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