LP-657

The Herb Pilhofer Trio

Released 1960

Recording and Session Information

The Herb Pilhofer Trio
Herb Pilhofer, piano; Stuart Anderson, bass; Dale Olinger, guitar
Ter-Mar Recording Studios, Chicago, 8th and 9th September 1959

Valse Hot
Sweets
More than you know
The Duke
My Ship
Trio
A ship without a sail
Isn't it romantic?
It might as well be spring
Godchild

Track Listing

Valse Hot	Sonny Rollins	September 8 & 9 1959
Sweets	Bill Russo	September 8 & 9 1959
More Than You Know	Youmans, Rose, Eliscu	September 8 & 9 1959
The Duke	Dave Brubeck	September 8 & 9 1959
My Ship	Weill, Gershwin	September 8 & 9 1959
Trio	Herb Pilhofer	September 8 & 9 1959
Ship Without A Sail	Rodgers, Hart	September 8 & 9 1959
Isn't It Romantic	Rodgers, Hart	September 8 & 9 1959
It Might As Well Be Spring	Rodgers, Hammerstein	September 8 & 9 1959
Godchild	George Wallington	September 8 & 9 1959

Liner Notes

A GOOD PORTION of American jazz, like many other areas of entertainment, is embroiled in a star-system that exults the individual performer and discourages ensemble efforts.

Many groups have no choice but to build their work around a featured performer because they lack the ability to perform as an integrated unit. Such groups are quickly transformed into the promotion man's "personality" product.

And so it is indeed refreshing to find a group like the Herb Pilhofer trio that produces that scarce commodity, ensemble jazz, and with such extremely good taste. So emphatic is Pilhofer about the group concept that he rejected several bookings that would have featured him with bass and guitar. It was the group or nothing, a decision that delayed wider recognition, but kept Herb's musical philosophy intact.

Argo has, with this album, acknowledged the honesty and integrity of Pilhofer's bias. As one observer remarked while listening to the tapes, "it's the whole cloth, without any superfluous embroidery."

It is a good metaphor for describing the trio's work, comparing its music to a rich and finely woven fabric. No matter what the trio cuts from the bolt it applies its craft masterfully.

This album demonstrates Pilhofer's theories Of unity, There are no exhibits of individual talent at the expense of thc trio. It's the total instrumentation — piano, a guitar, and a bass — that prevails. One exception is Pilhofer's solo performance of It Might As Well Be Spring. Still, this an obvious showcase for the piano and not misappropriation of the unit.

The son of a building contractor, Pilhofer was born April 18, 1931, in Nuernberg, Germany. He began studying at the family box-styled piano when he was 17 with thoughts of being commercial artist (illustrator) still in his mind.

"I was sparsely trained, but developed an early interest in jazz from listening to American recordings. I used to try and play like Teddy Wilson, but I soon realized that what I was doing wasn't honestly me, I guess I developed my own style gradually."

Pilhofer resists efforts to identify him with any particular school of pianists. His strong individuality happily defies most labels.

He organized his own small combos, trios and quartets, and played in the Nuernberg area and in USO Camp shows. He arranged and recorded for Radio Munich where he learned the rudiments of composition arranging.

An army captain from Baltimore, Md., sponsored Pilhofer's trip to the United States. The day he left Germany he married an Albert Lea, Minn., girl who was studying in Vienna. "I got stranded in the Twin Cities because she (his wife, Margery) was from Albert Lea."

Shortly after settling in Minneapolis he organized a trio that has, at times, tripled its size. The Pilhofer groups have in constant demand by club owners, concert directors, and civic promoters.

Pilhofer has continued to grow musically. In January, 1960, he added a drummer to the trio and appeared with the Minneapolis Symphony orchestra in the premier performance of his Three Pieces For Jazz Quartet and Orchestra. The success of the composition, which daringly allows improvisation within the orchestral framework, was immediately apparent when audience called the group back to repeat the third piece.

While working six nights a week at various Twin Cities clubs, attending school and teaching, producing commercial recordings and composing, Pilhofer has found time to write arrangements for Chico Hamilton and Art Van Damme. A Minneapolis church uses a children's songbook composed by Pilhofer.

Dale Olinger, a 38.year-oId Minneapolis native, was first a trumpeter and during the late 1940s with the Claude Thornhill band. He returned to Minneapolis and played with local groups including the Lou Levy quartet. His playing is undergoing steady improvement with particular attention to developing his technique. A member Of the trio for the last two years, Olinger has done some writing for the group, He teaches guitar and piano.

Stu Anderson, leads a double life as an English and speech teacher by day and bassist by nighL A University of Minnesota graduate, he majored in English and music. He also worked with Levy, the late Serge Chaloff, and Conte Candoli

"The most admirable feature of both is their lack of musical prejudices. Both are willing to experiment. That's a healthy attitude that adds to our strength," Pilhofer said.

"Since the guitar and piano are both chordal well as melodic instruments they can really get in each other's hair. This problem — which I often encountered with other guitarists — never seems to arise with Dale. We complement each other.

"And Stu has such a good harmonic rhythmic sense. So many younger bassists play their instruments like violin. They ignore its basic purpose. Stu never gets in the way and always seems to when you need him."

Pilhofer thinks his partners in the trio have the proper philosophy of trio jazz. "We've agreed that we are not intercstcd in 'manufacturing' a style at the cost of becoming stereotyped. We don't want to straight-jacket a tune for the sake of a sound, something that may be commercially good but musically restricting."

Charles Hanna