LP-668

The Quincetet – The Music Of Quincy Jones

Released 1961

Recording and Session Information

Benny Bailey, trumpet; Ake Persson, trombone; Lennart Jansson, baritone saxophone; Gunnar Svensson, piano; Gunnar Johnson, bass; Joe Harris, drums
Stockholm, October 8, 1959
1804 The golden touch

Benny Bailey, trumpet; Ake Persson, trombone; Lennart Jansson, baritone saxophone; Gosta Theselius, piano; Gunnar Johnson, bass; Joe Harris, drums
1805 I'm gone
1806 Meet Benny Bailey
1808 Plenty, plenty soul
1811 The midnight sun never sets
Benny Bailey, trumpet; Ake Persson, trombone; Arne Domnerus, alto saxophone; Bjarne Nerem, tenor saxophone; Lennart Jansson, baritone saxophone; Gosta Theselius, Gunnar Svensson, piano; Gunnar Johnson, bass; Joe Harris, drums
Jones Beach
1809 Fallen feathers

Ake Persson, trombone; Arne Domnerus, alto saxophone; Bjarne Nerem, tenor saxophone; Gosta Theselius, Gunnar Svensson, piano; Gunnar Johnson, bass; Anders Burman, drums
1810 Count 'em

Track Listing

The Golden Touch	Oscar Pettiford, Quincy Jones	October 8 1959
Jones Beach	Quincy Jones	October 8 1959
The Midnight Sun Never Sets	Henri Salvador, Quincy Jones	October 8 1959
I'm Gone	Quincy Jones	October 8 1959
Meet Benny Bailey	Quincy Jones	October 8 1959
Count 'Em	Jimmy Cleveland, Quincy Jones	October 8 1959
Fallen Feathers	Quincy Jones	October 8 1959
Plenty, Plenty Soul	Milt Jackson, Quincy Jones	October 8 1959

Liner Notes

QUINCY JONES wears many hats. He is an arranger of brilliance. He plays trumpet passably. He leads his own large orchestra, a feat that requires more than conducting, in that a leader also has to be father, mother, wife, and psychiatrist to some 16 musicians. But, most of all, he is a composer who writes with delicate melodic sense and rhythmic vigor.

He is a budding Duke Ellington, and there are many who will tell you that his orchestra will be the band of the 1960s.

He already has given impressive indication of the road he intends to take. The recent trip he made with his band revealed to listeners what his first two albums had led them to suspect — that his orchestra is precise, joyously swinging, and interested in exploring arrangements that show thought in their preparation and are written expressly for the musicians in that band, utilizing their individual capabilities.

One of those individuals created a good deal of attention on his own. That would be Benny Bailey, the trumpeter with huge tone and broad attack who went to Europe in 1953 with Lionel Hampton and stayed there until Quincy called Benny back from Sweden to join him.

Bailey's performances herein show you why Jones was so eager to get him on the band. This LP was cut in Sweden last year in the company of another American, drummer Joe Harris, and the light-quick Swedish trombonist Ake Persson, another member of the Jones band. Several combinations of Swedish all-stars make up the backing.

The Golden Touch was arranged by pianist Gunnar Svensson and features solos by Persson, followed by Bailey, baritone saxist Lennart Jansson, and Svensson.

I'm Gone is a medium blues that spots muted Benny Bailey over an ensemble background, Persson, tenor saxist Bjarne Nerem, and pianist Gosta Theselius, who plays marvelously in all his appearances here.

Jones Beach, another easy blues, follows. It's in quintet format, with Bailey and alto saxist Arne Domnerus at the horns. They start with a double-time introduction, Theselius picks up with a funky lead-in to the ensemble and later plays a nicely-built solo.

Quincy's best-known composition to date may well be The Midnight Sun Never Sets. A hauntingly pretty ballad, it has been recorded several times, but never any better than on this album as it becomes a solo vehicle for Persson. Theselius also contributes some lovely piano.

Theselius arranged Meet Benny Bailey, which again shows why Benny is meeting with such approval.

Plenty, Plenty Soul, written by Quincy especially for Milt Jackson, is treated somewhat faster here than Milt did it, and highlights Bailey and Theselius.

Fallen Feathers, Quincy's moving tribute to Charlie Parker, is all Benny Bailey save for a short intro by Theselius.

Count 'Em, an easy blues, winds everything up, and the horns of Persson and Nerem take the solo spots.

We think you'll find this combination of Quincy Jones' music and the resounding horns of Benny Bailey and Ake Persson to be a stirring mixture and one that points out yet one more facet Of Quincy's talent. He has an unerring sense Of taste when it comes to picking the right chairs. Quincy Delight Jones is something else!

Al Portch