Liberty Records • Jazz in Hollywood Series (X)

Virgil Gonsalves

Jazz • San Francisco Style

✤Liberty LJH 6010✤

Virgil Gonsalves was born on September 5, 1931 in Monterey, where he grew up and attended elementary and high school. He later enrolled at the San Francisco State University. After graduating in 1952, he began touring with the bands of Alvino Rey, Jack Fina and Tex Beneke. Between seasons, Virgil introduced an artfully arranged sextet at concerts and club dates, contributing to the development of a nascent modern jazz scene in San Francisco, notably represented by the Dave Brubeck Trio.

In June 1954 some 400 students crowded the Tamalpais High School auditorium to dance to the beat of the Tam Dance Band. The featured attraction of the date was the appearance of the Virgil Gonsalves Sextet whose increasingly frequent and successful modern jazz performances were beginning to attract the attention of concert promoters and owners of the best clubs.

The work that the Virgil Gonsalves sextet had been developing particularly impressed Monterey local disc jockey Johnny Adams. In his eagerness to spread the word, Adams sent Gonsalves with tapes to a few jazz record labels, including the local Fantasy, as well as others in Los Angeles, such as Pacific Jazz and Nocturne Records.

After several weeks and a couple of meetings in L.A., Gonsalves finally struck a deal with Harry Babasin, producer and bassist for the newly formed and up-and-coming Nocturne label — but on one condition: for the recording session, instead of employing Gonsalves's usual San Francisco bandmates, Babasin would recruit a group of better known Los Angeles based jazz musicians in order to include the album in their "Jazz in Hollywood Series".

Babasin arranged a recording session at Western Recorders for September 29, 1954. With engineer John Neal on board and producer Babasin on bass, the sextet was rounded out by leader Gonsalves on baritone, the former Gene Krupa tenor saxophonist Buddy Wise, valve trombonist Bob Enevoldsen, pianist Lou Levy, and drummer Larry Bunker. The result was an excellent 10-inch album released in February 1955.

In November 1955, Gonsalves traveled to Los Angeles to record — again with sound engineer John Neal — a 12" for Liberty Records, but this time he did it with his original sextet, which by now had remained stable since high school. Its members — and Virgil's schoolmates for that matter — were Bob Badgley, valve trombone; Dan Pateris [a.k.a. Danny Patiris], tenor sax; Clyde Pound, piano; Max Hartstein, bass; and Gus Gustafson, drums. The arrangements were provided by Jerry Cournoyer and Bob Searle. After their first recording session, bassist Max Harstein fell ill and had to be replaced by the excellent Ron Crotty, who previously played with Brubeck. On this album, Gonsalves' work comes off with inventiveness and flow, and he managed to demonstrate his inherent rhythmas a soloist. The interplay between him and Dan Patiris keeps the swinging level of this set of the so-called San Francisco Jazz Style performances. *freshsoundrecords.com*

Music has played an integral role in the development of San Francisco as the cultural outpost of the West. Her Opera House is of world renown; her symphony orchestra and museums are rated with the nation’s finest. However, until recently, San Francisco's contributions to the jazz scene were limited to Lu Watters' Yerba Buena Jazz Band, a driving crew of Dixielanders; Kid Ory's Creole Band; and the usual assortment of unorganized groups who played mostly for their own pleasure (and little remuneration) at the city's many night spots.

In 1950, however, the City by the Golden Gate rose to national jazz prominence on the steely fingertips of Dave Brubeck, a pianist with an immense classical background, who gave the nation the first new sound in a decade. His fertile, imaginative application of polytonality in jazz started a whole new trend in music... one that could really be called Jazz — San Francisco Style. 

Thus began the renaissance of jazz in San Francisco. Many groups with varying sounds began to make their mark in the Bay area. 

Perhaps of all these, the group led by Virgil Gonsalves is the one following closest in Brubeck’s footsteps. Gonsalves' cool articulation on the baritone sax has jazz critics hailing him as the hottest star on this instrument since the heyday of Gerry Mulligan. 

"JAZZ-SAN FRANCISCO STYLE" is a Swinging album! The vibrant solo efforts are indicative of the uninhibited jazz feel that Virgil and his group generate. The spirit and drive shown in this LP give us the feeling that Virgil Gonsalves will soon emerge as one of the nation’s leading jazz figures. *Harry Babasin (liner notes)*

1 - Whitewash

(Cournoyer)

2 - Our Love Is Here To Stay

(Gershwin)

3 - Lost World

(Cournoyer)

4 - I'll Take Romance

(Oakland, Hammerstein)

5 - Searle's Corner

(Searle)

6 - Viva Zapata

(Shorty Rogers)

7 - Half Mine

(Searle)

8 - Goody-Goody

(Mercer, Malneck)

9 - Gar-Din

(Marabuto)

10 - My Heart Stood Still

(Rodgers, Hart)

11 - Fascinatin' Rhythm

(Gershwin)

12 - Bags' Groove

(Gonsalves)

Virgil Gonsalves (baritone sax), Bob Badgley (valve trombone), Dan Pateris (tenor sax),

Clyde Pound (piano), Ron Crotty [#1, #4 to #11] (bass),

Max Hartstein [#2, #3. #12] (bass), Gus Gustafson (drums).

Recorded at Capitol Records, Hollywood, California, November 1955

Liberty Records • Jazz in Hollywood Series (I)

Jazz In Hollywood

✤Liberty LJH 6001✤

This is the first in an unlimited series of Jaz recordings to be released by LIBERTY. The artists featured in this album are not new-comers. These are the established, schooled and respected musicians of the West Coast. They are musicians in the true sense of the word. Unlike the "Tooters" who play and record in the name of Jazz, many of the artists in this album are also actively engaged in other phases of music. 

⁂

There are many facets to this gem called "JAZZ"; and I’m sure you'll feel as I do that some of the choicest are evident here. The rare cello work of Harry Babasin, the sophisticated improvisations of Jimmy Rowles, the incredible tempo achieved by Lou Levy and Buddy Wise, Dom Frontiere’s flawless accordion technique, the drive and imagination displayed by Abe Most on the clarinet, the precision of the Hollywood Saxophone Quartet and the familiar earthy sounds expressed by Herbie Harper, Bob Gordon, Bud Shank, Virgil Gonsalves and Bob Enevoldsen.

⁂

As a disc jockey and jazz enthusiast who really loves music, I am very impressed with the fine taste displayed in the presentation of this album. And this is just the beginning. These and other top jazz artists will be presented in LIBERTY albums of their own in the very near future.

*Jack Wagner (liner notes)*

Liberty scoops up a wide variety of West Coast jazz musicians and presents them under the title "Jazz In Hollywood". We hear samplings of the talents of Herbie Harper, Bud Shank, Jimmy Rowles, Virgil Gonsalves, Harry Babasin, Lou Levy, Dom Frontiere, Abe Most, Bob Enevoldsen, Bob Gordon, Buddy Wise, and the Hollywood Saxphone Quartet. Space does not allow comments on each artista involved. As an over-all description, it is an interesting collection of assorted talents playing easy to listen to west coast jazz. Improvisations in most cases stick close to the Melody line. Jazz fans should find it strong interest. *Billboard, September 24, 1955*

Side 1

1 - Sanguine

(Paich)

Herbie Harper (trombone), Bud Shank (alto, tenor and baritone saes),

Marty Paich (piano), Harry Babasin(bass), Roy Harte (drums).

Recorded at United Western Recorders, Los Angeles, California, September 16, 1954

2 - There Will Never Be Another You

(Gordon, Warren)

Hollywood Saxophone Quartet:

Russ Cheever (soprano sax), Jack Dumont (alto sax), Morrie Crawford (tenor sax),

Bill Ulyate (baritone sax), Mike Rubin (bass), Dick Cornell (drums).

Recorded at Capitol Studios,  September 1955

3 - Serenade In Blue

(Gordon, Warren)

Jimmy Rowles (piano), Red Mitchell (bass), Art Mardigan (drums).

Recorded at United Western Recorders, Los Angeles, California, December 13, 1954

4 - Yesterdays

(Kern, Harbach)

Virgil Gonsalves (baritone sax), Bob Enevoldsen (valve trombone), Buddy Wise (tenor sax),

Lou Levy (piano), Harry Babasin (bass), Larry Bunker (drums).

Recorded at United Western Recorders, Los Angeles, California, September 29, 1954

5 - The Girl Friend

(Rodgers, Hart)

Harry Babasin (bass, cello), Larry Bunker (vibes),

Jimmy Rowles (piano), Bob Enevoldsen (bass), Roy Harte (drums).

Recorded at United Western Recorders, Los Angeles, California, September 23, 1955

(other source gives April 18, 1954)

6 - Bloo Denim

(Levy)

Lou Levy (piano), Harry Babasin (bass), Larry Bunker (drums).

Recorded at United Western Recorders, Los Angeles, California, August 29, 1954

Side 2

7 - Perpetual Motion

(Paganini)

Dom Frontiere (accordion), Abe Most (clarinet), Bill Ulyate (bass clarinet),

Jack Marshall (guitar), Mike Rubin (bass), Nick Fatool (drums).

Recorded at Capitol Records, Hollywood, California, summer 1955

8 - Bob White

(Mercer, Hanighen)

9 - Danza Do Brazil

(Paich)

Bob Enevoldsen (tenor sax [#8], valve trombone [#9]), Marty Paich (piano),

Howard Roberts (guitar), Harry Babasin (bass), Don Heath (drums), Roy Harte (bongos [#9]).

Recorded at United Western Recorders, Los Angeles, California, summer 1954

10 - Bab-O-Ling

(Babasin)

Harry Babasin (bass, cello), Larry Bunker (vibes),

Jimmy Rowles (piano), Bob Enevoldsen (bass), Roy Harte (drums).

Recorded at United Western Recorders, Los Angeles, California, September 23, 1954

(other source gives April 18, 1954)

11 - Jive At Five

(Edison)

Herbie Harper (trombone), Bob Gordon (baritone sax),

Jimmy Rowles (piano), Harry Babasin (bass), Roy Harte (drums).

Recorded at Gold Star Studios, Hollywood, California, February 27, 1954  

(other source gives Recorded at United Western Recorders, February 27, 1954)

12 - Love Me Or Leave Me

(Kahn, Donaldson)

Virgil Gonsalves (baritone sax), Buddy Wise (tenor sax), Bob Enevoldsen (valve trombone),

Lou Levy (piano), Harry Babasin (bass), Larry Bunker (drums).

Recorded at United Western Recorders, Los Angeles, California, September 29, 1954

Jerry Coker - Modern Music

Jazz saxophonist and pedagogue Jerry Coker was born in South Bend, Indiana (November 28, 1932). He attended Indiana University in the early 1950s, but left school to become a member of Woody Herman's Herd. Coker eventually earned undergraduate and graduate degrees while he taught jazz at Sam Houston State University (then Sam Houston State Teachers College). He recorded under his own name in the mid-1950s and as a sideman with Nat Pierce, Dick Collins, and Mel Lewis; later that decade he played with Stan Kenton. In 1960 he began teaching and increasingly turned to music education and composition. He taught at Duke University, University of Miami, North Texas State University, and started the Studio Music and Jazz program at the University of Tennessee, where he was a professor of music from the 1980s through the 2000s. *wikipedia.org*

Born in 1932, tenor saxophonist Jerry Coker first emerged as a major talent in Indiana University's brilliant jazz clique of the early '50s. While he was still a student he joined Woody Herman's Third Herd, leading to a year performing, recording and, in the spring of 1954, a European tour. Returning to Indiana that summer, he was at the heart of the university's thriving jazz movement which, in July 1955, recorded his album, Modern Music from Indiana University. Leading some talented students, Coker, as producer, wrote all the arrangements – with echoes of the Four Brothers sax sound – while his solo work revealed an affinity for Lester Young.

In 1956, settled in Oakland, he began to make a name himself as performer, composer and arranger, and joined Rudy Salvini's rehearsal band. He also recorded with them and with his own quartet in November for San Francisco Jazz Records.

While the Kenton band was playing in the Bay Area, Coker briefly replaced the injured Bill Perkins, but, despite his considerable reputation as a soloist, after the spring of 1957 his appearances on concert and on record have been rare. He has since mostly devoted himself to teaching and writing, which has obscured his talents as a player—a pity, as these recordings show just how good he was. *Jordi Pujol*

Jerry Coker

Composes – Arranges – Plays

Modern Music

From Indiana University

And The Bay Area

Jerry Coker should have been a household name (and maybe he will be among readers after this post). A composer, arranger and tenor saxophonist from Indiana, Coker in the 1950s and beyond had a beautiful ear and gorgeous sound. Coker recorded only one album and a few tracks as a leader in 1955. He also recorded as a sideman small groups led by Mel Lewis and Nat Pierce in the mid-'50s as well as a big band led by Rudy Salvini. In the early 1950s, he recorded and toured with Woody Herman's Third Herd and he recorded with Clare Fischer's band in the early 1960s. Except for two albums in the early 1980s (A Re-emergence and Rebirth for the Revelation label), that was pretty much it.

Coker played with Stan Kenton in 1957 and then he spent much of his career as an exceptional educator. He taught at the Monterey Peninsula Junior College in 1963, at Indiana University as head of their jazz program and then, in 1966, at Coral Gables University in Miami, developing first-rate BA and MFA degree programs. He left in 1972.

While in Miami, Coker played gigs for entertainers, including Frank Sinatra and Tony Bennett. Next came Pembroke State College and Duke University before he settled with his wife in Knoxville, Tenn. Over the course of his career, Coker wrote 20 jazz education books and is a member of the International Association of Jazz Educators Hall of Fame. Coker is still with us today.

Fortunately for us, Fresh Sound Records has gathered many of Coker's recordings between 1954 and 1956 on a single CD entitled Jerry Coker: Modern Music From Indiana University and the Bay Area. It is a stunning collection of jazz recordings that will leave your jaw hanging. The sound is a perfect blend of West and East Coast jazz styles during this period, and Coker's composing and arranging was extraordinary. It's highly melodic with tasteful harmony parts and exquisite blowing by everyone on the dates.

The 12 tracks from Modern Music From Indiana University feature a reed ensemble comprised of three different configurations. The first includes Jerry Coker, Bob Cowart and Louis Ciotti (ts) Jack Coker (p) Monk Montgomery (b) and Charlie Mastropaolo (d). The second adds Freddy Fox and Roger Pemberton on baritone sax. And finally Al Kiger (tp) and Jim Hewitt (tb) sit in on selected tracks.

Coker's reed writing was so gorgeous you'll want to cry. Heartfelt and fully maximized, the arrangements have a sensitive passion for the harmonized saxophone sound while the musicians have a nimble Four Brothers feel. The players on the session were all students at Indiana University, where Coker had attended college.

Next are three tracks (Coker's "You'll Stay" and "Giggling Oysters" and Wayne Crabtree's "Water's Edge") that feature Coker in a quartet setting in San Francisco: Al Kiger (tp) Jerry Coker (ts) Eddie Duran (g) and Dean Reilly (b). A Mel Lewis Sextet track, 'Enry 'Iggins 'Ead, composed and arranged by Coker, includes Kentonites Ed Leddy (tp) Jerry Coker and Richie Kamuca (ts) Pepper Adams (bar) John Marabuto (p) Dean Reilly (b) and Mel Lewis (d).

This is followed by a Rudy Salvini Orchestra album called Intro to Jazz, recorded at the Sands Ballroom in Oakland, Calif., in November 1956. The band on these five tracks include Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen and Billy Catalano (tp), Van Hughes, Archie Lecoque, Chuck Etter and Ron Bertuccelli (tb), Charles Martin (as), Jerry Coker, Tom Hart and Howard Dudune (ts), Virgil Gonsalves (bar), John Marabuto (p), Dean Reilly (b) and John Markham (d), with arrangements by Jerry Cournoyer, Jerry Mulvihill and Coker.

There are two bonus tracks recorded in Paris in 1954 with groups that included members of Woody Herman's Third Herd: First, Coker's "Embarkation", with Cy Touff (b-tp), Jerry Coker (ts), Ralph Burns (p), Jimmy Gourley (g), Jean-Marie Ingrand (b) and Chuck Flores (d). And Coker's "Thanks for You", featuring Jerry Coker (ts), Ralph Burns (p), Jean-Marie Ingrand (b) and Chuck Flores (d).

Coker was masterful, and in an ideal, selfish world, he would have moved to Los Angeles, recorded dozens of albums in the studios and written for television. Then again, hundreds of fledgling jazz musicians studying at the various universities where Coker taught would be poorer for it. I'm just thankful we have what we have here. So gorgeous. *Marc Myers*

1 - Limehouse Blues

(Braham, Furber)

2 - Old Crinkletoes

(Jerry Coker)

3 - Opus #1

(Oliver, Garris)

4 - Red Kelly's Blues

(Jerry Coker)

5 - Nancy

(Van Heusen, Silvers)

6 - Kigeria

(Jerry Coker)

7 - You Gotta Show Me

(Brooks, Castle)

8 - It’s You Or No One

(Cahn, Styne)

9 - Jack's Acts

(Jerry Coker)

10 - This Is Always

(Warren, Gordon)

11 - Lost April

(DeLange, Newman, Spencer)

12 - Clare-ity

(Jerry Coker)

13 - You'll Stay

(Jerry Coker)

14 - Water's Edge

(Crabtree)

15 - Giggling Oysters

(Jerry Coker)

16 - 'Enry 'Iggins 'Ead

(Jerry Coker)

17 - Yesterdays

(Kern, Harbach)

18 - Wail For Patrick

(Jerry Coker)

19 - Boot's Boots

(Cournoyer)

20 - Topsy Returns

(Jerome Mulvihill)

21 - Smithsonian

(Jerome Mulvihill)

22 - Embarkation

(Jerry Coker)

23 - Thanks For You

(Hanighen, Wright)

#1 to #12: from the album Modern Music from Indiana University (Fantasy 3-214)

Jerry Coker, Bob Cowart, Lou Ciotti (out on #10) (tenor saxes); Roger Pemberton (baritone sax); Jack Coker (piano); Monk Montgomery (bass); Charles Mastropaolo (drums). 

#2, #3, #5, #6, #8, #9, #11, #12: Freddy Fox (added on baritone sax).

#6, #8: Al Kiger (added on trumpet).

#5, #11: Jim Hewitt (added on trombone).

Recorded at Indiana University, Bloomington, July 1955.

#13 to #15 : Jerry Coker Quartet - from the album Intro to Jazz (San Francisco Jazz JR-1)

Alan Kiger (trumpet), Jerry Coker (tenor sax), Eddie Duran (guitar), Dean Reilly (bass).

Recorded at the Sands Ballroom, Oakland, November 1956.

#16: Mel Lewis Sextet - from the album Got ‘Cha (San Francisco Jazz JR-2)

Ed Leddy (trumpet); Richie Kamuca, Jerry Coker (tenor saxes); Pepper Adams (baritone sax); Johnny Marabuto (piano); Dean Reilly (bass); Mel Lewis (drums).

Recorded at the Sands Ballroom, Oakland, November 20, 1956.

#17 to #21: Rudy Salvini Orchestra - from the album Intro to Jazz (San Francisco Jazz JR-1)

Rudy Salvini, Allen Smith, Al Del Simone, Wayne Allen, Billy Catalano (trumpets); Van Hughes, Archie Lecoque, Chuck Etter, Ron Bertuccelli (trombones); Charles Martin (alto sax); Jerry Coker, Tom Hart, Howard Dudune [#17, #19, #20, #21], Charles Peterson [#18] (tenor saxes); Virgil Gonsalves (baritone sax); John Marabuto (piano); Dean Reilly (bass); John Markham (drums).

Recorded at the Sands Ballroom, Oakland, November 1956.

#22: from the album The Third Herdmen Blow in Paris, Vol.2 (Vogue LD.205)

or also The Herdsmen Play Paris (Fantasy 3-201)

Cy Touff (bass trumpet), Jerry Coker (tenor sax), Ralph Burns (piano),  Jimmy Gourley (guitar), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954.

#23: from the album The Third Herdmen Blow in Paris, Vol.1 (Vogue LD.204)

or also The Herdsmen Play Paris (Fantasy 3-201)

Jerry Coker (tenor sax), Ralph Burns (piano), Jean-Marie Ingrand (bass), Chuck Flores (drums).

Recorded in Paris, May 5, 1954.