Five-Star Collection... Tony Scott

Tony Scott

Tony Scott Quartet

These are the first performances by the remarkable Tony Scott Quartet to be recorded under ideal studio conditions. Just a year ago, Brunswick issued a unique collection, "Music After Midnight", featuring the foursome recorded in the course of a night's work at Minton's Playhouse in Harlem. Although the acoustics and equipment were far from ideal then, the recordings drew raves from such esteemed publications as The New Yorker, Saturday Review, Billboard, Hi-Fidelity, Metronome and Downbeat. Here at last was a clarinetist-showman, modern but warm and exciting rather than "cool" and dispassionate. In Tony Scott, clarinet fans at last found the champion who could restore the instrument to the glory it knew during the "swing" era, when a younger Goodman and Shaw held the power to ignite an entire generation. The nation's critics "discovered" Tony in that initial album, and in Downbeat's annual critic's poll voted him "New Star of 1953, Clarinet Division". 

Now these new recordings, with the finest, latest professional equipment, reveal the vital, mature Scott sound and invention in full scope. (...)

Of particular interest in this set are Scott's moody, melodious, intimate interpretations of the ballads "I Cover The Waterfront" and "Goodbye". The latter, long identified as Benny's closing theme, emerges here in an utterly new conception, an intense emotional experience. Scott's improvisation on "Waterfront" should take its place among the classic solos in jazz.

*Bill Simon (from the liner notes)*

Tony's swinging quartet has New Star winner Osie Johnson (drums); New Star winner Percy Heath (bass on four); Earl May (bass on the other four); and pianist-writer Dick Katz. For me, Tony has everything his demanding instrument has long required and seldom received from jazzmen: fine, sensitively full tone; a wailing beat; excellent, never complacent conception; and enough fire of emotion to heat three other musicians as well (and I could name more than three).

There may be a debate as to whether Tony is unsurpassable on up-tempos (though I find him so), but I can't think of anyone remotely near him in his mastery of ballads. This LP is a killer. Good cover portrait by Mike Miller, arranged by Fran Scott. Notes by Bill Simon. And where is Osie Johnson's vocal on You or No One as announced on the label? Good recording but some surface noise on Waterfront. *Nat Hentoff (Down Beat, December 15, 1954 [5 stars])*

1 - Sweet Patootie

(Tony Scott)

2 - I Cover The Waterfront

(Johnny Green, Edward Heyman)

3 - Sweet Lorraine

(Cliff Burwell, Mitchel Parish)

4 - Yesterdays

(Jerome Kern, Otto Harbach)

5 - Blues For Ava — (Part 1 and Part 2)

(Tony Scott)

6 - It's You Or No One

(Jule Styne, Sammy Cahn)

7 - Goodbye

(Gordon Jenkins)

#1, #3, #4, #7:

Tony Scott (clarinet), Dick Katz (piano), Percy Heath (bass), Osie Johnson (drums).

#2, #5, #6:

Tony Scott (clarinet), Dick Katz (piano), Earl May(bass), Osie Johnson (drums).

Recorded in New York City, December 22 (#2, #5, #6) and 23 (#1, #3, #4, #7), 1953

Five-Star Collection... The Modern Jazz Society

The Modern Jazz Society

Presents

A Concert Of Contemporary Music

Of the five compositions that were recorded for this album, three were specifically commissioned by Mr. Norman Granz for this date. The remaining two, Django and The Queen's Fancy, were older compositions of mine that were specially orchestrated by Mr. Gunther Schuller for this session.

I am greatly indebted to all the music and musicians I have known for my inspiration for these compositions. The compositions center on and depend on the jazz soloist and they incorporate jazz and classical techniques. Midsömmer is an adagio in a general first Rondo form, the chord structure of the second theme being used for the improvisations. The title and inspiration is from the Swedish summer holiday and festival. Little David's Fugue is a fugue. The expositions are written while the episodes are improvised on a predetermined chord structure the accompanying instruments participate in the development of intervallic and rhythmic elements of the subject. The Queen's Fancy — This piece was written during the weeks of the coronation of H. M. Queen Elizabeth II of England and was inspired by pieces written for Queen Elizabeth the first of England. This piece is an arrangement and orchestration by Gunther Schuller. Django also is an arrangement and orchestration by Mr. Schuller. The piece is a memoriam for and is dedicated to the late great French guitarist Django Reinhardt. Sun Dance was inspired by dancers. Namely the Hopis of New Mexico and the great Watuse dancers in a film entitled "King Solomon’s Mines". *John Lewis (liner notes)*

This is a collection of five John Lewis compositions, three of which were commissioned by Norman Granz for this recording. On one and three, the musicians are Stan Getz, Tony Scott, J. J. Johnson, flutist James Politis, bassoonist Manuel Zegler, French horn Gunther Schuller, harpist Janet Putnam, bassist Percy Heath, and drummer Connie Kay. On the others, Lucky Thompson and Aaron Sachs replace Getz and Scott while the rest of the personnel remains the same. Midsommer, an "adagio in a general first rondo form" is impressionistic. Though it's a flowingly lyrical work in general, the opening composed section is too long for the content involved and rather diffuse. The soloists are superb, particularly in the cross-conversations. Little David's Fugue is based on a sprightly set of figures, and it swings. The solos are good, but Sachs is not up to Scott.

Gunther Schuller's arrangement for The Queen's Fancy works out well, giving this unique mixture of jazz and quasi-Elizabethan textures growing space and effective added coloration. Schuller's scoring of Django is less successful. The original had a spare strength while this version is somewhat sugary and the harp in the background tends to be distracting and somewhat out of context. Sun Dance is another indication, as are all of these works, of Lewis' compositional imagination and craftsmanship. The blowing in these last three is again very good, especially Getz, J. J., Scott, and Lucky. Norman Granz deserves credit for commissioning the set.

*Nat Hentoff (Down Beat, February 22, 1956 [5 stars])*

Side 1

01 - Midsömmer

02 - Little David's Fugue

Side 2

03 - The Queen's Fancy

04 - Django

05 - Sun Dance

(All compositions by John Lewis)

John Lewis (supervisor, arranger);

Stan Getz [#1, #3], Lucky Thompson[#2, #4, #5] (tenor saxes); J.J. Johnson (trombone);

Tony Scott [as Anthony Sciacca, #1, #3], Aaron Sachs [#2, #4, #5] (clarinets);

Gunter Schuller (french horn, arranger, conductor) ; James Politis (flute); Manuel Zegler (bassoon);

Janet Putnam (harp); Billy Bauer (guitar);Percy Heath (bass); Connie Kay (drums).

Recorded at Fine Sound, New York City, March 14, 1955

✳✳✳

For those who prefer the digital version, the CD reissue features three bonus tracks taken from the original rehearsals previously unissued until 1999. This reissue received the special token of merit award in Richard Cook and Brian Morton's The Penguin Guide to Jazz on CD, 6th Ed. Here’s their evaluation:

The Modern Jazz Society

Presents

A Concert Of Contemporary Music

One of the great forgotten masterpieces of the 1950s, this brilliant date is still available only as a limited-edition reissue in Verve’s Connoisseur Edition. 

Collectors are advised to snap up any copies they see, although it's disgraceful that this classic should not be more easily available. The Modern Jazz Society was an initiative by Lewis and Schuller to present new works and new arrangements, broadly in the 'Third Stream' vein which Schuller encouraged. Lewis was only the supervisor of the original LP, but new discoveries — a rehearsal of a previously unheard J.J Johnson piece "Turnpike" and a run-through of "Queen's Fancy" — find him at the piano.

The five principal pieces are all Lewis compositions, and they are among the finest treatments of Little David's Fugue, Django and Queen's Fancy ever set down. 

Django, with its final coda taken at the stately pace of a cortege, is so bewitching that it can silence a room. "Midsömmer", which has not been performed or recorded in the intervening 45 years, is a gorgeously evocative piece. The arrangements and ensembles are intoxicatingly beautiful, but there are also the most handsome solos by Stan Getz, J.J. Johnson and Lucky Thompson — the latter especially reminding us how poorly he was served by most of his recording opportunities.

*The Penguin Guide to Jazz, 6th Ed. ("Crown" of recommended jazz recordings)*

1 - Little David's Fugue

(John Lewis)

2 - Django

(John Lewis)

3 - The Queen's Fancy

(John Lewis)

4 - Midsömmer

(John Lewis)

5 - Sun Dance

(John Lewis)

6 - Turnpike (rehearsal take)

• false start

• breakdown take

• complete rehearsal take

(J. J. Johnson)

7 - Midsömmer (rehearsal take)

(John Lewis)

8 - The Queen's Fancy (rehearsal take)

(John Lewis)

John Lewis (supervisor, arranger);

Stan Getz [#3, #4, #7], Lucky Thompson[#1, #2, #5] (tenor saxes); J.J. Johnson (trombone);

Tony Scott [as Anthony Sciacca, #3, #4, #7], Aaron Sachs [#1, #2, #5] (clarinets);

Gunter Schuller (french horn, arranger, conductor) ; James Politis (flute); Manuel Zegler (bassoon);

Janet Putnam (harp); Billy Bauer (guitar); Percy Heath (bass); Connie Kay (drums). 

On #6, #8 add John Lewis (piano).

On #8 omit J.J. Johnson (trombone) and James Politis (flute).

Recorded at Fine Sound, New York City, March 14, 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

John "Johnny" Carisi - His Music And His Orchestras

John Carisi born in Hasbrouck Heights, New Jersey, February 23, 1922, died New York, October 8, 1992. Studied trumpet and theory in high school, composition with Stephan Wolpe (1948-1950), trumpet with Carmine Caruso (1953-1954). Played in his youth with Babe Russin, George Handy, Herbie Fields and joined Glenn Miller's army band in 1943. Played with Skitch Henderson, Claude Thornhill and Charlie Barnet. Aside of that also active in the classical field, writing compositions for chamber groups and also composed a jazz piece called "Israel" that was recorded by Miles Davis. In the 60's he continued to write compositions for jazz as well as classical performers. Three of his compositions were recorded on Impulse with an orchestra under direction of Gil Evans. Carisi himself played on this recording some of the trumpet parts. *Walter Bruyninckx*

Johnny Carisi is destined to be chiefly remembered for composing "Israel," a complex blues that was recorded by Miles Davis' Birth Of The Cool nonet. Otherwise his career was primarily spent in obscurity. Carisi, who was mostly self-taught on trumpet, played early on with little-known groups although he had a stint in 1943 with Glenn Miller's Army Air Force Band. Starting in the mid-40's, Carisi's writing was sophisticated and advanced enough for him to contribute arrangements to the books of Ray McKinley, Charlie Barnet and Claude Thornhill. Never a major soloist, Carisi played trumpet with Claude Thornhill's Orchestra a bit during 1949-1950. Although he worked fairly steadily as a writer, Johnny Carisi recorded only a few albums under his own name. He had an opportunity to remake "Israel" in 1956 for a Bluebird set not released until the CD era, and he utilized a "Guitar Choir" in an unusual reworking of the music from Showboat (playing trumpet on "Nobody Else But Me"). In 1961 Carisi shared an Impulse LP (Into The Hot) with Cecil Taylor and in 1968 he wrote the arrangements for trumpeter Marvin Stamm's Machinations album. Otherwise Johnny Carisi wrote for the studios, was involved part-time with classical music and was a music educator. *Scott Yanow*

Johnny Carisi

The Music Of Johnny Carisi

Israel

One of the most important movements in the late 40s and early 50s jazz, was the conscious effort of well-schooled, classically informed, creative jazz musicians to reflect not only their training but also a greater sense of structure and order in the jazz music they played and improvised on. It was a movement led by writers like Gil Evans, Gerry Mulligan, Ralph Burns, Tiny Kahn and Johnny Carisi, among others. Some, like Mulligan and Kahn, were also celebrated instrumentalists, but they all embraced both large and small group music.

Trumpeter Johnny Carisi (1922-1992), whose name endures as a notable one in this groundbreaking general movement, worked originally for bands such as Ray McKinley's and, more significantly, Claude Thornhill's, in which he also played at a period when the band was famed for its contemporary, boppish book written by Evans and Mulligan.

Appropriately, this compilation contains Carisi's own 1956 recordings as a leader, as well some of his most celebrated compositions and arrangements played by other great groups, all fine examples of his contribution to this development in jazz. But, apart from his extensive and varied background as both player and writer, the one composition that made him a jazz legend is Israel, one of Miles Davis' loveliest record arrangements, and for which Johnny Carisi will always be remembered. *Jordi Pujol*

Johnny Carisi name will always be associated with Israel — his highly original take on the 12-bar form premiered by the ground-breaking Miles Davis nonet in 1949. He revisits it here with his own Jazz Workshop as well as on a chart for Gerry Mulligans CJB. Miles original solo has been transcribed for both ensembles. A few years ago Ray Passman added a lyric which has been recorded by the delightful Meredith d'Ambrosio among others under the title Its Your Dance.

The opening tracks have plenty of Eddie Wassermans fine Prez-inspired tenor especially on "Honeysuckle Rose" and "Lestorian Mode". The latter was also recorded by Brew Moore, Mulligan and Kai Winding in 1949 but it has yet to be reissued on CD. That doyen of the New York recording scene Barry Galbraith shows on "Barry's Tune" just why Mulligan once described him as an altogether beautiful musician. "Springsville" (misspelt on the sleeve) was recorded by the composer a year before Miles Davis and Gil Evans gave it their seal of approval on Miles Ahead. There are also two of Carisis dramatic excursions into 12-tone territory - "Moon Taj" and "Angkor Wat". As a trumpet soloist he has some notable Phil Sunkel-like statements especially on "How About You?" and "Hips".

This comprehensive retrospective of Johnny Carisi — one of the most unsung people in the history of music according to Bob Brookmeyer — is most welcome. It should help focus attention on a vital but sometimes overlooked contributor to the celebrated Birth Of The Cool project. *Gordon Jack*

1 - Israel

(Johnny Carisi)

2 - Honeysuckle Rose

(Razaf, Waller)

3 - Lestorian Mode

(Johnny Carisi)

4 - Barry's Tune

(Johnny Carisi)

5 - How About You?

(Freed, Lane)

6 - Hips

(Johnny Carisi)

7 - Springville

(Johnny Carisi)

8 - Breakfast With Joe

(Johnny Carisi)

9 - Walkin' On Air

(Johnny Carisi)

10 - Little John

(Johnny Carisi)

11 - Springville

(Johnny Carisi)

12 - Plain Bill From Bluesville

(Johnny Carisi)

13 - Israel

(Johnny Carisi)

14 - Angkor Wat

(Johnny Carisi)

15 - Barry's Tune

(Johnny Carisi)

16 - Moon Taj

(Johnny Carisi)

17 - Israel

(Johnny Carisi)

#1 to #7 were recorded for the album RCA Victor Jazz Workshop Johnny Carisi that was scheduled as LPM 1371 but never released.

#1:

Johnny Carisi (trumpet), Urbie Green (trombone), Ray Beckenstein (clarinet, alto sax), Eddie Wasserman (tenor sax), Danny Bank (baritone sax), Barry Galbraith (guitar), Russ Saunders (bass), Herb Wasserman (drums).

Recorded at Webster Hall Studio, New York City, April 21, 1956

#2 to #7:

Johnny Carisi (trumpet), Urbie Green (trombone), Ray Beckenstein (clarinet, alto sax), Eddie Wasserman (tenor sax), Sol Schlinger (baritone sax), Barry Galbraith (guitar), Milt Hinton (bass), Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, May 5 (#2 to #4) and May 11 (#5 to #7), 1956.

#8: Al Cohn Octet, from the album Al Cohn - Mr. Music (RCA Victor LJM1024)

Joe Newman (trumpet); Billy Byers (trombone); Gene Quill (alto sax); Al Cohn, Sol Schlinger (tenor saxes); Sanford Gold (piano); Buddy Jones (bass); Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, December 23, 1954.

#9: Tony Scott Tentet, from the album The Touch of Tony Scott (RCA Victor LPM 1353)

Johnny Carisi, Joe Wilder (trumpets); Jimmy Cleveland, Urbie Green (trombones); Tony Scott (clarinet); Danny Bank (baritone sax); Bill Evans (piano); Barry Galbraith (guitar); Milt Hinton (bass); Osie Johnson (drums).

Recorded at Webster Hall Studio, New York City, July 5, 1956.

#10 to #12, from the album All About Urbie Green and His Big Band (ABC-Paramount ABC137)

#10:

Johnny Carisi, Nick Travis, Joe Wilder (trumpets); Urbie Green, Jack Green, Chauncey Welsch (trombones); Bill Barber (tuba); Ray Beckenstein, Hal McKusick (alto saxes); Al Cohn (tenor sax); Sol Schlinger (baritone sax); Dave McKenna (piano); Jack Lesberg (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, August 5, 1956.

#11, #12:

Doc Severinsen, Phil Sunkel, Johnny Carisi (trumpets); Urbie Green, Lou McGarity, Rex Peer (trombones); Bill Barber (tuba); Ray Beckenstein, Hal McKusick (alto saxes); Al Cohn (tenor sax); Danny Bank (baritone sax); Dave McKenna (piano); Vinnie Burke (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, August 23, 1956.

#13: Gerry Mulligan And The Concert Jazz Band, from the album A Concert in Jazz (Verve V6-8415)

Don Ferrara, Nick Travis, Doc Severinsen (trumpets); Bob Brookmeyer (valve trombone); Willie Dennis (trombone); Alan Raph (bass trombone); Gene Quill, Bob Donovan (alto saxes); Gerry Mulligan, Gene Allen (baritone saxes); Bill Crow (bass); Mel Lewis (drums); John Carisi (arranger).

Recorded at Webster Hall Studio, New York City, July 10, 1961.

#14 to 16: Johnny Carisi And His Orchestra, from the Gil Evans' album Into the Hot (Impulse AS-9)

[Note: Though Gil Evans's Out Of The Cool for Impulse in late 1960 was well-received by critics, he decided to leave the new label when Impulse founder Creed Taylor left to head Verve. In addition, Evans didn't have enough material for a followup, so he turned over his remaining Impulse recording dates to Carisi and Cecil Taylor. Here are Carisi's three beautiful compositions that he arranged and conducted for the album, which came out under Gil Evans's name anyway in 1962.]

#14:

Johnny Carisi, Johnny Glasel, Doc Severinsen (trumpets); Urbie Green (trombone); Jimmy Buffington (French horn); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Milt Hinton (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, September 14, 1961.

#15:

Johnny Carisi, Johnny Glasel, Clark Terry (trumpets); Urbie Green (trombone); Bob Brookmeyer (valve trombone); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Art Davis (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, October 1, 1961

#16: 

Johnny Carisi, Johnny Glasel, Joe Wilder (trumpets); Urbie Green (trombone); Bob Brookmeyer (valve trombone); Harvey Phillips (tuba); Phil Woods, Gene Quill (alto saxes); Eddie Costa (piano, vibes); Barry Galbraith (guitar); Art Davis (bass); Osie Johnson (drums).

Recorded at Beltone Studios, New York City, October 31, 1961.

#17: from the 78 rpm disc Miles Davis And His Orchestra (Capitol 57-60011)

Miles Davis (trumpet), J.J. Johnson (trombone), Sandford Siegelstein (French horn), Bill Barber (tuba), Lee Konitz (alto sax), Gerry Mulligan (baritone sax), John Lewis (piano), Nelson Boyd (bass), Kenny Clarke [aka L.A. Salaam] (drums).

Recorded at WOR Studios, New York City, April 22, 1949.

***

John Carisi

The New Jazz Sound Of Show Boat

Carisi's sole album recorded under his name that gave us a glimpse of his inventive arranging skills and trumpet playing was The New Jazz Sound Of "Show Boat". Recorded for Columbia over three sessions in September 1959, the album featured Carisi arranging, conducting and playing trumpet. What's remarkable about the album is how orchestral it sounds with relatively few instruments featured. At first, too few.

The September 8th recording date was something of a washout. Only one track out of four was accepted by producer Teo Macero —"Nobody Else But Me". The personnel featured Carisi (tp,arr,cond), Barry Galbraith, Jimmy Raney, Billy Bauer, Howard Collins and Allan Hanlon on guitars; Milt Hinton on bass; and Osie Johnson on drums.

Upon hearing the playback, Macero likely felt the album needed a couple of additional horns to give the album greater variety, either because Carisi wasn't a big enough name to drive jazz-album sales or because Carisi's trumpet wasn't flashy enough.

So on September 18, the same group assembled in the studio with the addition of alto saxophonist Phil Woods as the soloist. The tracks were Make Believe, Why Do I Love You? and I Have the Room Above Her. Woods sat out on two of the tracks — "It Still Suits Me" and "Bill".

Then on September 24, the same core group returned but this time valve trombonist Bob Brookmeyer replaced Woods on "Ol' Man River", "Can't Help Lovin' Dat Man" and "I Might Fall Back On You". Brookmeyer sat out on "Life Upon the Wicked Stage".

The three tracks handed over to Carisi by Woods and Brookmeyer gave him three solo trumpet tracks he lost when Macero rejected the three from September 8.

The resulting album is a masterpiece of arranging and among only a handful of jazz interpretations of Broadway musicals that elevated the original scores to something way more interesting.

*Marc Myers*

Side 1

1 - Make Believe

2 - Nobody Else But Me

3 - I Might Fall Back On You

4 - I Have The Room Above Her

5 - Bill

Side 2

6 - Can't Help Lovin' That Man

7 - Life Upon The Wicked Stage

8 - Ol' Man River

9 - Why Do I Love You?

10 - I Still Suits Me

(All compositions by Oscar Hammerstein II and Jerome Kern)

John Carisi And The Guitar Choir:

John "Johnny" Carisi (trumpet, conductor); Phil Woods (alto sax [#1, #4,  #9]); Bob Brookmeyer (valve trombone [#3, #6, #8]); Jimmy Raney, Tommy Kay, Barry Galbraith, Billy Bauer, Howard Collins [#1, #2, #4, #5, #9, #10], Allen Hanlon [#3, #6, #7, #8] (guitars); Milt Hinton [#1, #2, #4, #5, #9, #10], Teddy Kotick [#3, #6, #7, #8] (basses); Osie Johnson [#1, #2, #4, #5, #9, #10],  Mousey Alexander [#3, #6, #7, #8] drums).

Recorded at Columbia Studios, 30th St., New York City, September 8 (#2, #5), September 18 (#1, #4, #9, #10) and September 24 (#3, #6, #7, #8), 1959.

Trigger Alpert - Trigger Happy!

A traditional jazz bassist and bandleader, Trigger Alpert issued one album on Riverside in 1956 titled Trigger Happy! It had an all-star lineup with Tony Scott, Zoot Sims, Al Cohn, Joe Wilder, Urbie Green, and Ed Shaugnessy joining Alpert. Alpert studied music at Indiana University in the late '30s, then played with Alvino Rey in New York during 1940; he toured and recorded with Glenn Miller in the early '40s. Alpert worked briefly with Tex Beneke and did a radio program with Benny Goodman. He later recorded with Bud Freeman, Ella Fitzgerald, Muggsy Spanier, Roy Eldridge, Louis Armstrong, Ray McKinley, and Bernie Leighton in 1945 and 1946. He worked with Frank Sinatra, Woody Herman, and Jerry Jerome in 1946 and 1947, and had recording sessions with Artie Shaw, Coleman Hawkins, the Sauter-Finegan Orchestra, Mundell Lowe, Don Elliott, Gene Krupa, and Buddy Rich from 1950-1962. During that time, he also worked for CBS. Alpert left the music business in 1970, becoming a photographer. *Ron Wynn*

Trigger Alpert is not a name familiar to me but he is, obviously, a man with great connections because he persuaded Zoot Sims, Al Cohn, Joe Wilder, Urbie Green, Tony Scott and Ed Shaughnessy to join him for this 1956 studio set; a mouth -watering prospect. He, also, used the same powers of persuasion to enlist the considerable arranging talents of Marty Paich and Dick Hyman who, together with Tony Scott, produce sparkling treatments of the lesser known tunes of Gershwin, Rodgers and Porter.

The music lives up to its promise, eight delightful mid tempo tracks of straight ahead, uncomplicated music. The pianoless septet combining tenor and baritone saxes, trombone, trumpet, and clarinet with Sims doubling on alto, Scott on tenor and Cohn on baritone sax is an exciting and unique one.

Predictably the solo count is high. Sims has never been known to play a boring note and Joe Wilders masterly muted trumpet work is outstanding especially on The Likes of You. Tony Scotts capricious clarinet adds a surrealist touch.

But the big plus for me is the unsurpassable Urbie Green, a man heard from too little today. His immaculate, cultured sound is one of the great joys of Mainstream jazz and here he is in majestic form. Alpert proves to be a sturdy, musicianly bassist and Shaughnessy is, as usual, a trustworthy anchor.

The music is so craftily scored that it gives the impression of a jam session. It has the feeling that it was all done in first takes. What is very obvious is that all the musicians are having fun. *John Martin (The Jazz Rag Magazine)*

Side 1

1 - Treat Me Rough

(G. & I.Gershwin)

2 - Looking At You

(Cole Porter)

3 - Love Me Tomorrow (But Leave Me Alone Today)

(Duke-Latouche)

4 - Trigger Happy

(Tony Scott)

5 - Tranquilizer

(Dick Hyman)

Side 2

6 - I Like The Likes Of You

(Duke-Harbach)

7 - I Wish I Were In Love Again

(Rodgers-Hart)

8 - I Dont Want To Be Alone Again

(Jimmy Smith-Johnny Mercer)

9 - Trigger Fantasy

(Trigger Alpert)

10 - Wheres That Rainbow?

(Rodgers-Hart)

Joe Wilder (trumpet), Urbie Green (trombone), Tony Scott (clarinet, tenor sax), Zoot Sims (alto and tenor sax), Al Cohn (tenor and baritone sax), Herman "Trigger" Alpert (bass), Ed Shaughnessy (drums).

Recorded at Reeves Sound Studios, New York City, October 29, November 23 and 30, 1956.