LP-622

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.

LP-621

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.

LP-620

Clark Terry – Out On A Limb

Released 1957

Recording and Session Information

Sheldon Recording Studio, Chicago, July 26 1957
Clark Terry, trumpet; Mike Simpson, clarinet, tenor saxophone, baritone saxophone; Willie Jones, piano; Ray "Remo" Biondi, guitar; Jimmy Woode, bass; Sam Woodyard, drums

Caravan
Candy
Clark's expeditions
Trumpet mouthpiece blues
Phalanges
Blues for Daddy-O
Jazz patio blues
Basin Street blues
Daylite express
Taking a chance on love

Caravan	Ellington, Mills	July 26 1957
Candy	Whitney, Kramer	July 26 1957
Clark's expeditions	Terry, Simpson	July 26 1957
Trumpet mouthpiece blues	Terry	July 26 1957
Phalanges	Bellson	July 26 1957
Blues for Daddy-O	Terry	July 26 1957
Jazz patio blues	Terry	July 26 1957
Basin Street blues	Williams	July 26 1957
Daylite express	Terry	July 26 1957
Taking a chance on love	Duke-LaTouche	July 26 1957

Liner Notes

OUT ON A LIMB

Have you heard the latest...Clark Terry is the greatest. Sure, I'm going OUT ON A LIMB...but gee, it's getting pretty congested out here...because day by day...more and more gophers go for him.

In the early 40's, the tree of modern jazz was planted by Dizzy Gillespie, Thelonius Monk and the late Charlie "The Bird" Parker...then cultivated jealously by the late Fats Navarro, Bud Powell and Miles Davis...the art grew and branched out.

Among the new buds came the swingsational Clark Terry. Jazztistically speaking, Clark springs from a fertile musical milieu...here's a capsule review: Willie Smith, Gerald Wilson and Ray Anthony in the Great Lakes Naval Band, a short stint with Lionel Hampton and Charlie Ventura, an exciting year with Charlie Barnett...and then into the royal circle of jazz with the Count of Basie. While with Basie, the band was reduced to a septet that included the late Wardell Gray, Buddy De Franco, Gus Johnson and Freddie Green.

While on display in the regal showcase of the Count of Basie his majazztic musical ability was recognized Duke of Ellington. In '51 Clark joined Duke's aggregation and is currently with this organization.

In this particular session Clark was assisted by a group of Chicago studio musicians lead by the talented Mike Simpson. But even Mike, who plays tenor, flute, clarinet and baritone, marveled at Terry's conceptions in the Trumpet Mouthpiece Blues wherein Clark utilized the mouthpiece alone.

OUT ON A LIMB...Clark's trumpet sparks are twice as nice as a mother's advice. It unveils the great ability of this star and if you listen closely as Clark takes a solo...you'll see how delightfully easy and intelligently...he makes the pretty musical patterns grow...and you'll be in the know. And also remember...that Daddy-O told you so. So why not relax and appreciate this wax...and join me on Clark Terry's Limb...for too long a star has been dim.

Your musical host who loves you most
Swingcerely yours,
Holmes "Daddy-O" Daylie
W.M.A.Q., NBC, Chicago