up tempo tunes, and are suitably restrained on the ballads. All three of the principle players get room to solo throughout these albums. Rouse's big sound is right at home on these tunes, and Watkins' horn-sounding like a French horn-is used in much the same manner as any more conventional horn in jazz. Mahone's piano is straight out of the be-bop style of jazz, and fits in very well.

Songs are a combination of standards or (mostly) Watkins' compositions. But no matter which tune, this very fine, unique group plays each song as if it were their own. Straight ahead 1950's jazz/Watkins/Rouse fans need to hear this collection. This was experimental jazz in the 50's-the French horn, the impressionistic vocals, all were an attempt to find something new and different. But even if their music didn't catch on, it's still some good yet different, small group jazz. Period jazz fans may want to check this out-and having all the albums by this group in one collection is very handy, along with a useful booklet. It's definitely of it's era-certainly different than music of the present. A interesting sometimes good side street off the main boulevard of jazz.

*Stuart Jefferson (amazon.com)*

*CD 1*

1 - Dancing On The Ceiling

(Richard Rodgers, Lorenz Hart)

2 - Legend

(Gildo Mahones)

3 - Temptation

(Arthur Freed, Nacio Herb Brown)

4 - Episode

(Julius Watkins)

5 - Dancing In The Dark

(Arthur Schwartz, Howard Dietz)

6 - Goodbye

(Gordon Jenkins)

7 - Town And Country

(Varon)

8 - When The Blues Comes On

(Alvin G. Cohn, Charles Isaiah Darwin)

9 - Blue Modes

(Julius Watkins)

10 - You Are Too Beautiful

(Richard Rodgers, Lorenz Hart)

11 - So Far

(Richard Rodgers, Oscar Hammerstein II)

12 - Idle Evening [Jazz Garden Suite, part I]

(Julius Watkins)

13 - Garden Delights [Jazz Garden Suite, part II]

(Julius Watkins)

14 - Strange Tale [Jazz Garden Suite, part III]

(Julius Watkins)

15 - Two Songs [Jazz Garden Suite, part IV]

(Julius Watkins)

16 - Stallion

(Gildo Mahones)

17 - Baubles, Bangles And Beads

(Alexander Borodin, George Forrest, Robert Wright)

18 - Autumn Leaves

(Jacques Prévert, Johnny Mercer, Joseph Kosma)

19 - The Golden Chariot

(Gildo Mahones)

20 - Let's Try

(Charlees Isaiah Darwin, Paulette Girard)

21 - Bohemia

(Ed Smollett, Charles E. Shirley, Mynell Allen)

22 - Cath Her

(Julius Watkins)

*CD 2*

1 - Hoo Tai

(Julius Watkins)

2 - Mood In Scarlet

(Julius Watkins)

3 - Linda Delia

(Julius Watkins, George Butcher)

4 - I've Got You Under My Skin

(Cole Porter)

5 - We Can Talk It Over

(Julius Watkins)

6 - Standing On The Corner

(Frank Loesser)

7 - Joey, Joey, Joey

(Frank Loesser)

8 - Warm All Over

(Frank Loesser)

9 - Happy To Make Your Acquaintance

(Frank Loesser)

10 - My Heart Is So Full Of You

(Frank Loesser)

11 - The Most Happy Fella

(Frank Loesser)

12 - Don't Cry

(Frank Loesser)

13 - Like A Woman

(Frank Loesser)

14 - Somebody Somewhere

(Frank Loesser)

15 - The Oblong

(Julius Watkins)

16 - 1-2-3-4-0 In Syncopation

(Julius Watkins, Princess Orelia Benskina)

17 - Blue Flame

(Julius Watkins)

18 - Mood In Motion

(Julius Watkins)

*CD 3*

1 - Knittin

(Charlie Rouse)

2 - This 'N That

(Charlie Rouse)

3 - Glad That I Found You

(Julius Watkins)

4 - Princess

(Julius Watkins, Princess Orelia Benskina)

5 - Sextette

(Gerry Mulligan)

6 - The Golden Touch

(Quincy Jones)

7 - Cable Car

(Oscar Pettiford, Sonny Clark)

8 - Trictrotism

(Oscar Pettiford)

9 - Edge Of Love

(Charles Ables, Goode, Baker)

10 - Oscar Rides Again

(Oscar Pettiford)

11  - Linda Delia

(Julius Watkins, George Butcher)

12 - Perpetuation

(Julius Watkins)

13 - I Have Known

(Julius Watkins, Gene Morgan)

14 - Leete

(Julius Watkins)

15 - Garden Delights

(Julius Watkins)

16 - Julie Ann

(Julius Watkins, Gene Morgan)

17 - Sparkling Burgundy

(Julius Watkins)

18 - B And D

(Bennie Harris)

19 - Jordu

(Duke Jordan)

*CD 1*

#1 to #6 from the album Jazzville '56, Vol.1 (Dawn DLP1101):

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Paul West (bass), Art Taylor (drums). 

Recorded in New York City, June 1956. 

[Despite its short duration, this album was a 12" LP, although Side B featured a Gene Quill-Dick Sherman Quintet.]

#7 to #16 from the album Les Jazz Modes (Dawn DLP1108)

 [reissued in 1960 as Smart Jazz for the Smart Set (Seeco CELP466).]:

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Paul Chambers (bass),

Oscar Pettiford (bass, replaces Chambers on #11, #12 and #14 only),

Janet Putnam (harp on #8 and #10 only), Ron Jefferson (drums),

Eileen Gilbert (soprano vocals on #8, #12 and #14 only). 

Recorded in New York City, June 12, 1956.

#17 to #22 from the album Mood in Scarlet (Dawn LP1117):

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass), 

Ron Jefferson (drums), Chino Pozo (bongos on #20 and #21). 

Reorded in New York City, December 4, 1956.

*CD 2*

#1 to #5 from the album Mood in Scarlet (Dawn LP1117):

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass),

Ron Jefferson (drums), Eileen Gilbert (soprano vocals on #1 and #2).

Recorded in New York City, December 4, 1956.

#6 to #14 from the album The Most Happy Fella (Atlantic LP1280):

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass),

Ron Jefferson (drums), Chino Pozo (conga, bongos),

Eileen Gilbert (soprano vocals on #10 only).

Recorded in New York City, November 7, 1957.

#15 to #18 from the album The Jazz Modes (Atlantic LP1306):

#15, #16, #18: 

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Sahib Shihab (baritone sax), Gildo Mahones (piano),

Martin Rivera (bass), Jimmy Wormworth (drums).

Recorded in New York City, 1959.

#17:

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass),

Ron Jefferson (drums), Chino Pozo (congas, bongos),

Eileen Gilbert (soprano vocals).

Recorded in New York City, October 28, 1959.

*CD 3*

#1 to #4 from the album The Jazz Modes (Atlantic LP1306):

#1, #3, #4:

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Gildo Mahones (piano), Martin Rivera (bass),

Ron Jefferson (drums), Chino Pozo (congas, bongos),

Eileen Gilbert (soprano vocals).

Recorded in New York City, October 28, 1959.

#2:

Charlie Rouse (tenor sax), Julius Watkins (French horn),

Sahib Shihab (baritone sax), Gildo Mahones (piano),

Martin Rivera (bass), Jimmy Wormworth (drums).

Recorded in New York City, 1959.

#5 to #10: from the album Oscar Rides Again (Bethlehem 10” LP BCP1003),

 [reissued on Bass (Bethlehem 12” LP BCP-6]:

Charlie Rouse (tenor sax), Julius Watkins (French horn), Duke Jordan (piano),

Oscar Pettiford (bass, cello on #6, #9,#10), Ron Jefferson (drums).

Recorded in New York City, September 1954.

#11 to #14: from the album Julius Watkins Sextet,

[a.k.a New Faces, New Sounds (Blue Note BLP5053)]:

Julius Watkins (French horn), Frank Foster (tenor sax),

George Butcher (piano), Perry Lopez (guitar),

Oscar Pettiford (bass), Kenny Clarke (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, August 8, 1954.

#15 to #19: from the album Julius Watkins Sextet, Volume Two (Blue Note BLP5064):

Julius Watkins (French horn), Hank Mobley (tenor sax),

Duke Jordan (piano), Perry Lopez (guitar),

Oscar Pettiford (bass), Art Blakey (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, March 20, 1955.

Rare And Obscure Argo Recordings (VI)

Benny Golson

Take A Number From 1 To 10

Benny Golson is already strongly established as one of the most consistently fresh and personal composer-arrangers in jazz. What this uniquely challenging album accomplishes — in addition to re-emphasizing his writing capacities — is to focus on Benny's equally individual power and warmth as a player. 

It is by far his most impressive achievement on record as a tenor saxophonist as he ranges from an unaccompanied solo to the leadership of a 10-piece band. 

When I first became particularly aware of Benny's playing in Dizzy Gillespie’s big band five years ago, I was struck by the invigorating fact that he was one of the very few of the younger players with a big, full tone and a surging lyricism. Although modern in conception, he recalled the richness of Don Byas and the sinewy linear imagination of Lucky Thompson. For a time in recent years, Benny's playing style became less distinctive. There were explosive, multi-noted passages and less concern than before with melodic improvisation.

Now, however, Benny has decided on the direction he prefers; and this album heralds not only the return of his basic, warmly lyrical style but also marks its strengthening. He hasn’t lost in any degree his adventurousness, but all elements in his work are now part of an integrated, thoroughly distinctive whole.

The format of the album is unlike any that  Benny — or any other player — has attempted before. Beginning with one instrument, Benny's, an instrument is added on each track culminating in the exciting 10-piece arrangement, Time. The idea was conceived by Benny's manager, Kay Norton, as a frame for Benny's talent as an instrumentalist as well as a composer-arranger.

"It's not a gimmick", Benny emphasizes. "I did all of these with a strong conviction and feeling, because I wanted to try them. I'd  never recorded before all by myself or with a duo or a trio. And on the last three numbers, there were several techniques I wanted to develop for the first time on records".*Nat Hentoff (liner notes)* 

A record with a gimmick – but one that's totally great, and really unique for the time! The "1 to 10" in the title is the way that the album spins out – as track 1 features Golson blowing solo tenor, track 2 features him in duet, track 3 a trio – and so on, until track 10, which features a ten-piece group! One of the best things about the record is the way it really lets you focus on Golson's tone and phrasing – as even some of the bigger group tunes have a nicely laidback feel that's really dominated by Benny's solo work – and in a way, the record's a nice bridge between the more tightly arranged Golson sessions of the late 50s, and some of his looser sides of later years. Players include Cedar Walton, Curtis Fuller, Freddy Hubbard, and Albert Heath – among ohters – and titles include the Golson originals "Little Karin", "Swing It", "The Touch", "Impromptune", and "Time", plus versions of "You're My Thrill", "Out Of This World", and "I Fall In Love Too Easily". *Dusty Groove, Inc.*

Side 1

1 - You're My Thrill

(Lane, Washington)

2 - My Heart Belongs To Daddy

(Cole Porter)

3 - The Best Thing For You Is Me

(DeSylva, Henderson, Brown)

4 - Impromptune

(Benny Golson)

5 - Little Karin

(Benny Golson)

6 - Swing It

(Benny Golson)

Side 2

7 - I Fall In Love Too Easily

(Styne, Cahn)

8 - Out Of This World

(Arlen, Mercer)

9 - The Touch

(Benny Golson)

10 - Time

(Benny Golson)

Benny Golson (tenor saxophone); Art Farmer [#10], Bernie Glow [#9, #10],

Freddie Hubbard [#5 to #7], Nick Travis [#8 to #10] (trumpets);

Willie Ruff  (French horn [#8 to #10]); Bill Elton [#8 to #10],

Curtis Fuller [#6, #7] (trombones); Hal McKusick (alto sax [#8 to #10]); 

Sol Schlinger [#8 to #10], Sahib Shihab [#7] (baritones saxes);

Cedar Walton (piano [#4 to #7]); Tommy Williams (bass [#2 to #10]);

Albert Heath (drums [#3 to #10]).

Recorded at Nola's Penthouse Sound Studio, New York City, December 13, 1960 (#1 to #4),

December 14, 1960 (tracks #5 to #7) and April 11, 1961 (#8, #9, #10).

Specs Powell & Co. - Movin' In

Drummer Gordon "Specs" Powell born in New York on June 5, 1922, and died in San Marcos, California, on September 15, 2007. He traveled the jazz world discreetly, spending most of his career in CBS radio and television studios, notably for the famous Ed Sullivan Show, as part of Raymond Scott's house band. He was also the first black musician hired by a radio orchestra, in 1943. His flexibility, due to the fact that he also played castanets, bongos and the whole range of small percussion instruments, also contributed to his longevity. He left CBS in 1972 to retire to the Virgin Islands, then to the San Diego area.

Specs Powell had begun his professional career in the late 1930s with Edgar Hayes, in the middle of the swing era, and continued it with Benny Carter and Ben Webster. After recording on a number of V-Discs, he found himself in the whirlwind of Manhattan's 52nd Street nightlife, sometimes playing four different gigs a night to accompany legends such as Billie Holiday, John Kirby, Benny Goodman, Coleman Hawkins and Red Norvo.

It was in 1957 that he recorded Movin' In, his first and only album as a leader. At the time of the infancy of bebop, he had been one of the very first drummers to accompany the emergence of Charlie Parker and Dizzy Gillespie. Hence the affection shown by the latter in his presentation text on the back of the album cover. He laments that most "modern" drummers have missed the dimension and mastery of this drummer and percussionist that he adores. The album, a condensed swing with a team of familiar faces from Count Basie's orchestra, does him full justice in this regard. It should be noted that it was released on the Roulette label, at a time when Basie himself was signing a few masterpieces there. *Alex Dutilh*

A neglected gem from Specs Powell & Co. in 1957. The versatile but little-known drummer Gordon "Specs" Powell (1922-2007) was active in the 1930s and 40s and worked with Errol Garner during the 1950s.This excellent album was his only session as leader recorded for ROULETTE in 1957.

With Powell (drums) were Sahib Shihab (alto & baritone sax); Aaron Sachs (tenor sax & clarinet); Pritchard Cheeseman (baritone sax); George Dorsey (alto sax & flute); Ray Copeland, Leon Merian (trumpets); Jimmy Cleveland, Jimmie Dahl (trombones); Hank Jones, Nat Pierce (piano); Clyde Lombardi (bass).

The 12 memorable tracks are a mix of Powell originals and standards with arrangements by Ray Copeland. There are plenty of fine solos and this swinging modern-mainstream jazz deserves to be more widely known.

Dizzy Gillespie's enthusiastic liner notes require the eyes of a hawk or a very strong pair of "specs". *Jazzrook (from Amazon review)*

1- Undecided

(Robin, Shavers)

2 - All Or Nothing At All

(Lawrence, Altman)

3- It's a Pitty To Say Goodnight

(B. Reid)

4 - You Don't Know What Love Is

(Raye, DePaul)

5 - Spider Blues

(Specs Powell)

6 - Rat Race

(Specs Powell)

7 - Suspicion

(Specs Powell)

8 - Locked Out

(Specs Powell)

9 - He's My Guy

(Raye, DePaul)

10 - I'll Remember April

(Raye, DePaul, Johnston)

11 - Dispossessed

(Specs Powell)

12 - Movin' In

(Specs Powell)

 

Ray Copeland, Leon Merian (trumpets); Jimmie Dahl, Jimmy Cleveland (trombones); George Dorsey (alto sax, flute); Sahib Shihab (alto sax, baritone sax); Aaron Schs (tenor sax, clarinet); Pritchard Cheeseman (baritone sax); Clyde Lombardi (bass); Hank Jones, Nat Pierce [#11] (pianos); Specs Powell (drums).

Recorded in New York City, February 13 and 20, 1957

Sahib Shihab - Summer Dawn

Sahib Shihab born Edmund Gregory in Savannah, Georgia, on June 23, 1925. Though his musical career stretched over four decades, Sahib Shihab counted only about a dozen titles as leader, including this 1964 recording made with a handful of members of the Clarke Boland Big Band in Cologne, engineered by their  regular engineer Wolfgang Hirschmann. How and why the title came to be released only in the US through Chicago based Chess Jazz subsidiary Argo label is anyone's guess. Shihab's other occasional label connections included Savoy, Debut, Storyville and Atlantic.

Shihab spent from 1960 to 1986 as a resident of Europe, including a decade 1963-72 a regular fixture of the Clarke Boland Big Band. He returned to the US for his final years, passing away in 1989 age 64.

The stripped-down Shihab — Clarke Boland Quintet is a marvel of musical mobility, big band in everything but... size. All the compositions and arrangements here enjoy a small big-band flavour, the power toned down, a bit more intimate, but unmistakably Clarke Boland, embracing a wider range of styles: waltz, rhumba, more European stuff.

Shihab is one of the most original voices of the baritone sax. With a reference bar of Harry Carney, Gerry Mulligan, Lars Gullin and Pepper Adams, Shihab  developed a unique vocabulary which owes little or nothing to those players, he simply charted his own course. Changing from baritone, his alto solo on the selection "Please Don't Leave Me" is quirky, straying fancifully, before finally locking onto the groove and picking up speed.  But not until Åke Persson and Francy Boland have shown their mettle. 

"Waltz For Seth" is another Shihab favourite, and other tracks ("Herr Fixit", "Campi's Idea")  point back to jazz producer / supervisor Gigi Campi: "busy, eloquent, creative intellectual, Pietro Luigi (Gigi) Campi — editor, architect, concert manager, music publisher, producer and restaurateur", and anchor of the Cologne jazz scene. Campi productions have found their way to the Italian reissue label Schema/Rearward,  of which I have many CBBB, Johnny Griffin and Sahib Shihab titles. *londonjazzcollector.wordpress.com*

A fantastic early record by Sahib Shihab — a motherlode of modal jazz grooves, cut during the early days of the Clarke-Boland Big Band! The record features a core group of players from that ensemble — including Shihab on alto, baritone, and flute, plus Francy Boland on piano, Jimmy Woode on bass, Åke Persson on trombone, Francy Boland on piano, Joe Harris on bongos, and Kenny Clarke on drums — all coming together here with a groove that's really groundbreaking — a style that's sweet and soulful, but rhythmically revolutionary too! The tracks are all long and grooving — with the kind of dancing jazz tone that you'd expect from the Saba/MPS label during the mid 60s — a big change from the Argo label that originally issued the record. But that's no surprise, either, as the session was actually recorded in Europe by Gigi Campi — the man behind the CBBB albums on MPS — with a feel that's quite similar to other Shihab classics, like Companionship or Seeds. The whole thing's great — one of Shihab's most wonderful records, and totally worth owning.  *dustygroove.com*

There is one moment... when the darkness of the night begins to pass... when first light creeps from horizon through the leaves of the trees, 'round the corners of your neighbor's house... it sneaks through the windows softening the colors on its way, altering your feelings of past and present, banishing all those many troubles...

Listen! The sounds seems transparent... they echo... they come again... and now from over there...

You smell the cool breeze, touching heart and brain, rebuilding your ego, helpin to strip off the troublesome yesterday...

You're alone. It is summer dawn... *Nat Jungnick (liner notes)*

1 - Lillemor

2 - Please Don't Leave Me

3 - Waltz For Seth

4 - Campi's Idea

5 - Herr Fixit

(All compositions by Sahib Shihab)

Sahib Shihab (alto sax, baritone sax, flute),  Åke Persson (trombone), Francy Boland (piano), Jimmy Woode (bass), Joe Harris (bongos), Kenny Clarke (drums).

Recorded in Cologne, Germany, May 8 and 9, 1963.

***

and now... a break and some days for my own summer dawns...

 Best New Year for all here!

Art Blakey's Jazz Messengers - Play Lerner And Loewe

"This was a tough session. Some of those tunes were really rough. But we just wanted to stay in there and do it right. Nobody wanted to give up".

That's Art Blakey speaking. The 37-year-old drummer and leader of the Jazz Messengers started recording this album about 10 p.m. on March 13, and wrapped it up at 6:30 a.m. the next day. 

"At first, we didn’t really know what to do. We had figured out some arrangements, but show tunes are so strange. We started right in reworking the arrangements. We figured out some ideas of our own, all five of us, and things began to shape up".

The set comes off as a good distillation of the style of the Jazz Messengers. Starting with a melody, or even a scrap of one, the Messengers work out among themselves the unison opening and closing, then fit their solos into the framework. Behind it all is Blakey, highlighting, underlining, pushing and commenting with his battery of drums.

The tunes, now familiar to anyone with ears, are by Alan Jay Lerner and Frederick Loewe, and are from their three substantial stage successes, "My Fair Lady", "Brigadoon" and "Paint Your Wagon".

The transition from show tune to jazz vehicle did happen overnight. Says Blakey, "This was like a challenge. The guys cooperated well together. The group was like a family. This is the kind of thing I’d like to do again. A challenge, but the kind we now know we can lick".

*Dom Cerulli (liner notes)* 

One of the rarest of all Art Blakey records, this LP finds the Jazz Messengers (featuring new member Johnny Griffin on tenor and trumpeter Bill Hardman) performing jazz versions of six show tunes by Lerner & Loewe, including three ("Almost Like Being in Love", "I Could Have Danced All Night", and "On the Street Where You Live") that would soon become standards. Despite some of the musicians' unfamiliarity with the songs, this date is quite successful. *Scott Yanow*

The music of Alan Jay Lerner and Frederick Loewe — composers usually associated with the Broadway stage, brought into a whole new light here by the late 50s Jazz Messengers! The album's one of Art Blakey's more unusual outings — part of that great 1957 run away from Blue Note — but it cooks strongly with a lineup that includes Jackie McLean on alto, Johnny Griffin on tenor, and Bill Hardman on trumpet — all players who bring an unusual degree of bite to these tunes, while still reflecting the lyrical beauty within! The group sparkles and shines with the sort of brilliance and energy that Blakey's leadership brings to the group, completely transforming tunes that include "I Could Have Danced All Night", "Almost Like Being In Love", "On The Street Where You Live", and "There But For You Go I". *dustygroove.com*

1 - I Could Have Danced All Night

2 - On The Street Where You Live

3 - There But For You Go I

4 - They Call The Wind Maria

5 - I Talk To The Trees

6 - Almost Like Being In Love

7 - A Night At Tony's (take 3) 

8 - A Night At Tony's (take 4) 

9 - Social Call (take 4) 

10 - Social Call 

11 - Off The Wall (take 5)

12 - Couldn't It Be You?

(All compositions by Alan Jay Lerner and Frederick Loewe)

#1 to #6: from Art Blakey's Jazz Messengers - Selections From Lerner And Loewe's...

Bill Hardman (trumpet), Johnny Griffin (tenor sax), Sam Dockery (piano), Spanky DeBrest (bass), Art Blakey (drums).

Recorded at Webster Hall, New York City, March 13, 1957.

#7 to #12: *bonus tracks*

Bill Hardman (trumpet), Lee Morgan (trumpet [#7 to #10]), Melba Liston (trombone [#7 to #10]), Cecil Payne (baritone sax [#7 to #10]), Johnny Griffin (tenor sax [#7 to #12]), Sahib Shihab (alto sax [#7 to #10]), Wynton Kelly (piano [#7 to #10]), Jackie McLean (alto sax [#11, #12]), Sam Dockery (piano [#11, #12]), Spanky DeBrest (bass), Art Blakey (drums).

Recorded at RCA Studio 3, New York City, April 2 (#7 to #10) and April 8 (#11, #12), 1957.