Stan Getz: Completing his "Interpretations"

Stan Getz Quintet

Interpretations #3

When the first two "Interpretations" albums by the Stan Getz quintet proved so successful, the next step obviously was to follow the pattern and this — as you must have 

gathered by now — was indeed done. What gave the first two "Interpretations" their standout quality, most critics agreed, was the unity of the five musicians as well as the topflight musicianship of all concerned. There is especially solid rapport between the two featured soloists — Stan Getz, tenor saxophone, and Bob Brookmeyer, trombone, and one of the reasons for this could be the year which Brookmeyer spent with the Getz unit in 1953. This was a highly profitable year for both in terms of musical growth. ("The only way you learn", Getz once said, "is by playing with the best — so that there's always two challenges; first, your own inner challenge and then the feeling of being spurred by men who swing in your own outfit".) Getz, of course, has long been regarded as one of the foremost tenor men in modern jazz, a suspicion which first took hold strongly when he (with Zoot Sims, Serge Chaloff and Herbie Steward) provided Woody Herman with the "Four Brothers" sound. It was Getz whose solo gave much meaning to Herman's recording of the Ralph Burns composition, "Early Autumn". Since then he has been occupied largely with leading his own group, in most cases a quintet. *(From the liner notes)*

Interpretations by  the Stan Getz Quintet #3, apparently was made a couple of years ago with Bob Brookmeyer, John Williams, Bill Anthony, and Frank Isola. Getz is forceful and inventive, and Brookmeyer is an individual and sustainedly imaginative as usual. Also an asset are the slashing solos of Williams. A liability is the too chunky rhythm section which could flow a good deal more, particularly in the case of Isola. *Nat Hentoff (Down Beat, August 8, 1956 [4 stars])*

Sublime early work from Stan Getz — a lyrical genius even at this early point in his career! There's a subtle brilliance here that's undeniable — a tenor sound that draws from Lester Young and Ben Webster, but which pushes into fresh new territory for the 50s — lean, but still very soulful at the core — a blend that none of Stan's contemporaries could ever match this well! The album features a group that includes a very young Bob Brookmeyer on valve trombone, plus rhythm by Teddy Kotick, John Williams, and Frank Isola. Tracks are longish and easily swinging — and Getz's tone, as always, makes the whole thing come together like magic! Titles include "Oh Jane Snavely", "The Varsity Drag", "It Don't Mean A Thing", and "I'll Remember April". *Dusty Groove, Inc.*

1 - It Don't Mean A Thing (If You Ain't Got That Swing)

(Ellington, Mills)

2 - The Varsity Drag

(DeSylva, Brown, Henderson)

3 - Give Me The Simply Life

(Bloom, Ruby)

4 - I'll Remember April

(Raye, DePaul, Johnston)

5 - Oh, Jane Snavely

(Brookmeyer)

Stan Getz (tenor sax), Bob Brookmeyer (valve trombone),

John Williamson (piano), Teddy Kotick (bass), Frank Isola (drums).

Recorded in Los Angeles, California, August 22 (#1) and July 27 (#2), 1953;

November 24 (#3, #4, #5), 1954

Five-Star Collection... Stan Getz

Stan Getz Quintet

Interpretations #1 

It's a strange thing about jazz, but the inner circle of the giants of jazz never seems really to widen very much. Its exclusivity, based upon talent and the durability of that 

talent, rarely admits to the newcomer in the jazz world. Musicians like Goodman, Tatum, Hawkins, Hodges, Young, Ellington, Basie, Carter, and Armstrong, can rarely be pushed aside to allow room for a new face. Recently Parker has made the inner circle, and before that, Eldridge and Gillespie, and possibly one or two others that I haven't mentioned, but I think you see my point.

In the past few years Stan Getz has been the most likely candidate for being pledged to this group, and like all pledges, has had to prove himself doubly. I think that the time will arrive very soon where Getz can be accorded full membership in this group.

It is a truism that it is impossible to separate an artist and his playing hours from the man in his non-playing hours. How the artist represents or conducts himself, his attitude towards society about him and to life in general, are all reflected in his artistry. This is particularly true about Getz. He has a good deal of the schooled and finished musician about him, and that can be seen and heard in the execution of his instrument and in the flow of his musical ideas. Yet, there is something equally immature and undeveloped in the poignancy of his playing, in his tone, and in his very "sound". He literally, in many things, cries, and in that I think he reflects not only himself and his own feelings, but sometimes, society as a whole. Thus, when his playing lacks a certain vigor, it's not because of the lack of musical ability, but rather the weakness of the man, and this, curiously, gives him a different sound and makes him different from his fellow artists in jazz. Jazz, after all, is one of the arts where the interpreter mirrors his own inner feelings and in a sense comments on his relationship to the world around him. You may not like what he has to say, or even how he says it, but I think you will find that Stan Getz's comments on life are interesting in any event.

*Norman Granz (liner notes)*

One of the most distinguished jazz chamber music collections of the year. Stan is joined by Bob Brookmeyer and a  wonderful rhythm section of Teddy Kotick, Frank Isola, and Johnny Williams (rapidly becoming one of the major young pianists). The quality and quantity of easeful invention on these sides is exceptional.

Brookmeyer did the arranging and wrote the original. These are among Bob's best records so far, and the same can be said of Getz. I recommend the candid, perceptive essay on Getz by Norman Granz in the notes. The future is now up to Stan — he is youn enough to evolve as a person and if he can do that, his already high stature as a musician can grow to heights not even he quite realizes. My one gratuitous regret about Brookmeyer is that so creative a musician is presently being expended in the rocking chair exercises of the Mulligan quartet.

*Nat Hentoff (Down Beat, July 14, 1954 [5 stars])*

Stan Getz Quintet

Interpretations #2

There is not much that can be said about this "Interpretations" album by the Stan Getz Quintet that I did not adequately cover in the first volume of this series. At that time I commented that Getz had won all the polls for more years than I can recall as the best tenor saxophonist; he has been accorded by critics, 

and possibly more importantly, by the public itself, a permanent, important niche in the history of jazz, and his playing has that necessary consistency of high quality which must be identified with a great artist. 

Factually, his accompanists in this album are: Bob Brookmeyer on Trombone; John Williamson on Piano; Teddy Kotick on Bass; and Frank Isola on Drums. The tunes you will hear are: "Fascinatin’ Rhythm", "Minor Blues", "I Didn’t Know What Time It Was", and "Tangerine".

*Norman Granz (liner notes)*

This is Volume 2 of Norgran's Stan Getz quintet series (with Bob Brookmeyer, John Williams, and Teddy Kotick). The same is true of this as of the first volume (Down Beat, July 14). It is consistently "distinguished jazz chamber music". Everyone blows well and the set is well recorded. The one original, a good one, is Brookmeyer's. Package is factory sealed and there's a fine cover portrait of poll-winner Getz. *Nat Hentoff (Down Beat, January 12, 1955, 1954 [5 stars])*

Stan Getz

Stan Getz Quintet

Interpretations #2 (+ #1)

The Poll Winners label is devoted to the reissue of albums that received the maximum 5-Star review ratings in the iconic jazz magazine, DownBeat, this release contains the two complete 10" LPs titled Interpretations (Norgran MGN1000 and MGN 1008) by the Stan Getz Quintet, which were the frst long-play discs issued by Norgran, a Los Angeles label own by Norman Granz Include in this issue are three bonus tracks, master takes from the same sessions and with the exact same quintet.

During the 1950s Stan Getz occasionally worked with trumpeters Dick Sherman, Tony Fruscella, Conte Candoli or Chet Baker but his most regular associate at that time was Bob Brookmeyer. They worked extensively at Boston's Hi-Hat as well as Zardi's and The Tiffany in Los Angeles and their quintet was one of the most inventive small groups of the era.

Jimmy Giuffre said in a 1961 Downbeat article "That band is my favorite of all the jazz groups I've ever heard". Years later Bob Brookmeyer was surprised when I mentioned this to him – "Jimmy said that? Bless him".

Their work together has been constantly reissued and 20 years ago Definitive Records released "The Complete 1953-1954 Quintet Studio Recordings". Definitive made the bizarre decision to highlight Brookmeyer as the leader, which would surprise Bob and Stan if they were still around. There was also a live performance from November 1954 which found the quintet at its very best – "Stan Getz At The Shrine".

Interpretations #2 and #1 is a fine example of what the quintet had to offer. It benefits from the presence of John Williams, who was one of the finest pianists of his generation. He had a highly rhythmic approach to accompaniment, reminiscent of Horace Silver, but sadly he dropped out of the jazz scene in the late 50s. His good friend Frank Isola was a sympathetic drummer with a light touch that was perfect for the quintet, but just like Williams his stay in the jazz spotlight was a brief one. His last recording was on Mose Allison's Back "Country Suite" in 1957.

The horns are, of course, in fine form, drawing inspiration from the contrapuntal exchanges that were such a notable feature of their work together. *Gordon Jack (jazzjournal.co.uk)*

1 - Minor Blues

(Bob Brookmeyer)

2 - Fascinatin' Rhythm

(George and Ira Gershwin)

3 - I Didn't Know What Time It Was

(Richard Rodgers, Lorenz Hart)

4 - Tangerine

(Johnny Mercer, Victor Schertzinger)

5 - Love And The Weather

(Irvin Berlin)

6 - Spring Is Here

(Richard Rodgers, Lorenz Hart)

7 - Crazy Rhythm

(Irvin Caesar, Roger Kahn, Joseph Mayer)

8 - Willow Weep For Me

(Ann Ronell)

9 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

10 - Pot Luck

(Johnny Mandel)

11 - It Don't Mean A Thing

(Duke Ellington, Irving Mills)

12 - The Varsity Drag

(Lew Brown, B. G. De Sylva, Ray Henderson)

13 - Pot Luck (single version)

(Johnny Mandel)

#1 to #-4: from Interpretations #2 (Norgran MGM 1008)

#5 to #10: from Interpretations #1 (Norgran MGM 1000)

#11 and #12 : from Interpretations #3 (Norgran MGM 1029)

Stan Getz (tenor sax), Bob Brookmeyer (valve trombone),

John Williamson (piano), Teddy Kotick (bass), Frank Isola (drums).

Recorded in Los Angeles, California, August 15 (#1, #2, #8),

August 22 (#3, #4, #9, #10, #11, #13) and July 27 (#5, #6, #7, #12), 1953

Five-Star Collection... Teddy Charles

Teddy Charles

The Teddy Charles Tentet

Comes a time when you begin to search anew. You've written for and played with almost every conceivable small jazz group instrumentation. You want to "stretch out" for something bigger. But it must be an ensemble consistent with your personal ideas on jazz.

You reject the standard big band formula. That was born of dancing, large ballrooms, and theatrical displays — the bigger the better (?). The ideas of Gil Evans occur to you. Gil introduced tuba and french horn to Claude Thornhill's fine band of '47, later reducing it to the jazz group proportions of the Miles Davis nine piece band of '48-'49. The innovation was a great musical success; big band and small alike haven't been the same since. 

However, you play the vibes, and you want an instrumentation that may utilize the potential of your instrument, melodically, ensemblewise, and percussively. And you want to use to advantage your own experience gained in playing with everything from a vibes-bass duo with Mingus, to the Composer Workshop nine piece group and big bands. 

Finally you approach it this way: what jazzmen would I like to hear blowing in a group, that would comprise an extremely flexible instrumentation adaptable for larger forms, and who in combination would produce a very distinctive sound consistent with my ideas of jazz? 

Fortunately almost everyone you have in mind is available, and interested. You get Peter Urban, who played in your group a year or so ago, a swinging creative trumpeter, with big band lead experience, having a sensitive sound all his own. You think of his confrere, the fresh, lyrical, well-schooled Gigi Gryce for alto. Next, from your current group the swinging J. R. (Eastcoast Jake, NOT Westcoast Jack) Monterose; an authoritative tenor voice. On baritone, a guy who can blow, and play ensemble, from later Composer Workshop groups, George Barrow, and Sol Schlinger (when George left town on a gig) fit both requirements well. Don Butterfield, from the first C.W. was the likely choice for tuba, having a distinctive, smooth sound with a good jazz feel; a virtuoso on his horn. 

Now you have two brass, a top and bottom, and three saxes having lead, bottom, and inner voice possibilities and possessed of more flexibility of articulation than trombones or french horns. For swinging strings, six of them, and one of our most creative jazz men to play them, guitarist Jimmy Raney, an earlier musical associate of mine. And under him, Bird's favorite bassist, Teddy Kotick, who plays a walking, lyrical bass line, currently with my quartet. Piano, probably a necessity for blowing in a group of this weight, would require a keyboard artist, as well as a comper and soloist. Hence, Mal Waldron, another Workshop man with a fine classical background.

Now you need a drummer-percussionist who has the ability to swing a large ensemble, yet who can play with the sensitivity required for small band blowing. Joe Harris swung the great Dizzy Gillespie big band, and we had both played in Chubby Jackson's exciting power house. 

Thus the Tentet! An ensemble of individual jazz artists, all fresh, all playing jazz of today. In fact, the idea suddenly jelled. This is what I really want to present on records. Jazz of today. Not ten, or two, or fifteen years ago. Not even futuristic, experimental stuff. But a representation of many of my favorite jazz performers, using contemporary jazz means, playing in an ensemble organically the aggregate of their individual jazz talents. Fortunately, I'd been associated musically with almost every man in the Tentet in my own group or others.

(...)

Complex technical details of each composition could be given, but anybody understanding the jargon wouldn't need it. Moreover, there's only one instrument of a kind, so solo order is obvious. I think all the performers did a great and sympathetic job. You can listen to this casually, or accept it as a challenging experience in listening to undiluted jazz. Either way, I hope you are moved, as I am, by this jazz of today. *Teddy Charles (liner notes)*

Teddy's Tentet is made up of Peter Urban (Art Farmer), trumpet; Gigi Gryce, alto; J. R. Monterose, tenor; George Barrow, baritone; Don Butterfield, tuba; Jimmy Raney, guitar; Mal Waldron, piano; Teddy Kotick, bass; Joe Harris, drums; Sol Schlinger, baritone, for Barrow on sides 1, 3, 7.

The composers-arrangers: Waldron (1); Jimmy Giuffre (2); Charles (3, 4, 5); Gil Evans (6); George Russell (7).

This is one that grows on you. There is so much to hear in the writing, so much going on in the group, so many solo moments of merit that come out at you in short bursts, and so much intensity in the entire performance, that a lot of listenings are just about mandatory. Or perhaps I should say, this collection is going to be listened to often by me.

Charles' intent? Best described in his own excellent liner notes: "This is what I really want to present on records. Jazz of today. Not 10, or 2, or 15 years ago. Not even futuristic, experimental stuff. But a representation of my favorite jazz performers, using contemporary jazz means, playing in an ensemble organically the aggregate of their many individual jazz talents".

They do an excellent job of fulfilling Teddy's aim. This was a well-rehearsed session—not 10 men walking into a studio and playing some difficult music at sight. Charles chose personnel and writers wisely, with his own Green Blues, Giuffre's Quiet Time, and Gil Evans' Go to My Head particularly well adapted to the size and capability of the tentet.

Put this one up on your shelf along with the Miles Davis Capitol sides and the Gerry Mulligan Tentet album. *Jack Tracy (Down Beat, June 27, 1956 [5 stars])*

Side 1

1 - Vibrations

(Mal Waldron)

2 - The Quiet Time

(Jimmy Jiuffre)

3 - The Emperor

(Teddy Charles)

Side 2

4 - Nature Boy

(Eden Ahbez)

5 - Green Blues

(Teddy Charles)

6 - You Go To My Head

(Gillespie, Coots)

7 - Lydian M-1

(George Russell)

Teddy Charles (vibes); Art Farmer [as Peter Urban] (trumpet); Don Butterfield (tuba);

Gigi Gryce (alto sax); J. R. Monterose (tenor sax);

Sol Schlinger [#1, #3, #7], George Barrow [#2, #4, #5, #6] (baritone saxes);

Mal Waldron (piano); Jimmy Raney (guitar); Teddy Kotick (bass); Joe Harris (drums).

Recorded at Coastal Recording Studios, New York City, January 6 (#2, #4),

January 11 (#5, #6) and January 17 (#1, #3, #11), 1956

Zoot Sims on Prestige (VI)

Straight ahead  mid-'50s swinging bop, this era was heralded as the transition from swing to bop, but my, does it swing.  The pairing of Zoot Sims and Phil Woods is magnificent, both bursting with unstoppable high energy flow, powered along by a driving rhythm section.

It is a complete delight to follow the solos, which seem to over-run their allotted time, but no problem, both Woods and Sims are great. Though Woods is beautiful,  Zoot stands as  a bridge between the old school of tenor players and the new, and it is Sims that has The Force with him.

There have been at least three Prestige issues of this recording under different leader names and album titles, which highlights the label's acute sensitivity to the  changing standing of different artists – Jon Eardley, Phil Woods and Zoot Sims.

The original PRLP 7033 featured The Jon Eardley Seven. Seriously classic cover art.

A second issue of PRLP 7033 appeared, but retitled Down East.  Zoot Sims now heads the list of artists, Woods at No.2, Eardley demoted to third billing, but gets capital letters to soften the blow. Both versions are frequently touted as "original".

A third reissue (which is presented here) was released in 1965, under the main name of Zoot Sims and titled Koo Koo. Rudy Van Gelder must have gone back and re-mastered this recording for Prestige sometime in the early/mid ’60s, intended for the New Jazz label, but a business decision was made to put it out on Status, with a third cover,  design and photo by Don Schlitten. *londonjazzcollector.com*

Zoot Sims

with Phil Woods and Jon Eardley

Koo Koo

When this record was made, however, sessions were still being held with some kind of regularity around town. Budding young jazzmen like Phil Woods and Jon Eardley were always eager to play, especially if they were not working, an attitude that is out of vogue today. Although Sims was an established star, he was always anxious for a session. Just as he had for Lloyd, Gerry Mulligan, and George Wallington in the late '40s, he made the sessions go for Woods, Eardley, and George Syran in the '50s. The younger musicians looked up to him, and this, coupled with the urgency of his blowing, made them outdo themselves. 

This, recording was done in a period when Zoot had returned from almost two years) in California. First he played with Miles Davis and Gerry Mulligan in the set at the 1955 Newport Jazz Festival which marked Miles' "comeback", and then he became a member of Gerry's sextet which also included Jon Eardley.

Eardley and Woods had already recorded two 10-inch LPs for Prestige. The rhythm section for these dates was Syran, Teddy Kotick, and Nick Stabulas. When Koo Koo was recorded, everyone in the studio knew each other well in the kind of familiarity that definitely does not breed contempt. Trombonist Milty Gold, a native Pennsylvanian like Eardley, had worked with the big bands of Herbie Fields, Buddy Rich, Claude Thornhill, Elliott Lawrence, Stan Kenton and Pete Rugolo. He also was with the sextet that backed Anita O'Day in the late '40s. As one who was around the New York area from that time, he participated in many informal sessions with the other musicians on this date.

The arrangements are just right for this kind of a blowing session. They have substance, and yet never impede the flow of the soloists. The lines, as stated by an interweaving of the trumpet and alto team with the trombone-tenor tandem, have an inner swing, while the backgrounds for the horn soloists act as a spur.

It's good to have these tracks available once again. They demonstrate how Zoot Sims and Phil Woods were taking care of business in the mid-Fifties. They are still very active today, as are Teddy Kotick and Nick Stabulas. However, less has been heard from the other principals involved. George Syran has been playing gigs in supper clubs and east side lounges in New York, but does not record. Jon Eardley was off the scene for a spell but is reported to be playing in Europe now. Milty Gold has been inactive professionally, of late. Perhaps we will be hearing more from these three in the near future. This recording proves that their capabilities warrant renewed attention.

*Ira Gitler (liner notes, November 1964)*

Side 1

1 - Leap Year

(Syran)

2 - There's No You

(Hopper)

3 - On The Minute

(Eardley)

Side 2

4 - Ladders

(Eardley)

5 - Koo Koo

(Eardley)

6 - Eard's Word

(Woods)

Zoot Sims (tenor sax), Phil Woods (alto sax), Jon Eardley (trumpet), 

Milt Gold (trombone), George Syran (piano), Teddy Kotick (bass), Nick Stabulas (drums).

Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, January 13, 1956.

• The Jazz School •

A nice bop compilation featuring three different sessions as below:

Art Mardigan Sextet featuring John Williams on piano: a refreshing bop session with unique sound colour; Paul Gonsalves Sextet featuring Clark Terry: a bit corny, but also a nice mainstream session; and two tracks by Joe Gordon Quintet: Gordon's brilliant trumpet blows so great, and Art Blakey's propulsive rhythm gives the entire mood of this great hard-bop session.

Strictly personal rating (to what extent I could enjoy this album); 8 out of 10.

*Matsubayashi "Shaolin" Kohji [microgroove.jp]*

There are sixteen students in this class of the Jazz School; sixteen young men whose grades are impeccable, whose studies have clearly qualified them for a successful and distinguished career. 

At the head of the class for the first four exercises is a member of the drums Corps, a familiar figure by the name of Arthur Mardigan.

Art is a native Detroiter, born in December, 1923 and a name band musician since the age of nineteen, when he joined Tommy Reynolds. After Army service in 1943-44 he spent a year with Georgie Auld's group, then went home to Detroit for a while before entering the New York scene, where he was a part of many noteworthy 52nd Street combos under the leadership of Charlie Parker, Dexter Gordon, Allen Eager and Kai Winding. In addition, Art worked off and on with Woody Herman and Elliot Lawrence. In 1954, when Pete Rugolo came east to form a band for a tour, Art was a cornerstone of that all-star ensemble.

Featured with Art on his four performances here are Don Joseph, a cornetist who's been a familiar figure around New York jazz circles for several years; Milt Gold, a trombonist who has seen service with such name bands as Stan Kenton's and Claude Thornhill's; and Al Cohn, the tenor saxophonist and arranger who has been rising rapidly to jazz eminence in the past year. Heard with Mardigan in the rhythm section are John Williams, the 25-year-old pianist from Windsor, Vermont, best known for his work with Stan Getz; and Teddy Kotick, a 27-year-old bass man who has been prominent on the New York scene with Charlie Parker, Buddy Rich, Buddy De Franco and a flock of other combos. 

Class dismissed.

A new group moves in: at the head of this class is Paul Gonsalves, tenor saxophonist from Brockton, Massachusetts. Raised in Pawtucket, R.I., Paul started his musical life as a guitarist at the age of sixteen, in 1936; later, switching to tenor saxophone, he became popular as a featured member of the Sabby Lewis orchestra, a well known Boston group, with which he made his record debut.

A three-year hitch in the Army, from 1942 to '45, was followed by a stint in the Count Basie orchestra, and a brief fling in Dizzy Gillespie's final big band. Then, early in 1951, Paul joined the great Duke Ellington orchestra, of which, except for a few weeks in Tommy Dorsey's band in 1953, he has been a member ever since. 

Paul's colleagues on this, his first record session under his own leadership, include Clark Terry, another great Ellingtonian of several years standing and sitting; Porter Kilbert, baritone saxophonist, who worked briefly on alto with Ellington in 1951; Junior Mance, a gifted 27-year-old pianist from Chicago, best known for the fine work he has done as Dinah Washington's accompanist; Eugene Miller on drums; and the inimitable, poll-winning bassist of erstwhile Woody Herman fame, Greig Stewart "Chubby" Jackson. 

... dismissed...

Time now for graduation exercises. The class is headed by Joseph Henry Gordon, another brilliant New Englander on the modern jazz scene. Born in 1928 in Boston, Joe worked as a sandwich boy on the Boston-Albany railroad as recently as 1947, but later in that same year made his professional bow with his own combo at Boston's Savoy Ballroom, where the above-named Sabby Lewis was a frequent favorite. Joe also worked as a sideman with Sabby, as well as with a variety of other groups, from Georgie Auld to Charlie Mariano, from Charlie Parker to Lionel Hampton.

Heard with Joe on these sides are Charlie Rouse, a tenor man from Washington, D.C., who was with Duke Ellington in 1949-'50; Junior Mance, reappearing on piano; Jimmy Schenck on bass; and the pride of Pittsburgh, winner of the 1953 New Star award in the critics’ poll, Art Blakey on drums.

So these are the men you will meet in the Jazz School. It seems superfluous to point out that every last man of these sixteen students has graduated, as he deserves to, summa cum laude. 

*(from the liner notes)*

Side 1

1 - I've Found A New Baby

(Plamer, Williams)

2 - Moroccan Blues

(Al Cohn)

3 - Old Gold

(Milt Green)

4 - Golden Touch

(Quincy Jones)

5 - Evening Lights

(Joe Gordon)

Side 2

6 - It Don't Mean A Thing

(Mills, Ellington)

7 - Take Nine

(Paul Gonsalves)

8 - Everything Happens To Me

(Adair, Dennis)

9 - Don't Blame Me

(Fields, McHugh)

10 - Body And Soul

(Heyman, Sour, Green, Eyton)

#1 to #4: Art Mardigan Sextet

Don Joseph (cornet), Milt Gold (trombone), Al Cohn (tenor sax), John Williams (piano), Teddy Kotick (bass), Art Mardigan (drums).

Recorded in New York City, May 20, 1954.

#6 to #9: Paul Gonsalves Sextet

Clark Terry (trumpet), Porter Kilbert (alto sax), Paul Gonsalves (tenor sax), Junior Mance (piano), Chubby Jackson (bass), Eugene Miller (drums).

Recorded (probably) in Chicago, Illinois, February 6, 1954.

#5 and #10: Joe Gordon Quintet

Joe Gordon (trumpet), Charlie Rouse (tenor sax), Junior Mance (piano), Jimmy Schenck (bass), Art Blakey (drums).

Recorded at Fine Sound Studio, New York City, September 3 (#10) and 8 (#5), 1954.

 

Stan Getz And Horace Silver - Pair Of Kings

It is easy to distinguish between hot water and cool water. If you step into a bathtub full of what you think is cool water and it turns out to be boiling hot, it is particularly easy to distinguish the difference.

If, however, you have spent many months or years or even decades listening to hot jazz, on stepping into the less torrid waters provided by music such as you will hear on these sides, the contrast may be far less easy to define. Indeed, few of the jazz experts themselves are in agreement on what constitutes cool jazz, or whether it is an outgrowth of bop, or whether it it an extension or even a synonym for it. 

If the experts themselves can't agree, then how can you, the average listener, possibly know the answer? Well, at least your ears will provide you with certain unmistakable clues. Reacting to many years during which excitement and an aggressive, hard-driving spirit seemed to be essential to a great deal of what was then known as hot jazz, some modern musicians during the middle 1940s rejected this concept in favor of a smoother, subtler approach. The horns, particularly the saxophones, tended toward a softer, gentler tone; the drummers, instead of using the bass drum for regular accents, transferred the bulk of the beat to the cymbal; though syncopation was still in general use, there was more extensive use of even, legato phrasing.

Stan Getz in the archetypical musician of the cool school. Born February 2, 1927 in Philadelphia he lived in New York City from the age of ten. 

After flirting briefly with the bass and bassoon, he took up the saxophone while playing in New York's all-city orchestra. Leaving James Monroe High School in the Bronx, he joined an orchestra led by one Stinky Rogers but was promptly ordered to return to school.

Though the original model of all the "Brothers" was unmistakably Lester Young and their styles at first seemed largely similar, it was Getz who emerged first to form his own combo and establish himself as one of the great individualists of the cool generation.

Horace Silver, a native of Norwalk, Connecticut, born there in 1928. Horace was a tenor saxophonist like Stan when he first played local gigs, but he had switched to piano when Stan Getz heard him one evening in Hartford and was soon invited to join the Getz quintet, with which he remained on tour for a year. It was during this period that six of these titles were recorded. 

Silver's piano style, which is finally receiving the recognition it deserves, is a result not of outward striving towards atonalities and modern classical complexities, but of an inner development and search for deeper "soul" and meaning to the blues roots of jazz. Words like "funk" and "soul" are open to many subjective interpretations, let's suggest that you listen awhile and discover that whatever the word, or the tune, Silver plays real swinging piano. *(Liner notes)*

These recordings, which originally appeared on Roost Records, are all Stan Getz showpieces, some of which were described by Down Beat editor and critic Nat Hentoff as "among the classic products of our contemporary jazz era". Discussing further the special qualities of Stan's playing on these records, Hentoff wrote: "Much has been written about his 'sound' of almost unprecedentedly piercing purity. There is also the Getz way with a melody as he often sculpts a melodic line with the sinuous care of a Martha Graham... Most important from a jazz viewpoint is that he swings. Sometimes vigorously, sometimes exceedingly gentle, he always moves". *Paul Shapler* 

Side 1

1 - Yvette

(Gigi Gryce)

2 - Wild Wood

(Gigi Gryce)

3 - Melody Express

(Gigi Gryce)

4 - Penny

(Horace Silver)

5 - Potter's Luck

(Horace Silver)

6 - Split Kick

(Horace Silver)

Side 2

7 - Rubber Neck

(Frank Rosolino)

8 - Mosquito Knees

(Gigi Gryce)

9 - Sweetie Pie

(John Jacob Loeb)

10 - Hershey Bar

(Johnny Mandel)

11 - Tootsie Roll

(Stan Getz)

12 - For Stompers Only

(Stan Getz)

#1 to #6:

Stan Getz (tenor sax), Jimmy Raney (guitar), Horace Silver (piano), Tommy Potter (bass), Roy Haynes (drums).

Recorded in New York City, August 15 (#1, #2, #3, #5) and March 1 (#4, #6), 1951.

#7 and #8:

Stan Getz (tenor sax), Jimmy Raney (guitar), Al Haig (piano), Teddy Kotick (bass), Tiny Kahn (drums).

Recorded live at Storyville Club, Boston, October 28, 1951.

#9 and #10:

Stan Getz (tenor sax), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums).

Recorded in New York City, May 17, 1950.

#11 and #12:

Stan Getz (tenor sax), Horace Silver (piano), Joe Calloway (bass), Walter Bolden (drums).

Recorded in New York City, December 10, 1950.

Jon Eardley - From Hollywood To New York

You can add Jon Eardley to that voluminous list of talented jazz musicians who came to prominence in the 50s but could never make it in the States, so they eventually took off for Europe. Fortunately the trumpeter was preserved in some great company before he left. This OJC reissue features two Prestige/New Jazz 10"s combined on to one LP length CD. The first, Jon Eardley In Hollywood is a nice Christmas day 1954 quartet session with pianist Pete Jolly, bassist Red Mitchell and drummer Larry Bunker. Next stop is Rudy Van Gelder's Hackensack studio on March 14, 1955 for the star of the show, Hey There, Jon Eardley! Here we get to hear the trumpeter paired off with tenor saxophonist J.R. Monterose, another brilliant player who never really got his due. An excellent rhythm trio of George Syran on piano, Teddy Kotick on bass and Nick Stabulas on drums provides a solid foundation, as they do on  Seven. This is forward-thinking modern jazz performed excellently, making From Hollywood to New York a thoroughly enjoyable trip. *Brad Richman (amazon.com)*

Trumpeter Jon Eardley's first two sessions as a leader (he would only lead two others during the next 20 years) are combined on this reissue CD. A fine boppish player who mostly stuck to the middle register of his horn, Eardley would soon be joining Gerry Mulligan's group. He is heard on four selections heading a quartet with pianist Pete Jolly (who was just starting his career), bassist Red Mitchell, and drummer Larry Bunker, and on four other numbers with tenor saxophonist J.R. Monterose, pianist George Syran, bassist Teddy Kotick, and drummer Nick Stabulas. The music (five originals and three standards) is essentially cool-toned bop and was quite modern for the period. *Scott Yanow*

Great early work from trumpeter Jon Eardley — captured here at a point when he was a budding young modernist in the 50s! The album features 2 early 10" LPs — Jon Eardley in Hollywood and Hey There Jon Eardley — both recorded for Prestige within a few months in the mid 50s. The first date features Eardley's trumpet right out front in the mix — hard, spare, and a bit angular — with backing from the piano of Pete Jolly, as well as Red Mitchell on bass and Larry Bunker on drums. Titles include "Late Leader", "Indian Spring", "Black", and "Gloss". The second session is even more interesting, as it features Eardley's horn in tandem with tenor saxophonist J. R. Monterose, brimming with new ideas at this point in his career, and adding a real edge to the tracks. The remaining players include George Syran on piano, Teddy Kotick on bass, and Nick Stabulas on drums — and titles include "Hey There", "Sid's Delight", "Demanton", and "If You Could See Me Now". *dustygroove.com*

1 - Late Leader

(Jon Eardley)

2 - Indian Spring

(Jon Eardley)

3 - Black

(Jon Eardley)

4 - Gloss

(Jon Eardley)

5 - Hey There

(Adler, Ross)

6 - Demanton

(Jon Eardley)

7 - Sid’s Delight

(Tadd Dameron)

8 - If You Could See Me Now

(Dameron, Sigman)

#1 to #4:

Jon Eardley Quartet (from Jon Eardley In Hollywood)

Jon Eardley (trumpet), Pete Jolly [as Pete Cera] (piano), Red Mitchell (bass), Larry Bunker (drums).

Recorded at Radio Recorders, Hollywood, December 15, 1954.

#5 to #8:

Jon Eardley Quintet (from Hey There, Jon Eardley!)

Jon Eardley (trumpet), J. R. Monterose (tenor sax), George Syran (piano), Teddy Kotick (bass), Nick Stabulas (drums).

Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, March 14, 1955.

The Jon Eardley Seven

When Jon Eardley first joined Gerry Mulligan's Quartet many people immediately closeted him with Chet Baker for the simple reason that he was playing with Gerry Mulligan. It is true that Jon was exercising a certain restraint in fitting his personality to the quartet but he never sounded like Baker. However, it took his own recordings and those with Phil Woods to establish clearly that his was a harmonically richer and more virile style.

Here it is a septet for which he has penned some arresting lines which never lack an inner swing and are well developed by the integration of trumpet-alto against trombone-tenor. For the personnel of the septet, Jon has drawn on past and present associates and chosen wisely and well. The very sound that they get points up the kindred spirit that existed on the date. For conclusive proof listen to the exchange between Zoot and Phil in "On The Minute" or the four way conversation on "Ladders". 

As I said before this is really Jon's personal expression. Aside from the ballad "There's No You" and George Syran's "For Leap Year", the rest of the compositions are by him. And there is his muscular and melodic horn which shows further maturity and added lustre. This is Eard's word and you can take him at it, for he knows whereof he speaks... straight from the shoulder.

*Ira Gitler (liner notes)*

This recording was done at a time when Jon Eardley and Zoot Sims were members of Gerry Mulligan's sextet. Jon, the young trumpeter from Altoona, Pennsylvania, was first visible at the legendary Open Door sessions in Greenwich Village during the mid-Fifties. Then he and Phil Woods recorded together in their New Jazz Quintet and Jon did his own quartet and quintet dates for Prestige. This septet shows off not only his playing and composing but his arranging talent as well. With Sims and Woods aboard, solo power was guaranteed. Milt Gold was not as well known but his highly articulate trombone fits in perfectly. In the Sixties Eardley left the United States for Europe to work in Belgium and Germany. He became a valuable member of the WDR Radio Big Band in Cologne, Germany, where his trumpet and flugelhorn continued to champion lyricism and swing until his death in 1991. *concord.com*

Side 1

1 - Leap Year

(Syran)

2 - There's No You

(Hopper)

3 - On The Minute

(Eardley)

Side 2

4 - Ladders

(Eardley)

5 - Koo Koo

(Eardley)

6 - Eard's Word

(Woods)

Jon Eardley (trumpet), Zoot Sims (tenor sax), Phil Woods (alto sax), Milt Gold (trombone), George Syran (piano), Teddy Kotick (bass), Nick Stabulas (drums).

Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, January 13, 1956.

• The Fourmost Guitars •

Jimmy Raney • Chuck Wayne • Joe Puma • Dick Garcia 

The Fourmost Guitars

The Fourmost Guitars, was a 1956, 12-inch release from ABC-Paramount that featured four different top jazz guitarists of the period.

At first glance, I thought it was akin to one of those Savoy samplers featuring a range of different artists who recorded for the label. But on closer inspection and a bit of research, it seems to be a more sophisticated package. Here's how I believe this album came to be:

In 1956, when producer Creed Taylor left Bethlehem to join ABC-Paramount as head producer of the jazz division, he must have been given tape from recording sessions held the previous year. In all likelihood they were recordings from initial sessions to be held over multiple days but never completed. Perhaps they were done for singles or 10-inch LPs just as the record industry was switching to the 12-inch format.

Somewhat puzzling is the timing. Several of these sessions were held prior to ABC-Paramount forming in September 1955. Either way, the material was shelved or put on hold until the artists could be rounded up again to finish what was started.

I'm guessing that when Creed gave a listen, he realized many were quite good. Included in the stack of tape reels were three different sessions led by different guitarists — Jimmy Raney, Chuck Wayne, and Dick Garcia and Joe Puma.

As he listened, Creed probably leaned back in his chair and concluded there were two ways to go. Bring in the different artists to complete enough tracks for three different 12-inch albums, which wouldn't be easy given the schedule of musicians at this level back then. Or simply take the tracks that existed and create a guitar album. Creed chose the latter. The result was The Fourmost Guitars.

The cover featured an image of four guitars ablaze at night on a sandy beach, an eye-catching allegory signaling to the buyer that the guitarists playing inside were red hot. The back cover is telling. For one, while Creed was given credit in the bottom right-hand corner as the album's producer, his famed oversized signature hadn't yet begun to be used.

Also interesting is that the cover design was credited to Fran Scott, who was Tony Scott's wife at the time. She was an ABC-Paramount art director and would work closely with Creed on the covers at the label until 1960, when he founded the Impulse label for ABC.

As for the music, what we have here are fascinating examples of superb mid-1950s jazz guitarists backed by different instrumental configurations.

The swinging guitarists' tasteful chords and lines are impossibly great. I'm always astonished at how many terrific jazz guitarists there were on both coasts in the 1950s. Clearly there was plenty of work to go around. On this album, we have the roundness and lyrical wanderings of Wayne, the plucky determination of Raney and the low-register togetherness of Garcia and Puma, especially on "Time Was". *Marc Myers*

Since approximately the end of World War II, the guitar has increasingly come into its own as a solo instrument of stature in the world of jazz. The late Charlie Christian is credited with opening the way during the Thirties and early 'Forties. The tradition has since been carried on by such people as Billy Bauer, Jimmy Raney, Bill DeArrango, Chuck Wayne, Barney Kessel, and more recently, Tal Farlow, Joe Puma, Sal Salvadore, Herb Ellis, Dick Garcia, etc. Toward this álbum.

The Fourmost Guitars, four of the best practitioners of guitar jazz have contributed.

Jimmy Raney is one of the most widely known and influential of the modern jazz guitarists. Jimmy has played under such leaders as Woody Herman, Artie Shaw, Terry Gibbs, Buddy De Franco, Stan Getz and Red Norvo. For the past year or so he has been a member of Jimmy Lyon’s Blue Angel house trio. His guitar can be heard on numerous recordings.

Although he has been employed for the past couple of years as accompanist to singer Tony Bennett, Chuck Wayne can be remembered from the Fifty-Second Street days following World War II. Chuck has played with numerous jazz groups in addition to his own. He is an alumnus of the early George Shearing Quintet and the great Woody Herman band of the late Forties which recorded the "Sequence In Jazz" album.

Joe Puma is thirty years old and a native of The Bronx. A family man (Joe has a wife and two daughters), he has stayed as close to New York as possible. His experience includes tenures with Joe Roland, Artie Shaw, Louis Bellson, Don Elliott and Herbie Mann, among others. In the past couple of years Joe has done considerable recording work and has moved steadily toward wider recognition. 

Dick Garcia is the youngest of the four guitarists in age (he is twenty-five), but by no means the youngest as far as talent is concerned. Dick has played with George Shearing, Tony Scott, Joe Roland, and is currently touring with Ray McKinley’s band. He is a prolific composer and has broad tastes in music (and a particular fondness for Spanish folk music). *Tom Stewart (liner notes)*

The Fourmost Guitars is actually a compilation of three separate groups recorded especially for this Paramount LP from the mid-'50s. The first guitarist, Jimmy Raney, is heard on four tracks with trumpeter John Wilson, pianist Hall Overton, bassist Teddy Kotick, and drummer Nick Stabulas. Raney composed two originals, including the snappy bop vehicles "Two Drams of Soma" and "Scholar's Mate" (the latter referring to being checkmated in chess in just four moves), along with intricate arrangements of the standards "Gone with the Wind" and "Yesterdays". Guitarists Dick Garcia and Joe Puma play together on four tracks with bassist Dante Martucci and drummer Al Levitt. Without a pianist or horn, their collaboration is a more easygoing affair, though no less enjoyable. Finally, Chuck Wayne is accompanied by pianist Dave McKenna, bassist Oscar Pettiford, altoist Dave Schildkraut, and drummer Sonny Igoe on three songs. The interplay between Wayne and Schildkraut is delightful in the uptempo setting of "If I Ever Love Again". Like many Paramount albums, this LP has long been a collectible and seems to be an unlikely candidate for reissue.

*Ken Dryden*

Side 1

1 - Two Dreams Of Soma

(Raney)

2 - I'm Old Fashioned

(Kern, Mercer)

3 - You Stepped Out Of A Dream

(Brown, Kahn)

4 - Time Was

(Prado, Luna)

5 - Scholar's Mate

(Raney)

6 - Easy Living

(Robin, Rainger)

Side 2

7 - Ain't Misbehavin'

(Waller, Brooks)

8 - Gone With The Wind

(Ahlert, Young)

9 - Li'l Basses

(Garcia)

10 - If I Love You Again

(Oakland, Murray)

11 - Yesterdays

(Kern, Harbach)

#1, #5, #8, #11: 

Jimmy Raney Quintet

Jimmy Raney (guitar), John Wilson (trumpet), Hall Overton (piano), Teddy Kotick (bass), Nick Stabulas, drums. 

Recorded in New york City, February 23, 1956.

#2, #4, #7, #9:

Joe Puma - Dick Garcia Quartet

Joe Puma, Dick Garcia (guitars), Dante Martucci (bass), Al Levitt (drums).

Recorded in New York City, December 18, 1955.

#3, #6, #10:

Chuck Wayne Quintet

Chuck Wayne (guitar), Dave Shildkraut (alto sax), Dave McKenna (piano), Oscar Pettiford (bass), Sonny Igoe (drums).

Recorded in New York City, February 17, 1956. 

Eddie Costa • Art Farmer - In Their Own Sweet Way

The word "phenomenon" as outlined in the dictionary, pertains to an exceptional person, things or occurrence, and is frequently used in a banal attempt to give class or distinction to an otherwise colorless performer. Generally, the music trade is apathetic to such inaccurate semantics, but once in a while they solemnly nod in agreement that some newcomer is fully deserving of such accolades. Eddie Costa who recently captured the Down Beat international jazz critics’ poll on both vibes and piano, fits this select category. 

Eddie incorporated his own writing and playing skill with one of the country’s leading jazz talents, trumpeter Art Farmer, who has taken the jazz world by storm as a logical successor to the mantle of Miles Davis with his inspirational attack and conception. Altoist Phil Woods was a featured member of Dizzy Gillespie’s "State Department" band, and displays virility on his instrument that has seldom been heard in the modern idiom. Bassist Teddy Kotick is an extraordinary rhythm man who has been in the employ of some of the greatest names in the trade. Likewise, drummer Paul Motian who, with his infallible time sense, has become one of the most frequently used drummers on the East Coast. Collectively, this is a superior quintet. 

Four originals and three standards comprise the material heard in this set with chart contributions by Costa, Farmer and Woods. The fact that each writer had prior knowledge of the temperament and capabilities of his fellow tradesmen permitted them a wider experimental scope and produced some refreshing ideas. In sum, this highly exciting session. *Liner notes*

Eddie Costa made only a few dates as a leader prior to his sudden death as a result of an automobile accident at the age of 31; this 1957 session is the best of them. Alternating between piano and vibes, Costa leads a quintet that includes Phil Woods, Art Farmer, Teddy Kotick, and Paul Motian, featuring enjoyable interpretations of "I Didn't Know What Time It Was" and Dave Brubeck's still fairly new "In Your Own Sweet Way", the latter of which focuses on Costa's vibes and Farmer's muted trumpet, with Woods switching to the piano. Each of the originals by Costa, Woods, and Farmer is stimulating, although they have undeservedly languished in obscurity. *Ken Dryden*

An extremely great session from Eddie Costa and Art Farmer – arguably more so, because the cover and label make you think it's going to be a cheap knockoff! In what is an odd meeting of players, especially for the label, Eddie's piano and vibes meet up with Art's trumpet, the alto of Phil Woods, bass of Teddy Kotick, and drums of Paul Motian – all of whom work together with the fluidity and soulfulness of some of the best Prestige sessions of the time. The horn work is tremendous – and it's hard to remember Woods sounding this great on other albums of the time, really cutting an edge next to Farmer's trumpet – which also has an incredible tone for the album, right up there with his Farmer's Market record. Titles include "Big Ben", "Blues Plus Eight", "Stretch In 'F'", and "Get Out Of The Road".  *dustygroove.com*

Side 1

1 - Get Out Of The Road

(Phil Woods)

2 - In Your Own Sweet Way

(Dave Brubeck)

3 - Big Ben

(Phil Woods)

Side 2

4 - Nature Boy

(Eden Ahbez)

5 - Blues Plus Eight

(Eddie Costa)

6 - I Didn't Know What Times It Was

(Hart, Rodgers)

7 - Stretch In "F"

(Art Farmer)

Eddie Costa (piano [#1, #3, #4, #5, #7], vibes [#2, #6]), Art Farmer (trumpet), Phil Woods (alto sax [#1, #3, #4, #5, #7], piano [#2, #6]), Teddy Kotick (bass), Paul Motian (drums).

Recorded in New York City, July 13, 1957. 

The RCA Victor Jazz Workshop #7

George Russell

The RCA Victor Jazz Workshop

In the latest and most exciting of RCA’s Workshop series, arranger George Russell has managed to prove several points concerning what is sometimes known as "far-out" jazz that may have bothered a number of listening laymen and musicians. First, the music in almost every piece swings just the way conventional jazz swings. Second, true improvisation abounds and there is the sense of organized looseness that one finds in the more tonal jazz combos. Third, the works are neither too long nor overpretentious structurally, as has so frequently been the case with experiments of this kind. Fourth, they have a challenging sense of form without stiffness or overorganization. Fifth, one never has to worry about intonation or any aspect of musicianship or performance; clearly the quality of the personnel and the quantity of rehearsal met the stern demands of Russell’s writing. Sixth, the writing is harmonically venturesome without resorting either to complete atonality or to the Schoenberg mathematics of the juggled twelve-tone row.

It is on this last level that Russell has succeeded completely in lifting his album to a unique status and stature. His writing is based on the "Lydian concept of tonal organization", a theory on which he has worked for years, which was heard in his sole track on the Teddy Charles Atlantic LP, and which unfortunately George completely fails to explain here in his well-intentioned but elliptical liner notes.

Obviously nothing as radical as this can be summed up in a sentence, but one of the basic factors is the building of keys by picking the notes in rising fifths; thus the notes in the key of C are C, G, D, A, E, B, and F Sharp. There is a great deal more to it than that, but we’re saving it for a feature story in which George will try to elucidate a little. Suffice it for now that there is a sense of tonality, of the feeling of a certain root in every passage. One of the pieces, "Ezz-Thetic", because it was written some years ago, is closer to normal tonal jazz than the other tracks. There is a Tristano-like air to the ensemble unisons in this number and to "Knights of the Steamtable".

The moods are many. "Round Johnny Rondo" swings the most. The ethereal "Ballad Of Hix Blewitt" has a simple long-note melody that gives the effect of a distant horizon seen opaquely through a veil. "Fellow Delegates" is the only track on which Russell himself plays, using a set of chromatically tuned drums of California redwood that achieve an odd and attractive garbage-can tone, recalling the Calypso steel drums. "Billy The Kid" packs a mad wallop, especially when Bill Evans spurts out a series of solo breaks as smoothly as a Texas gusher. "The Sad Sergeant" struck me as a little meaningless and pretentious, alone among the dozen tracks; perhaps a week from now it will be my favorite.

Farmer and McKusick acquit themselves superbly; as Hal said, "It was like learning another language", and they both speak it fluently. Galbraith’s comping is as exciting as his solo work. All three rhythm sections cook; Motian is particularly impressive on "Witch Hunt". As you’ll have gathered, I dig Mr. Russell as a jazz composer who has found a new path without going off the main jazz route. Such men must be guarded with care and watched with great expectations.

*Leonard Feather*

1 - Ye Hypocrite, Ye Beelzebub

2 - Jack's Blues

3 - Livingstone, I Presume

4 - Ezz-Thetic

5 - Night Sound

6 - Round Johnny Rondo

7 - Fellow Delegates

8 - Witch Hunt

9 - The Sad Sergeant

10 - Knights Of The Steamtable

11 - Ballad Of Hix Blewitt

12 - Concerto For Billy The Kid

13 - Ballad Of Hix Blewitt (alternate take)

14 - Concerto For Billy The Kid (alternate take)

(All compositions by George Russell)

George Russell (chromatic drums, arranger); Art Farmer (trumpet);  Hal McKusick (alto sax, flute); Bill Evans (piano); Barry Galbraith (guitar); Milt Hinton [#1, #2, #3, #4, #5, #6,#8, #12, #14], Teddy Kotick [#7, #9, #10, #11, #13] (basses); Joe Harris [#1, #2, #3, #4], Paul Motian [#5, #6, #8, #12, #14], Osie Johnson [#7, #9, #10, #11, #13] (drums).

Recorded in New York City ; March 31 (#1, #2, #3, #4), October 17 (#5, #6, #8, #12, #14), and December 21 (#7, #9, #10, #11, #13), 1956. 

The RCA Victor Jazz Workshop #5

Hal McKusick

The Jazz Workshop

Hal McKusick is the discerning type of musician who is disturbed when he finds monotony in a jazz set,particulary so if he detects it in his own collections. So, in laying the framework for this Workshop album, he held to variety as a keynote. One way to achieve variety, he felt, would be to give representation to several composers. He chose the six composers whose works he plays on this disc because he believes that they represent inventive thinking in jazz. Furthermore, he was curious to find out what they would do with the eight (or nine) instruments he put at their disposal on six of these selections. This instrumentation (trumpet, trombone, alto sax, baritone sax, one or two guitars, tuba, string bass and drums) is close to the famous Miles Davis Nonet of 1949. Davis, however, added a French horn which changed the ensemble coloring considerably. The particular grouping of instruments that McKusick selected (for reasons of which he is not certain except that he could hear in his mind's ear how they would sound and he liked what he heard) was completely new to all the writers.

One more thing might be noted about this set: It's McKusick's album but there are no compositions by McKusick. Here's Hal's reasoning: "I find it more refreshing and interesting to play other people's stuff. I prefer to do my writing for others". *John S. Wilson (liner notes)*

This is the most important of Victor’s Jazz workshop series thus far and the one that most fits the "workshop" connotation. It also demonstrates the musical necessity for Fred Reynolds to continue the workshop, particularly if future sets can be planned with the thoughtfulness, thoroughness —and time—hat this received.

For this album, McKusick wisely chose six diversified writers who score from their experience within jazz. The writing credits are: Johnny Mandel (track 1); Russell (tracks 2, 5, 7); Jimmy Giuffre (tracks 4, 8, 11); Gil Evans (tracks 3, 10); Manny Albam (track 6), and Al Cohn (track 9). Russell, Giuffre, and Evans have particularly been among the key workers in providing jazzmen more challenging written contexts within which to blow and grow, and Mandel could be.

All the scores allow breathing space for soloists and ensembles while stimulating both the individual and the group via the tension-challenge of fresh, idiomatic structural material that makes the blowing more meaningful by making it part of a more significant, more interrelated, more durable whole.

I was most moved by Russell, Evans, and Giuffre, particularly by Russell’s extraordinarily evocative, functionally dramatic "John Brown" the longest work in the set. And the one apiece by the other writers were also effective.

The musicianship of all the players is excellent. For McKusick, this is the summit of his jazz achievement to this point as an altoist. Farmer, who can make almost any scene, proves how strong a choice he was for this date. Osie and Milt project the strength and flexibility required for their assignments, and Galbraith is magnificent throughout. The others also contribute importantly.

This program is a reason for pride on the part of everyone involved, including Jack Lewis who set it going but who gets not one mention in the notes. John Wilson’s liner is not up to his standard. The personnel is not completely listed nor clearly given (by omitting Barber, for one example, octets turn into septets). More seriously, Wilson failed to recognize the significance of this LP in the context of contemporary jazz concern for more original form and, as a corollary, does not provide enough actual writing details. Don’t miss this one. It’ll be a subject for study —and enjoyment— for a long time. *Nat Hentoff*

1 - Tommy Hawk

(Mandel)

2 - Lydian Lullaby

(Russell)

3 - Blues For Pablo

(Evans)

4 - Just Leave It Alone

(Giuffre)

5 - Miss Clara

(Russell)

6 - Alto Cumulus

(Albam)

7 - The Day John Brown Was Hanged

(Russell)

8 - On Score And Eight Horns Ago

(Giuffre)

9 - Ain't Nothin' But A Memory Now

(Cohn)

10 - Jambangle

(Evans)

11 - The Blues Train

(Giuffre)

#2, #7, #9:

Hal McKusick (alto sax), Barry Galbraith (guitar), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, March 3, 1956.

#3, #6, #10:

Art Farmer (trumpet), Jimmy Cleveland (trombone), Hal McKusick (alto sax), Gene Allen (baritone sax), Barry Galbraith (guitar), Jimmy Raney (rhythm guitar), Milt Hinton (bass), Osie Johnson (drums), George Russell (tambourine [#3]).

Recorded in New York City, April 3, 1956.

#1, #5, #8:

Art Farmer (trumpet), Jimmy Cleveland (trombone), Hal McKusick (alto sax), Sol Schlinger (baritone sax), Barry Galbraith (guitar), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, April 4, 1956.

#4, #11:

Art Farmer (trumpet), Hal McKusick (alto sax), Barry Galbraith (guitar), Teddy Kotick (bass), Osie Johnson (drums).

Recorded in New York City, December 31, 1956.