LP-707

Gene Shaw Quintet - Break Through

Released 1962

Recording and Session Information

Clarence "Gene" Shaw, trumoet, arranfer; herman Morrison, tenor saxophone; James Taylor, piano; Sidney Robinson, bass; Bernard Martin, drums; unknown, latin percussion
Ter Mar, Chicago, October 11 1962

11927 It's a long way
11928 A.D.'s blues
11929 Tonight
11930 Our tune
11931 The thing
11932 Marj
11933 Six bits
11934 Autumn walk

Track Listing

Autumn Walk	James Taylor	October 11 1962
Ad's Blues	C. E. Shaw	October 11 1962
Marj	C. E. Shaw	October 11 1962
Six Bits	Carl Davis	October 11 1962
The Thing	C. E. Shaw	October 11 1962
Tonight	Leonard Bernstein	October 11 1962
Our Tune	Jack DeJohnette	October 11 1962
It's A Long Way	Carl Davis	October 11 1962

Liner Notes

AS THE FIRST ALBUM featuring Gene Shaw, this recording will serve for many as an introduction to his immense talents as trumpet artist, composer-arranger and leader. Gene is a member of the original contingent of Detroit-based jazz musicians who came into national prominence during the fifties — a remarkable group that included Thad Jones, Kenny Burrell, Pepper Adams, Donald Byrd, Tommy Flanagan, Yusef Lateef and Barry Harris — and he is far from being an unknown among the inner circle of musicians. But the release of this, his first LP for Argo, should bring him into long overdue recognition as an important contributor to the current musical scene.

Relating his musical biography, Gene began "I was born in Detroit, June 16, 1926. I started taking piano lessons — oh, When I was four years old, then switched to trombone when I was six." He reflected, then added, "I went back to classical piano for two years." He became interested in the trumpet while convalescing in an army hospital in Detroit. "I had an old beat-up cornet I bought in the Philippines. I left it laying around until I heard Hot House by Dizzy Gillespie over the radio and thought to myself, "that's gibberish. I can do better. So with the help of a friend, Allen Bryant, I learned how to make trumpet sounds. Three weeks later I had my first job at the Hut Bar in Detroit."

"Later, Skee Wilson and Barry Harris told me, and then showed me on the piano, that there were little things called chord changes and that Dizzy Gillespie was a master in the use of these and had actually extended on them. I was stunned by my ignorance and quit the job."

Following this revealing experience, Shaw enrolled in the Detroit Institute of Music to study harmony, theory, composition and arranging. After completing his course he went out among his contemporaries, playing and gradually picking up bits of knowledge about the trumpet. From these formative years, Gene recalls in particular "Little John" Wilson, a Detroit trumpeter who gave of his professional experience and guidance.

Moving on to New York, he gigged with Wardell Gray, Lester Young, Lucky Thompson and Others. During this period he met and worked with Charles Mingus, appearing on several of the controversial bassist/composer's recording sessions. Concerning Gene's work on the album Tijuana Moods, recorded in 1957 but not issued until five years later, Mingus recently remarked, "If this album had been released in 1957, Shaw would be a star today." In turn, Shaw sums up his debt to Mingus saying, "Mingus' ability to see music through the 'eyes of life' forced me into a new depth of endeavor. It is my aim to follow the path he began, as far as possible, towards its conclusion, For his teaching shall be eternally grateful.

In each of the eight selections on this LP, Gene and the Quintet have tried to project a personal feeling or message. For example, Six Bits might a portrait of a man who is literally down to his last six bits; instead of despondent or disillusioned, he tries to make the best of things with the little he's got. Avenue Walk depicts the mature years of a man's life when he counts up his accomplishments and resources as he faces the cold of the coming winter. And The Thing is the monster that lurks in each of us. The gentle and timid soul who feeds the birds and gives candy to children may explode for no apparent reason and commit some horrendous act.

ABOUT THE OTHER MUSICIANS

SHERMAN MORRISON, on tenor saxophone, may well become one of the dominant voices on his instrument in years to come. He has absorbed much from the work of such giants as John Coltrane and Hank Mobley without being absorbed by their influence. He is currently studying at the Chisago Conservatory and hopes to do some scoring for films and television.

Pianist JAMES TAYLOR came to Chicago from New York in 1959 and has been working around Chicago with various local groups, playing both piano and organ. His interest is divided equally between playing and composing. The intrguing Autumn Walk is his composition.

SIDNEY ROBINSON, whose strong bass lines are the foundation of the rhythm section, began playing bass in the army and has gigged around Chicago for the past few years. He is student of James Palacek who holds the second bass chair of the Chicago Symphony.

Chicago-born BERNARD MARTIN, like the others, has appeared with a number of groups in the Chisago area. His work on drums, tasty but never obtrusive, shows a sensitive awareness of shading and dynamics.

Alfred W. Bowman