Jimmy Jones - The Splendid Mr. Jones

Jimmy Jones is probably best known as a singer's arranger, even though his first credited orchestration on a jazz vocal session didn't come until a live Sarah Vaughan performance in 1955 (though he had been accompanying her since the late 1940s). His first jazz vocal album as a credited arranger was Beverly Kenney Sings With Jimmy Jones and the Basie-Ites for Roost Records a year later. Going forward, his name often popped up on album covers of albums he had arranged.

But Jones was also a prolific and superlative pianist dating back to recordings with bassist Stuff Smith in 1943. A product of the swing era, Jones recorded mostly with swing instrumentalists and jazz-pop vocalists rather than beboppers. Perhaps his first standout session with a modern feel was with the Frank Wess Quintet on an album for Commodore in 1954.

As a pianist, Jones became known for his elegant playing style, an approach that was increasingly in demand as pop singers ascended to stardom with the rise of the LP in the late 1940s. Vocalists looked good on covers and were favored by listeners who didn't have to get up as often to turn over a record.

These vocalists were increasingly in need of tasteful accompaniment and ensemble arrangements as LP fidelity and phonographs improved in the mid-1950s. Pianists who joined Jones in the vocalist accompaniment lane included Stan Freeman, Buddy Cole, Jimmy Rowles, Joe Harnell and Ronnell Bright.

Now, Fresh Sound has released The Splendid Mr. Jones, a collection of early Jones recordings in the solo and trio formats. The nine solo tracks were recorded in 1947 and show off Jones's chord voicings, ear for drama and self-arranging sensibility. These tracks originally turned up on the French Chronological Classics series some years back, but they sound a lot better now with Fresh Sound's 24-bit remastering.

There are two trio sessions on the new compilation. The first featured Jones's four tracks for Escape!, a 1952 álbum for the Gene Norman Presents label that showcased Jones and several other artists. This trio session feature Jones (p), Billy Hadnott (b) and J.C. Heard (d) playing "Moonlight in Vermont", "London in July", "Autumn in New York" and "Cool in Cuba".

The second trio session is the 10-inch Jimmy Jones Trio album for the French Swing label. Recorded in Paris in 1954, the Jimmy Jones Trio was comprised of Jones (p), Joe Benjamin (b) and Roy Haynes (d). The tracks are "Easy to Love", "Little Girl Blue", "Lush Life", "Just Squeeze Me", "My Funny Valentine" and "Good Morning Heartach".

It's a shame Jones didn't record more often as a leader. Instead, he opted to sit in as a sideman or accompanist with just about every marquee jazz player and singer of the post-war period. I suspect his arranging responsibilities were too time-consuming for much more.

There were few pianists as delicate, lush and as assertive as Jones. He'd coddle songs patiently with a full understanding of their lyrics and musical personalities, using those factors to direct how he'd frame their melodies and then take them apart during his gentle, swinging improvisation.

*Marc Myers*

Jimmy Jones

The Splendid Mr. Jones

Trio & Solo

James Henry Jones (1928-1982) was born in Memphis but spent his formative years in Chicago. "I always liked music", he said. "Guess that was only natural as my father was a choir director and my mother played a little piano".

His first attempt at creating music was at the age of 13 when he started playing the guitar. Later, Jimmy became interested in harmony and began experimenting at the family piano at the age of sixteen. During his formative years, Jimmy Jones developed a deep appreciation for two influential figures in jazz: Art Tatumand Duke Ellington. He had a natural ability to play the right chords and provide accompaniment for singers in the ensembles he worked with. Gradually, he developed the necessary technique and became a proficient pianist.

Jimmy Jones first gained attention in 1943 at Chicago's Garrick, playing with Stuff Smith. His intense expression accompanied a technical skill at the piano that was bound to capture the listener's attention, whether alone or in combination with others. This talent proved to be a great asset when, later that year, he moved to New York and became exposed to the vibrant jazz scene on 52nd Street.

Primarily occupied by his celebrated and continuous work as an accompanist and arranger for Sarah Vaughan, as well as many other great voices, Jimmy Jones had limited opportunities throughout his career to showcase his remarkable abilities as a soloist. Thus, the recordings featured here serve as a testament to his uncanny ability to strike a delicate balance of restraint and richness, showcasing his nuanced playing and artistic mastery as a highly sensitive musician.

The genesis of his chordal style is the story of his musical beginnings, and it is through this journey that The Splendid Mr. Jones leaves an indeliblemark on the history of jazz and piano performance. *Jordi Pujol*

1 - Easy To Love

(Cole Porter)

2 - Little Girl Blue

(Rodgers, Hart)

3 - Lush Life

(Billy Strayhorn)

4 - Just Squeeze Me

(Ellington, Gaines)

5 - My Funny Valentine

(Rodgers, Hart)

6 - Good Morning Heartache

(Higginbotham, Drake, Fisher)

7 - Moonlight In Vermont

(Blackburn, Suessdorf)

8 - London In July

(Duke, Kahn)

9 - Autumn In New York

(Vernon Duke)

10 - Cool In Cuba

(Jimmy Jones)

11 - New World A-Comin'

(Duke Ellington)

12 - Lazy River

(Carmichael, Arodin)

13 - When I Walk With You

(Ellington, Latouche)

14 - Empty Space

(Renfrow)

15 - Zigeuner

(Noel Coward)

16 - What's New?

(Burke, Haggart)

17 - I’ll See You Again

(Noel Coward)

18 - Mad About The Boy

(Noel Coward)

19 - Someday I’ll Find You

(Noel Coward)

20 - Clair De Lune

(Claude Debussy)

21 - Lover Man

(Davis, Sherman, Ramirez)

22 - New York City Blues

(Duke Ellington)

23 - On A Turquoise Cloud

(Ellington, Brown)

24 - Bakiff

(Juan Tizol)

#1 to #6: from the 10-inch album Jimmy Jones Trio (Swing M.33.3336)

Jimmy Jones (piano), Joe Benjamin (bass), Roy Haynes (drums).

Recorded in Paris, October 28, 1954.

#7 to #10: from the 12-inch album Escape! (GNP-27)

Jimmy Jones (piano), Billy Hadnott (bass), J.C.Heard (drums).

Recorded in Los Angeles, 1952.

#11 to #24: from 78 rpm records released on Wax Records

#11:

Jimmy Jones (piano), John Levy (bass), Denzil Best (drums).

Recorded in New York City, 1947.

#12 to #15:

Jimmy Jones (piano); Al Hall (bass); Denzil Best [#12], Bill Clark [#13, #14] (drums); Al Casey (guitar [#12]); Lynn Warren (vocals [#14]).

Recorded in New York City, 1947.

#16 to #24:

Jimmy Jones (solo piano).

Recorded in New York City, 1947. 

Jimmy Rowles Trio - Rare–But Well Done

Jimmy Rowles says: "I prefer ballads and easy jump tunes, so you won't hear much at a race track tempo". The renditions of these tunes somewhat defy controversy, inasmuch as the conceptions here have such simplicity, freshness and good taste. It doesn’t strike me that he is trying to prove any points here other than — piano artistry can be treated so as to appeal to all listeners, artist and laymen alike. To quote Jimmy, "I like to get away from the commonly played tunes. There are so many beautiful things you hardly ever hear". "So Far So Good" was recorded by Duke Ellington around 1939. This I believe is the only other recording made to date. "Remember Me" has a graciousness about it and warmth that makes you want to listen to it over and over again. All of these numbers have a distinctly happy and relaxed feeling about them. Jimmy maintains that his next album will have the same personnel but a little different musical idea. After listening to this one, I'm sure everyone will be appreciative of his follow-ups. Red Mitchell, the bass player, besides being a great soloist is a great rhythm man too, as his work with Red Norvo and Gerry Mulligan has proven. Art Mardigan, who is currently pounding the skins with many of Detroit's top jazz groups, was drummer for the Woody Herman Herd at the time of the "Four Others" recording. He is exceptionally good with small combos as those within earshot of this album will attest. Jazz critics agree... Art's neglected genius is sure to be recognized... and SOON. 

The easy relaxed "Count Basie" feeling was one of the aims of the trio. That it was so successful is perhaps why LIBERTY so aptly titled the album "Rare... But Well Done". The recording is one of beauty... the epitome of balance and clarity. Listen, and see if you don't agree.

*Fran Kelley (liner notes)*

A rare early date as a leader for pianist Jimmy Rowles — a player who was a key part of the LA scene in the 50s, but didn't often get to front a group for a recording session! Even at this young point in his career, Rowles already has that warm charm that got him noticed again in the late 70s — that relaxed, almost world-weary way of playing the piano — quite subtle, but filled with soul — and an approach that's even more captivating every time we give the record a spin! The tunes are mostly familiar, but like good jazz singer taking on some standards, Jimmy relaxes into the songs and really makes them his own — illuminating them wonderfully, with some help from Red Mitchell on bass and Art Mardigan on drums. *dustygroove.com*

Side 1

1 - The Day You Came Along

(Coslow, Johnston)

2 - So Far So Good

(Lawrence, Mundy, White)

3 - Medley: 

• I Wouldn't Change You For The World

(Jones, Newman)

• You Are Too Beautiful

(Richard Rodgers)

4 - Serenade In Blue

(Gordon, Warren)

5 - Let's Fall In Love

(Arlen)

Side 2

6 - Medley:

• Remember Me

(Dubin, Warren)

• There Goes My Heart

(Silver, Davis)

7 - Lady Be Good

(G. and I. Gershwin)

8 - Chloe

(Moret, Kahn)

9 - Topsy

(Durham, Bahle)

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

Recorded in Hollywood, California, December 13, 1954.

Howard Lucraft - Showcase For Modern Jazz

Until 1950, Mr. Lucraft was a 'name' band leader in England, and was featured regularly by the British Broadcasting Corporation, both with his band and as an arranger and commentator, etc. for many of the national jazz broadcasts. 

Since 1950, he has resided in Hollywood, functioning on both sides of the fence — as an arranger-composer for leading bands and groups, and as a critic and editorial representative for "Metronome" (U.S.A.), "Encyclopedia of Jazz", and "Melody Maker" (Great Britain). 

In 1954, jointly with Stan Kenton, he started JAZZ INTERNATIONAL. This is the famous world-wide organization of jazz enthusiasts and musicians whose chief purpose is the universal propagation of the art.

Mr. Lucraft is the producer of the "Jazz International Show" on radio, broadcast by over 100 radio stations throughout the United States and Canada, and director of a "Jazz International Show" for the Armed Forces Radio. The latter is said to have 100 million listeners in all parts of the world. In addition, Lucraft produced and hosted the "Jazz International" weekly TV show in Los Angeles.

*(Liner Notes)*

At the weekly meetings of the Hollywood chapter of the JAZZ INTERNATIONAL organization, it has been my privilege to present some of the greatest jazz artists in the world. This album features a large number of the star West Coast instrumentalists regularly involved. 

In writing all the music I tried to present these exciting musicians in some varying styles of modern jazz. The arrangements are simple with full freedom for the guys to express themselves. We tried to create good swinging, melodic and inventive jazz. *Howard Lucraft* 

Side 1

1 - Blue Moon

(Richard Rodgers, Lorenz Hart)

2 - I'll Never Say "Never Again" Again

(Harry Woods)

3 - California Zephyr

(Howard Lucraft)

4 - I May Be Wrong (But I Think You're Wonderful)

(Henry Sullivan, Harry Ruskin)

5 - Larrissa

(Howard Lucraft)

Side 2

6 - Midnight Sun

(Sonny Burke, Lionel Hampton)

7 - Smog A La Mode

(Howard Lucraft)

8 - Jazz For Gene

(Howard Lucraft)

9 - Two Part Contention

(Dave Brubeck)

Howard Lucraft [a.k.a. John Doe] (leader, arranger and guitar [#1, #4, #5, #7]) with:

#1, #4, #7:

Bud Shank (alto sax, flute); Buddy Collette (clarinet, baritone sax); Red Mitchell (bass); Mel Lewis (drums).

Recorded in Hollywood, California, June 24, 1957.

#3, #6, #9: 

Art Pepper (alto sax), Bob Cooper (tenor sax, oboe), Claude Williamson (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded in Hollywood, California, July 8, 1957.

#2, #5, #8:

Charlie Mariano (alto sax, baritone sax); Conte Candoli, Stu Williamson (trumpets); Frank Rosolino (trombone); Pete Jolly (piano, accordion); Leroy Vinnegar (bass); Shelly Manne (drums).

Recorded in Hollywood, California, July 15, 1957.

Barbara Carroll Trio - Have You Met Miss Carroll?

Since the advent of what is commonly referred to as "modern" jazz, there has been an opportunity to make the acquaintance of a constantly increasing number of fascinating performers — but very few of these encounters may be said to produce both the electric atmosphere and the general air of well-being which surrounds an introduction to Miss Barbara Carroll. Pert, pretty, personable, she is, although a fairly recent addition to the roster of jazzdom's great, a performer who gives unstintingly of herself in the projection of some of the most delicious sounds of the contemporary era. She is certainly no ordinary pianist — she can swing with the best, her lyric touch is full of a rhapsodic poignancy and although she has a wide-ranging and profound technique, she has not allowed herself to become a captive of it. 

A native of Worcester, Massachusetts, Barbara has come a long way from the childhood days when, to make youthful ends meet, she gave piano lessons to her playmate for a flat rate of twenty-five cents. She worked her way through the New England Conservatory of Music in Boston and, soon after, began to make fairly regular appearances in night spots both in Bean City and New York. It was in the latter metropolis that fortune finally smiled upon her, for while playing at a Manhattan establishment called The Embers, she was simultaneously discovered by the critics and public alike. Since that date, only a few years ago, she has not only returned countless times to the scene of her first triumph, but has also spread her particularly happy brand of piano magic in most of the other major cities of the country. *Bill Zeitung (liner notes)*

Pianist Barbara Carroll's fifth recording for RCA Victor dates from 1955. She leads a trio with bassist Joe Shulman and drummer Ralph Pollack on this mixture of bop and lightly swinging instrumentals, focusing on standards, pop tunes of the day, and a pair of originals. Her approach to her instrument can be compared to her good friend Marian McPartland, though her style is very much her own. One of the interesting obscurities present is Harold Arlen's "Two Ladies in de Shade of de Banana Tree", played in a modified calypso setting. Highlights of this album include her sauntering take of "My Heart Belongs to Daddy", a delightful romp through "Have You Met Miss Jones", and her easygoing theme song from the beginning of her career, "Barbara's Carol".

Long out of print, this LP will be somewhat difficult to acquire. *Ken Dryden*

Barbara Carroll, an unfairly forgotten jazzwoman whose style brought a refreshing and individual voice in the tumultuous New Yorks jazz scene of the 50s. She is known among female piano players, as the first to venture into the progressive Bop style that was especially associated with Bud Powell.

Simply an excellent jazz pianist. *John S. Wilson*

Miss Carroll, as easy-to-take jazz pianist, swings with the best of 'em. Both jazz and plain buyers can be sold this happy collection of tunes, including such as "It's All Right With Me", "Love Is A Single Thing", "Happiness Is A Thing Called Joe" and her theme, "Barbara's Carol". Ralph Pollack on drums and hubby Joe Shulman on bass help out. *Billboard, January 28, 1956*

Side 1

1 - Everything I've Got Belongs To You

(Rodgers, Hart)

2 - It's All Right With Me

(Cole Porter)

3 - Happiness Is A Thing Called Joe

(Harold Arlen, E. Y. Harburg)

4 - Almost Like Being In Love

(Fred Lowe, Alan Jay Lerner)

5 - Love Is A Simple Thing

(Arthur Siegal, June Carroll)

6 - Get Happy

(Harold Arlen, Ted Koehler)

Side 2

7 - Two Ladies In De Shade Of De Banana Tree

(Harold Arlen, Truman Capote)

8 - My Heart Belongs To Daddy

(Cole Porter)

9 - You're Mine You

(John Green, Edward Heyman)

10 - Have You Met Miss Jones

(Rodgers, Hart)

11 - I'm Glad There Is You

(Paul Madeira, Jimmy Dorsey)

12 - Barbara's Carol

(Barbara Carroll)

Barbara Carroll (piano, celeste), Joe Shulman (bass), Ralph Pollack (drums).

Recorded in New York City, June 3 (#5, #6, #7, #8, #11), June 4 (#1, #2, #4, #9, #10, #12) and June 6 (#3), 1955.

Toshiko Akiyoshi - Toshiko's Blues

In the 1950s, Toshiko Akiyoshi was a force to behold. Inspired early on by pianist Bud Powell's bop attack and lightning-fast fingers, she grew up in Japan after World War II when her parents moved back to the country from Manchuria, China. She began playing piano at age 7, entertained U.S. troops in Japan and fell in love with jazz after hearing a Teddy Wilson recording of "Sweet Lorraine".

In 1953, under the direction of record producer Norman Granz, Akiyoshi recorded her first album with Oscar Peterson's rhythm section: Herb Ellis on guitar, Ray Brown on bass and J. C. Heard on drums. The album was released as Toshiko's Piano in the U.S. and Amazing Toshiko Akiyoshi in Japan. Akiyoshi then studied jazz at the Berklee School of Music in Boston in the mid-1950s on a full scholarship.

She is perhaps best known for her later small-group collaborations in the 1960s with husband, alto saxophonist Charlie Mariano, and big band recordings with her second husband, tenor saxophonist and flutist Lew Tabackin, whom she married in 1969. But her early work still knocks me out and is a must listen.

Now, Fresh Sound has released a two-CD set of Akyoshi's 1950s work that has been remastered with 24-bit technology: Toshiko's Blues: Toshiko Akiyoshi - Quartet and Trio, 1953-1958. The set includes material from her albums Toshiko's Piano (1953), George Wein Presents Toshiko (1956), Toshiko: Her Trio, Her Quartet (1956), Toshiko and the Leon Sash Quartet at Newport (1957), The Many Sides of Toshiko (1957) and the two tracks from her appearance on TV's The Subject Is Jazz in 1958.

Akyoshi's playing on her first album was a staggering tornado of speed, daring and perfection. "Squatty Roo" is hair-raising, but her solo treatment of the ballad "Laura" is exceptional as well. Her trio on the George Wein Presets Toshiko for Wein's Storyville label features Toshiko (p), Paul Chambers (b) and Ed Thigpen (d). The playlist is a mix of beautiful standards such as "It Could Happen to You" and "Softly As in a Morning Sunrise" and originals that include the meditative "Kyo-Shu" and the peppy "Manhattan Address". Throughout the first album, you get to experience Chambers's beefy-thick bass behind her.

The three trio tracks from Toshiko; Her Trio Her Quartet feature Oscar Pettiford (b) and Roy Haynes (d) playing "No Moon at All", "Pea, Bee and Lee" and "Thou Swell". On the four tracks from Toshiko and the Leon Sash Quartet at Newport, Akiyoshi was paired with her trio Gene Cherico (b) and Jake Hanna (d). Leon Sash was a gorgeous accordionist who played with his own quartet.

The Many Sides of Toshiko for Verve features the same trio playing Akyoshi's compositions and a range of standards, including a marvelous "Bag's Groove", which sounds far removed from the original by Milt Jackson. And finally, two tracks from The Subject Is Jazz, an NBC show in 1958 hosted by Gilbert Seldes. The 3d Movement is a fascinating bop workout.

What you'll notice listening to Akyoshi on this set is the iron power of her left hand and the lucidity of her fingers. And like Hazel Scott and Dorothy Donegan, Akyoshi would probably have been a household name if she had been a man. Such was the state of jazz. And it's a shame she didn't get to play and record with Charlie Parker. One of Granz's shortsighted failures, since both were on his Clef label in 1953. *Marc Myers*

Toshiko Akiyoshi

Toshiko's Blues

Quartet And Trios • 1953–1958

In 1953, during the Japan tour of producer and promoter Norman Granz's Jazz at the Philharmonic group, pianist Oscar Peterson had the opportunity to witness the performance of 23-year-old pianist Toshiko Akiyoshi at a Ginza club. Peterson was deeply impressed by her talent and successfully convinced Granz to record her. As a result, Toshiko recorded her debut album in Tokyo, accompanied by Peterson's esteemed rhythm section of Herb Ellis on guitar, Ray Brown on double bass, and J.C. Heard on drums. The album was released as Toshiko’s Piano in the United States and Amazing Toshiko Akiyoshi in Japan. Even at that early stage, it was evident that she held a deep admiration for the modernist Bud Powell, a fact that she has never made any effort to hide.

In January 1956, Akiyoshi was granted a prestigious four-year scholarship to attend the Berklee College of Music in Boston, becoming the first-ever Japanese student to enroll in the school. Her talent and unique background quicklymade her popular among fellow students. Since her arrival  in Boston, Toshiko had the valuable opportunity to collaborate with George Wein, the respected owner and manager of the renowned Storyville club and record label. Under his guidance, Toshiko recorded her first two albums in the United States, marking the beginning of her successful musical journey.

In addition, George Wein served as the director and founder of the Newport Jazz Festival, where Toshiko had the opportunity to showcase her talents in the 1956 and 1957 editions. Previously, in December 1956, she performed at the London House in Chicago, and in August 1957, she embarked on a highly successful two-month engagement at New York's Hickory House, which marked her first extended performance outside of Boston.

The release of these early Norgran, Storyville, and Verve albums, alongwith Toshiko's performance on The Subject Is Jazz TV-show, not only gained recognition from the public but also earned her acclaimfromprominent jazzmusicians. These achievements solidified her position as one of the top pianists in modern jazz. *Jordi Pujol*

*CD 1*

1 - What Is This Thing Called Love?

(Cole Porter)

2 - Gone With The Wind

(Magidson, Wrubel)

3 - I Want To Be Happy

(Youmans, Caesar)

4 - Toshiko's Blues

(Toshiko Akiyoshi)

5 - Shadrack

(R. H. MacGimsey)

6 - Solidado

(Toshiko Akiyoshi)

7 - Squatty Roo

(Johnny Hodges)

8 - Laura (piano solo)

(Raksin, Mercer)

9 - Between Me And Myself

(Toshiko Akiyoshi)

10 - It Could Happen To You

(Van Heusen, Burke)

11 - Kyo-Shu (Nostalgia)

(Toshiko Akiyoshi)

12 - Homework

(Toshiko Akiyoshi)

13 - Manhattan Address

(Toshiko Akiyoshi)

14 - Softly As In A Morning Sunrise

(Romberg, Hammerstein II)

15 - Soshu Yakyoku (Suzhou Serenade)

(Toshiko Akiyoshi)

16 - Sunday Afternoon

(Toshiko Akiyoshi)

17 - Blues for Toshiko

(Toshiko Akiyoshi)

18 - No Moon at All

(Mann, Evans)

19 - Pea, Bee And Lee

(Toshiko Akiyoshi)

20 - Thou Swell

(Rodgers, Hart)

*CD 2*

1 - Between Me And Myself

(Toshiko Akiyoshi)

2 - Blues For Toshiko

(Toshiko Akiyoshi)

3 - I'll Remember April

(Raye, De Paul, Johnston)

4 - Lover

(Rodgers, Hart)

5 - The Man I Love

(G. and I. Gershwin)

6 - Minor Mood

(Clifford Brown)

7 - After You've Gone

(Layton, Creamer)

8 - We'll Be Together Again

(Fischer, Laine)

9 - Tosh's Fantasy

(Toshiko Akiyoshi)

• Down A Mountain

• Phrygian Waterfull

• Running Stream

10 - Bags' Groove

(Milt Jackson)

11 - Imagination

(Van Heusen, Burke)

12 - Studio J

(Toshiko Akiyoshi)

13 - The 3rd Movement

(Toshiko Akiyoshi)

14 - Don't Get Around Much Anymore

(Duke Ellington)

*CD1*

#1 to #8: from the album Toshiko's Piano (Norgran MGN 22)

Toshiko Akiyoshi (piano), Herb Ellis (guitar), Ray Brown (bass), J.C. Heard (drums).

Recorded in Tokyo, November 13 and 14, 1953.

#9 to #17: from the album George Wein Presents Toshiko (Storyville STLP 912)

Toshiko Akiyoshi (piano), Paul Chambers (bass), Ed Thigpen (drums).

Recorded in New York City, 1956 [other source gives Boston, Massachusetts, 1954.]

#18 to #20: taken from the album Toshiko, Her Trio Her Quartet (Storyville STLP 918)

Toshiko Akiyoshi (piano), Oscar Pettiford (bass), Roy Haynes (drums).

Recorded in Boston, Massachusetts, July 1956.

*CD2*

#1 to #4: from the album Toshiko and the Leon Sash Quartet at Newport (Verve MG V 8236)

Toshiko Akiyoshi (piano), Gene Cherico (bass), Jack Hanna (drums).

Recorded live at the Newport Jazz Festival, July 5, 1957.

#5 to #12: from the album The Many Sides of Toshiko (Verve MGV-8273)

Toshiko Akiyoshi (piano), Gene Cherico (bass), Jack Hanna (drums).

Recorded in New York, September 28, 1957.

#13 and #14: from NBC TV-show The Subject Is Jazz

Toshiko Akiyoshi (piano), Eddie Safranski (bass), Ed Thigpen (drums).

Recorded live at "The Subject Is Jazz" TV-show, New York City, May 25, 1958.

***

**Extra**

Watch the videos:

• Toshiko Akiyoshi at the "Newport Jazz Festival" playing "Blues for Toshiko", July 5, 1957.

• Toshiko Akiyoshi at "The Subject Is Jazz", New York City, May 25, 1958.

***

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.

Leonard Feather And Best From The West

Some of the finest West Coast jazz combo playing of late 1954 appears on Best From the West: Modern Sounds from California (Vols. 1 and 2). These albums were issued by Blue Note as a pair of 10-inch LPs. Frankly, there isn't a drop of filler here, and the playing and compositions, many of which are by Shorty Rogers, swing with a special richness and aggression. As Leonard Feather writes in the original album's liner notes, "this is a wailing set of performances". 

Volume 1 was released in early 1955 and marketed without the musicians' names. The plan was brilliant, actually. Several of the musicians on the date already had contractual commitments. Which presented Feather, the album's producer, with a problem. But rather than trying to thread a needle, Feather simply removed the needle. All of the artists' names were removed, and the record was positioned as a "blindfold test".

The goal was to put listeners through the same audio exam that Metronome magazine had been administering to jazz musicians since 1946 (and a nifty gimmick that continues in jazz publications today). Album-buyers were asked to guess who was playing. At the end of Volume 1's liner notes, Feather writes:

"We're curious to see which of Blue Note's customers, long noted for their astute jazz tastes and discernment, can come up with a complete or at least partially correct answer".

Listeners were urged to send their picks along to Blue Note's offices. Feather offered only six clues in his Volume 1 liner notes:

1. All the music on both LPs was recorded during the winter of 1954-55 in Hollywood, CA.

2. The music was recorded at three different sessions, using a total of 12 instruments, played by sixteen men and a girl (sic).

3. None of the musicians made his record debut on these sessions. In fact, most of them had recorded frequently before, and many are closely associated with the disarmingly amorphous entity known as "West Coast Jazz".

4. The musicians who composed the original material for these sessions did not necessarily take part as instrumentalists.

5. All 17 musicians can be heard if you listen to the three numbers entitled The Blindfold Test (actually three different themes based all based on the 12-bar blues format).

6. All the musicians can be heard on either side of either record.

Best From The West • Volume 1

Modern Sounds From California

1 - Santa Anita

(Shorty Rogers)

2 - Santa Monica

(Buddy Collette)

3 - The Blindfold Test No. 1

(Shorty Rogers)

4 - Culver City

(Shorty Rogers)

5 - The Blindfold Test No. 2

(Shorty Rogers)

6 - Hooray For Hollywood

(Whiting, Mercer)

#1 and #6:

Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone, tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass), Larry Bunker (drums).

#2 and #5:

Conte Candoli (trumpet), Jimmy Giuffre (tenor sax, clarinet, baritone sax), Buddy Collette (alto sax, flute), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass), Stan Levey (drums).

#3 and #4:

Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded at Radio Recorders Studio, Hollywood, Los Angeles, California, December 31, 1954.

***

Volume 1 did not include the names of musicians on the date. But Volume 2, released soon afterward, did, thus revealing the mystery players. I have no idea why it was OK to announce the musicians' names in Volume 2 but not in Volume 1. My guess is that whatever releases Feather and Blue Note were seeking for the first album came through in time for the second album. If so, it's interesting how the Blue Note marketers positioned the inclusion of the names on a "blindfold test" album.

To keep the game interesting, the soloists on Blindfold Tests 1, 2 and 3 were not revealed. But since all of the musicians' names were listed on Volume 2, determining who was playing wasn't too much of a stretch-unless you were unfamiliar with the West Coast scene, which likely was the case for Blue Note's East Coast customer base.

While the two albums featured a wide range of musicians, the Conte Candoli sessions are particularly interesting. Recorded on December 31, 1954, the first group featured Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass) and Stan Levey (drums).

The next group with Candoli featured Buddy Collette (flute and alto sax), Jimmy Giuffre (tenor sax, clarinet and baritone sax), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass) and Stan Levey (drums).

The 10-inch albums featured yet another set of musicians recorded on the same day: Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone and tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass) and Larry Bunker (drums).

Among the many delightful surprises on these recordings are the early flute of Buddy Collette, superb clarinet work by Jimmy Giuffre, the piano of Lorraine Geller and beautiful, full jazz guitar work by Howard Roberts.

Compositions were mostly by Shorty Rogers, with one by Pete Rugolo and originals by musicians on the dates as well as a few standards.

As you listen to the recordings without looking at the personnel, what's instantly clear is the influence that Roy Eldridge and Dizzy Gillespie had on Candoli's playing during this period, before Miles Davis and Kenny Dorham made a much deeper impression.

These albums are a must-own for anyone who appreciates West Coast jazz under the influence of East Coast sensibilities and the intensity of Candoli's horn. *Marc Myers*

Best From The West • Volume 2

Modern Sounds From California

1 - Van Nuys Indeed

(John Grass)

2 - Here's Pete

(Pete Rugolo)

3 - The Blindfold Test No. 3

(Feather, Rogers)

4 - Burbank Bounce

(Marty Paich)

5 - Arcadia

(Leonard Feather)

6 - No Love, No Nothing

(Warren, Robin)

#1 and #4:

Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass), Stan Levey (drums).

#2 and #6:

Conte Candoli (trumpet), Jimmy Giuffre (tenor sax, clarinet, baritone sax), Buddy Collette (alto sax, flute), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass), Stan Levey (drums).

#3 and #5:

Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone, tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass), Larry Bunker (drums).

Recorded at Radio Recorders Studio, Hollywood, Los Angeles, California, December 31, 1954.

Quincy Jones - Go West, Man!

In Southern California the evenings are cool, as many an Easterner has found out to his discomfort. But periodically the sequence of chilly dusks is broken by a hot, dry, sometimes rather nervous wind, that sweeps from the interior and changes the entire atmosphere of the area. Then you see the retired Idaho farmers sitting on their verandahs rocking back and forth and watching the traffic. 

They call this wind a Santa Ana. This album is NOT called a Santa Ana, but it does bring a warm, almost hot breeze to Southern California, or West Coast, jazz which shows that it need not always be cool. 

And it’s time some real effort was made to demonstrate to the world that everything recorded in the Hollywood studios is not more Brooks Brothers tan Madison Avenue and not more emotionally restrained than a London native in a room full of Americans. As Betty Roche wroje to Jimmy Lyons, whose nightly KNBC, San Francisco eee has been a breath of warmth in what has sometimes seemed a wilderness of cool sounds, "it's good to hear the swingers". 

Quincy Jones, who produced this album, selected the personnel, picked the instrumentation and arrangers, is a West Coast product himself — he’s from Chicago originally but settled in Seattle when he was 10 and was raised there. For that matter, most of the so-called West Coast musicians are originally from the East, or at least not the West, and they don't always play in that tight little style that has become known as West Coast. They can get pretty funky, especially, as Shelly Manne says, "if they’ve eaten enough in those all-night hamburger joints". 

In ten years of writing on jazz for Down Beat and in the San Francisco Chronicle, I have never known what "West Coast" was, really, except in terms of individuals and only then for a specific time and a specific performance. This album will do considerable good if it makes people realize, as I hope it does, that all winds do not blow cool on the Pacific Coast. Sometimes they blow hot, too. *Ralph J. Gleason (liner notes)*

There is a bit of mis-information surrounding this album, and I’ve seen more than one inaccurate review, so to clear up a few things first, Go West Man! is not a big band album and the arrangements on here are not by Quincy Jones. Although there is some good music on here, in some ways, this second album in Quincy Jones’ young career is somewhat of a disappointment. Jones’ first album was a great success and revealed a young big band arranger with some fresh new sounds, so I would imagine his new fans were disappointed to find out that Jones only served as a conductor and producer, not arranger, on his follow-up LP. There are three different mid-sized groups that Jones works with on here, including two groups led by saxophone summits and one group led by a trumpet quartet. All three groups have a piano, bass and drums rhythm section. Each of the three groups is given three songs which leads to nine songs total on the album if you are keeping score at home.

All three of these groups are very talented, but possible top honors goes to an all-star sax five-some that includes Art Pepper and Charlie Mariano. The west coast sax players are known for their silky smooth ensemble work, and this group is a good example. The liner notes claim the other sax group is made up of three tenors, but there is quite clearly a fourth man on baritone, and one of the supposed tenors sounds suspiciously high. The arrangements for the nine tracks were provided by Jimmy Giuffre, Lennie Niehaus and Charlie Mariano. “London Derriere”, with its striking sounds made up of trumpets with Harmon mutes, is the arrangement that sounds the most like Quincy. This album is recommended for fans of west coast jazz, there so much great saxophone playing on here, both in ensemble and in solos, but Quincy Jones fans may be disappointed by the somewhat misleading presentation and slap together nature of this album. *jazzmusicarchives.com*

Quincy turns his soul jazz arranging style to a band filled with West Coast players, and he gets them to groove a lot more than you'd expect! Players include Herb Geller, Art Pepper, Charlie Mariano, Bill Perkins, and Walter Benton. The tracks are short, with tight solo space, and most of them were written and arranged by West Coasters like Jimmy Giuffre, Lennie Niehaus, and Johnny Mandel. Titles include "Be My Guest", "London Derriere", "Kings Road Blues", "The Oom Is Blues", and "Bright Moon".  *dustygroove.com*

1 - Dancin' Pants

(Jimmy Giuffre)

2 - Blues Day

(Jimmy Giuffre)

3. Bright Moon

(Jimmy Giuffre)

4 - No Bones At All

(Johnny Mandell)

5 - The Oom Is Blues

(Charlie Mariano)

6. Be My Guest

(Lennie Niehaus)

7 - Medley: 

•What's New?

(Haggart, Burke)

•We'll Be Together Again 

(Fischer, Laine)

•Time On My Hands

(Adamson, Youmans, Gordon)

•You Go To My Head

(Coots, Gillespie)

•Laura

(Mercer, Raksin)

8 - London Derriere

(Johnny Mandel)

9 - Kings Road Blues

(Lennie Niehaus)

Conte Candoli, Pete Candoli, Harry "Sweets" Edison, Jack Sheldon (trumpets [#2, #4, #8]); Benny Carter, Herb Geller, Charlie Mariano, Art Pepper (alto saxes [#1, #6, #9]); Pepper Adams (baritone sax [#3, #5, #7]); Walter Benton, Buddy Collette, Bill Perkins (tenor saxes [#3, #5, #7]); Lou Levy [#1, #6, #9], Carl Perkins [#2 to #5, #7, #8] (pianos); Red Mitchell [#1, #6, #9], Leroy Vinnegar [#2 to #5, #7, #8] (basses); Shelly Manne [#1, #3, #5, #6, #7, #9], Mel Lewis [#2, #4, #8] (drums).

Jimmy Giuffre, Johnny Mandel, Charlie Mariano, Lennie Niehaus (arrangements); Quincy Jones (conductor).

Recorded in Los Angeles, California, February 25, 1957.

Harry Lookofsky - Stringsville

Harry Lookofsky was born in Paducah, Kentucky in 1913 and studied classical violin in St. Louis where he joined the St. Louis Symphony Orchestra in the mid-1930s. An early admirer of Joe Venuti, Lookofsky eventually became recognized as one of the earliest accomplished bebop jazz violinists. His technique became particularly recognized on his album Stringsville. Lookofsky was one of many early jazz violinists who occasionally played tenor violin, an instrument he cited for its similar tonal qualities to the tenor saxophone. Another relatively unknown unique characteristic about Lookofsky's playing is that the bebop solos on Stringsville were completely written out and arranged as opposed to improvised as most jazz musicians do. An accomplished studio musician, Lookofsky also experimented heavily with multitrack recording in order to produce a unique sound with several overlaid violin tracks meant to imitate the sound of a horn section in a big band orchestra.

Following his departure from St. Louis in 1938, Lookofsky joined the NBC Symphony Orchestra under Arturo Toscanini for a time while continuing to play jazz on the side. He continued his career as a classical symphony violinist later as concertmaster at ABC following Toscanini's retirement in 1954.

Stringsville was Lookofsky's one major feature release. Aside from his classical and studio recording work, he was more often a contributing artist and/or arranger on other's albums. Over the years, his many jazz collaborators included Quincy Jones, Jaco Pastorius, Sarah Vaughan, George Benson, and Freddie Hubbard. *wikipedia.org*

The violin as a solo instrument has been jazz's forgotten child. In the swing period there were a few violinists (Joe Venuti, Ray Nance, Eddie South and Stéphane Grappelly, for instance) who made significant contributions to the jazz scene, but one looks for it in modern jazz in vain. Many people seemed to feel that the violin did not "belong" — and the violinist often tried to justify himself in the jazz context by using his instrument for comic effect rather than for serious music-making. 

Harry Lookofsky's Stringsville is a bold and brilliantly successful attempt to blend strings with a modern jazz ensemble as if they were just so many horns. He has 

proved for once and for all that the violin can swing. Being the versatile musician that he is, he proves that the viola and tenor violin can swing, too! By means of multiple tracking, he keeps as many as a dozen string lines going at once. From the way Bob Brookmeyer and the other musicians on this date were playing you can tell that they were excited with the sounds Harry was producing. This was no dull academic experiment; it was lively communication, it was jazz. 

*Gary Kramer (liner notes)*

Stringsville challenges the essential rules and definitions of bebop like few records before or since — not only does Harry Lookofsky wield as his weapons violins and violas, but his music hinges as much on technological innovation as it does on technical prowess. Lookofsky transcends contemporaries like Stuff Smith and Stéphane Grappelli for sheer artistry, conjuring remarkably athletic solos rooted in the traditions of classical music but with the creative phrasing and rhythmic intensity of bop -- his performances boast a dark, dramatic edge that pushes the violin into a bold new dimension. No less revelatory is Lookofsky's mastery of tape manipulation: for each track he contributes multiple layers of accompaniment that further establish Stringsville as a truly singular proposition. But it's an approach that by definition runs counter to jazz's improvisational ethos, posing myriad questions about the nature of music and the merits of a critical hierarchy that favors following the rules over breaking them. *Jason Ankeny*

Side 1

1 - 'Round Midnight

(Hanighen, Williams, Monk)

2 - Moose The Mooche

(Charlie Parker)

3 - I Let A Song Go Out Of My Heart

(Ellington, Mills, Redmond, Nemo)

4 - Little Willie Leaps

(Miles Davis)

Side 2

5 - Move

(Denzil Best)

6 - Champagne Blues

(Bob Brookmeyer)

7 - Give Me The Simple Life

(Bloom, Ruby)

8 - Dancing On The Grave

(Bob Brookmeyer)

Harry Lookofsky (violins, violas and tenor violins) with

#2, #4, #6, #7, #8:

Bob Brookmeyer (valve trombone [#2, #4, #6, #8]), Hank Jones (piano), Paul Chambers (bass), Elvin Jones (drums).

Recorded in New York City, January 20, 1959.

#1, #3, #5:

Hank Jones (piano), Milt Hinton (bass), Elvin Jones (drums). 

Recorded in New York City, June 22, 1959.

Hank Jones - Relaxin' At Camarillo

Much credit has been given recently to Hank Jones. One of the most foremost pianists on the jazz scene of the '50s, Hank is slowly losing his tag of "under-rated star" and coming into his own. A much in-demand and much-recorded man, he has appeared on more dates, with more groups, to match even Erroll Garner's record of recorded performances. Savoy is infinitely proud of having Hank Jones as one of its featured stars, and chief of their classic "Trio" rhythm section (along with Wendell Marshall and Kenny Clarke). Savoy is doubly proud of having the exclusive right to Hank's services as a lider. Utilizing his many talents in several award-winning instrumental combinations previously, we therefore present now THE HANK JONES QUARTET. The set balancees two new jazz stars with two established masters for a new high in creative sound: Bobby Jaspar, the Belgian-born tenor sax and flute star who won the Jazz Critic's award as New Star this year, and Paul Chambers, another Detroit contribution to the local scene, is the veritable dynamo on this usually cumbersome instrument.

A well-rounded set of tunes from a well-rounded set of a fine jazz musicians.

*Ozzie Cadena (liner notes, 1956)*

Pianist Hank Jones recorded fairly extensively for Savoy during 1955-56, and most of the music was reissued on LPs in the late '70s and early '80s, although the performances have only partially appeared thus far on CD. For his final Savoy session, Jones is teamed with Bobby Jaspar (an excellent tenor player who here sticks exclusively to his fluent flute), bassist Paul Chambers and drummer Kenny Clarke. The music is quiet, but often swings hard. Jones is well featured on three underrated standards ("Moonlight Becomes You", and Cannonball Adderley's "Spontaneous Combustion" and a 12-minute rendition of "Relaxin' at Camarillo"), the obscure ballad "Sunday in Savannah" and his own "Minor Contention". This combination of musicians works together quite well. *Scott Yanow*

Hank Jones has made many memorable albums over his long career, but this 1956 session with Belgian flutist Bobby Jaspar is one that could easily get overlooked. Jaspar's melodious flute adds some magic to an already memorable arrangement of "Moonlight Becomes You". He also keeps up nicely with Jones in Charlie Parker's tricky blues line "Relaxin' at Camarillo". "Minor Conception" is a slightly exotic number by Jones, while Cannonball Adderley's "Spontaneous Combustion" wraps up the session with a flourish. Jones delivers his usual superb performance, while Paul Chambers has several fine solos, and drummer Kenny Clarke propels the date with his crisp brushwork. At just over 36 minutes, this music is well-worth acquiring. *Ken Dryden*

Early Hank Jones session for Savoy... A quartet session with Paul Chambers on bass, Kenny Clarke on drums, and Bobby Jaspar on flute. With a lineup like that, you can imagine how well the session stands up, and the added flute makes it groove in a way that stretches past the usual trio session from the time. Plus, the tracks are nice and long, which lets Jones show off his strong talent for warm lyrical soloing, especially on the tracks "Minor Contention" and "Spontaneous Combustion".  *dustygroove.com*

Side 1

1 - Moonlight Becomes You

(Johnny Burke, Jimmy Van Heusen)

2 - Relaxin' At Camarillo

(Charlie Parker)

Side 2

3 - Minor Contention

(Hank Jones)

4 - Sunday In Savannah

(Hugh McKay)

5 - Spontaneous Combustion

(Julian "Cannonball" Adderley)

Hank Jones (piano), Bobby Jaspar (flute), Paul Chambers (bass), Kenny Clarke (drums).

Recorded at Van Gelder Recording Studio, Hackensack, New Jersey, August 21, 1956.