Jazz goes to... Elliot Lawrence

Elliot Lawrence

Jazz Goes Broadway

Elliot Lawrence was born Elliot Lawrence Broza on February 14, 1925, in Philadelphia, Pennsylvania. His parents, Stan Lee Broza and Esther Broza, were radio and television pioneers. In 1927, they created and produced the Horn and Hardart Children's Hour, which ran on WCAU radio from 1927 to 1958 and concurrently on television from 1948 to 1958.

Lawrence grew up in this show business environment and began studying piano at the age of three. His first public performance was at age four conducting the orchestra on the Children's Hour stage show. At the age of six he wrote his first composition, "Falling Down Stairs", and was stricken with polio. Lawrence suffered from the illness for six months, after which he recovered. By the age of 12, Elliot had formed his first band, a 15-piece unit called The Band Busters, and had already begun doing club dates on the weekends. Elliot finished high school at age 16 and entered the University of Pennsylvania. During his junior year his band, now named The Elliot Broza Orchestra, began playing college proms around Pennsylvania. 

Elliot took the name Elliot Lawrence to distinguish himself from his family name when he became the music director of WCAU'S House Band in 1945. The band premiered on the radio on January 18, 1945, as The Elliot Lawrence Orchestra in a weekly half-hour broadcast "Listen to Lawrence". The Elliot Lawrence Band, of which he was the piano player and leader, soon incorporated classical instruments like oboe, French horn, English horn and bassoon.

From 1946 to 1954, Lawrence's Band toured, performing at dances, concerts, college proms, and headline gigs around the United States year round, while recording albums for Decca, Columbia, RCA, Fantasy, and Vik records. In 1949, the band performed a three-week stint with the Nat King Cole Trio at the Paramount Theater in New York City, during which time it recorded Gerry Mulligan's "Elevation", later named "one of the top 50 best jazz recordings of the 20th century" by the Smithsonian Institution. The Elliot Lawrence Band performed in Philadelphia at the World Series in 1950, playing his original song "The Fightin' Phils". By this time, however, the band had become known for their "sweet" commercial sound. From 1947 to 1949 the band was the "campus choice" in Billboard's most promising new orchestra polls. Elliot was also voted one of America's "most eligible bachelors" by Look magazine in 1949.

After 1960, Lawrence gave up jazz and began composing and arranging for television, film, and stage. He won the Tony Award for his second show, How to Succeed in Business Without Really Trying in 1962. This led to a 16-year career as a Broadway Conductor and musical director and later to his almost 50-year career as the "go to" conductor for big television events and specials.

Elliot Lawrence died on July 2, 2021, at the age of 96 in Manhattan. *(from wikipedia.org)*

If New York's jazz studio scene had a high point, it's probably 1956 and '57, just as the 12-inch LP became popular and just before stereo intruded with its odd sonics. During those two years, labels set high LP production quotas and producers were dispatched to line up numerous recording dates. With the pressure on, many producers took chances on artists who might not have been heard otherwise and concepts that hadn't been tried previously. They also began using Broadway songs as a way to build inventory.

One of the earliest examples was Elliot Lawrence's Jazz Goes Broadway, which had a distinctly East Coast sound. The difference between the East Coast and West Coast studio sound rested in its main influences. On the West Coast, arrangements and playing tended to be splashier and more swayed by television, fast cars and the movies. On the East Coast, the playing was jazzier and the arrangements tended to be bluesy, instrumentally denser and less commercial sounding.

Recorded over two sessions in May 1957, Jazz Goes Broadway featured two different sets of first-call studio musicians. The arrangements were by AlCohn, Elliot Lawrence and Manny Albam. What's more, each song showcases a different artist.

On Jazz Goes Broadway, we hear the artful use of show tunes without sacrificing jazz or swing. *Marc Myers*

Although he mostly worked in radio, television, and the studios in the 1950s, pianist/arranger Elliot Lawrence also led a series of fine swing-oriented jazz dates. Most of his sessions were at the head of big bands, but, for this CD Lawrence leads a pair of overlapping octets. Such soloists as Art Farmer or Nick Travis on trumpet, Jimmy Cleveland or Urbie Green on trombone, altoist Gene Quill, clarinetist Hal McKusick, tenorman Zoot Sims and Al Cohn (switching to baritone), the groups perform ten songs taken from Broadway shows. Four ("Just in Time", "I've Grown Accustomed to Her Face", "On the Street Where You Live", and "Mack the Knife") became standards while the other six sank into obscurity. The jazz all-stars (which also include bassist Chubby Jackson and drummer Don Lamond) uplift all of the tunes, with arrangements provided by Lawrence, Cohn, and Manny Albam. *Scott Yanow (All Music Guide)*

1 - Jubilation T. Cornepone

(Johnny Mercer, Gene De Paul)

2 - Just In Time

(B. Comden, A. Green, J. Styne)

3 - Big D

(Frank Loesser)

4 - I've Grown Accustomed To Her Face

(Alan J. Lerner, Frederick Loewe)

5 - On The Street Where You Live

(Alan J. Lerner, Frederick Loewe)

6 - Mack The Knife

(Kurt Weill)

7 - Joey, Joey, Joey

(Frank Loesser)

8 - If'n

(Matt Dubey, Harold Karr)

9 - Look At 'Er

(Bob Merrill)

10 - Standing On The Corner

(Frank Loesser)

#1, #3, #6, #8:

Art Farmer (trumpet), Jimmy Cleveland (trombone), Gene Quill (alto sax),

 Zoot Sims (tenor sax), Al Cohn (baritone sax), Elliot Lawrence (piano),

Chubby Jackson (bass), Don Lamond (drums).

Recorded at Webster Hall, RCA Victor Studios, New York City, May 7, 1957

#2, #4, #5, #7, #9, #10:

Nick Travis (trumpet), Urbie Green (trombone), Hal McKusick (clarinet),

Zoot Sims (tenor sax), Al Cohn (baritone sax), Elliot Lawrence (piano),

Chubby Jackson (bass), Don Lamond (drums).

Recorded at Webster Hall, RCA Victor Studios, New York City, May 8, 1957

Sam Most... ★1952 • 1954★

 Sam Most (1930-2003) was born in Atlantic City, NJ, and began making a name for himself in nearby New York City, where his family moved when he was four years old. Sam played several instruments, including piano, saxophone, clarinet, and flute. It was with the last two that he earned a reputation as a trendsetter among modern jazz musicians, and it is these two instruments that are featured here.

Sam's earliest influence and inspiration came from his brother Abe, ten years his senior, who was the star clarinetist in the bands of Les Brown and Tommy Dorsey. At 20, Sam briefly played also with Dorsey, and later with the bands of Shep Fields, Boyd Raeburn, and Don Redman. However, his main claim to fame was the stellar work he did with his own modern groups, where his distinctive clarinet style (notably focusing on the instrument's higher register) and his remarkable agility on the flute blended so superbly.

In the summer of 1952, Sam truly came into his own when he recorded the flute feature "Undercurrent Blues". At the time, jazz flute was little more than a novelty, rarely featured in recordings or performances in the modern bebop style. "Undercurrent Blues" showcased the instrument's potential in a fresh way and, while not a major hit, it caught the attention of many musicians, establishing Sam as the first modern jazz flutist.

Herbie Mann, the first jazz flutist to achieve widespread popularity, once said, "When I started playing jazz on flute, there was only one record out: Sam Most's Undercurrent Blues".

Sam's emergence on the jazz scene was further recognized in 1954 when he won the New Star clarinet division in the Down Beat Critics' Poll.

This CD set brings together, for the first time, Sam Most's earliest recordings as the leader of his sextets from 1952 to 1954. *Jordi Pujol*

Sam Most Sextettes 

Undercurrent Blues

Prestige, Debut And Vanguard Sessions

When LA was truly "La La Land"

Jazz musicians had it nice in LA in the 1950s and 60s, making good money playing in the studios for movies and TV shows and then hitting the clubs at night for hip gigs. And they could all afford to buy a house in the suburbs! What could go wrong?!?

Here is a Fresh Sound Records reissue that prove jazzers didn't have to suffer to be creative.

Playing flute and clarinet, Sam Most made a nice career as a studio stud, still finding time to put out an impressive number of his own albums. These sessions from 1952-54 (ironically recorded in NYC) start with Most with Doug Mttone/tp, Chuck Wayne/g, Dick Hyman/p, Clyde Lombardi/b and Jackie Moffett/dr with the leader's flute sublime on "Undercurrent Blues" and his clarinet bouncy on "Taking A Chance On Love". A larger band brings in Urbie Green/tb, Bob Dorough/p, Percy Heath/b, Mettome/tp and L ouie Bellson/dr for a classy take of "Scroobydoo" and classical "I Hear A Rhapsody". The band further expand with some charts by Quincy Jones on a hip "Skippy" and suave "Open House" with Jones' own "Blues Junction" a nice showcase for Most's licorice stick. Woodwind wonders.

When it was hep to be hip! *George W. Harris*

1 - Undercurrent Blues

(Sam Most)

2 - First With The Most

(Sam Most)

3 - Sometimes I’m Happy

(Youmans, Caesar, Grey)

4 - Takin' A Chance On Love

(V.Duke, J. La Touche)

5 - Scrooby Doo

(Bob Dorough)

6 - I Hear A Rhapsody

(Fragos, Baker, Gasparre)

7 - The Night, We Called It A Day

(M. Dennis, T. Adair)

8 - A Cuss Called Coss

(Sam Most)

9 - Eullalia

(Bob Dorough)

10 - There Will Never Be Another You

(Carl O. Begner)

11 - Notes To You

(Sam Most)

12 - Skippy

(Ronnie Woellmer)

13 - Blues Junction

(Quincy Jones)

14 - Just Tutshen

(Sam Most)

15 - My OId Flame

(Johnson, Coslow)

16 - You'd Be So Nice To Come Home To

(Cole Porter)

17 - Open House

(Ronnie Woellmer)

18 - Give Me The Simply Live

(R. Bloom, H. Ruby)

19 - Everything Happens To Me

(M. Dennis, T. Adair)

#1 to #4: from the album Introducing a New Star: Sam Most (Prestige EP-1322)

Doug Mettome (trumpet), Sam Most (flute, clarinet), Chuck Wayne (guitar),

Dick Hyman (piano), Clyde Lombardi (bass), Jackie Moffett (drums).

Recorded in New York City, June 10, 1952

#5 to #10: from the album Sam Most Quartet Plus Two (Debut DLP-11)

#11: from album Hall of Fame (Design DLP 29)

Doug Mettome (trumpet), Urbie Green (trombone), Sam Most (flute, clarinet), 

Bob Dorough (piano), Percy Heath (bass), Louie Bellson (drums).

Recorded in New York City, December 29, 1953

#12 to #19: from the album Sam Most Sextet (Vanguard VRS-8014)

Sam Most (flute, clarinet), Marty Flax(baritone sax), Bill Triglia (piano), 

Barry Galbraith (guitar), Aaron Bell (bass), Bobby Donaldson (drums).

Recorded in New York City, December 3, 1954

Leonard Feather Presents… ★1952 • 1954★

Hot Versus Cool

Have any of your friends ever bothered you with questions about the difference between Hot Jazz and Cool Jazz? Or Dixieland and Birdland? Traditional and Modern? Moldy Pig and Bop?

Whether you’re a square or already aware, you’ll find the performances in this album the perfect answer.

To point up the differences between these two sharply contrasted schools of jazz —long recognized by musicians but ignored or misunderstood by the public— two bands were assembled at Birdland, the famous Broadway jazz spot, and both were let loose on the same four tunes.

The Birdlanders, representing the cool jazz contingent, were playing on their home grounds, but to even things up we invited a bunch of Dixieland fans to be present at Birdland that night. As you'll hear from the applause on the records, there was no prejudice in the audience; they seemed equally enthused over beth groups.

Heading the modernist faction is John Birks "Dizzy" Gillespie, a product of Cheraw, S.C., who rose in the mid-1940’s to become an international symbol of what was then known by the disarming name of bop, but has since evolved into acceptance as Cool Jazz.

Leading the Dixielanders is Jimmy McPartland, the amazingly youthful veteran whose horn was a highlight of 1927-8 recordings by pioneers like McKenzie & Condon’s Chicagoans, Ben Pollack’s orchestra, the Wolverines, and Benny Goodman’s first recording combo.

Whether your tastes in jazz run to the hot or cool, whether or not you can define Dixieland Jazz or Birdland Jazz in words, you’re bound to find something of major interest in the music on these records. And, incidentally, it ought to help settle a lot of arguments!

*Leonard Feather (liner notes)*

Cats Versus Chicks

Although the musicians on this unique session aimed at contrast rather than contest, comparison instead of competition, the fact remains that this is, in effect, a four-round fight for the terry-weight championship.

In one corner, from Detroit, Michigan, and from Terry Gibbs’ Quartet, weighing 105 pounds, wearing brown mallets and, no doubt, a terrycloth gown, we have Miss Terry Pollard, one of the youngest and swingingest new stars on the jazz scene.

In the other corner, from St. Louis, Mo. and from Duke Ellington’s Orchestra (plus previous experience with Count Basie and Charlie Barnet), weighing 185 pounds and blowing some of the most personal and delightful jazz trumpet around, we have the redoubtable Clark Terry.

The officials’ score cards read as follows:

Referee Leonard Feather gives round 1 to the cats, 2 and 4 to the chicks, round 3 even.

Nat Hentoff of Down Beat gives round 1 to the cats, 2 and 3 to the chicks, round 4 even.

Judge Barry Ulanov of Metronome (who insists he is no male chauvinist) gives all four rounds to the men. 

Result: a split decision in favor of the chicks. 

What is your verdict? *(from liner notes)*

Leonard Feather Presents

Hot Versus Cool

And

Cats Versus Chicks

Hot Versus Cool - A Battle Of Jazz

1 - How High The Moon

(Lewis, Hamilton)

2 - How High The Moon

(Lewis, Hamilton)

3 - Indiana

(Hanley, McDonald)

4 - Indiana

(Hanley, McDonald)

5 - Muskrat Ramble

(Kid Ory)

6 - Muskrat Ramble

(Kid Ory)

7 - Battle Of The Blues

(unknow)

8 - Battle Of The Blues

(unknow)

Cats Versus Chicks - A Jazz Battle Of The Sexes

9 - Cat Meets Chick

(Leonard Feather)

10 - Cat Meets Chick

(Leonard Feather)

11 - Mamblues

(Williams)

12 - Mamblues

(Williams)

13 - The Man I Love

(George and Ira Gershwin)

14 - The Man I Love

(George and Ira Gershwin)

15 - Anything You Can Do

(Irving Berlín)

#1, #8: Dizzy Gillespie's Cool Jazz Stars

Dizzy Gillespie (trumpet), Don Elliott (mellophone, trumpet), Dick Cary (trumpet added #8),

Buddy DeFranco (clarinet), Jimmy McPartland (clarinet added #8), Ray Abrams (tenor sax),

Ronnie Ball (piano), Al McKibbon (bass), Max Roach (drums)

#2, #4 [as Edmond Hall And The Hot Jazz Stars], #5, #7: Jimmy McPartland's Hot Jazz Stars

Jimmy McPartland (cornet), Vic Dickenson (trombone), Edmond Hall (clarinet),

Dick Cary (piano, trumpet), Jack Lesberg (bass), George Wettling (drums).

#3, #6: Buddy De Franco And The Cool Jazz Stars

Buddy DeFranco (clarinet), Don Elliott (mellophone), Ray Abrams (tenor sax),

Ronnie Ball (piano), Al McKibbon (bass), Max Roach (drums)

Recorded live at Birdland, New York City, November 24 1952

#9, #11, #14: Clark Terry And His Septet

Clark Terry (trumpet), Lucky Thompson (tenor sax), Urbie Green (trombone),

Horace Silver (piano), Tal Farlow (guitar), Percy Heath (bass), Kenny Clarke (drums).

#10, #12, #13: Terry Pollard And Her Septet

Terry Pollard (vibes), Norma Carson (trumpet), Beryl Booker (piano),

Mary Osborn (guitar), Bonnie Wetzel (bass), Elaine Leighton (drums), Corky Hecht (harp)

#15: Clark Terry And His Septet and Terry Pollard And Her Septet 

Recorded in New York City, June 2 1954

Aaron Sachs - Quintet, Sextet And Octet Ensembles

Aaron Sachs (1923-2014) was a native New Yorker who grew up in the Bronx. After studying clarinet with private teachers, in 1941, still in his teens, Sachs landed his first job with Babe Russin, playing clarinet and alto saxophone, the latter through self-training. That same year, he joined vibraphonist Red Norvo's Septet, alongside fellow Bronx musicians Shorty Rogers and Eddie Bert. After a brief period with the Van Alexander orchestra in 1943, Aaron rejoined Norvo in January 1944, solidifying his reputation as a skilled clarinetist and earning the prestigious Esquire "New Star" award in 1945.

Between 1945 and 1946, he performed both instruments with Benny Goodman, Buddy Rich, and Charlie Ventura bands. In 1946, Sachs formed his quintet, Aaron Sachs and his Manor Re-bops, establishing himself as the first jazz musician to embrace bebop on the clarinet, preceding Tony Scott and John LaPorta.

In 1948 Aaron married singer Helen Merrill, a union that lasted only a few years, as they divorced in 1956.

His tenure with the Earl Hines sextet from 1952 to 1953 allowed him to develop his talent as a tenor saxophonist. He admitted, "I enjoy playing both instruments, but I am disappointed that the clarinet isn't used more, both in jazz and pop records today." Sachs had Lester Young as his main influence, and that's how he wanted to play both tenor sax and clarinet. Subsequently, Aaron led his own combo at Cafe Society in New York for a period. Later, he worked as a freelancer in commercial recording sessions, primarily playing the tenor saxophone. Sachs cited Lester Young as his main influence for both instruments.

Leonard Feather once remarked, "Aaron has proved that he can bring to both instruments the taste, style, and musicianship that bespeak artistry rather than mere versatility for its own sake."

This CD compilation features three albums recorded by Aaron between 1954 and 1957, showcasing his talent as an instrumentalist and composer alongside some of the finest jazz musicians from the New York scene. The arrangements of these recordings were skillfully crafted to provide a supportive backdrop for either clarinet or tenor saxophone, highlighting Sachs' versatility and artistry. *Jordi Pujol*

There was such a surfeit of great sax players in the 1950s that it’s understandable that many got overlooked. Here’s a chance to see what you’ve been missing with this rich reissue from Fresh Sound Records.

Aaron Sachs is not a household name, but he was with a number of important artists such as Shorty Rogers and Red Norvo. This single disc set finds him with some impressive company, giving his ideas to mostly originals in a sound that has “LA Cool” written all over for it, even though it was all recorded in The Big Apple.

He plays both a Lester Young-Zoot Sims inspired tenor, and a stripped down Buddy DeFranco styled clarinet, in quintet, sextet and octet settings, mixing and matching with Urbie Green/tb, Barry Galbraith-Jimmy Raney-Dick Garcia/g, Aaron Bell-Clyde Lombardi/b, Nat Pierce Hall Overton/p, Joe Roland/vibes and Osie Johnson/dr. Sachs blows like a West Coaster on "One Track" and is gorgeously fluffy on "Aaron’s Blues", fluttering on "Conversations" and sublime on "Why Shouldn’t I?" while digging in on the Basie-ish "Wiggins". His licorice stick is cool for "Kingfish" and flexible for "Gorme Has Her Day" with a nice bounce for "You're My Thrill". Warm and breezy.

*George W. Harris*

1 - One Track

(Sachs, Johnson)

2 - Helen

(Sachs, Johnson)

3 - Kingfish

(Quincy Jones)

4 - Conversation

(Sachs, Galbraith)

5 - The Bullfrog

(Quincy Jones)

6 - If You Are But A dream

(Jaffe, Fulton, Bonx)

7 - Aaron's Blues

(Aaron Sachs)

8 - You're My Thrill

(Gorney, Clare)

9 - Platter Pie

(Aaron Sachs)

10 - Why Shouldn't I?

(Cole Porter)

11 - Ah! The Pain

(Billy Ver Plank)

12 - Rondo Blues

(Phil Sunkel)

13 - Just Sick Blues

(Billy Ver Plank)

14 - Mona's Kimona

(Nat Pierce)

15 - Conversation

(Sachs, Galbraith)

16 - Blue Sophisticate

(Benny Golson)

17 - Countryfied

(Phil Sunkel)

18 - Wiggins

(Billy Ver Plank)

19 - Gorme Has Her Day

(Aaron Sachs)

20 - I Can't Believe

(Aaron Sachs)

21 - Hall's Loft

(Aaron Sachs)

22 - Nancy

(Van Heusen, Silvers)

#1 to #6, from the album Aaron Sachs Sextette (Bethlehem BCP-1008)

Aaron Sachs (clarinet [#3, #6], tenor sax [#1, #2, #4, #5]),

Urbie Green (trombone), Danny Bank (baritone sax),

Barry Galbraith (guitar), Clyde Lombardi (bass), Osie Johnson (drums).

Recorded in New York City, November 1954

#7 to #11, from the album Jazzville Vol.3 (Dawn DLP1114)

Aaron Sachs Sextet

Aaron Sachs (clarinet [#8, #19, #11), tenor sax (#7, #9),

Jimmy Cleveland (trombone), Joe Roland (vibes),

Dick Garcia (guitar), Aaron Bell (bass), Osie Johnson (drums)

Recorded in New York City, 1956

#12 to #22, from the album Clarinet and Co. (Rama RLP1004)

#12 to #18: Aaron Sachs Octet

Aaron Sachs (clarinet [#14, #17], tenor sax [#12, #13, #15, #16, #18]),

Phil Sunkel, Bernie Glow (trumpets), Frank Rehak (trombone), Gene Allen (baritone sax),

Nat Pierce (piano), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, February 18 and 21, 1957

#19 to #22: Aaron Sachs Quintet

Aaron Sachs (clarinet [#19-21] & tenor sax [#22]), Hall Overton (piano),

Jimmy Raney (guitar), Aaron Bell (bass), Osie Johnson (drums).

Recorded in New York City, March 4, 1957

The Amazing Sound Of Toots Thielemans

Jean Toots Thielemans arrived in the U.S. from his native Belgium in 1951. His first works in jazz were as a guitarist, instrument on which he achieved recognition as soon as he joined the George Shearing Quintet in late 1952. However, he was also a skilful harmonica player.

The present selection was intended to introduce the several facets of the instrument as exposed by Toots Thielemans thorough musicianship, his swing, and his unique achievements in versatility. For him, the ingredients of jazz are the beat (the motor) and sound, melody, and harmony (the intelligence). In this collection you will find Toots playing harmonica on every track, and even overdubbing guitar solos on four of them. With feats like this, not only he proved that jazz is a music of many moods, but he also brought a new perspective to the use of the harmonica in the jazz field; because one thing is certain: he can make it swing! *Jordi Pujol*

Jean "Toots" Thielemans

The Amazing Sound Of "Toots" Thielemans

This CD contains the music from two old long-playing records by Toots Thielemans. This concerns The Sound and Time out for Toots from 1955 and 1958 respectively.

Our man was initially mainly active as a guitarist in the United States. I think everyone will be familiar with his role in the George Shearing Quintet of the 1950s. Gradually the harmonica came into more and more action, often in unison with the guitar. That is also the case here. Guitar and harmonica are often heard together. However, the guitar part here was played later. The harmonica is definitely the center of attention.

Thanks to Toots, the small instrument gained a serious place in jazz. When listening to this material it immediately becomes clear what appealed to people about this music at the time. Everything testifies to an unmistakable swing and an indomitable zest for life. The choice of repertoire may lead some people to suspect that it is easy listening pop music from the old days. Nothing is less true. What we hear is jazz of the highest order from the time when jazz was still a mainstream music direction and not a somewhat obscure niche for connoisseurs. It is pleasantly listenable, accessible, modern jazz with a touch of bop here and there. Fans of good guitar playing, refined harmonica playing and Toots in general will find much to enjoy here. He explained the success of his way of playing the harmonica in an interview in Down Beat in 1953 as follows: "The basic thing is that I play the harmonica as an instrument, not a toy". *Jo Beckers*

If this collection proves that jazz is music of many moods, it also proves that jazz is a music which knows no boundaries... of nations of instruments.

It brings a new perspective to that mush-maligned instrument, the harmonica. And adds a new dimension to Thielemans, who can cerrainly make it swing. *Dom Cerulli*

1 - On The Alamo

(Kahn, Jones)

2 - Don't Be That Way

(Goodman, Sampson, Parish)

3 - I Put All The Eggs In One Basket

(Berlin)

4 - Sophisticated Lady

(Ellington, Parish, Mills)

5 - Scotch On The Rocks

(Thielemans)

6 - I Let A Song Go Out Of My Heart

(Ellington, Nemo, Redmond, Mills)

7 - Stars Fell Of Alabama

(Parish, Perkins)

8 - Diga Diga Doo

(McHugh, Fields)

9 - So Rare

(Sharpe, Herst)

10 - Skylark

(Carmichael, Mercer)

11 - Sonny Boy

(Brown, Henderson, DeSylva, Jolson)

12 - Cocktails For Two

(Coslow, Johnston)

13 - The Nearness Of You

(Carmichael, Washington)

14 - In A Sentimental Mood

(Ellington, Kustz, Mills)

15 - You Took Advantage Of Me

(Rodgers, Hart)

16 - Cool And Easy

(Thielemans)

17 - Body And Soul

(Green, Sour, Heyman, Eaton)

18 - The Cuckoo In The Clock

(Donaldson, Mercer)

19 - Tangerine

(Mercer, Schertzinger)

20 - Early Autumn

(Burns, Herman, Mercer)

21 - Them There Eyes

(Pinkard, Tracey, Tauber)

22 - A Handful Of Stars

(Shapiro, Lawrence)

23 - Can't Lovin' Dat Man

(Kern, Hammerstein II)

24 - Clap Yo' Hands

(G. and I. Gershwin)

#1 to #12 from the 12" album The Sound (Columbia CL658)

Toots Thielemans (harmonica) with:

#3, #6, #10, #12:

Lou McGarity, Al Godlis, Billy Rauch, Jack Satterfield (trombones); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#1, #4, #7, #9:

Toots Mondello, Artie Beck (alto sax, clarinet); Carl Prager (baritone sax, clarinet); George Berg (tenor sax, clarinet); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#2, #5, #8, #11

Ray Bryant (piano), Wendell Marshall (bass), Bill Clark (drums).

Recorded in New York City, April 1955.

#13 to #24 from the 12" album Time Out For Toots (Decca DL9204)

Toots Thielemans (harmonica, guitar [#18, #20, #21, #22]) with:

#14, #16, #19, #23: 

Hank Jones (piano), Doug Watkins (bass), Art Taylor (drums).

Recorded in New York City, January 22, 1958.

#13, #17, #18, #22:

Urbie Green, Billy Byers, Chauncey Welsch, Santos Russo (trombones); Hank Jones (piano); Bucky Pizzarelli (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

#15, #20, #21, #24:

Al Cohn, Zoot Sims (tenor saxes); Al Epstein, Danny Bank (baritone saxes); Hank Jones (piano); Barry Galbraith (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 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.

Hal Schaefer - Rare And Oscure Jazz Albums

Like Erroll Garner, Hal Schaefer had his own distinctive jazz piano style and transformed every song he played into pure magic. He could turn standards inside out with a swinging fury and, with his right hand, whip up improvised lines that left listeners dazzled.

Born in 1925 in Queens, N.Y., Schaefer began playing professionally as a teen at resorts in the Catskill Mountains a few hours north of New York.

By the mid-1940s, he was playing and recording with Tommy Dorsey and Boyd Raeburn. During this time, he led a trio that played during intermissions at Duke Ellington concerts.

In 1947, he settled in Los Angeles and teamed with vocalist Peggy Lee and her husband, guitarist Dave Barbour, on record dates. He also squeezed in a session with Bob Cooper's band backing vocalist June Christy. In the early 1950s, he made records for MGM with Woody Herman and singer Billy Eckstine.

By early 1953, he was swept by the movie industry and began working as Marilyn Monroe's vocal coach and accompanist, helping her get up to speed for her solo vocal on Diamonds Are a Girl's Best Friend for the film Gentlemen Prefer Blondes, a song he arranged while working closely with film choreographer Jack Cole. He also worked with her on the music and arrangements for "There's No Business Like Show Business" and "River of No Return" in 1954.

Like many men who came into Monroe's orbit, Schaefer was lulled into thinking their relationship was more than it was. According to Schaefer, he became her lover in 1954 and confidant during the nine months she was married to Joe DiMaggio and beyond. Then Schaefer's relationship with the actress began slipping away. In July 1955, he said, he tried to commit suicide over his inability to hold onto her.

During this period of sexual despair, Schaefer recorded two albums for RCA as a leader — Just Too Much, a trio date months before his suicide attempt, and Jazz Workshop with a sextet months after being released from the hospital. Both are glorious recordings. 

On Just Too Much, recorded in late 1954 and early 1955, the album featured Schaefer (p,cel), Joe Mondragon (b) and Alvin Stoller (d). Schaefer sounds spectacular throughout the album, taking on "Thou Swell", "The Song Is You", "It Could Happen to You" and "St. Louis Blues" among others, creating impossibly inventive renditions that became musical catnip for the listener.

On the Jazz Workshop album, recorded over three sessions in the fall of 1955, the tracks on the first date were "Spring Is Here", "Isn't It Romantic", "Real Lee" and "A New Sound". The band Schaefer arranged featured Jimmy Nottingham and Nick Travis (tp), Schaefer (p), Milt Hinton (b), Don Lamond and Ed Shaughnessy (d).

On "Blues Skies", "This One's for Jack", "A Song of Love" and "I'm Gonna Sit Right Down and Write Myself a Letter", the personnel included Billy Byers, Urbie Green, Fred Ohms and Chauncey Welsch (tb); Tom Mitchell (b-tb); Hal Schaefer (p); Milt Hinton (b) and Osie Johnson (d).

And on "Imagination", "Dancing in the Dark", "Of Things Gone By" and "Let's Have a Cerebration", the musicians were Hal McKusick, Sam Marowitz and Phil Woods (as); Hal Schaefer (p); Milt Hinton (b) and Osie Johnson (d).

"This One's for Jack" must have been for Jack Lewis, RCA's head of jazz A&R at the time, when the 12-inch album format was brand new for pop records. Lewis created the Jazz Workshop series to give top artists a chance to lead a recording session of their own conception. The series also let Lewis quickly fill his quota of newly recorded albums for RCA's 12-inch LP pipeline.

Prior to Schaefer's suicide attempt, a jealous Joe DiMaggio with Frank Sinatra and others broke down the door of the wrong apartment at 3 a.m. looking for Monroe and Schaefer. Following this event, the pianist was regularly harassed in the days before trolling and social media. So much so that Schaefer feared his hands would be broken by goons in retribution and left Hollywood in the late 1950s.

In New York, he continued to play and record jazz albums as well as coach star singers such as Barbra Streisand, Chita Rivera, Rita Moreno and Julie Wilson. He moved to Florida in the 1990s and died in December 2012. Marilyn Monroe died of a barbiturate overdose in August 1962 that was widely considered a suicide. *Marc Myers *

Hal Schaefer

Rare And Oscure Jazz Albums

Hal Schaefer (1925-2012) was an extremely talented, thoughtful, and polished New York pianist who, by the age of 30, had already immersed himself in many musical circles. From an inauspicious start as a teenager playing with Lee Castle, he went on to join Ina Ray Hutton’s band for two years before settling in Los Angeles in 1943. There, he played with the bands of Benny Carter, Harry James, and Boyd Raeburn, with whom he gained notable recognition.

From the late 1940s onwards he accompanied Peggy Lee and Billy Eckstine before breaking into the world of film as an arranger and rehearsal pianist. His studio work would include the lucrative role of vocal coach to some of Hollywood's biggest stars, including Marilyn Monroe.

In 1954, affected by personal problems, Hal decided to leave the movieland scene behind to start a jazz recording career. His debut album as a leader, Just Too Much, came out in 1955 on the RCA Victor label, on which Hal performed in a trio with Joe Mondragon and Alvin Stoller and attracted considerable attention from jazz fans and critics alike.

Hal returned to New York City in 1955, the same year that RCA Victor inaugurated a new series of recordings titled The Jazz Workshop, which was specifically intended to showcase new ideas in jazz orchestration, composition, and instrumentation. His producer Jack Lewis asked Hal to record his second album as part of the series. With the simple title of Hal Schaefer, the music featured Hal’s creative writing as well as his skilled andmindful approach as a soloist. For this project he used piano, bass, and drums, adding different instrumentation in each of the three recording sessions: one with three reeds, one with five trombones, and the last with two trumpets, himself on harpsichord and an extra drummer. There are several stimulating as well as humorous moments in the writing, largely involving the freshly changing textures with especially charming ballads and sparkling new ideas in jazz. *Jordi Pujol*

1 - All The Things You Are

(Kern, Hammerstein II)

2 - I’ll Remember April

(Ray, DePaul, Johnson)

3 - You Are Too Beautiful

(Rodgers, Hart)

4 - Between The Devil And The Deep Blue Sea

(Arlen, Koehler)

5 - I’m Glad There Is You

(Madeira, Dorsey)

6 - The Song Is You

(Kern, Hammerstein II)

7 - Thou Swell

(Rodgers, Hart)

8 - St. Louis Blues

(W.C. Handy)

9 - Yes

(Hal Schaefer)

10 - Have You Met Miss Jones?

(Rodgers, Hart)

11 - You Stepped Out Of A Dream

(Brown, Kahn)

12 - Montevideo

(Hal Schaefer)

13 - Dancing In The Dark

(Dietz, Schwartz)

14 - Imagination

(Van Heusen, Burke)

15 - This One's For Jack

(Hal Schaefer)

16 - A Song Of Love

(Hal Schaefer)

17 - Isn't It Romantic

(Rodgers, Hart)

18 - A New Sound For The Blue

(Hal Schaefer)

19 - Let’s Have A Cerebration

(Hal Schaefer)

20 - Of Things Gone By

(Hal Schaefer)

21 - Blue Skies

(Irving Berlin)

22 - I’m Gonna Sit Right Down And Write Myself A Letter

(Young, Ahlert)

23 - Spring Is Here

(Rodgers, Hart)

24 - Real Lee

(Hal Schaefer)

#1 to #12: from Just Too Much: The Progressive Piano of Hal Schaefer (RCA Victor LPM-1106)

Hal Schaefer (piano), Joe Mondragon (bass), Alvin Stoller (drums).

Recorded in Los Angeles, California, December 27, 1954 (#5, #6, #7, #12), January 4, 1955 (#2, #4, #8, #10) and January 10, 1955 (#1, #3, #9, #11).

#13 to #24, from The RCA Victor Jazz Workshop (RCA Victor LPM-1199)

#13, #14, #19, #20:

Hal McKusick, Sam Marowitz, Phil Woods (alto saxes); Hal Schaefer (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, November 28, 1955.

#15, #16, #21 , #22: 

Billy Byers, Urbie Green, Freddie Ohms, Chauncey Welsh (trombones); Tommy Mitchell (bass trombone); Hal Schaefer (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, November 9, 1955.

#17, #18, #23, #24: 

Jimmy Nottingham, Nick Travis (trumpets); Hal Schaefer (harpsichord); Milt Hinton (bass); Don Lamond, Ed Shaughnessy (drums).

Recorded in New York City, October 17, 1955.

Barry Galbraith - Guitar And The Wind

With this album, guitarist Barry Galbraith, an important but relatively unheralded presence on many jazz recordings on this coast, steps out of his usual role of the supporting, contributing player, and becomes the principal speaker. Equipped to be just that, Galbraith, naturally and with definable grace, makes his instrument sing and swing, issue forth a full yet engagingly personal voice.

Playing an instrument that has a wealth of tradition both in and out of the jazz area, Galbraith shows an awareness of this in his playing, verbally underlining his position during our conversations concerning this album. 

Galbraith, as a person, is. unintrusive yet decisive; unassuming yet authoritative; and like many jazz musicians, his instrument has proven more than an adjunct to his personality, but THE friendly medium through which the flow of his thoughts find most compatible expression.

As some of his colleagues have noted, Galbraith has a "natural" flare that lends the impression of the "easy and everyday" to the musically valuable or difficult. Whether playing at a social gathering, on a job or recording date, he is "inside his horn", fully concentrated, oblivious to extraneous bother.

Self taught, Barry has proceeded through the hallowed halls of the school of experience, remembering and assembling, pointing up, underlining the important along the way.

This album is shaped to delineate a variety of moods in addition to the softer, romantic feeling that has, by constant association, assumed priority in definition of the word, mood.

*Burt Korall (liner notes)*

Barry Galbraith was one of New York's busiest session jazz guitarists in the 1950s and '60s. Between 1941 and the late 1970s, he was on 620 recording dates, a staggering total. How many albums did he record as a leader under his name? Just one — Guitar and the Wind, for Decca. What a shame that Decca didn't record a few more like this one. Recorded in January 1958 over three days, the album is beautifully arranged, swings tastefully and is a gorgeous example of what made Galbraith special. His chord voicings were seductive and his improvised runs were tasty and unbeatable.

*Marc Myers*

A nicely varied set spotlighting the artist in several approaches — all of them effective. When Galbraith has the melody or is improvising, he shows a fresh, inventive style. In backing other instruments, harmonically or percussively, he also shines. His admirers will find this one of his best efforts. His style can be traced to Charlie Christian and Gerge Van Eps. Small combo and larger group selections are done with equal good taste.

*Billboard, April 21, 1958 [Special Merit Jazz Album]*

1 - Bull Market

(Billy Byers)

2 - A Portrait Of Jennie

(Gordon Burdge, J. Russel, Robinson)

3 - Judy's Jaunt

(Al Gilbert)

4 - Nina Never Knew

(Milton Drake, Louis Alter)

5 - Walking (Down)

(Carpenter)

6 - A Gal In Calico

(Robin, Schwartz)

7 - I Like To Recognize The Tune

(Richard Rodgers, Lorenz Hart)

8 - Any Place I Hang My Hat

(Johnny Mercer, Harold Arlen)

9 - Love Is For The Very Young

(David Raksin)

10 - Holiday

(Al Gilbert)

11 - Ya' Gotta Have Rhythm

(Osie Johnson)

12 - What Am I Here For?

(Duke Ellington)

Barry Galbraith (guiar), with:

#1,#4, #8, #12

Urbie Green, Chauncey Welsch, Frank Rehak (trombones); Dick Hixson (bass trombone); Bobby Jaspar (flute, tenor sax); Eddie Costa (piano, vibes); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 16, 1958.

#2, #6, #7, #10 

Bobby Jaspar (flute, tenor sax), Phil Bodner (flute, clarinet, bass clarinet), Romeo Penque (clarinet, flute, English horn), Spencer Sinatra (clarinet, flute); Eddie Costa (piano, vibes), Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, January 21, 1958.

#3, #5, #9, #11

Bobby Jaspar (flute), Eddie Costa (piano), Milt Hinton (bass), Osie Johnson (drums).

Recorded in New York City, January 28, 1958.

Herbie Mann - Flute Mann • Salute To The Flute

The flute, an honorable pastoral spirit in the classical orchestra and chamber groups, is only beginning to be more than glancingly accepted by jazz critics. The jazz musicians, always more hospitable and curious than the critics, have, with rare exceptions, not objected to its increasing inclusion in jazz record sessions and regular combos and orchestra. There have been, however, several dourly skeptical writers, most notably in England, who feel the flute is not capable of projecting all the heat and urgency of elemental jazz. 

It is absurd (it seems instantly axiomatic to me) to proscribe any instrument as being inherently alien to jazz. It is the player, after all, who is transmitting the message; the instrument is his means, and if his message is heated and urgent, it will get through. In any case, an increasing number of jazz musicians, especially within the past four and five years, have become intrigued with and soon assured on the instrument; and it is not at all outré to bring a flute to a jam session on an average gig. 

A majority of the jazz flutists, however, utilize the instrument secondarily. Frank Wess of the Basie and Jerome Richardson, for example, are primarily tenors although their transformation of the flute into a vessel afire may eventually make the flute their first instrument. Buddy Collette distributes his calm skills about equally among the clarinet, alto, tenor and flute. Bud Shank is still an altoist first and Sam Most continues to concentrate on the clarinet although both have become flute-facile too. Bobby Jaspar of the J. J. Johnson quintet is regarded by his colleagues as a tenor who, on the side, plays warm, singing flute.

Mann, on the other hand, although a professional tenor saxophonist and clarinetist, can be considered the first of the younger jazzmen to regard the flute as his major instrument. Born in Brooklyn on March 16, 1930, he gained experience during three years with an Army band in Trieste and first became known on the jazz scene through his work with the Mat Mathews combo in 1953 and 1954. He started playing flute as well as other reeds with Mat, and as he explains the context at the time, "it was impossible for me to be influenced by any other flute player then, because there were hardly any. I had that advantage. I had heard and been impressed by Harry Klee's flute on a Mary Ann McCall album in the early '50's, but it has been a trumpet player, Miles Davis, who has actually been my one major influence on flute". *Nat Hentoff (liner notes)*

This Columbia LP (a 1981 reissue of an Epic album titled Salute to the Flute) found flutist Herbie Mann accompanied for the first time by a big band on five of the nine selections. Prior to 1959, virtually all of Mann's recordings were bop-oriented, and this one is no exception. Whether it be "Little Niles", "When Lights Are Low", "Beautiful Love" or even "Old Honky Tonk Piano Roll Blues", Mann proves to be an excellent bop soloist; other important players on this date include trumpeter Joe Wilder, altoist Anthony Ortega, pianist Hank Jones, guitarist Joe Puma and bassist Oscar Pettiford. This LP will be a difficult one to find. *Scott Yanow*

The best of the plethora of Mann sets that have hit the market recently. With the aid of excellent musicians, in example, Hank Jones, Anthony Ortega, Joe Puma, Oscar Pettiford, Joe Wilder, Urbie Green, etc., and arrangements by A. K. Salim and Gigi Gryce, the flutist is heard in big, medium-sized and small band contexts, and the music is at once pleasant, interesting, and provides adequate blowing space. Set should be appealing to jazz coterie, and those not so heavily oriented as well. Try "Little Niles" and "A Ritual" as demo bands. *Billboard, October 28, 1957*

Side 1

1 - When The Lights Are Low

(Benny Carter)

2 - Little Niles

(Randy Weston)

3 - Old Honkie Tonk Piano Roll Blues

(Herbie Mann)

4 - Pretty Baby

(A. K. Salim)

Side 2

5 - Beautiful Love

(Victor Young, Wayne King, Egbert Van Alstyne)

6 - Hip Scotch

(Joe Puma)

7 - Song For Ruth

(Herbie Mann)

8 - Noga's Nuggets

(Oscar Pettiford)

9 - A Ritual

(Herbie Mann)

Herbie Mann (flute, alto flute); Bernie Glow, Don Stratton, Joe Wilder (trumpets); Urbie Green, Chauncey Welsch (trombones); Anthony Ortega (alto sax); Dick Hafer (alto and tenor sax); Dave Kurtzer (tenor sax); Sol Schlinger (baritone sax); Joe Puma (guitar); Hank Jones (piano); Oscar Pettiford (bass); Gus Johnson [#1, #3, #5, #6, #8, #9]), Philly Joe Jones [#2, #4, #7] (drums).

Recorded in New York City, April 18 (#2, #4, #7) and April 29 (#1, #3, #5, #6, #8, #9), 1957.