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

Erroll Garner - The Most Happy Piano

Few sounds in music are happier than those produced by Erroll Garner at a piano. Any piano, anywhere. The conviction is strong in this corner that Erroll would sound just as happy playing a spinet strapped to the back of a bowlegged racing camel, although in the interests of the hi-fi public Columbia prefers to record him in locations such as the 30th Street studio in New York or, if you bought his last album (and you certainly should if you haven't), on location before an enthusiastic 

audience such as the one at Carmel, California, by the sea. 

This is an especially happy album because at the time Erroll strolled into the studio (he always strolls, to keep from dancing or turning cartwheels) there was serious doubt as to how the session might come out. He was only a few days out of the hospital, freshly recovered from a bad concussion suffered in a taxi crash. 

Two days earlier, Erroll had sat down at a piano again and announced that he’d like to try to record. His accompanists were off on Erroll’s sick leave, so bassist Al Hall and drummer Specs Powell, a couple of old pals, were called at the last minute. With no rehearsal beyond some hearty "Well, gee, how are ya"s they proceeded to knock off 19 numbers, totaling 97 minutes and 2 seconds in playing time, in three and a half hours. 

But at the start it didn’t look that cool. Erroll was quieter than usual, and when he began to play his neck and shoulders looked unfamiliarly stiff. After a bit, however, he slumped into his usual relaxed pose, and the session turned out to be typical of all Garner dates: quick, easy, fun, lots of great music, and the usual quota of towels (which Erroll brings along in a suitcase) with which he mopped himself between takes. *George Avakian (liner notes)*

Side 1

1 - Girl Of My Dreams

(Clapp)

2 - But Not For Me

(I. & G. Gershwin) 

3 - Passing Through

(Garner)

4 - Time On My Hands

(Adamson, Gordon, Youmans)

5 - Alexander's Ragtime Band

 (Berlin)

Side 2

6 - Full Moon And Empty Arms

(Kay, Mossman)

7 - Mambo 207

(Garner)

8 - The Way Back Blues

(Garner)

9 - Ol' Man River

(Hammerstein II, Kern)

Erroll Garner (piano), Al Hall (bass), Gordon "Specs" Powell (drums).

Recorded in New York City, June 7 (#1, #2, #4, #5, #6, #9) and September 11 (#3, #7, #8), 1956.