LP-722

Illinois Jacquet - The Message

Released 1963

Recording and Session Information

Illinois Jacquet, tenor saxophone; bassoon; Ralph Smith, organ; Kenny Burrell, Wally Richardson, guitar; Ben Tucker, bass; Ray Lucas, drums; Willie Rodriguez, percussion
RVG, Englewood, New York, May 5,7-8 1963

12447 On Broadway
12448 The message
12449 Turnpike
12450 Like young
12451 Bassoon blues 12452 Bonita
12453 Wild man

Track Listing

The Message	Ben Tucker	May 5,7-8 1963
Wild Man	I. Jacquet	May 5,7-8 1963
Bassoon Blues	E. Edwards, I. Jacquet	May 5,7-8 1963
On Broadway	Leiber, Stoller, Mann, Weil	May 5,7-8 1963
Like Young	Andre Previn	May 5,7-8 1963
Turnpike	I. Jacquet	May 5,7-8 1963
Bonita	E. Edwards	May 5,7-8 1963

Liner Notes

THE career of Illinois Baptiste Jacquet has been punctuated by commercial highs and lows. He served his musical apprenticeship in the Southland, largely in Texas where he was reared and he paid dues aplenty while learning his craft. When he joined the Lionel Hampton band in Los Angeles he was only eighteen and an unknown except to those restricted audiences privileged to have heard him play the tenor saxophone so exuberantly in obscure clubs and dreary dance halls. Hampton, always a discerning judge of musical talent, was startled the first time he heard him blow and immediately predicted greatness for him and an assured place in the pantheon of jazz. Jacquet worked with the Hampton organization for three turbulent years, polishing his style and learning from his accomplished boss all the tricks of showmanship. A year spent with both the Cab Calloway and Count Basie bands groomed him further for the stardom which came inevitably, and when in 1947 he decided to quit the role of sideman and lead his own group he had already been adjudged one of the most important and creative performers on his instrument.

If this latest album of Jacquet's, The Message, contains a message it is an emphatic statement that the Latin American influence on American jazz is pervasive and profound and that the Latin rhythms can be applied to the blues with exhilarating results. Much of this album is Latin but the idiom is American. All his life Illinois Jacquet has been sentimentally attached to French influence in art and music, but Latin melodies and rhythms have exerted an increasingly powerful impact on him. The Afro-Cuban explosion in U.S. jazz rocked him traumatically. The samba stirred him. The subtlety and melodic beauty of the Brazilian bossa nova fascinated him.

"Latin rhythms, played well with appropriate melodies, can create a wonderful, satisfying feeling", Jacquet observes enthusiastically. "Latin music gives you a grip, something exciting to work with. Making this album mainly in the Latin manner was an experience for Jacquet, precisely because his own small group seldom plays this of material or in this style."

Drummer Ray Lucas, who plays with the King Curtis group, inflamed the ardor of the other participating musicians and gave a priceless unifying drive to the sessions which were spread over two days. Lucas has a sureness of beat, great versatility and the ability to adrust to almost any problem posed. He avoids a fault of many contemporary drummers; creating unnecessary volume with the bass pedal. He communicates effectively and makes the soloist feel the rhythm patterns he creates. "You always know that Ray is there", says Jacquet, "and there is never any problem about time, the most important thing in music".

Like Young, an Andre Previn tune, is given a warm blues interpretation by the group, with organist Ralph Smith playing the bridge and guitarist Kenny Burrell taking two exquisite choruses. Nowhere else in the album is the Lester Young influence on Illinois Jacguet's playing more evident than in his first two choruses which recall the fluent, poetic Prez of the 1930's. All of Jacquet's reverence for the great Lester Young is present in his playing on this track. "I never realized I was so close to Prez until I heard this side played back", Jacquet confessed.

Ralph Smith is a Detroiter who moved to New York in 1962 and whom Jacquet hired after hearing him play one set at the Purple Manor in Harlem. A gifted and modest man, Smith injects his religious upbringing into his playing, has excellent techmque and is ambitious and studious. "Ralph Smith has a blues stream in his soul", Jacquet says poetically. "He could become one of the great organ players of our time".

The blues, Turnpike was written by Jacquet while playing an engagement at Lennie's Turnpike, a small club in West Peabody, Massachusetts, where he has a host of faithful fans who provide him with some of his best audiences. Jacquet venerates the blues, regards them as the foundation of his art. He has written many blues tunes and says "I've got many more blues to write". His earliest memories of the blues reach into his childhood in Houston, Texas where his father, Gilbert Jacquet, led a blues band which Jacquet listened to for hours. It was in Houston where Illinois aspired to become a dancer and formed a dance trio with two older brothers, Russell and Linton. He danced before he learned to play a saxophone. "We were born with the rhythm and raised on the blues", Jacquet says with pride. "If you can't play the blues, you're not a jazz musician".

Esmond Edwards, who was A & R man for this album, wrote Bonita, a minor blues-like number with Latin overtones. An oddly beguiling melody, Bonita provides Jacquet with an excellent vehicle for delightfully demonstrating the creative marriage of American jazz and Latin themes.

Bassist Ben Tucker, who wrote The Message, flew up from Washington to record the album at the invitation of Jacquet, who admires his instrumental talent as well as his compositional gifts. Ralph Smith plays the organ with fine restraint under Jacquet's soft but strong tenor line. What message does Ben Tucker here convey? Jacquet offers this explanation "Ben is saying who he is and where he came from, what he thinks and what he believes".

Wild Man, an uptempo blues, was written by Jacquet and dedicated to Boston disc jockey, Wild Man Steve Gallen. Jacquet, blowing with the big "Texas sound", that characterizes so much of his playing, dominates, but Kenny Burrell's long intricately-executed guitar solo is one of the memorable performances of this album. Jacquet knows a lot of disc jockeys around the country. "Disc jockeys are some of the most important people in this country", he maintains. "They are the salt of the earth for they spin musicians' records day and night for millions of people and thus help keep the business going".

Ever since that day in 1957 when he purchased a bassoon in Berlin while touring Europe with a Jazz at the Philharmonic troupe, Jacquet has wanted to play the instrument competently enough to record with it. A college music instructor visiting his Long Island home showed him how to assemble the instrument and explained the G Scale to him. Jacquet practiced on the bassoon usually when relaxing at home after grueling road tours. He played it in public for the first time last year at the Shanty Lounge in Boston and was encouraged. During the recording session it was decided that Jacquet should do a number with the bassoon and this blues theme was created on the spot. "I have a lot of blues in me", says Jacquet with a knowing smile.

Now 41 and a composed and reflective man, Illinois Jacquet is content to play the smaller clubs backed by Ralph Smith and drummer Jual Curtis. The lush years of the big money are behind him now, but he finds immense satisfaction in his attractive family and golf. Life has been good to him and he had no regrets today, even though his income does not approach the high-water mark of $250,000 he earned in 1947 and 1948. "It isn't the money you make", he says philosophically, "but how you live life that counts".

—Allan Morrison

LP-721

Budd Johnson - French Cookin'

Released 1963

Recording and Session Information

Budd Johnson, tenor saxophone; Joe Venuto, marimba, ,vibes; Hank Jones, piano; Kenny Burrell, Everett Barksdale, guitar; Milt Hinton, bass; Osie Johnson, drums; Willie Rodriguez, latin percussion
RVG, Englewood, New York, January 30 1963

12148 La petite valse
12149 Le Grisbi
12150 I can live with the blues
12151 Hugues' blues
12152 Under Paris skies
12153 Darling, je vous aime beaucoup
12154 Je t'aime
12155 Je vous aime

Track Listing

La Petite Valse	E. Ellington-Claire-Heyer	January 30 1963
Le Grisbi	Gimbel-Lanjeab-Weiner	January 30 1963
I Can Live With The Blues	Budd Johnson	January 30 1963
Darling Je Vous Aime Beaucoup	Anna Sosenko	January 30 1963
Under Paris Skies	Gannon-Drejac-Giraud	January 30 1963
Hugues' Blues	Budd Johnson	January 30 1963
Je Vous Aime	Sam Coslow	January 30 1963
Je T'aime	H. Archer	January 30 1963

Liner Notes

BUDD JOHNSON is a jazz musician. He plays tenor saxophone, composes and arranges. He has been an important contributor to jazz for more than thirty years, and has been a professional musician for almost forty of his fifty- two years. Most important of all the hard facts about Budd Johnson, however, is that he is a catalyst.

Wherever Budd is a participant in any sort of musical activity, from jam session to conducting a full orchestra, the sparks seem to fly. Other musicians are inspired to extend themselves and the results are most often exciting and memorable. This collection of French Cookin' is an excellent example of Johnson the catalyst in action, as well as Johnson the hard swinging and Johnson the tender tenor man. In addition, all the arrangements are his and he has contributed two originals, French drenched blues, dedicated to a long time friend, jazz critic Hugues Panassie.

Down through his career, Budd Johnson has had a catalytic effect almost everywhere he played. He first left his Dallas home at 14 as a drummer and soon wound up stranded in Oklahoma City. There, a rotund short order cook-cum-blues shouter named Jimmy Rushing fed the band for a week and then organized a battle of the bands with a local outfit, turning over all the receipts to the youngsters to get them home.

In 1926, Budd was back on the road as a saxophone player, but this time to stay. Incidently, although he concentrates on tenor, he plays all the reed instruments well. By the early '30s, he was co-leading a combo with Teddy Wilson in Chicago until they both joined Louis Armstrong in '33. From '34 to '42, our man in motion was featured with and wrote for Earl Hines' big band.

During the latter part of this period, a number of the young sidemen in the big bands were coming under the influence of a new movement in jazz playing which centered around Minton's Playhouse in New York's Harlem. Any night when they were not on the road, Budd, Dizzy Gillespie, Howard McGhee, Fats Navarro, Charlie Christian, Thelonius Monk and of course, Charlie Parker, could be found crowding each other the tiny bandstand to have a go at what later came to be called Bea»op or modern jazz.

Of all the figures involved in this evolutionary period Budd remains today the least publicized and most underrated, although he is constantly in demand in New York by other jazzmen for one or another of his talents.

During the first half of the forties, only a handful of big bands were associated with the new music and Budd Johnson was the most common denominator. He wrote for Earl Hines and Boyd Raeburn from '42 to '44, Billy Eskstine and Woody Herman in '44 and '45, and Dizzy Gillespie in '45 and '46, while playing in all but the Raeburn crew. He was also one of the chief talent scouts for all these bands, bringing in many of the new young players who achieved their own measure of fame through the association.

In the past decade, Budd was featured with Cab Calloway, Benny Goodman most recently with Count Basie, whom he left a year ago to concentrate on writing. playing around New York with his own combo, and golf. He still keeps his finger on the big band pulse by playing with and contributing arrangemeats to a new rehearsal orchestra organized in New York by Voice of America's Willis Conover and pianist-composer Lalo Shifrin.

The enclosed recording is the first in many years under Budd's own leadership. Even when he was a catalyst in the bop era, organizing the first such recording date for Apollo early in 1944, it featured Coleman Hawkins and Dizzy Gillespie and nowhere was his name mentioned. In choosing a group of French songs, Budd had two things in mind, first he wanted fresh material on which to improvise, since the date was designed as a showcase for his tenor talents. Second, he loves to play ballads and there are two unquestionably ballad melodies here, in Le Grisbi and Darling, Je Vous Aime Beaucoup, both on side one.

Petite Valse, Je T' Aime, Under Paris Skies and Je Vous Aime are all familiar to most listeners, but listen to the unusual orchestral devices Budd employs to set up the proper mood for himself. All the numbers are scored for eight pieces, and the musicians were carefully selected by Budd for their empathy with one another. The entire recording was done in just over five hours one afternoon at Rudy Van Gelder's New Jersey studio.

In addition to Johnson, the personnel reads like The Encyclopedia of Jazz, with Hank Jones, piano; Milt Hinton, bass; Osie Johnson, drums; Willie Rodrieaez, latin percussion; Kenny Burrell and Everett Barksdale, guitars and Joe Venuto, marimba, vibes and percussion.

Whether your tastes run to French Cookin', French songs, hard-swinging tender ballad improvisations, skillful orchestrating or just plain old-fashioned good listening, you'll find it here. This disc brings back to the leader's spotlight a vastly underrated and immensely talented giant of jazz. We welcome you to the rapidly expanding circle of his admirers!

—BOB MESSINGER

LP-720

Lorez Alexandria - For Swingers Only

Released 1963

Recording and Session Information

Lorez Alexandria, vocal; Ronald Wilson tenor saxophone, flute; John Young, piano; George Eskridge, guitar; Jimmy Garrison, bass; Philip Thomas, drums
Ter Mar, Chicago, January 2-3 1963

12097 Love look away
12098 The end of a love affair
12099 All or nothing at all
12100 Traveling down a lonely road
12101 That old devil called love
12102 Little girl blue
12103 Baltimore oriole
12104 Mother earth

Track Listing

Baltimore Oriole	Hoagy Carmichael-Paul F. Webster	January 2-3 1963
Little Girl Blue	R. Rodgers-L. Hart	January 2-3 1963
All Or Nothing At All	Jack Lawrence-A. Altman	January 2-3 1963
Traveling Down A Lonely Road	M. Galdieri-N. Rota-D. Raye	January 2-3 1963
Mother Earth	P. Chatman	January 2-3 1963
Love Look Away	Rodgers-Hammerstein	January 2-3 1963
The End Of A Love Affair	Edward C. Redding	January 2-3 1963
That Old Devil Called Love	Allan Roberts-Doris Fisher	January 2-3 1963

Liner Notes

LOREZ ALEXANDRIA is a poised, vital, articulate girl who, singing or talking, makes it clear at all times that she is a person of strong convictions and has the courage to express them. These are important personality traits for any real individualist; when you add to them the virtues of attractive timbre, a natural sense of style and phrasing, the elusive element sometimes known as soul, and top them all off with an instrumental accompaniment. you can be reasonably sure results that are going to be out of the ordinary.

This is precisely what happens on For Swingers Only. In many respects I feel this is Lorez' best album to date. For one thing, her always admirable taste in selection of material is reflected here in a particularly impressive repertoire. Secondly, there are eight tracks instead of her previously customary ten; this enables her to stretch out comfortably on all of them and to add occasional variety in the form of instrumental passages. Third and most important, I believe every intelligent singer matures, learns from the study of previous efforts on records and improves with the passage of time.

Lorez, as most listeners presumably know by now, is a Chicago girl whose background is rooted in music. Her experience has ranged from early church singing to big band work (with King Fleming's orchestra) as well as vocal group work on both semi-classical and pop-music levels. Since early 1962 she has been living in Los Angeles with her husband, publicist Dave Nelson; however, these sides were taped in Chicago and are notable for the inclusion of a promising local musician, flutist Ronald Wilson, whose obligatos lend rich color to the backgrounds.

Any album titled For Swingers Only would do its name less than justice if it came up with a less than remarkable rhythm section. A glance at the personnel makes it clear that business was well taken care of in this department. Pianist John Young (well known for his work with the Eddie Chamblee combo) and guitarist George Eskridge will be familiar to many of Lorez' fans through their contribution to one of her most successful earlier LPs, Deep Roots (Argo 694). Jimmy Garrison happened to be in town with John Coltrane's quartet when the session was cut; Vernel Fournier, the New Orleans drummer (also heard on Deep Roots), was with Ahmad Jamal for several years and has been with George Shearing for the past year.

Ballimore Oriole is Lorez' second recorded version of the Hoagy Carmichael standard; she cut it for another label several years ago. The new treatment similar in approach to the original, makes a striking illustration of Lorez' warmth and assurance; listen especially for the ease with which she dips downward on the word "blackbird" not far from the opening.

"They told me Little Girl Blue has been done so many times before — I had to persuade them to let me include it," says Lorez, "because it's always been a favorite tune of mine." Noteworthy here are the oblique opening — the first nine words sung a capella, and the confidence with which Lorez' range enables her to get a low E Flat (on "unlucky") and soar soon after to a high B Flat.

All or Nothing a: All is a firm swinger all the way from Wilson's flute intro through Lorez' chorus and Young's solo. Garrison walks impressively through this unusual interpretation of the 1940 standard.

Traveling Down A Lonely Road was originally an instrumental theme heard in the movie La Strada. To my knowledge it has seldom, perhaps never, been recorded as a vocal. The moderato waltz meter is confidently handled by Lorez and there is a charming flute interlude.

The intimations of mortality in the lyrics of Mother Earth were first addressed to us by veteran blues singer Memphis Slim. On this track Ronald Wilson switches from flute to tenor sax and Lorez gets into a fittingly earthy blues groove with a 12/8 beat in the back ground.

Love Look Away is a theme from The Flower Drum Song. Once again there is a slow but solid beat and the flute adds an exotic touch.

The End of a Love Affair is handled very differently from the customarily melodramatic approach to these lyrics. A Latin beat is added, behind the vocal and during John Young's piano solo.

That Old Devil Called Love was introduced by Billie Holiday on a 1944 recording. There have been other Holiday-associated songs in Lorez' albums, but as she points out, there is never any attempt to imitate the original style or approach. ("That would be sacrilegious"). The tempo is a little brighter than that normally accorded to the tune; when you examine the meaning of the lyrics this seems very logical. George Eskridge is heard in four-bar trades with Lorez and Ronald Wilson again contributes a tasteful solo.

A concluding word about that title; it should not be inferred that only those concerned with swinging up tempos will appreciate this album. Perhaps a more comprehensive title would have been "For Admirers of Tasteful, Swinging Singing Only." On that basis, every Lorez Alexandria album would have a place in your library. But more than any previous set, I believe this one will convince any fence-straddlers that in Lorez we have one of those rare singers who can sense all the qualities required in a contemporary jazz-oriented vocal performance—and who knows how to translate those qualities into living, swinging reality.

—LEONARD FEATHER
(Author of The 'New Encyclopedia of Jazz)

LP-719

Ahmad Jamal - Poinciana

Released 1963

Recording and Session Information

"Pershing Lounge", Chicago, January 16 1958
Ahmad Jamal, piano; Israel Croby, bass; Vernell Fournier, drums

Poinciana
September 5/6 1958 Spotlight Club, Washington D.C.
9026 Autumn Leaves
9033 Tater Pie
9037 Gal In Calico
9041 This Can't Be Love
9047 Ivy
9050 Old Devil Moon
9053 You don't know what love is

Poinciana	Bernier / Simon	January 16 1958
You Don't Know What Love Is	D. Raye, G. DePaul	September 5, 6 1958
Gal In Calico	A. Schwartz, L. Robin	September 5, 6 1958
Ivy	H. Carmichael	September 5, 6 1958
Tater Pie	Irving Ashby	September 5, 6 1958
Autumn Leaves	Prevert, Mercer, Kozma	September 5, 6 1958
This Can't Be Love	Rodgers & Hart	September 5, 6 1958
Ole Devil Moon	Lane, Harburg	September 5, 6 1958

Liner Notes

THERE have been piano trios in great abundance in Jazz ever since Art Tatum showed the way back in the early 30's. Most of them have been "One man" trios, such as Art's, because of the overwhelming talent with which the leader-pianist was usually imbued. The bass and drums usually kept to the unobtrusive role of time keeping. Erroll Garner's men are listed as string and percussion accompaniment, which they very finely but innocuously are. And so the trios go.

With The Ahmad Jamal Trio of this setting the word trio means exactly that; three! Indisputably, it is Ahmad's trio, it is he the general public comes to see and hear. They come now to hear his new group which is rapidly growing to excellence. However. the trio herein is no more. Its great bassist, Israel Crosby has passed on, and its greatly underrated but superbly inventive drummer, Vernell Fournier is now with George Shearing. Those of you who've heard this trio may differ With me and say that Israel or Vernell never did solo, that they merely kept time and were subservient to Ahmad's explorations. In the sense of an out and out extrovert type solo this is essentially true. However, the few breaks they do take plus their overall contributions to, the general meaning of the selection being played are so important and so much a part of the whole conception that without their rapport it is very doubtful that the Ahmad Jamal Trio would have gained the fame it so deserved. No one, I'm sure realizes this fact as keenly as the exceptionally talented pianist-composer, Ahmad Jamal. (This is one reason he has reorganized his present trio along the same lines, with Richard Evans, bass and Chuck Lampkin, drums). Both of these excellent sidemen possess some of the great qualities of their predecessors, plus of course, their own personal talents, which are quite large!

All of the selections included in this album were recorded before a live audience and their appreciative reactions are easily evident after each number. "Poinciana," one Of the first tunes to really boost the group begins side one, and is followed by a great standard, "You Don't Know What Love Is." Sprinkled by many humorous ihterpolations, this selection swings along with Israel giving "singing" lessons to all bassists while propelling Ahmad into some fanciful flights of two fisted chords and deftly turned single note runs. "Gal In Calico" which follows features some of the most finger poppin'est head shakin' swingin' ever recorded. Vernell builds right along with Ahmad and distinguishes himself by crashing the loudest cymbal ever in his long career. Obscure but beautiful is the ballad, "Ivy"; its Rhumba like treatment alternating with a deep sounding 4/4 is perfect interpretation by these masters. The first side ends With guitarist Irving Ashby's composition, "Tater Pie," a light sounding swinger which lends itself admirably to the easy styled improvisations Of Ahmad. Israel's meter, choice Of notes and unfrantic but definitely positive style of bass walking on this tune are remarkable, and without fear of stretching a point I would say this is the way most bass players would like to be able to play!

The longest tune in the the forever standard, "Autumn Leaves" opens the second side, and is given vastly treatment than Miles Davis' famous interpretation. "This Can't Be Love," which I've always loved by Lester Young is played robustly with tongue-in-cheek. Many truly humorous interpolations poke their way through the web of the tunes' melody which Ahmad constantly toys with in much the same did with multi-noted flourishes alternating with open gaps of rhythm. On this and the album's closer, "Ole Devil Moon," Israel Crosby once again rules the world of tasteful bass playing hands down. Notice also the interplay between drums and bass, both listening to Ahmad and each other.

Listening to and appreciating each other musically and personally with the talent already involved was perhaps the secret of the TRIO. I truly feel that Ahmad Jamal's Trio is most certainly among the elite in its field of music. This album, among his many others, helps to justify this position, as does his new trio. I sincerely think POINCIANA will meet with the approval of your discerning ears.

—JOE SEGAL

LP-718

Al Grey - Having A Ball

Released 1963

Recording and Session Information

Dave Burns, trumpet; Al Grey, trombone; Bobby Hutcherson, (as Robert J. Hutcherson) vibes; Hugh Lawson, piano; Calvin Newborn, guitar; Herman Wright, bass; Otis (Candy) Finch, drums
RVG, Englewood, New York, January 29 1963

12175 Rinky dinky
12176 Deep fried
12177 I don't want to cry
12178 Stand by me
12179 Stone crazy
12180 One day I'll show you
12181 Boss Tina
12182 Something's got a hold of me

Track Listing

Deep Fried	Al Grey	January 29 1963
One Day I'll Show You	Maurice McAllister	January 29 1963
Something's Got A Hold On Me	Woods-Kirkland-James	January 29 1963
I Don't Want To Cry	Jackson & Dixon	January 29 1963
Stand By Me	King & Glick	January 29 1963
Boss Tina	Al Grey	January 29 1963
Rinky Dink	David Clowney	January 29 1963
Stone Crazy	Al Grey	January 29 1963

Liner Notes

JAZZ used to be a happy music that was associated with dancing and good times. However, the trend lately has been toward making the music and its appreciation a somber and serious business. No one seems to be having a good time, the atmosphere is more like a college demonstration than of a Jazz performance. The musicians maintain a "super-cool" attitude on the stand and the audience, afraid of being called "square", sits stoically without expression change throughout what may musically bc an exciting performance. Many of today's top innovators seem to be conducting classes right on the band stand with the audience expected to absorb all of the many complex musicalities thrown at them (inventive as they may be). It is very doubtful that even percentage of these audiences, culled as they are from mostly untutored fans, actually "dig" what's going on. This may be one important reason jazz club audiences have dwindled so drastically during the past few years.

One of the newer groups to emerge a major unit during this hiatus period is that of trombonist, Al Grey. The reasons for their increasing popularity are very easy to comprehend. The music they play is happy, not overly complicated, and always swinging with a clearly defined beat. The mien of Al and every one of his sidemen is one which invites audiences to participate in the obvious "ball" the band is having while playing, Although in their improvisatory excursions the individual band members may "stretch out" into some exploratory ideas, never for a moment is the framework of reference forgotten, or the flavor of the selection being played ignored!

Al'S background ecompasses many eras and many fine bands including those of Benny Carter, Jimmy Lunceford, Lucky Millinder, Lionel Hampton, Sy Oliver, Bullmoose Jackson, Arnett Cobb, Dizzy Gillespie and Count Basie. You may notice in that impressive run down of former employers quite a few of what might be called Rhythm and Blues, and of course, just plain rhythm. From these sources Al has derived a good feeling for some of today's better rock and roll compositions (after all a hybrid development stemming from R&B), and has included them in this album, as he does extensively during his in-person engagements. This "in-person" feeling, incidentally, is very difficult to capture during a studio recording date. That these musicians have managed it so easily and beautifully is a great credit to their professional artistry.

I think the selections speak eloquently for themselves. No high toned explanation running down each nuance to you is necessary. There are musical highlights within the entire framework of excellence that should be pointed out however. These include the two all two Dave Burns muted solos (bridge of "I Don't Want To Cry" and "Stone Crazy"), Bobby Hutcherson's mellow vibraphoning on "Cry" and Boss "Tina, the brief but groovy guitar work of Calvin Newborn and the continually interesting solo and comping style of pianist, Hugh Lawson. Al Grey rocks throughout, whether open horned or muted and his opening statements to the congregation on the gospelly "Somethings Got A Hold On Me" are insistently humorous. A tune of real Jazz departure in this album (Baby Cortez' "Rinky Dink") is done in an out and out Cha Cha style and is so captivating that even a clod like me tried to dance to it (almost successfully).

Al's personal tromboning influences are fairly evident upon an even casual hearing (Bennie Green, Tricky Sam Nanton, J.J. Johnson - there's a bone section for you), but throughout all of these influences and/or amalgamations of styles there persists the ever bubbling exciting and happy exuberance that truly marks Al's performance. In today's over crowded market of droll faced "silence or I quit playing" creators, Al Grey's out-going personality is much welcomed. He digs nothing better than having you, his audience, join him while he and his band are "Having A Ball".

-JOE SEGAL

LP-717

Frank Foster - Basie Is Our Boss

Released 1963

Recording and Session Information

Al Aarons, trumpet; Frank Foster, tenor saxophone; Eric Dixon, tenor saxophone, flute; John Young, piano; Buddy Catlett, bass; Philip Thomas, drums
RCA Studios, Chicago, February 18 + 20 1963

12234 Vested interest
12235 I've got a lot of living to do
12236 Why try to change me now?
12237 Kelly blue
12238 May we
12239 Samba blues

Track Listing

Vested Interest	Frank Foster	February 18+20 1963
Why Try To Change Me Now	Coleman-McCarthy	February 18+20 1963
May We	Frank Foster	February 18+20 1963
Samba Blues	Esmond Edwards	February 18+20 1963
Kelly Blue	Wynton Kelly	February 18+20 1963
I've Got A Lot Of Living To Do	Adams-Strouse	February 18+20 1963

Liner Notes

ONCE there were numerous big bands. Many of these featured small units within the framework of the larger orchestra. Sometimes they recorded away from the parent organization. If there were several splinter groups, it was always interesting to hear how each reflected the larger band in their own particular way, Now there are just a few practicing big bands of any jazz note. Most of these are the names we have come to know and love through the years. Count Basie is one that has endured. Today, as it was years ago, there are men within his band Who are worth hearing at greater length in the context of the small group.

In July 1953, on the recommendation of Ernie Wilkins and Billy Eckstine, a 24-year-old Frank Foster was hired by Count Basie. It was a move, judging by the longevity of their association, that neither has regretted. Foster, originally from Cincinnati, where he was born in 1928, studied clarinet and saxophone in high school, and later attended Wilberforce University (also in Ohio) where he was a member of the famous Wilberforce Collegians. It wasn't until he started playing around Detroit in 1949-50, however, that he began to be discussed along the musicians' grapevine that extends from coast to coast. This talk was inspired by the saxophone duets that Frank was engaged in with Wardell Gray. While he was in the army between 1951 and 1953, Frank was stationed for a time on the west coast, and again had the opportunity to play with Wardell. Then, after his return from the Far East and subsequent discharge, Foster joined Basie.

There are others present here who also can be found under the Basie banner. All three are comparatively recent additions to the band, that is if you're stacking them up against Foster's employment record.

Tenor man Eric Dixon came over from the Quincy Jones organization in December 1961. He plays a big-toned, warm tenor, but in this album confines it to the ensemble. His solos are blown on the flute, which he also handles in an extremely virile manner. Dixon has the distinction of being one of the few jazzmen from Staten Island. N. Y.

Trumpeter Al Aaron joined Basie in the spring of 1962. In his late twenties, Aaron is originally from Pittsburgh but he did considerable playing in Detroit, including a stint with the Choker Campbell band. Al plays his horn with heat and a real bright sound — the brassy quality comes through even in his muted work. On Samba Blues he can be heard on tambourine.

Buddy Catlett is another relatively recent addition to the Basie band. He was the bassist with the Quincy Jones aggregation that toured Europe in Free and Easy during 1960. Before joining Basie, Catlett free-lanced around New York, appearing with Al Cohn and Zoot Sims (at the Half Note) among others.

Obviously, since he is a pianist, John Young is not one of Count's men. Many of you know him from his trio albums for Argo (Young John Young and Themes and Things). Those of you in Chicago have heard laim first hand at various local clubs. Young, born in Little Rock, Arkansas, came to Chicago at an early age. As a sideman he worked with Andy Kirk, Eddie Chamblee and King Kolax, His own trio, including drummer Phil Thomas, has backed such stars as Sonny Stitt, Gene Ammons, Howard McGhee, Benny Green and Ira Sullivan. Here, with the Basie-ites, Young exhibits a swing that is a looser contrast to his trio work, and an adroit placement of notes that contains much good humor. He and Thomas are fine accompanists. "A piano player can make or break a date — so can a bass player and drummer, individually or collectively". This was Foster's comment when he made clear how fortunate he felt to have the company of Young and Thomas, as well as Catlett.

Foster's talents are not limited to playing the saxophone, as anyone who has heard his arrangements for Basie will testify. Here he is represented by two original lines and all the charting, wherever it was required.

Vesteå Interest, a blues with a minor-key bridge added, is Frank's tune. The title stems from the way comedian Nipsey Russell used the phrase in his act. From the opening mood set by Young, this one moves along in a medium groove that never falters.

May We, a verbal play in a French expression, is also Foster's. It's romping and stomping from bar one. Again Young has the first solo — this time after the theme — and he keeps things going with some Monkish asides. Choruses by Dixon and Aaron lead to a climatic set by Foster.

Samba Blues, is more southside than South American. If the beat isn't exactly bossa nova, it is latin with appropriate solos by all four principals.

Wynton Kelly's Kelly Blue starts off in a more of Hibernian bag but it gets down home before very long. Al Aaron really shouts on this one.

The slow ballad of the date is Why Try to Change Me Now. Foster heard Frank Sinatra's record on the radio and liked it immediately. He "sings" it romantically but is never over-sentimental. Young assists with a pleasant interlude. Foster's approach here shows his link to Wardell Gray.

One of the high points of the album is reached in I've Got A Lot of Do. When the BasiÉ band was at the Waldorf, the Hi-Los were on the same show and Foster became familiar with the song through their version. His arrangement has much color and rhythmic variety. It begins in 6/8 and shifts into 4/4 in the bridge of the second chorus before sliding back into 6/8. Listen to Frank's break at the beginning of the second chorus. It leads him beautifully into a strong, controlled improvisation that is his tour de force of the set. Like many contemporary tenor men, he has been touched by John Coltrane, but he is a mature enough musician to maintain his own important identity.

These are the Count's men — Basie is their boss. Paced by Frank Foster, they represent themselves, as well as their regular leader, in fine style. In reply to "Basie is our Boss" Count should be proud to state, "There are my men!"

IRA GITLER

LP-716

Benny Golson - Free

Released 1963

Recording and Session Information

Benny Golson, tenor saxophone; Tommy Flanagan, piano; Ron Carter, bass; Art Taylor, drums
RVG, Englewood, New York, December 26 1962

12081 My romance
12082 Just by myself
12083 Mad about the boy
12084 Just in time
12085 Sock cha cha
12086 Shades of Stein

Track Listing

Sock Cha Cha	Will Davis	December 26 1962
Mad About The Boy	Noel Coward	December 26 1962
Just By Myself	B. Golson	December 26 1962
Shades Of Stein	B. Golson	December 26 1962
My Romance	R. Rodgers - L. Hart	December 26 1962
Just In Time	Adolph Green, Betty Comden, Jule Styne	December 26 1962

Liner Notes

THE title of this album is "FREE." It does not mean "Free" in the sense of abstraction or surrealism, but rather as an opportunity to work within the framework of a quartet which affords me many more possibilities for exploiting my horn. By not having to, or choosing to, play arrangements I feel "Free" even on the melodies.

I explained to Esmond Edwards (A & R man with Argo) before I did this album just what I was striving for and how I wanted to record. After I completed it, he came up with the title — "FREE." It had never before occurred to me the significance of this one word in relation to what I was looking for on my horn.

In the past I did many things with perfection being my foremost consideration, especially of arrangements, but now as look back I see that this approach made the musical value quite academic and very near void of any real feeling. In the last year or so I have felt a need to be "Free"; a chance to say what I want at any given time — this way tonight — that way tomorrow night. I feel, now, that without this periphery of horns I can better express what I have to say.

Although I am an arranger — it is only when I have my pen in hand. When my horn is there something else goes through my mind. There is absolutely no marriage between the two.

I know that the basic emotional element in jazz is feeling — not how precise the performance (although it helps), but with how much real feeling. I say real because some composers try to write feeling into their music through notation. Of course, this approach is erroneous and ludicrous; the real feeling comes from the performer.

If one has progress in mind, looking back can only serve one useful purpose, and that is to show what should be done in the future. But looking too far back can be rather dangerous. For example, if, while driving an automobile you should chance to look back to see what is behind you, you lose perspective on what is coming up before you. The same holds true in music. Upon completing one task you must immediately prepare for the next. Of course, there are those people who would decry these attempts, but I feel every person is entitled to his own opinion. The artist must not let these opinions (not even censorious, peremptory critiques) deter or subjugate him. He must be a mirror of his own aspirations. He must be like a bullet that is spent.

It is axiomatic that a small group session have a strong rhythm section and it is exemplified here by Tommy Flanagan, Ron Carter and Art Taylor.

TOMMY FLANAGAN is one of the most sensitive pianists I have ever had the pleasure of working with. When he participates in a group it seems as though he has a direct wire to everyone's thoughts. Seldom does he play an extraneous note or chord, and watching him create his solos is like watching a delicate operation being performed with skill and care.

"Wonderful RON CARTER," as Roy McCurdy calls him, is just that. In a couple of years he has become one of the most sought after bassists in New York. One of the first things I noticed about him was his big sound, and his ability to sustain notes at will. I'm also fond of the inventiveness with which he plays. Instead of the same old monotonous 1-2-3-4, he interjects meaningful, musical, rhythmic gems.

ART TAYLOR is a drummer whose taste is admired by many musicians, and as a result he has worked with most of the important ones. His solo ability is sharp and exciting (listen to our exchange of fours on "Just In Time"). Never does he over or under play because he possesses a keen sense of awareness, and in his style he is a perpetual driving force. He is a strong yet flexible drummer, like a metronome in a sea of music.

I'd like to mention in just a few words how I came to choose my material for this album. "Just In Time" is a tune I used to play a year or so ago, but it seemed then as though I could never really get my teeth into it the way I wanted. I thought I'd like to try again because I like the tune.

Up until I heard Art Farmer play '"My Romance," I sort of took the tune for granted. He seemed to bring out all the beauteous fine points in it, which in turn brought about a deeper appreciation on my part.

"Just By Myself" is one of my older tunes that I played a few years ago when I was with the Jazz Messengers. Although I liked the chord structure I soon got tired of the tune from repetition. It ran through my mind a few months ago, and decided to do it since my approach is now different.

I have always liked "Mad About The Boy," but whenever I'd call it somewhere, nobody would seem to know it. On this session I decided that this was the time to do it — so I went to the session with melody and chords.

The odd title of "Sock Cha-Cha" was written a few years ago by Will Davis, a Detroit pianist, whom I met about three years ago. While at his house one afternoon he played an album of his which included this tune. I "dug" it so much that he gave it to me, and the melody has constantly haunted me. 'l'he structure is rather unusual and looks something like this: 9-9.16.9.

For quite some time I have been an admirer of the works of the late writer Gertrude Stein. I named "Shades of Stein" because of its similarity to her rather unusual style of repetition and in this tune I have used repetition and also variations in the outside melody. The bridge has intervals of major thirds and fourths which outlines major thirds moving up chromatically and is a harmonic repetition.

Most things in life change. Music and its performers are no exception to the rule. During the last year or so I've felt an insurgent need within me to do something else musically — not derniecri (that "freedom" approach) —but rather an extension of what I have been doing. I feel I have finally found a direction, but, of course, I must develop it.

Time is a tattle-tale; it tells everything.

—Benny Golson

LP-715

The Ramsey Lewis Trio - Pot Luck

Released 1963

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass; Red Holt, drums
Universal Recording Studio, February 27-28 1963

12292 Andaluza
12293 Look-a-here
12294 Arrividerci Roma
12295 I gave my love a cherry
12296 Loch Lomond
12297 Nature boy
12298 We blue it again
12299 I remember the starlight
12300 Shenandoah
12301 Swamp girl

Track Listing

Andaluza	Granados	February 27-28 1963
Look-A-Here	Ramsey Lewis	February 27-28 1963
Arrivederci Roma	Sigman, Kascel	February 27-28 1963
I Gave My Love A Cherry		February 27-28 1963
Lock Lomond		February 27-28 1963
We Blue It, Again!		February 27-28 1963
Nature Boy	Eden Ahbez	February 27-28 1963
I Remember The Starlight	Puccini	February 27-28 1963
Shenandoah		February 27-28 1963
Swamp Girl	Eldee Young	February 27-28 1963

Liner Notes

JAZZ musicians used to be surprisingly conservative and unimaginative in their selection of tunes to play, stuck to a few standards and "original" compositions which were often based on the chord patterns of those same standards. In part this reliance on well known material may have stemmed from a concession to mass taste by the musicians: they tried to play tunes that were readily accessible to the public. But a large quantity of good material was constantly passed up. tunes thJt were familiar enough to readily "reach the people" yet weren't shopworn.

Sometimes jazz musicians shy away from tunes because they feel the material isn't suitable for jazz interpretation. or an artist will say that it would Sc disrespectful to melody to do a jazz version of it. To me this seems to represent a lack of respect for their own art, since if they have pride in their music and consider it a valid and serious form, they should be able to interpret any melody regardless of its q»urce without feeling they were degrading the material. Jazz is basically a way of playing music, not a kind of music and the entire musical library is available to thc jazz interpreter. It's up to his good taste to decide how a particular tune should be done.

One factor that has served to encourage jazz artists to widen the scope of their material is the profusion of recording activity that's been going on during the past several years. In order to find new grist for the insatiable mill of new releases, the jazz musician has had to search out material from many sources and some interesting and worthwhile finds have been made.

Some performers have always displayed a willingness to try tunes from many diverse sources. Ramsey Lewis for example. He firmly believes that any melody that is enjoyable in its original form is valid material for a jazz interpretation. In "POT LUCK" he makes a strong argument for his contention. Included in the album is an adaptation of an aria in the opera Tosca, a Scottish folk tune, an American folk tune, a popular Italian melody and a classical melody based on a Spanish folk tune.

The trio approaches each tune differently, managing to retain the original flavor of the melody while giving it the distinctive Ramsey Lewis Trio style. When some jazz groups shift moods from tune to tune it seems as though different group is performing each tune. The fast tunes have one sound and the slow ones another. Ramsey, Eldee and Red always have their own special sounds going for them and whether they're playing the gently swinging "I GAVE MY LOVE CHERRY" or the heavily rhythmic "ANDALUZA" it's always clear that it is a RAMSEY LEWIS TRIO performance.

One of the most beautiful and effective numbers in "POT LUCK" is "I REMEMBER THE STARLIGHT" the aforementioned aria from Tosca. This has always been one of my favorite melodies and the trio performs it with a warmth and sensitivity that rivals any I've ever heard by an operatic diva. Still it is jazz all the way and in no way reminiscent of Roger Williams or Liberace playing their syrupy, whip-cream topped pastiches.

From their years of musical association these three young men have developed into a tightly knit, professional trio. The three seemingly have one mind and audiences lucky enough to them in person are always impressed by the well rehearsed precision of the group. Unlike some tightly knit groups however, the fellows never sacrifice their basic intent — to Swing!

Esmond Edwards

LP-714

Sam Lazar - Soul Merchant

Released 1963

Recording and Session Information

Miller Brisker, tenor saxophone; Sam Lazar, organ; George Eskridge, guitar; Philip Thomas, drums
Ter Mar, Chicago, November 21 1962

12027 Smooth casting
12028 See see rider
12029 High noon
12030 Sam's jams
12031 Happy bossa nova
12032 Soul merchant

Track Listing

High Noon	Tiomkone, Washington	November 21 1962
Happy Bossa Nova	Sam Lazar	November 21 1962
Sam's Jams	Sam Lazar	November 21 1962
C C Rider	Arr. Sam Lazar	November 21 1962
Smooth Coasting	Sam Lazar	November 21 1962
Soul Merchant	Sam Lazar	November 21 1962

Liner Notes

FATS WALLER cut a few sides on the organ back in the thirties. To my tender young ears, these were the first recordings of jazz played on the instrument. Around the same time, there must have been theatre organists with strong jazz inclinations, pure jazz souls pedaling away during the intermissions. The phenomenon of the jazz organ's rise in popularity and acceptance is a comparatively recent event. There are still those "moldy figs" who resent the use of the organ as a jazz instrument and present arguments about "jazz purism." It is strange to realize that the saxophone, guitar and flute were once considered non jazz instruments. Anyhow, I trust the "figs" enjoy their dissertations...and Edison cylinders and banjos and striped jackets.

Just what has caused the popularity and acceptance of the organ? I imagine a number of reasons could be given. I think the words accessibility and availability can sum up the situation. The portable electronic organ has become available to a large number of musicians enabling them to transport the instrument from gig to gig. Something else too! The use of the organ in many Negro gospel church services has conditioned listeners to the sound of the instrument. And who is to say that many gospel songs could not be pure jazz if the words were left out. I wouldn't be a bit surprised to see many large jazz and dance bands including an organist as a regular member of the band in the near future.

Unlike some of the musicians who have jumped on the organ bandwagon, Sam Lazar is a very good musician and in full command of his instrument. He is not overawed by the vast variety of sound combinations the electronic organ is capable of and concentrates his efforts on swinging.

On SOUL MERCHANT Sam has the very capable assistance of three fine sidemen. Miller Brisker, the tenor saxophonist, is a regular member of Sam's St. Louis based group. Even though his previous exposure on record has been brief, it was enough to bring him critical plaudits.

Guitarist, George Eskridge is a Chicagoan who is in great demand for gigs and recording sessions in the Windy City. He is a cookin', imaginative soloist.

Phil Thomas, the drummer on the session is also a Chicagoan. He keeps things swinging throughout the album in a very competent yet unobtrusive way.

SOUL MERCHANT is Sam Lazar's third album and it fulfills much of the promise he showed in his first two releases. Without a doubt this young man is one of the finest jazz organists in the business. If you aren't already hip to him, we think a listen to this album will make you an enthusiastic fan.

Norm Spaulding
WAAF

LP-713

The John Young Trio - A Touch of Pepper

Released 1963

Recording and Session Information

John Young, piano; Sam Kidd, bass; Philip Thomas, drums
Ter Mar, Chicago, 29 November & 4 December 1962

12043 Joey
12044 Got a lot of living to do
12045 Blues Oreenee
12046 Serenata
12047 Everything's coming up roses
12048 Search me
12049 The inch worm
12050 The bridge
12051 In other words
12052 Paprika (unissued)

Track Listing

Blues Oreenee	John Young	29 Nov, 4 Dec 1962
Joey	Frank Loesser	29 Nov, 4 Dec 1962
Everything's Coming Up Roses	J. Styne, S. Sondheim	29 Nov, 4 Dec 1962
A Lot Of Living To Do	Charles Strouse, Lee Adams	29 Nov, 4 Dec 1962
Search Me	Sam Kidd	29 Nov, 4 Dec 1962
Serenata	Leroy Anderson	29 Nov, 4 Dec 1962
Inch Worm	Frank Loesser	29 Nov, 4 Dec 1962
The Bridge	Sonny Rollins	29 Nov, 4 Dec 1962
In Other Words (Fly Me To The Moon)	Bart Howard	29 Nov, 4 Dec 1962

Liner Notes

A Touch of Pepper is the highly descriptive title of this third John Young Argo album. His previous two, Young John Young (Argo 612) and the popular Themes and Things (Argo 692) contain excellent examples of his bubbling fire and effervescence but it is this one that really reaches deep and captures that personal spark for which John Young is so admired. This album presents John's experienced trio in its most unhampered swinging recording to date. As always, before presenting any material to his vast following, John has perfected the approach and interpretation of each selection to such a degree that even a casual hearing implies that his is the definitive version.

John Young's versatility is well known in the music field. He is constantly sought for all types of live and recording dates; from preferred anonymity on rock n' roll gigs to "elite" pleasing fashion shows and club dances. All of these assignments he handles with easy professionalism. However, some of the more challenging chores he has accepted, such as regular Chicago accompanist for Nancy Wilson, or his recent rhythm section date (with his drummer, Phil Thomas) for Frank Foster's new swinging *Basie Is Our Boss, Argo 717), have placed him in the very top echelon of todays jazz artists.

During the past three years John's trio has boasted some of the finest sidemen in the business including bassmen Israel Crosby, Vic Sproles, William Yancey, his present bassist Sam Kidd, and his long time drummer Phil Thomas. His home base, bread and butter gig is a small intimate southside club known as the Kittykat. Most of his jobs backing vocalists have been at the famous Sutherland Lounge.

John's musical library, filled with standard "goodies," is also well sprinkled with contemporary fare and top show tunes. The framework of each selection is fairly easy to comprehend and needs no great explanation from me to you. However, a few highlights may help you enjoy the album even more.

Opening side one is John's composition, Blues Oreenee and a deeper swinging, more stimulating blues has never been cut! A really rocking left hand against a "peppery" right hand trill midway through with Sam Kidds hard walking bass keeping the groundwork firm, is unbeatable (no pun intended). Keep your head still on this one if you can! Sam is featured in an earthbound solo on his own composition, Search Me which closes the first side.

In between are three current show tunes, the blues oriented Joey, Joey, the furious tempered Everything's Coming Up Roses and the Bossa Novaed Living. John's touch on this last selection is light and airy and seems to float above the 4/4 swing used during the improvisatory choruses.

The always beautiful and challenging standard, Serenata has long been one of John Young's favorites, and was wisely chosen to open side two. He shows his concert style virtuosity in the opening solo statement with the rhythm section then setting the feeling with Phil on Conga all the way. John's rich full sounding chords and pleasantly surprising glissandes keep the ear tingling throughout. Inch Worm, most notably recorded by John Coltrane and Ira Sullivan, is given an unlikely bluesy intro by John Young with bell like chords following in a relaxed but definitely swinging manner. Another fine Capt. Kidd bass solo and some stacatto-ish drum breaks by Phil Thomas help Inch Worm liven his pace considerably. The only out-and-out Jazz composition of the date is Sonny Rollins' The Bridge, and the trio maintains Sonny's original intent by keeping to the difflcult pattern of an up tempoed switch from to and back again throughout the theme and all of the solos. According to John Young the Moon involved in In Other Words is made of Blue(s) cheese filled with large chunks of beautiful full locked chords. A tasty tidbit to wind up the hearty well balanced and well seasoned (peppery?) offering sterved up by the John Young cookers, supreme chefs all!

Those of you who have heard John in person may have had some misgivings about the approach and material content of his previous albums. Admittedly they were constructed and released to reach a broader audience than the faithful but outnumbered legion of true Jazz fans. This set should please all because it is the least hampered materialwise, and is the fullest free swinging LP John Young has yet recorded. Dig it! The pleasure will be yours.

JOE SEGAL

LP-712

Ahmad Jamal - Macanudo

Released 1963

Recording and Session Information

Ahmad Jamal, piano; Art Davis, bass; Richard Evans, dirextor with large orchestra
RVG, Englewood, New York, December 20-21 1962

12087 Sugar loaf at twilight
12088 Montevideo
12089 Belo horizonte
12090 Bossa nova do Marilla
12091 Buenos Aires
12092 Bogota
12093 Haitian marketplace
12094 Carnival in Panama

Track Listing

Montevideo	Richard Evans	December 20-21 1962
Bogota	Richard Evans	December 20-21 1962
Sugar Load At Twilight	Richard Evans	December 20-21 1962
Haitian Market Place	Richard Evans	December 20-21 1962
Buenos Aires	Richard Evans	December 20-21 1962
Bossa Nova Do Marilla	Richard Evans	December 20-21 1962
Carnival In Panama	Richard Evans	December 20-21 1962
Belo Horizonte	Richard Evans	December 20-21 1962

Liner Notes

THIS IS A SPANISH slang word for "hip". It is very appropriate on this occasion for this album is a "hip" blending of the best rhythmic currents in Afro-Harlem and Afro-Latin American music. This album, in fact, is a justly-deserved tribute to President and Mrs. Jack Kennedy. It grew out of the President's cultural program which carried Composer Richard Evans to several South American countries as a musical ambassador and ended with an unprecedented White House jam session. Here. in eight impressionistic tone paintings of eight Latin American cities, is the musical result Of that cultural safari. If you are looking for hard-driving examples of the exciting rhythmic concoctions of Latin America, this is your record. If you are looking for gimmicky "fad" music, however, pass this one up. Ahmad Jamal, Richard Evans and their supporting cast on this brilliant album are to be commended for their good taste in avoiding the "fad" aspects of the contemporary Latin American movement. This is a record which doesn't try to prove anything—except that music is fun, from any part of the country.

Ahmad Jamal, the driving force behind this album, is at home in Brazil. On the driving Haitian Market Place and the imaginative Buenos Aires, Jamal demonstrates that he has no peers in the art of piano magic. Coaxing great blocks of shimmering sound from the piano, the great pianist successfully defends his title as the most rhythmic and creative artist working on the keyboard today. On Sugar Loaf, incidentally, Jamal breaks new ground with an extraordinary solo on the celesta. As a musical host and as a recording director, I have followed Jamal's climb from Chicago's Pershing Lounge to the Himalaya of jazz. This is one of his best.

Richard Evans, the Chicago-based bassist who received long overdue recognition when he made the White House scene, blossoms forth on this album as a composer of note. Although he is only thirty, Evans has played and written for Maynard Ferguson, Dinah Washington and other musical greats. He served also as musical director of the Paul Winter sextet which made a six-month tour of Latin America and returned to Washington to make musical history as the first jazz group to give a concert at the White House.

Evans provides a colorful frame for the Jamal palette. Using jazz greats and conservatory-trained musicians from the New York Philharmonic and other symphony orchestras, he paints brilliant impressionistic portraits with strings, French horns, flutes and the harp and bell. Darting in and out of the splashes of sound, Jamal rises to great heights as an artist by dominating this large and impressive orchestra.

Jazztistically speaking, this is a record for the musical buff who has everything. It is one of those rare records that yield choice delights with repeated listening.

Here, in the swinging, uninhibited words of Composer Evans, is the musical fare: Montevideo — The capital of Uruguay is bright, fast and happy. A rolling eloquent recital by Ahmad Jamal delineates the modern and traditional in this great South American city.

Bogota — Bogota, Colombia, is paradox-ville. It is beautiful and beastly, hip and square, kind and cruel, old and new. Playing against the full orchestra, Jamal goes to the heart of the paradox.

Sugar Loaf — When you see the orange rays of the sun bathe Rio de Janeiro at twilight, you are filled with a feeling of peace which can best be defined with the soft tones of strings, celesta and French horn. The highlight of this tone painting is Jamal's lovely solo on the celesta.

Haitian Market Place — Imagine an open market in Port-au-Prince, Haiti, with hundreds of Haitians selling their wares and chanting in broken French. The pure African rhythms, the poverty and the soul combine to make you want to scream for them and moan with them. In this portrait, the brass screams and Jamal moans.

Buenos Aires — Argentina, the New York of South America, is so hip they call it B. A. The musical scene? No senoritas with guitars, no castanets, but some darn good modern jazz musicians who will send many North American jazz musicians back to the "wood shed." B. A. deserves undiluted jazz. B. A. deserves a sparkling Jamal solo.

Bona Nova Do Marilla — This number and the inventive Jamal interpolations capture the mood of the little out-of-the-way town of Marilla, Brazil. Here are the quiet, polite people, the pleasant little restaurant around the corner, the modest cemetery and the sheer beauty of Marilla's simplicity.

Carnival in Panama — Jamal sets the pace for this fast, rhythmical number with a percussive solo that shimmers and delights.

Belo Horizonte — This Brazilian city is smooth and relaxing. Bossa Nova is in order here with another pulsating Jamal solo and a Jamal-influenced ending.

Daddy-O Daylie
WAAF.WMAQ

LP-711

Al Grey - Night Song

Released 1963

Recording and Session Information

Dave Burns, trumpet; Al Grey, trombone; Billy Mitchell, tenor saxophone; Bobby Hutcherson, vibes; Eal Washington, piano; Herman Wright, bass; Otis "Candy" Finch, drums
Ter Mar, Chicago, November 1 1962

11984 The way you look tonight
11985 Night and day
11986 Blues in the night
11987 Through for the night
11988 Laughing tonight
11989 Star dust
11990 Stella by starlight

Track Listing

Blues In The Night	H. Arlen - J. Mercer	November 1 1962
Stella By Starlight	N. Washington, V. Young	November 1 1962
The Way You Look Tonight	D. Fields, J. Kern	November 1 1962
Through For The Night	Trummy Young	November 1 1962
Stardust	M. Parish	November 1 1962
Night And Day	Cole Porter	November 1 1962
Laughing Tonight	Frisch, Alfred	November 1 1962

Liner Notes

In 1961, I was offered one of those rare opportunities extended a jazz disc jockey. The CBS affiliate in Philadelphia (WCAU-TV) conducted a summer series entitled "Experimental '61." The producers of this series offered an opportunity to members of the staff to offer some fresh, new programming ideas. Upon submitting my idea of a jazz show I was amazed and pleasantly surprised to receive the go ahead sign with no holds barred.

The idea of a jazz show on television is not new. But in my case it was the result of a conversation I held with Al Grey the summer before when he and I had a chance to talk back stage in Atlantic City when the East Coast was presented one of the best three day jazz festivals ever given. At that time, Al was seated comfortably in the Count Basie Band and slowly emerging as one of the important lead soloists. This was by no means an easy task if you will review the personnel of the band at that time.

I recall Al's remarks. He stated that what the average jazz show lacked was taste and ability to reach the people. He went on to say that if the chance were ever given him to participate on a show, he would be sure to reach the people and show them that jazz can be melodically beautifully and tasteful.

Al was given the chance on the show I produced. It was called "A Taste Of Jazz". The Al Grey Billy Mitchell Sextette shared the half hour With Jimmy Smith and his trio.

The comments received following the airing of the show were unanimous in their approval and complimented the musicians on their "tasteful presentation". In fact, many of the letters received following the show stated the viewers had no idea that jazz could be so tasteful.

Following "A Taste of Jazz", we had a chance to produce a late night summer series for six weeks on the NBC affiliate (WRCV-TV) in Philadelphia. Being a co-producer of the series as well as host of the show I immediately insisted on using only Jazz musicians.

Once again the SOS went out to Al Grey.

The three appearances the group made was at the early formation of the first Al Grey-Billy Mitchell Sextette. Following their appearance on the "Del Shields Summer Showcase" the same comments were received from viewers on their tasteful presentation.

I think therein lies the story of Al Grey, heir apparent of Trickey Sam Nanton, Last of Big Time Plungers and owner of the Thinking Man's Trombone.

Al Grey is a tasteful, articulate trombonist. He is a modest man who like most jazz musicians, prefers to speak through his horn.

Among the jazz musicians, when the subject of the top trombonists is discussed, All Grey is always included among the leaders. His list of credits and recording dates are more than impressive. He earned his musical letters in the big bands of Dizzy Gillespie and Count Basie. Surrounded by star studded soloists and brilliant technicians, the "vocal" style of Al Grey was always heard prominently so that he was always among the leading solo voices. His trombone style has been such a personal thing that when he recorded with many studio bands, arrangements were tailored to include an Al Grey solo. Nat "King" Cole, Sammy Davis, Jr., Gloria Lynne, Sarah Vaughan and Ray Charles album have included the trombone voice of Al Grey.

Al Grey has been steadily working, studying, developing and producing a sound that all of jazzdom is learning to respect. When he appeared with Dizzy Gillespie at Newport in 1957 and soloed on "Dizzy's Blues" and "Cool Breeze", the thousands of jazz devotees recognized that Al Grey was a trombonist to be heard.

Confirmation of the 1937 reaction was awarded Al Grey again in the summer of when he appeared with Billy Mitchell at Newport. Critical reactions was so overwhelming they were called back for an additional appearance.

The recent award by the International Jazz Critics and the prominent positions Al has been gaining in the various jazz popularity polls attest to his slowly but surely gaining an audience that is pleased with his musical message.

In this album, Al Grey is the main soloist. This is the fourth album Al Grey has recorded for Argo. Although the Sextette is always in evidence, this album should move Al Grey„ up a notch within the charmed circle of first rank jazz trombonists.

Blaes in the Night...The plunger style of Al is greatly in evidence as Al shares the solos with Billy Mitchell. The Sextette frames the musical picture as Al fills with his varied colorations. The group comps in unison keeping a steady foot pattin' groove.

Stella by Starlight...A latin beat is laid down by the group before Al Steps in. Putting aside the plunger, he offers a round warm tone as he states the opening theme before beginning his improvisations. Bobby Hutcherson eases into the spotlight followed by Dave Burns. The vibes and trumpet keep the light happy feeling of Stella moving Earl Washington's solo on piano is brief but tasteful. Al re-enters before the group in ensemble places the final period.

The Way You Look Tonight...Is also latinesque in format. Once again the full round tones of Al's trombone is almost "trumpetsque" in sound.

Through For Zhe Night...This fondly remembered Trummy Young chestnut brings to mind that Al Grey has fond remembérances for the tunes with his treatment. The exacting technique of Al's in displaying a technique of firmly controlled discipline on the horn makes the night a light evening.

Stardust...Many times done...many times recorded...many times sung. Yet, never given the delicate treatment on trombone as Al offers here. Gently nudged by Bobby Hutcherson's sensitive vibes and Dave Burns' muted trumpet makes this ballad live again.

Night and Day...although Al is again the principal soloist, Bobby Hutcherson's vibes adds that bit of schmaltz that gives this evergreen a tasty jazz treatment. Then Dave enters with mute to offer a short chorus of spice.

Laughing Tonight...Jazz need not be paced at breakneck speed with half slurred notes to display technique. Here the group offers a shining example of how a tune can be treated sympathetically with a beat and project a happy sound.

Del Shields
WDAS FM
Philadelphia, Pa.

LP-710

Bill Leslie - Diggin' The Chicks

Released 1962

Recording and Session Information

Bill Leslie, tenor saxophone; saxella Tommy Flanagan, piano; Thornell Schwartz, guitar; Ben Tucker, bass; Art Taylor, drums
RVG, Englewood, New York, October 19 1962

11946 Rosetta
11947 Margie
11948 Goodnight Irene
11949 Madge
11950 Got a date with an angel
11951 Angel eyes
11952 Lonely woman

Track Listing

Good Night Irene	H. Ledbetter	October 19 1962
Angel Eyes	Matt Dennis, Earl Brent	October 19 1962
Madge	Wm. Leslie	October 19 1962
Margie	Robinson, Davis, Conrad	October 19 1962
Lonely Woman	Ornette Coleman	October 19 1962
Got A Date With An Angel	Walter, Tunbridge, Miller, Grey	October 19 1962
Rosetta	Earl Hines, Wm. Woode	October 19 1962

Liner Notes

EVEN though this is Bill Leslie's first album as a leader, he has already gained a solid reputation among musicians as a young tenor player who has achieved a good measure of singular self-expression, i.e., he is "inta something" or "taking care of bizness," to use the easy jargon of the industry. And Leslie comes by this reputation through an admirable balance of musical attributes which combines a dazzling technical fluency with a deeply felt blues sense that colors and broadens all his music. Listening to this first album. and reflecting on the individuality and emotional maturity of Leslie's playing at this stage of the game one cannot help but wonder where he will go next, and hope to Se informed of his next move. This album really whets your appetite.

Bill has sessioned in and worked around Philadelphia for years, and even though he is interested in a very contemporary expression his dues years in the various cabarets and dance halls of Philadelphia have rewarded him with a strong blues pulse which is evident in everything he plays. So that even though Leslie names such new thinkers as Coltrane, Sonny Rollins, and Ornette Coleman as the saxophonists he likes best, one can still hear in his playing a very cool distillation of the muscular "gutbucket" saxophones that drive rhythm bands like Bill Carney's in Philadelphia or Louis Jordan's, two of the groups that Leslie came through. This is certainly one reason why Leslie's fluency and facility with the horn never breaks down into shallowness or glibness. He can "get around" on his horn without sacrificing or forfeiting any of his emotional fervor.

Half of the rhythm section on this date, i.e., pianist, Tommy Flanagan and drummer, Arthur Taylor, are two of the most sought after sidemen on the scene; and thev have played together on countless LP's. The bands these men have gone through and the, like they say, "big names," they have played with probably form some wild catalog of what has been happening in jazz in the last ten years.

Bassist, Ben Tucker is also no new hand when it comes to cementing swinging rhythm sections together. He has worked, at various times, with Art Pepper, Roland Hanna, Carl Perkins and Warne Marsh, for a few names.

Thornel Schwartz and Bill Leslie have played together many times before, and Bill was featured on Thornel's debut as leader, as well. These two men certainly have a deep feeling for each other's music, and it is immediately apparent how expertly they can complement and comment on each other's solos (as on the indelibly lovely Lonely Woman where Thornel's almost evanescent chords ring just beneath Leslie's brooding solo, calmly enforcing his beautiful statements).

All these tunes are for or about ladies, as the title should indicate. And as I mentioned, all these tunes are for or about ladies, as the title should indicate. And as I mentioned, probably the most singularly beautiful title on the album is Ornette Coleman's severely introspeetive ballad. Lonely Woman, which Leslie plays the soprano saxophone sounding saxella. This intrument's slight piercing sound, sometimes almost pleadingly speech-like, evokes a chillinglv programmatic image of an emotion that both composer and instrumentalist seem to understand perfectly. The rhythm section is also impeccable on this tune; Tucker's firm quiet chords, and Taylor's continuous dirge-like cymbal, reinforce the total feeling of the piece quite movingly.

Got A Date With An Angel and Rosetta are both taken at about the same bright, fingerpopprng tempos, though Rosetta is just a little quicker on her feet. But both tunes show just how quick Bill Leslie can move around his horn. He has a way of sounding cool and casual even when he is starting to "go upstairs," as is the case on Rosetta, a tune last heard to good advantage when played by Red Allen and Coleman Hawkins.

Ben Tucker provides the western waltz background for the rather tongue-in-cheek version of Good Night Irene. Thornel Schwartz also contributes to the outdoorsy feeling strumming away like it was Hick Night at the Apollo. And after a time, Bill Leslie makes it pretty obvious that Irene was not completely unaware of the blues, as does Tommy Flanagan's brief but vitally bluesy solo.

Angel Eyes is the lovely lovely standard that the M.J.Q. revived a few years ago. And again. Bill Leslie shows the devastatingly introspective and tender aspect of his piayzng, backed with equal purpose by Flanagan. The two show how much feeling can be gotten out of this incredibly fragile piece of music. One of the most exacting tests of a jazz musician is how well he can play a ballad. Many musicians who can play a "jam" handily find it impossible to play a ballad meaningfully.

Leslie's original, Madge, is a "straight up" blues, taken at walking tempo. This chick is an elegantly bluesy type "soul sister" who doesn't have to raise her voice to make a point. Bill's very warm very relaxed sound, aided by Thorne! Schwartz' soft blues chords paint a very attractive portrait and demonstrate quite readily that you don't have to fall down on your back and kick your feet in the air to get that old funky blues thing going.

Margie shows that Bill Leslie can revive any tune with the freshness of his imagination, since this tune is one of the most beat up pieces since the Star Spangled Banner. Notice the way he searches for alternate and minor chords, never content merely to "run the changes." But one of the most salient characteristics of Bill Leslie's playing is that he always seems intent on finding the most expressive way to say a thing. He is never content with the stale or obvious. Let's say Leslie's trying most of all to play like himself, which is maybe a weird idea for a lot of people, but luckily for us, Bill doesn't think it's so weird. Listen to him!

LeRoi Jones