The Jazz Exponents
Released 1958
Recording and Session Information
Chicago, 1958
Bob Elliott, trombonium, piano; Jack Gridley,vibraphone, piano, trombone; Norm Diamond, bass; Dick Riordan, drums
8952 Doodlin'
8953 Little Girl Blue
8954 Minor's Holiday
8955? Love Letters
8956 Soft Winds
8957 Bob' n' Weave
8958 The Preacher
8959 Button up your overcoat
8960 Delilah
8961 Bags' Groove
8962 Softly, as in a Morning Sunrise
8963 A Night in Tunisia
| Love Letters | V. Young, E. Heyman | 1958 |
| Doodlin | Horace Silver | 1958 |
| Minors Holiday | Kenny Dorham | 1958 |
| Night In Tunisia | Dizzy Gillespie | 1958 |
| Button Up Your Overcoat | De Silva, Henderson, Brown | 1958 |
| Bob 'N Weave | Bob Elliot | 1958 |
| The Preacher | Horace Silver | 1958 |
Liner Notes
This first Argo LP by the "Jazz Exponents" serves as an introduction, nation-wide of a versatile Jazz group that has tremendous popularity in the northern Michigan territory. It is also my first introduction to them...After auditioning the LP for the purpose of composing these liner notes, I hope to have the opportunity of being able to hear them in person. They have some very rare qualities, an awareness of the latest happenings in the ever-changing Modern Jazz repertoire; the technical and artistic abilities necessary to convey successfully their interpretations to an audience; and an obvious in-born talent for improvisation, without which the other attributes would be nil!
The leader is Jack Gridley, a triple-threat man, no less, from Saginaw, Michigan. Vibes are his main instrument, but his piano comping, and trombone playing are very outstanding. His organizational powers have helped maintain the young unit through its "scuffle" days.
Bob Elliot, also from Saginaw, was formerly lead trombonist with one of Jerry Wald's big bands, and now doubles on piano and trombonium. His is a lyrical style on piano and drivingly hot on trombone. His arranging talents are also in evidence in this LP.
The group is rounded out by Philadelphian, Norm Diamond on bass, and Dick Riordan, drums, from Sault Sainte Marie, Michigan. Diamond has strength of tone, plays the right notes, and maintains a steady pulse for the group to swing on. Riordan plays lightly but firmly, and has the all-too-rare feeling of just when, and when not to, punctuate the proceedings.
The "Exponents" in general, have two major sounds. Dominating side one, and the first tune on side two, is the vibes/piano and rhythm grouping, with the two-trombone, ala J & K, sound closing out the last three tunes of the album.
SIDE 1
The opening passages, in non-tempo concert-style by the piano, belie the musical interpretation that takes over after the vibes statement of the second half of the beautiful theme of "Love Letters", the kick-off tune of side one. The groove is relaxed, and after his first chorus, "Gridley digs in"! Elliot's piano solo has that spare quality that impresses most when so fragile a melody is involved . His ability to dig-in and stretch is also evident as is his ability to develop a figure into an interesting pattern. The steady, driving, but not overpowering, bass work of Norm Diamond keeps the entire rendition on an evenly pulsating keel till the retard into the non-tempo out chorus.
Horace Silver's, "Doodlin'", takes the number 2 slot, and after the unison vibes-piano statement of the theme rocks steadily into the vibes, then piano solos. This cut is perfect support for the argument that "good Jazz music is good dance music"! For, in both types of musical presentation the "swinging feeling" must permeate the entire proceedings...With the steady bass-work, and Riordan's "just right" accentuations, this is one of the most listenable and danceable "Doodlin's" ever recorded.
Another of Horace's fine compositions, "Minors Holiday", winds up the blowing on side l. Taken at a fast clip, Dick's "Blakey-like percussions" drive and spur Elliot's piano and Gridley's vibes into some really shouting inventions; his chorus of 4 bar breaks with piano multi-rhythm their way into the closing statement of the theme; and side 1.
SIDE 2
Dizzy's "Night In Tunisia" opens side 2 in a familiar exotic manner with leader, Gridley taking the famous break, on into his, the opening solo, on this Modern Jazz evergreen. Elliot on piano continues his melodic way deeper into the structure of the tune...The group then vamps into the out-chorus with Gridley "blowing" the bridge, and the chopped ending.
The entire sound of the "Exponents" changes with the remainder of the tunes on side 2. Instrumentation now has Gridley playing trombone in unison with Elliot's trombonium (upright valve trombone), with Elliot playing all of the solos, and Gridley returning to comp on piano behind him. Bass and Drums remain the same.
"Button Up Your Overcoat", leads off the "J & K" set with Elliot's facilities on the unwieldy "upright" just as outstanding as they are on piano...He takes a chorus of with drummer, Riordan, after his regular solo effort. The two bones then take it out.
"Bob 'N Weave", written by Bob Elliot, and featuring him throughout in the solo spotlight brings to light his composing abilities, and tags him as a comer in the crowded trombone field of Modern Jazz. Diamond's single bass solo of the set is walkingly interesting and lends a mellow variety to the proceedings.
Horace Silver's bright composing once more enters the scene in the "person of" "The Preacher". The twin bones open it up and give way to Elliot's trombonium solo, on which he really gets away, and if you please, "cooks"! Riordan once more displays his "fours" talent for a chorus with Elliot before Gridley again joins with his trombone to take out "The Preacher" and the closing side Of this, the first, "Jazz Exponents" Argo LP.
JOE SEGAL
Chicago Columnist
Metronome Magazine
Other Stuff
Billboard Review: 10 November 1958:
THE JAZZ EXPONENTS
Argo LP 622
The versatile jazz group has a distinctive sound on a fine selection of tunes which include "Night in Tunisia," "The Preacher" and "Love Letters." Each member ot the group which features Jack Gridley on vibes, piano and trombone; Bob Elliot, trombonium and piano; Norm Diamond on bass, and Dick Riordan show fine control. It's a fine first album for the group, and the set can be a good programming set for op as well as jazz jocks. It rates exposure.
