Bess Bonnier Trio - Theme For A Tall One
Released 1958
Recording and Session Information
Chicago, January 12 1958
Bess Bonnier, piano; Nick Fiore, bass; Bill Steen, drums
All The Things You Are
The Thrill Is Gone
Tones For Bones
Theme For The Tall One
Dorian
Blue Room
A-Train
Trolley Song
| All The Things You Are | Kern, Hammersetin III | January 12 1958 |
| The Thrill Is Gone | Henderson, Brown | January 12 1958 |
| Tones For Bones | Nick Fiore | January 12 1958 |
| Theme For The Tall One | Nick Fiore | January 12 1958 |
| Dorian | Bess Bonnier | January 12 1958 |
| Blue Room | Rodgers, Hart | January 12 1958 |
| A-Train | Billy Strayhorn | January 12 1958 |
| Trolley Song | Blane, Martin | January 12 1958 |
Liner Notes
PORTRAIT OF THE ARTIST
To arrive at the threshold of one's career at age 29 would seem a little tardy for many musicians but to Bess Bonnier it seems a natural age. She's been in music since she studied it in Braille classes in Detroit Public Schools, and many times since. Bess had to use downright pluck and insistence to advance herself in music.
As a 13-year-old, for example, Bess was asked to play with a band for a Navy benefit dance, and for some inexplicable reason, the fuzzy-faced band trouped in three hours late. Young Bess had showed her stuff alone however, by playing piano in her inimitable beginner's style just to keep the party going. The sailors were happy and Bess's courage — if not her ability — had been established. Bess. at 16, knew nothing of jazz, but wanted to in the worst way. After a tryout she suffered those unique, searing pains of adolescence when she was told she wasn't good enough for a jazz combo. Bess vowed to learn jazz piano and thereupon did. A few years later when she was studying music in college, her professors told her they didn't think jazz very feminine and would Bess pay more attention to her studies? Bess, at the time, was happy to be in the company of a group of unlettered jazz musicians at the Chatterbox — a soda & hamburger spot of the period — and she recalls her experience there as "surviving some rough people and some rough situations, but loving it all."
Bess Bonnier's 18-year involvement with music has considerable range: early days of learning by lesson and rote; an innocent and awkward introduction to jazz; grubbing for fees of two dollars and up for playing at YWCA's and Ukranian, Polish and Italian weddings; playing for fun in joints; finally playing for money in joints; and now her first LP — "Theme For The Tall One." Some of her best and most satisfying stints were with Dizzy Gillespie, Stan Getz, Wardell Gray and Frank Rosolino — all well-traveled gents — but Bess insists you don't have to travel to develop. "Four walls are four walls anywhere," she explains.
Bess says jazz was "a disease with me at 17." She had no piano so she practiced in Room 323 at Northern High, a school with a 75-percent Negro enrollment. She lived in a Strong Negro environment from then into her twenties.
"Playing jazz scientifically is ridiculous," Bess maintains. Her own music reflects this belief; her style is close to that loosely called "Negro music" — warm, swinging and primitive.
Her tastes in music, however. are catholic. In her salad days she memorized entire concertos — 50 to 60 pages of sheet music — an she is fond of Bach, Prokoviev, the full range of folk music, Dixieland, and the vocals of Crosby, Sinatra, Como and Cole. Bess doesn't even complain much about the noise of Rock and Roll.
Bess feels her marriage in 1949 to Tom Makres in St. Constantine & Helen Greek Orthdox Church gave her a solid foundation for a career. Her husband baby sat while Bess played club dates, he handled her tax problems and union business connected with managing a group; and he provided a critical ear for her music. Besides, Tom Makres supported good wife Bess and their children — Dorian, 7, Stanley, 5, and Billy, 2. According to Bess, steady husband Tom is "great, because the man knows what's happening."
Our lady was delighted but composed when she learned "Theme For The Tall One" - her first attempt at recording — was going to be released. But she kind of expected this sort of break. Bess explains: "If you have creativity, drive and will, there is no barrier for a person in the arts. You just have to keep plugging."
It is very likely her children will learn this brand of gumption from their mother. Currently. they are in varying stages of learning music. Bess says "they all carry tunes beautifully, thank you." So does mother Bess Bonnier."
NICK THIMMESCH
SKETCHES
Detroit, a city long known as a fertile area in the production of musicians has done it again with a sparkling new group.
This is the fist recorded effort of three young talented people, the Bess Bonnier Trio.
The youngest member of the group is 21 year old Bill Steen, the drummer, but Bill is no less experienced because of his youth.
After serving a fruitful apprenticeship with groups in Detroit, Bill went to New York in 1955 where he joined the Claude Thornhill organization. While there, Bill found many opportunities to gather further experience by sitting in at many sessions.
When Bill left Thornhill, he travelled to Chicago, where he joined the Jimmy Palmer band, and played with them till the formation of the Trio.
Nick Fiore the bass player at 29 has acquired a wife, a child and a considerable knowledge of music.
He was born in Philly, but he left the "brotherly love scene" in 1953 to come to Detroit, which he now calls home.
His first instrument was the trumpet, but in 1950 Nick up the bass merely to have a side instrument. As talent will out, it soon became obvious that the trumpet took second fiddle to the bass. Later Nick became intrigued with the sound of the Mellophone, learned that horn and now uses it as his second sound.
While Nick resided in Phillv, he played with several accomplished local combos and finally worked with the Red Garland and Slim Galliard groups.
In this album he shares equal honors in arranging with Bess and also two of the three original compositions are his.
Bess, 29 and the matriarch of the group is an amazing person on and off the piano. Although affected with blindness from birth, Bess surmounted this formidable obstacle to become not only an extremely proficient pianist, but also an efficient housewife and part-time scholar.
Bess spends about 26 hours a day between her chores, her attendance at Wayne State University and a gig at nite.
For the past ten years the better Jazz clubs in Detroit have steadily used her talents where jazz devotees have heard her with such notables as have been previously mentioned and such local successes as Pepper Adams, Kenny Burrell, Paul Chambers & Billy Mitchell.
The Trio has only been together for nine months, but the members integrate like a three headed person, Bess's earthy piano is the jewel in the setting; she is ably flanked by Nick Fiore, a groovy bass player and creative arranger, and Bill Steen, a clean, tasty drummer.
The group was originally a piano and bass duo, but both Nick and Bess felt that they needed more depth to their sound and happily Bill came on the scene at just the right moment. Together, they achieve a tightly knit and well rehearsed swinging sound.
All The Things You Are; As this track opens, the trio manages to create the illusion of being a full symphony orchestra. Notice the wonderfully resonant sound Nick's bowing achieves in the background of the first two choruses. Then the piano lady comes on like gang-busters with a strong imaginative moving solo for a chorus and a half, only to surprise us by leading us back into the concert hall.
The Thrill Is Gone; opens with a haunting near-east wail and eases smoothly into a brief Bachian vein. The classical favor is maintained through the first chorus except where it is interestingly accentuated by Bill's Latin beat. The next two choruses are swung solo-wise by Bess and it is apparent that "The Thrill" is definitely not gone.
Tones For Bones; This is a Fiore original, a blues that really stomps along. Bess and Nick take a solo apiece and then play fours. The group ends by wailing together.
Theme For The Tall One; Nick Fiore wrote this one too. It is dedicated to Bess's husband Tom who is the "Tall One". He stands 6'2 1/2" in his sweat socks.
"Theme" is a catchy tune with Bess's forcefully moving piano showcased through the first three choruses. Then Bill joins Bess in a game of catch, tossing four bar solos back and forth. On the last chorus the group tightens up and moves on out.
Dorian — is an original Bonnier opus. The tune was written for Bess's seven year old daughter, Dorian, and was undoubtedly inspired by her sometimes solemn, sometimes capricious nature.
The opening melody is a bittersweet waltz which has a Russian folk music quality about it. Nick breaks the mood by introducing 4/4 tempo which is picked up by Bill and Bess. After a piano solo, Nick comes on real strong for half a chorus and finally eases the group back into 3/4 time to end this very lovely piece.
Blue Room; In this number, the Trio opens the door to an eighteenth century "Blue Room", then abruptly slams it shut with a "funk". Then Bess takes charge and smokes her way through a two chorus solo. The next solo is taken by Nick, who has lots to say. The Trio then closes "Blue Room" the same way they entered it — swinging.
A — Train; The old A-Train gets of to a flying start and maintains it's near furious pace through an arranged first chorus and a free wheeling two chorus ad lib solo by Bess until it finally pulls into the station
at the end of the fourth chorus.
Trolley Song: The "Toonerville Trolley" bumps along so merrily that nothing need be said about it because the listener will stay aboard with pleasure till the end of the line.
RAY GLASSMAN
KLEIN GALLERIES—SCULPTURE
CHESS PRODUCING CORP.
CHICAGO 16, ILLINOIS
JACK WIENER—RECORDING ENGINEER
JANUARY 12, 1958—RECORDING DATE
DAVE USHER—PRODUCER
RAY GLASSMAN—COVER DESIGN
DON FLAVIN—COVER PHOTO
