MJT + 3
Released 1957
Recording and Session Information
Sheldon Recording Studio, Chicago, 1957
Paul Serrano, trumpet; Nicky Hill, tenor saxophone; Richard Abrams, piano; Bob Cranshaw, bass; Walter Perkins, drums
Ray's Idea
My one and only love
End of the line
They can't take that away from me
Egypic
No name
Temporarily out of order
Little brother
No land's man
| Ray's Idea | Brown, Gillespie | 1957 |
| My One and Only Love | 1957 | |
| End of the line | R. Abrams | 1957 |
| They can't take that away from me | George Gershwin | 1957 |
| Egypic | R. Abrams | 1957 |
| No name | R. Abrams | 1957 |
| Temporarily out of order | R. Abrams | 1957 |
| Little brother | R. Abrams | 1957 |
| No land's man | R. Abrams | 1957 |
Liner Notes
Had anyone but Holmes Daylie asked me to audition a new jazz group I would have said that I would be only too happy to do so sometime when the group is in this vicinity. But then, Daylie isn't iust anyone. He is better known to Jazz people as Daddy-O-Daylie. Daddy-O is one of the very few disk jockeys who knows a good record from a bestseller. And, what is more, Daddy-O will get out on a limb to make a good record a best seller! So — I auditioned the group one Monday afternoon. The first thing that hit me was that this was a unit, not just a group of good soloists. This was an integrated group. They knew what they were doing, and they had a good idea of where they were going. They were neat, tidy, and most important, they were enthusiastic. For a bit I felt that the boys were too young to be so good, then I realized that there is no age-bracket in Jazz — you have it or you don't. Just as simple as that. What really bothered me was that I have neither heard, nor heard of this group. (When you're supposed to be on top of the Jazz scene, according to press notices the first thing you know you get to believe that you are aware of anything moving in that area.)
Daddy-O set me straight on that. The boys had rehearsed for almost two years, but had never played as a unit on the separate jobs each had. The boys asked Daddy-O to take them in hand. He agreed to do so only if they continued their rehearsals and then allowed him to be the judge as to when they were ready. Eventually they were ready and then Daddy-O set his talents to work. He obtained a recording session for them which produced this album. He talked me into an audition and that turned into an extended engagement at the Blue Note.
There was never a doubt in my mind, once I heard them, that the MJT Plus Three would be a splendid addition to the Blue Note artists. And, from the enthusiastic letters I received after their first Monitor Broadcast from the Blue Note, I know that many people across our land share my opinion.
The first thing that will impress you when you listen to this album is the enthusiasm that the band projects, and that enthusiasm is real! The band is serious; they work hard and they are capable musicians. You know that they have listened to the masters, and then developed a style of their own. They are the living example that Jazz is for the living and that every morning's sun is an invitation to rise above last night's performance. There is starlight in their eyes and you better know it!...M.J.T. Plus 3 2 horns and 3 rhythms — the two horns being Paul Serrano on trumpet and Nicky Hill, tenor — Walter Perkins, drums — Bob Cranshaw, bass — Richard Abrahms, piano.
Somehow Daddy-O doesn't let things drop after he gives them a start. He had a friend, LeRoy Winbush, design the album cover to fit the mood of a progressive band, and I feel that he has caught the flavor of their progressiveness with his molecular design. But, the flavor is not only preciseness — it is warmth, and that's for me! George Coleman currently featured with MJT plus 3 on tenor and alto sax.
NOTES BY Frank H. Holzfeind noted Jazz authority and proprietor of Chicago's Famous Blue Note
LP Technical Notes
This recording was made at a tape speed of 15 inches per second on an Ampex Model 350 precision studio tape recorder. There were a total of seven microphones used on this session. The microphones being picked for their particular recording characteristics and were associated with instruments which they best reproduced.
The observant listener can detect a small amount of synthetic reverberation or echo which has been added to brighten the otherwise dead sound of a modern recording studio. This will not in any way diminish the quality of the reproduction, but merely replace what is necessarily lost in favor of good separation. Many people will argue whether or not synthetic echo should be added. However, when one understands the complexity of tones created by a modern group, they can understand the need of complete control by the engineer over the group. In many cases, close balances are desired between two instruments which produce no where near on equal amount of energy. There has been no effort to limit or compress the dynamic range of this recording as is often done on popular records. A balance was achieved at the time of original recording, and extreme care has been taken to main tain this original balance.
The transfer from tape to disc was again done with Ampex tape machinery feeding a Grampain cutter head. Thie total time of each side of the LP was limited so as to afford an optimum balance of modulation vs. pitch. The original Lacquer master was a 16 inch disc cut with an 87-degree heated stylus, having a tip radius of .00025 inches. This recording should be played back at a speed of RPM with a one mil radius stylus, a diamond or sapphire stylus in good condition is recommended. The play back cartridge should be of reasonably high compliance and balanced according to manufacturer's specifications. (Approx. 6 grams 0t stylus tip,)
The play-back equalization should agree with the published RIAA curve. If these recommendations followed. you can be assured of a faithful reproduction of the original recording session.
