LP-731

Al Grey - Boss Bone

Released 1964

Recording and Session Information

Al Grey, trombone; John Young, piano; Leo Blevins, guitar; Ike Isaacs, bass; Philip Thomas, drums
Ter Mar, Chicago, December 17 1963

12858 Terrible cap
12859 Grey being blue
12860 The give off
12861 Smile
12862 Salty mama
12863 Can't you feel it
12864 Mona Liza
12865 Tacos and grits
12866 Day in, day out

Track Listing

Smile	Turner-Parson-Chaplin	December 17 1963
Terrible Cap	Al Grey	December 17 1963
Mona Lisa	Jay Livingston & Ray Evans	December 17 1963
Tacos And Grits	Al Grey	December 17 1963
Can't You Feel It	Al Grey	December 17 1963
Salty Mama	Al Grey	December 17 1963
The Give Off	Al Grey	December 17 1963
Day In Day Out	Rube Bloom & johnny Mercer	December 17 1963
Grey Being Blue	Al Grey	December 17 1963

Liner Notes

THIS ALBUM is called BOSS BONE with justification, because Al Grey is unquestionably the boss of the swinging trombonists. His big, sensuous tone is always a joy to hear and his technical facility is envied by many a less gifted trombonist.

Al first gained wide acclaim during his stay with the Count Basie band in the late fifties but he joined the band bringing a long string of noteworthy past affliations. Al's first job after leaving the Navy at the end of World War II was with the Benny Carter band and he later worked and recorded with Jimmy Lunceford, Lionel Hampton, Arnett Cobb, Lucky Millinder and Dizzy Gillespie before joining the Basie brass section.

There is nothing like the experience of working with big bands to develop a jazz musician. In addition to developing the individual's reading and technical skills, it teaches musical discipline and a sense of form. Although most of Al's work since being on his own has been with small groups, the solid foundation of his band experience is always evident in his performances. One of the sad realities of today's jazz scene is the fact that most of the big bands have gone and with them the most important training ground for young musicians has passed.

Another thing that Al Grey learned from his band affiliations was respect for the listener. Since the bulk of the engagements were for dances, the bands tried to "reach the people" with the arrangements and selection of tunes. Al still tries to do this, both on stage and on record. He carefully selects his material, (both original tunes and standards), with the audience in mind and performs the tunes in a straightforward, clown-to-earth manner. No music for The Man In The Moon here!

Thinking of tunes brings Al's interpretation of "Mona Lisa" in this album to mind. Listening to this track is almost an erotic experience because of the way Al musically caresses the melody. To me, one of the marks of a superior jazz musician is the ability to handle a ballad. A lot of "shucking an' jivin'" can be done on a fast number but on the slow, pretty pieces the soloist has got to deliver. If "Mona Lisa" could have heard Al play the tune, that hint of a smile would have been a satisfied grin.

Al recorded this album while in Chicago doing an engagement at one of the local clubs. For his sidemen on the session he chose several Chicagoans that he respects highly. John Young and Phil Thomas are two-thirds of the JOHN YOUNG TRIO and Leo Blevins is one of our Windy City's most sought after guitarists for gigs and recording sessions. Charles "Ike" Isaacs was the regular bassist with Al when this session was cut. His career has included stints with Earl Bostic, Carmen McRae and Lambert, Hendricks and Ross.

Though Al makes Philadelphia his home, Chicago has always been one of his favorite cities and he has many fans here. In fact, he sponsors a bowling team in our "Fun Leagues" and whenever he's in town he makes it a point to roll a few games with his team. His team members, comprised of Barbara Lumpkin, Captain; Roy Dailey, Robert Lyles, Charles Taylor and Betty Doty are not only proud Of Grey as a sponsor but hold him in very high esteem as a person.

As the saying goes..."I don't know a lot about music but I know what I like." Well, I like Al Grey — I think he plays BOSS BONE.

Daddy-O Daylie

NOTE: Chicago's, Holmes (Daddy-O) Daylie is regarded as one of the nation's leading authorities on jazz. Daddy-O is currently heard four hours daily over WAAF and Saturday night over WMAQ, an N.B.C. owned and operated station. Daddy-O has never wavered from his format of broadcasting jazz exclusively daring the fifteen years he has been in radio.

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-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-700

Al Grey Featuring Billy Mitchell – Snap Your Fingers

Released 1962

Recording and Session Information

Donald Byrd, trumpet; Al Grey, trombone; Billy Mitchell, tenor saxophone; Bobby Hutcherson, vibes; Herbie Hancock, piano; Herman Wright, bass; Eddie Williams, drums
Birdland, New York, January 31 1962

11471 Hush
11472 Minor on top
11473 African lady
11474 Grey's blues
11475 Home fries
11476 On Green Dolphin Street
Hi fly

11724 Dirty low down blues
11725 Why was I born?
11726 Nice and easy
11727 Heavy soul

Dave Burns, trumpet; Al Grey, trombone; Billy Mitchell, tenor saxophone; Bobby Hutcherson, vibes; Floyd Morris, piano; Herman Wright, bass; Eddie Williams, drums
Ter Mar, Chicago, February 19 1962
11503 Three-fourth blues
11504 On Green Dolphin Street
11505 Nothin' but the truth
11506 R.B.Q.
11507 Just waiting

Track Listing

Nothing But The Truth	Bowen	February 19 1962
Three Fourth Blues	G. Kee	February 19 1962
Just Waiting	M. Liston	February 19 1962
R.B.Q.	Gene Kee	February 19 1962
Green Dolphin Street	Kaper, Washington	February 19 1962
Minor On Top	T. Jones	January 31 1962
African Lady	M. Liston	January 31 1962
Hi Fly	R. Weston	January 31 1962

Liner Notes

IN the jazz business, friendships and alliances are formed and broken off constantly. A few long hauls in the back of a band bus together; a night off in a small town a thousand miles from New York or home; a jam session after hours in the back room of the club — a friendship is born. Not just a casual acquaintanceship, but a warm comfortable relationship during which great respect is born, dreams are shared and secrets are bared. Often as quickly it has been spawned, this friendship flutters and flitters away. There is no great hassle over quiet disappearance for months of a "good buddy". For the length of its existence, the alliance was a healthy, stimulating one.

Occasionally, the ties which formed continuous and the musicians remain in touch, and at the earliest possible time, one makes a place for his buddy in the group in which he works. Such is the case with Al Grey and Billy Mitchell. The two men have been friends for well over a dozen years. They have worked together in bands led by noted jazz leaders, and once before they attempted to co-lead a unit of their own. The venture failed, as have so many fresh, unheralded groups and Grey and Mitchell went their separate ways only to meet again in the steaming, exciting Count Basie organization in the late fifties. In 1960 the tenor saxophonist and the trombonist got that leadership urge and the Al Grey-Billy Mitchell Sextet was formed.

For weeks, the unit rehearsed, never taking gigs in any of the jazz areas. Rumors flew about New York, Chicago and as far away as Los Angeles. Everybody was talking about the group, but very few people had heard it. Finally Grey and Mitchell felt they were "ready" and the Sextet burst on the jazz scene with the most explosive, dynamic music to seep into jazz since the advent of the "cool school."

This is their second group album and it fulfills the promise and contains all of the vitality of the first. Here the co-leaders are direct and colorful and they are wise enough to share the spotlight with the exceptionally fine sidemen on the date. The tunes have been chosen with discretion, blending comfortably the familiar jazz standard with the latest time and voicing innovations.

Each of the charts has a particular qualifying merit of its own, however, several held special charm for me.

No!hing But The Truth is self-explanatory. It is a cooking blues tune built on simple, familiar blues chords taken at a smoldering pace.

R. B. Q. is a swinging uptune taken at a saucy tempo. It features some elusive Grey skittering through the changes.

Minor On Top is especially appealing to me because Of the depth and color it explores. It is a dark tune — not like a pit; rather like a summer night — warm and enveloping. Billy Mitchell has an exciting vertical solo which should stand him in good stead with the young tenor moderns.

African Lady is a quiet and stately tune for the most part. There are some interesting alterations of the tempo throughout the tune, coloring is also unusual. Al Grey solo here also reveals that the court jester of the trombone is not always growling and joking. He has his sensitive moments. Indeed, the African is a complex, intriguing lady.

Jazz is fortunate that this allßnce has flourished throughou€ the years. Its fruits are ripening and showering down in abundance. For those of you who live in the major jazz markets, I bid you hie to the nearest establishment which features the Al Grey-Billy Mitchell Sextet. For the rest of you, this recording will serve as an appetizer. Feast on its essence and enjoy yourselves.

Sid McCoy

LP-689

The Al Grey-Billy Mitchell Sextet

Released 1961

Recording and Session Information

Al Grey-Billy Mitchell Sextet
Henry Boozier, trumpet; Al Grey, trombone, baritone horn; Billy Mitchell tenor saxophone, alto saxophone; Gene Kee, piano, alto horn; Art Davis, bass; Jual Curtis, drums; Ray Barretto, conga
Live "Museum of Modern Art", New York, July 6, 1961

11030 African lady (unissued)
11031 Bantu
11032 Just waiting (unissued)
11033 Melba's blues
11034 Nothin' but the truth (unissued)
11035 Maggie's theme (unissued)
11036 On Green Dolphin Street
11037 Wild deuce
11038 I got it bad (unissued)
11039 Bluish grey
11040 Home fries
Grey's blues

Track Listing

Bluish Grey	Thad Jones	July 6 1961
Wild Deuce	Gene Kee	July 6 1961
On Green Dolphin Street	Kaper, Washington	July 6 1961
Bantu	Randy Weston	July 6 1961
Melba's Blues	Melba Liston	July 6 1961
Home Fries	Gene Kee	July 6 1961
Grey's Blues	Al Grey	July 6 1961

Liner Notes

WHEN AL GREY AND BILLY MITCHELL appeared on one of the afternoon programs at Newport '61, they blew up such a storm that they were instantaneously retained for a return engagement on the highly competitive evening bill. Needless to say, Al and Billy broke it up under the kleig lights, just as they had in the bright sunshine. These two graduates summa cum lande from Count Basie's Advanced Academy of Swing know how to put the jazz message across.

Al and Billy made the trip to Newport alone. The budget which allowed for Judy Garland with 30 pieces could not be stretched to accommodate Al and Billy plus 4. The full sextet was launched on the nation's jazz scene, after spring training in Pennsylvania and a warmup at a Village Vanguard Sunday session, at the event which has been preserved in essence on this album. It was the second concert of the second season in Metronome's 'Jazz in the Garden" series at New York's Museum of Modern Art. We booked the Grey-Mitchell Sextet because we believe that one of the main functions of the concerts, presented in surroundings and under auspices considerably nobler than usually accorded to jazz, is to present new and exciting groups and musicians to the public and the jazz world. (And undeservedly neglected veteran talent as well.)

Metronome is pleased and proud to have had a hand in the successful launching of this hne new group, and doubly pleased that Argo Records shared our feelings about it. These feelings were echoed by our good colleagues on Down Beat, who said that the sextet has "that special, immediate and warm quality that will make it successful."

One of the nice things about this band is that it is a band. It has a unity of purpose and a cohesiveness which is, sadly missing in many of the current assemblies hastily gathered in the recording studios. Considering the background of the co-leaders, this doesn't seem odd at all. Al Grey's biography was outlined in inimitable style by Jon Hendricks in his liner-notes to Al's second Argo album. "The Thinking Man's Trombone" (Argo LP 677). Suffice it to say here that Al has paid his dues with a veritable Who's Who of great jazz bands: Benny Carter, Jimmie Lunceford, Lucky Millinder, Lionel Hampton, Dizzy Gillespie—and Of course, Count Basie. In early 1961, Al decided to split from the Count's fold, joining a sudden exodus that had begun with Joe Williams and Joe Newman. Billy Mitchell, who had joined Count at almost the same time as Al, made the leap with him. Billy, though born in Kansas City, grew up in that spawning-ground for contemporary jazz talent: Detroit, the Motor City. He, too, has considerable major league jazz experience under his belt. including service with Lunceford, Millinder, the famous territory band of Nat Towles, Woody Herman, and Dizzy Gillespie (the latter when Al was also on the band). In between, Billy headed his own groups in Detroit. Among his sidemen were such current luminaries as Thad and Elvin Jones and Tommy Flanagan.

Both men have found their own personal voices. Al Grey is famed for his plungermute work, continuing a tradition which is most closely identified with Duke Ellington's immortal Joe "Tricky Sam" Nanton. Aside from his expertise with the plunger, Al is a master of modern trombone with few peers in the realms of speed and control. On this album, Al also returns to his first instrument, the Baritone Horn, on which he displays a big, warm and mellow sound.

Billy Mitchell was Basie's star tenor voice during his tenure with the band, and with good reason. He is a true master of the tenor. Though strongly rooted in mainstream tradition, his style is no eclectic amalgam of influences. Billy is strictly his own big-toned, aware and swinging self. On this album, you will also hear him on alto, during the proceedings on Home Fries. Billy also plays clarinet when the occasion requires.

The co-leaders are not only 'doublers" in the band. In Gene Kee, the sextet has a quadruple-threat man who plays piano and Alto Horn (or "Peck Horn," as it is commonly known), and is a gifted composer and arranger as well. This album reveals all aspects of his talents excepting one: Gene Kee is also a trained audio technician. Trumpet man Henry Boozier cuts the arrangements in style, and in Jule Curtis Al and Billy have found a young drummer who keeps time instead of indulging himself in displays of gymnastics. On this album, his team-mate is one of the outstanding young bassists of the day, Art Davis. On two of the selections, the group is augmented by Ray Barretto, whose congas are jazz-educated.

In today's highly restricted jazz market, it is no easy thing to launch and sustain a new group. But we believe that the Al Grey-Billy Mitchell Sextet has what it takes for the major leagues, Blue is Grey, a Thad Jones original, opens with soft locked-hands piano over a beat straight from Father Basie's good book. Al leads the neat opening sermonette, then launches into some straight talk with the plunger. Billy enters on a blue phrase, stretches it for size and delivers some impassioned blues. Ensemble prepares for the landing, accomplished with a final plunger roar.

The sextet's varied palette of sounds and moods is next displayed on Gene Kee's Goose. which corncs on like a whole flock. A neatly scored ensemble opening sends Billy into a succinct statement with both roots and antennae. Al emerges from the background riff for a mellow but stern message on baritone horn, whereafter a commendably brief drum solo sets the stage for a short visit to Cuba — and out we go. This performance is together, with Curtis' drumming in the groove.

Green Dolphin Street is a romantic locale. Kee's arrangement, showcasing him on alto horn, has a sound and feeling reminiscent of the great Tadd Dameron. (Another nice thing about this band is that things keep happening behind the soloist — maintaining both his and the listeners' interest.)

An intriguing aspect of contemporary jazz-orientation is aired on Bantu, the third movement of Randy Weston's "Freedom, Africa" suite, here scored by the gifted Miss Melba Liston. After a mysterioso opening, the Bantus emerge in full cry. Al, again on baritone horn, delivers the call to arms, where-upon Ray Barretto, with solid support from Curtis, sends out the signals. The ending is a gas.

Side Two opens with another contribution from Miss Liston, this time in the dual role of composer and arranger. (Melba was in Dizzy's talent incubator along with Al and Billy.) Melba's Blues is blue indeed, opening with Art Davis walking like a natural man with nothing but the blues on his mind. The tempo is one which challenges the group's ability to swing — playing slow is harder than racing. They come through with applomb. Al's sermon is almost ominous in mood; Billy is both tough and lyrical. Art Davis' plucked solo is the blues with a smile. Art continues to the fore during the concluding ensemble.

Gene Kees Home Fries are a species of soul food not recommended for ulcer diets. The harmonic climate is minor. The solos flash by: Kee comes on like a French Horn, Billy's alto soars, Boozier's only solo of the date is brief but literate, and Al's contribution includes a quote from "Summertime' plus a characteristic coda.

The session ends with a happy opus by Grey, Ray's Blues, dedicated to congaist Ray Barretto. Drums and conga set the stage for a riff; a call-and-response sequence pits Al's trombone against the ensemble and sends him off on a wild and wooly ride. The riff returns to launch Billy on a free and rousing romp which dumps the listener right into the percussionist's lap. Messrs. Barretto and Curtis have a ball, and a brief restatement of the theme wraps up the concert in style.

Dan Morgenstern

LP-677

Al Grey - The Thinking Man's Trombone

Released 1961

Recording and Session Information

Joe Newman, trumpet; Al Grey, Benny Powell, trombone; Billy Mitchell, tenor saxophone; Charlie Fowlkes, baritone saxophone; Freddie Green, guitar; Eddie Higgins, piano; Eddie Jones, bass; Sonny Payne, drums
Chicago, August 23, 24 & 25, 1960

10385 Tenderly
10386 When I fall in love
10387 Don't cry baby
10388 Al-amo
10389 Rompin'
10390 King Bee
10391 Salty papa
10392 Stranded

Track Listing

Salty Papa	Al Grey	August 23-25 1960
Don't Cry Baby	Johnson, Bernie, Unger	August 23-25 1960
Stranded	Frank Foster	August 23-25 1960
Rompin'	Frank Foster	August 23-25 1960
King Bee	Al Grey	August 23-25 1960
When I Fall In Love	Victor Young	August 23-25 1960
Al-amo	Thad Jones	August 23-25 1960
Tenderly	Lawrence, Gross	August 23-25 1960

Liner Notes

AL GREY is the thinking man, acquainted with all kinds of musical facts, and "The Thinking Man's Trombone" is what Barbara J. Gardner calls his axe. It was in 1945 that Al first started thinking on the stand, when he joined Benny Carter's band.

"Benny Carter was the first band I played with. That's where I got the foundation. He used t'stay on me so, he's such a masterful cat — a teacher, really."

When Benny quit it and went into the Hollywood studios where the giggin' is easy and the bread more steady, Al and the rest of the band were on notice, so when the magnificent Jimmie Lunceford came, saw, and offered Al a chair, Al was ready.

"Jimmy and I had the same birthday, June 6, so we always celebrated together. With Benny everything had been played long, but with Jimmy everything teas played short, altogether different. He was somethin'!"

After Mr. Lunceford's untimely demise in 1947, Al went with Lucky Millinder, a bandleader who didn't play note one on any kind of horn, but whose band included — at one time or another — practically every present-day great jazz musician ever born. To drop names is not my intention. Besides, they really ARE too numerous to mention.

"We was always swingin."

After Al departed the Millinder camp, he went with Hamp.

"We played that hand-clappin' music - them crows-pleasers."

From Lionel Hampton, Al, tired of roamin' and ready to rest a bit, entered the studios with Sy Oliver and for awhile that was it. Then, tired of sittin' on someone else's stand, Al formed his own band.

"We played the southern circuit...like B.B. King an' them...seldom got up home for any length of time. We were mostly playin background for rhythm-and-blues...Gatemouth Brown was shoutin' blues with us for awhile...seldom chance to play..."

So Al quit, retired to Philly, then joined Bullmoose Jackson. From that job Al went with Arnett Cobb, and from there to a most exciting stand with Dizzy Gillespie's big band.

"That was it."

Then, in 1957, when Diz called it quits, Al went with Basie, where he now sits.

After being with practically every thinking man in jazz, except Duke Ellington, it's no wonder Al Grey is a thinking man. It's hard to remember when he wasn't sitting with a band full of thinking men, each of them with his own way, and each of them teaching Al another way t'play, so that, even though he's still in tender days, he can play all different ways!

Salty Papa Blues is the instrumental introduction to a Dinah Washington blues that got it every ounce, especially around Hastings Street in Detroit, where Paul Williams turned it into The Hastings Street Bounce. Don't Cry, Baby was an Erskine Hawkins hit, sung by Jimmy Mitchell in his way, sung here by Al Grey, arranged for tenor, trumpet, baritone, and two bones by Thad Jones. Stranded, is composed and ranged by Frank Foster, and you can hear the cats cryin' because the promoter done dealt with 'em underhanded, split with the bread, and left 'em stranded. Rompin' is Frank Foster's sequel, tellin' what the cats were doin' on the very next gig, after bein' stranded outa' their wig.

King Bee is Al Grey's all the way, composition. arrangement, and gig to play, written for Clifton (King Bee) Smith, a Houston, Texas deejay.

"Clifton was a big help in those days (southern barnstorming.) He helped so much until I said, 'One day I'm gonna' write a tune and name it for him and record it."

When I Fall In Love is arranged by Nat Pierce, the other piano player with the Basie crew, and it's pretty. too.

Al-Amo composed and arranged by Thad Jones, is a light, bright, crisp, smooth, modern ditty — very pretty.

Tenderly was arranged by Clare Fischer, pianist with the Hi-Lo's, America's prettiest-sounding vocal quartet. It is played a capella, and Thad is directing, don't forget.

"People like to listen to music, and sometimes they like to have somethin' to dance by too, just that good feelin'."

That's what Al says. That's the way it was, and in this album, giving that good feelin', is just what Al Grey does.

Jon Hendricks

LP-653

Al Grey - The Last Of The Big Plungers

Released 1960

Recording and Session Information

Al Grey And The Basie Wing
Joe Newman, trumpet; Al Grey, Benny Powell; trombone; Billy Mitchell, tenor saxophone; Charlie Fowlkes, britone saxophone; Floyd Morris, piano; Eddie Jones, bass; Sonny Payne, drums

Chicago, September 25 & 28, 1959

9750 Bluish Grey
9751 I got it bad
9752 How come you do me like you do?
9753 Things ain't what they used to be
9754 Open wider please
9755 Don't get around much anymore
9756 Bewitched, bothered and bewildered
9757 The elder
9758 Kenie-Konie

Track Listing

Things Ain't What They Used To Be	Ellington, Persons	September 25 & 28 1959
Open Wider, Please	Al Grey	September 25 & 28 1959
I Got It Bad	Ellington, Webster	September 25 & 28 1959
Don't Get Around Much Anymore	Russell, Ellington	September 25 & 28 1959
How Come You Do Me Like You Do	Austin, Bergere	September 25 & 28 1959
Bluish Grey	Thad Jones	September 25 & 28 1959
The Elder	Thad Jones	September 25 & 28 1959
Bewitched	Rodgers & Hart	September 25 & 28 1959
Kenie-Konie	Frank Foster	September 25 & 28 1959

Liner Notes

AS A RULE, when young men have grown up in relative respectability, there is an entire pulsating slice of life with which they are not ordinarily acquainted. Apparently the members of this Al Grey octet are notable exceptions as, in this album, they chop a big, meaty chunk from the shank of life and cook.

Count Basie and his men should not really own the monopoly on swing and drive - another fact of which these Basiephiles seem to be unaware. They swing with a drive and ease derived from imperious self-confidence and the results lend some credence to the Basie-Has-An-Exclusive-On-Swing assumption.

Here seven Basieites and a worthy Chicago trespasser capture a large segment of life and explore every possible facet of its existence. The group expresses the warmth of love, the exuberance of swing, the funk of blues, and even takes a healthy whack at the reminiscence of Dixieland.

The big baritone of Charlie Fowlkes, the additional solid backing from the trombone of Benny Powell, along with the nudging, slightly kicking push from drummer Sonny Payne transform this group from a small combo sound to a cohesive full swinging aggregation with body and depth.

The four original tunes and the arrangements are by two of Basie's most featured instrumentalists and arrangers, trumpeter Thad Jones and saxophonist Frank Foster. Both are heavy contributors to the Basie book and here they have designed the perfect frameworks for individual expression of each soloist.

Jones, an accredited member of the musically prolific Jones Family Organization, wrote the romping, saucy Bluish Grey and The Elder.

When among friends, Thad uncorks a few of the imaginary characters who travel the circuit with him constantly. Among the childhood disciplinarians he recalls are the school teacher, the social dignitaries, and the ever impressive Baptist Elder. Here we meet the Elder in all his resplendent authority, and the combo is shouting his message.

Renie-Konie and Bluish Grey are the originals written by Frank Foster. Foss, as he is referred to by his co-workers, seems to be a kissing cousin of the blues, and their steaming, smoltering suggestion seldom escapes his pen. Kenie-Kouie is the original written especially for Al.

Kenie-Konie, underneath that intriguing foreign flavor, actually means nothing in any language. It is an expression attributed to Basie guitarist Freddie Green who uses it in preference to "thingamajig" and "Whatchamacallit." Foster arranged all the standards on the date.

As for the chef of this cooking fest, 34.year-old Albert Thornton Grey of Aldie, Va., first attracted the attention Of musicians While serving in the navy, and upon being discharged he worked with many of the leading bands. including Jimmie Lunceford, Arnett Cobb, Lionel Hampton, and Lucky Millinder. He received greatest acclaim after joining Dizzy Gillespie's big band in 1956.

At the collapse of that band in 1957, Grey joined Count Basie. His powerful attack and sputtering, forceful drive leave critics undecided as to whether Grey is the last of the big deals or the first of the new. The name of this album however is coincidental with this factor. It refers instead to the plunger mute which Grey used for the date.

From the throbbing opening led by bassist Ed Jones, punctuated by the piano of Floyd Morris and the growling trombone of Grey, the group begins the long push and they don't let up until time to put away the instruments in their Kenie Konies.

Young modern fans, the mature traditional listeners, the followers of experimentalization — in short, jazz fellow travelers everywhere — should extract a big emotional charge from the Last Of Big Plungers.

Barbara J. Gardner