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.