LP-726

Gene Shaw - Debut In Blues

Released 1963

Recording and Session Information

Gene Shaw, trumpet; Herb Wise, trombone; Jay Peters, tenor saxophone; James Taylor, piano; Sidney Robinson, bass; Gerald Donovan, drums
Ter Mar, Chicago, July 8 1963

12541 Debut in blues
12542 Thieves' carnival
12543 Karachi
12544 Who knows?
12545 When Sunny gets blue
12546 Not too cool
12547 Travelog
12548 The gentle princess

Track Listing

Debut In Blues	Thomas Washington	July 8 1963
Karachi	James Taylor	July 8 1963
The Gentle Princess	Gene Shaw	July 8 1963
When Sunny Gets Blue	Foster & Segal	July 8 1963
Thieves Carnival	James Taylor	July 8 1963
Not Too Cool	Thomas Washington	July 8 1963
Who Knows	Renick Ross	July 8 1963
Travelog	Sidney Robinson	July 8 1963

Liner Notes

CLARENCE "GENE" SHAW, originally a Detroiter but now a Chicagoan has recently embarked upon a new career as part night club owner. This new "club/school" called "Old East Inn" is dedicated to the American heritage of creative arts — most heavily, Jazz. As in the case with most musician-owners, Gene's duties, most happily, are concerned with making music; although hammer wielding during the pre-opening preparations were very much a part his daily life.

Gene is a mellow-toned trumpeter who has worked in the Detroit area with most of that cities' well known Jazz contingent including Yusef Lateef, Kenny Burrell and Tommy Flanagan. He counts among his most memorable engagements a two-week stint with Lester Young in Detroit and the almost two years spent with Charlie Mingus in New York (1955-56). His first recorded solos, with Mingus on the RCA Victor LP titled 'Tijuana Moods" drew heavy praise from the not quick to flatter bassist. In 1959 Gene settled family here and made Chicago his permanent home. He began to gather many fans during his in-person session appearances at various clubs. A hearing by Argo executives at one of these sessions led to his first LP for the label, BREAKTHROUGH" (ARGO No. 707), the reviews of which were very favorable, especially from Downbeat-er Bill Goss.

Gene's favorite trumpeter is the late creative giant Freddie Webster. Anyone familiar with Webster's magnificent sound can immediately hear the likenesses in Gene Shaw's playing. Gene still uses his Student Olds trumpet and gets from it one of the lovliest sounds you've ever heard. His tone is sweet and singing yet has an acid bite. It's not at all loud but is, if anything a trifle too soft! On several tracks herein you may think the recording engineers have "echoed him up." This is not so. One of Gene's major accomplishments is his ability to play for the overtone. That he does this difficult thing successfully is very evident on this album.

The other main soloist on this date is a well-known (in Chicago) veteran of the Bebop tenor wars of the '40's and '50's. Born here in 1926, Jay Peters is an outstanding member of the Chicago school of modern tenor players, which includes Gene Ammons, Von Freeman, Johnny Griffin and Eddie Williams. He studied at Englewood High, gained his first experience with the "Dukes of Swing," worked with Chicago groups of King Fleming and Floyd Ray and gained a little prominence as one half of the teen-age tenor tandem (Johnny Griffin was the other half) with the great meat grinding band of Lionel Hampton (Circa, 1944). The army band and a teaching assignment in Richmond, Virginia took up the yeaa till 1953 when he re-joined Hamp for a European tour and stayed with the band till 1955. Quite a bit of his Chicago work has been with a group led by guitarist, Leo Blevins. Hearing how well he plays you'll wonder, as I have, why this is his first recording!

Herb Wise is the third horn and is a very unusual trombonist. His style is mellow and non-hurried (A little Bennie Green-ish) but is indiginous to his own easy going personality. Known as "a nice guy" in the music business, it is not uncommon for Herbie to be "aced out" of a high paying transcription or commercial date by more hustling players. His very versatile talent however, quite often wins out. Gene first became aware of Herbie while they were both on an eastern tour this past summer with the Dick Shory Percussion, et al band.

The rhythm section is young, with drummer Jerold Donavon the most experienced. Having worked extensively as part of an organ/drum duo backing such luminaries as Gene Ammons, Sonny Stitt, Dexter Gordon, Bennie Green and James Moody (working the gigs in pairs and trios), Jerold has developed into a fine musician. Bassist Sidney Robinson and pianist Tim Taylor both appear on Shaw's first album. It was Taylor, who has just left Chicago to study privately in Dallas who did quite a bit of the composing and arranging for the group. "Karachi" and "Thieves Carniyal" are his tunes and he arranged Sidney Robinson's "Travelog."

A young Chicago arranger/ pianist Tom Washington did the title tune of the album "Debut In Blues" and the "Jazztet" sounding "Not Too Cool" on side two. 'Debut' uses the time honored boogie woogie shuffe beat as its rhythmic foundation. Gene's solo has a relaxed, melancholy, almost floating feeling with Jay's Websterish blues steeped tenor and Wise' easy styled trombone following to the "Amen" ending.

Jerold Donavon uses mallets on the authentic sounding Taylor composition "Karachi." It's the most haunting tune of the entire set and you'll no doubt be humming it to yourself very quickly. Gene's solo is a pleasing meandering type with Jay's muscular approach taking him into some very outstanding moments of creativity.

Shaw's lone compositional contribution to this date is the bossa nova'ed, "The Gentle Princess." It has a light airy feeling reminiscent of Tadd Dameron's theme of the early 'SO's, "Jabbero" with Peters' tenor solo a lyrical thing of beauty.

The only standard tune of the date, the introspective, "When Sunny Gets Blue" closes side one with Gene's singing sound solo a bit tempered by a bittersweet approach.

Gene's bright lead trumpet opens side two playing the theme of "Thieves Carnival" which 1/2 steps up and down throughout to give the soloists interesting patterns to explore. Peters "Wild Gooses" his way into a hard swinging solo and Herb Wise "gets hot" on his.

The thick harmonied "Not Too Cool" uses a backbeat chop for its major propulsion but is relaxed throughout. Peters shines again solo-wise.

The lone composition of another young arranger, Renick Ross is a fast waltz with an eerie theme. Titled "Who Knows," it displays the Griffin influence on Peters and the Kenton-styled trombone of Wise. Gene sort of talks dunng his solo, with piano and bass doing short bits before the out theme.

The closer is Robinson's "Travelog." Its slow and pretty theme is carried by Shaw with the other horns weaving complimentary harmonies beneath.

Throughout the entire album I think you'll notice a fresh approach, undoubtedJy due to the use of so much original and different material, young arrangers, young musicians, spiced with the creative know-how of seasoned veterans. The approach is sincere with no gimmicks or strained devices. The three horns are outstanding and individual sounding and Gene intends to keep them with him in his house band at his new club. It's got to be a swinging place!

—JOE SEGAL