LP-607

 Norman Simmons - Norman Simmons Trio

Released 1956

Recording and Session Information

Universal Studios, Chicago, October 1956
Norman Simmons, piano; Victor Sproles, bass; Vernell Fournier, drums

Capacity in blues
Stella by starlight
Jan
My funny Valentine
Peppe
Chili bowl
Moonlight in Vermont
You do something to me
Love is eternal
They can't take that away from me
Tranquility

Track Listing

Capacity in Blues	Norman Simmons	October 1956
Stella by Starlight	Young-Washington	October 1956
Jan	Norman Simmons	October 1956
My Funny Valentine	Rogers-Hart	October 1956
Peppe	Norman Simmons	October 1956
Chili Bowl		October 1956
Moonlight in Vermont	Suessdorf-Blackburn	October 1956
You Do Something to Me	Porter	October 1956
Love Is Eternal		October 1956
They Can't Take That Away from Me	G&I Gershwin	October 1956
Tranquility	Norman Simmons	October 1956

Liner Notes

"Capacity in Blues," one of Norman's first compositions, 1949, is one of those swinging kinds of things thay you'd like to hear the trio play all night. "STELLA BY STARLIGHT," nothing need be said:

The aforementioned "JAN" (Sproles, that is), gives that tingly latin sensation that this kind of music CAN portray when done right, as it is here. "MY FUNNY VALENTINE" done a myriad of times, was done again, if only to prove, as it were, that there is still yet another way.

"PEPPE" is not only the name of the final tune on side I., but is a dedication to "PEPPE", the fine congo player on the date. "PEPPE" the drummer first came to Norm's attention when he and Vernel were with Paul Bascomb. When "PEPPE" joined the band a whole new concept of Latin rhythms opened up for Simmons, and the wonderful way they have been assimilated into his natural jazz feeling is the spark that makes so many of his arrangements and originals so vivid.

Side II opens with "CHILLI BOWL", previously recorded by Duke Ellington, and used on the trio's night club engagements as their theme song, and features VIC on BASS, "MOONLIGHT IN VERMONT," the beautiful modern standard was hereby included at the behest of Norm's many Chicago fans who continually request it during his in-person perfmances. "YOU DO SOMETHING TO ME" follows "MOONLIGHT", and it certainly does with its freshness and flavor. "LOVE IS ETERNAL", from the moving picture of the same name, it is played with a rhythm dervied from a Cha Cha feeling, but used here to feel like a vamp or mood setting.

"YOU CAN'T TAKE THAT AWAY FROM ME", gets a subdued swing treatment from the trio that also makes you want them to never stop.

Going into the albums closing theme, "TRANQUILITY", SIMMONS says, "This was first written in 1952 in the key of D Flat Minor, as an exercise for solving in difficult keys (The bridge went thru E natural). The composition was conceived to be "tranquil" knowing I'd have to "tip toe" thu the changes. The Signature key on this date was changed to F Minor, because the original arrangement was not conceived for piano melody, but for guitar and tenor sax in low register.

Its all Greek to me, but it certainly does Swing!!!

The NORMAN SIMMONS TRIO is the name of the group featured in this new ARGO album.

To those unfortunate enough to have never witnessed their musical prowess in person in the Chicago area, we dedicate this introduction.

Having mose recently completed a successful LAS VEGAS engagement, the trio had previously drawn plaudits for; their wonderful recording of the George Shearing Quintet at the famous Blue Note; their rhythm section ability at the now defunct Bee-Hive behind such varied greats as, Lester Young, Dexter Gordon, Sonny Stitt, Wardell Grey, Red Rodney etc; and as the key men on the famous Paul Bascomb recording of Norman's composition "JAN", which quite natually, is herwith included in NORMANS own tasty arrangement.

NORMAN SIMMONS, Piano. At 26 is rapidly becoming one of the most sought after arrangers in the mod-west. Being one of those rare muscians who writes only what is necessary to fully convey the meaning of a particular composition, be it his or someone else's, Norman never over-burdens the performers or listeners with superfluous writing. Once the intended mood is set, his philosphy is "to wail."

VICTOR SPROLES, Bass. Has developed so rapidly during the past few years, that he is constantly under harrassment from combo leaders to join "their" group. Not only does he possess the necessary rhythmic steadiness and ever flow all modern bass men need, but shows tremendous solo ability with the definition of each note he plays an outstanding factor in his favor.

VERNEL FOURNIER, Drums. The only non-Chicagoan in the trio (A real New Orleans Modernist, yet), Vernel has that capacity to underline the entire proceedings with such inate taste that oftimes the desire to term him a rhythmist or percussionist is desirable to that of drummer. Schooled by a famous N.O. teacher, Sideny "Beffy" Montague, his foundation is one of lasting quality.

Having worked together continuously for the past three years both as a rhythm section and a trio, Norm, Vic, and Vernel, have built up such a wonderful rapport amongst themselves, that even the casual listener can easily discern the various moods herein contained.

BY JOE SEGAL
CHICAGO COLUMNIST, METRONOME MAG.