LP-634

Yusef Lateef - Lateef at Cranbrook

Released 1958

Recording and Session Information

April 8 1958, Cranbrook Academy of Art, Detroit
Yusef Lateef, tenor saxophone, flute, oboe, argol, percussion; Frank Morelli, baritone saxophone; Terry Pollard, piano; William Austin, bass, rebab; Frank Gant, drums, gong, finger cymbals

8829 Brazil
8830 Brother
8831 Shadrack
8832 Let Every Soul Say Amen
8833 Shaw 'Nuff
8834 Oscalypso
8835 Morning
8836 G.K. Blues
Woody'N You

Track Listing

Morning	Yusef Lateef	April 8 1958
Brazil	Ary Barroso	April 8 1958
Let Every Soul Say Amen	Yusef Lateef	April 8 1958
Woody'N You	Dizzy Gillespie	April 8 1958

Liner Notes

This is a record of a unique concert at Cranbrook Academy of Art on April 9, 1958. Cranbrook has been in existence since 1927 and one of the tenets of its teaching is that all arts are interrelated, especially with life. Among Cranbrook graduates have been architect Erro Saarinen; sculptor Harry Bertoia who is also known for the Diamond Chair; and inventive furniture designers Charles Ames and Florence Knoll.

The April concert marked the first time jazz was offcially presented at the school. The idea began with the students who delegated three of their number to contact Yusef. Yusef and his group visited the school, were impressed, and the concert was arranged. It was held in the right wing of the Cranbrook galleries with no admission charge. An overflow crowd of some 500 attended (Cranbrook is about 15 miles north of Detroit).

Most of the audience sat on floor mats. Around them were student paintings and rising among them were pieces of sculpture. Looking down, the scene was like a chess board from Through The Looking Glass. Visually, the interrelation of arts had taken place as if spontaneously, and the music added a further aural dimension.

The introduction to the concert was given by Wallace Mitchell who is in charge of the galleries and is Registrar of Cranbrook Academy of Art. He was the liaison between the faculty and the students in preparing the concert. The musicians were moved from the start at the receptivity of the audience and the fact that they appeared open to unexpected conceptions. They were not afflicted with what one composer has called "jazz imperatives" — preset definitions of what jazz has to be.

Yusef's group on this record has been with him some eight months at Klein's Showbar on 12th Street in Detroit where Yusef himself has been playing two and a half years. Yusef was born in Chattanooga, Tennessee, in 1920; moved to Detroit with his parents five years later. He began on alto, switched to tenor the next year, and by 1946, through an introduction by Lucky Thompson, he had joined Lucky Millinder's band. He worked with Dizzy Gillespie's band (he was then Bill Evans) in 1949. Yusef has been back in Detroit since 1930 and has been a leader since 1955. He now plays, among other instruments, tenor, flute, tambourine, gourd, and various eastern and near eastern wind instruments like the arghool.

Lithe Terry Pollard, who swings unerringly, was born in Detroit August 15, 1931. She's worked with Johnny Hill, the Emmit Slay trio, Billy Mitchell, and for several years on vibes as well as piano with Terry Gibbs. She returned to Detroit, played for a time with Sonny Stitt, but was largely inactive in music until joining Yusef about eight months ago. "After four years of nervous music," she says, "I had to get used to being relaxed with Yusef. I don't have to jump up and down all the time any more." Terry's feeling about Yusef's fusion of musical elements from other cultures with jazz is that "it's like making soup. The more things you throw in — if you know what you're doing — the better it is. Working with Yusef, you never get into a rut. We play real good funky blues; rhythms in 7/4, 5/4, and waltz times; and so many other things are also going on. And yet it's all relaxed."

Bassist William Austin was born in St. Louis on February 22, 1932. He played baritone saxophone for about four years, but taught himself bass while in the Air Force. He's worked with Barry Harris as well as Yusef and recorded with Sonny Stitt. Like Terry, he finds working with Yusef challenging because "his music has a different feel to it and there's always something else going on." With Yusef he doubles on the one-string rebab (the term generically is used for a family of string instruments, usually found in Moslem countries). It's played by harmonics, being tuned to whatever key the piece is in. Yusef describes some of its history in the introduction to Morning.

Baritone saxophonist Frank Morelli was born in Detroit, March 7, 1933. He began on alto at 14, switched to tenor, and finally took up baritone in 1953. He worked with Jimmy Palmer's orchestra out of Chicago and has been with Yusef since the beginning of the year. He feels attracted to Yusef's music because "it's soulful; always relaxed in whatever tempo it's played; and Yusef never plays any wasted notes."

Drummer Frank Gant was born in Detroit, May 26, 1931. He began on drums after high school, has been a professional since 1952, and has worked with Alvin Jackson, Barry Harris and the Terry Pollard trio. You can hear him here on a Chinese gong some 10 inches in diameter. He also plays bells and finger cymbals and earth-board although the last isn't heard in this album.

Yusef's Morning, he points out, "is a 16-bar structure; six bars based on F minor 7; 2 bars on G7; and eight on F minor 7. It came to me in the morning; I began singing it every day; and I finally wrote it down. What impresses me here is how naturally the other musicians fall into the near-eastern rhythmic and tonal feel of the piece without losing their jazz identities and swing. Yusef's reason for adding these elements is that he wearied of "playing I Got Rhythm and such things with the same sound and the same time. I want to expand the range of colors and rhythms in jazz. To do that, you naturally have to use some of the instruments — like the rebab 'and various percussion aids — from other cultures. There's no reason though why they can't blend together."

Note, incidentally, how unforcedly Terry Pollard's piano flows in the idiom of this piece. With Yusef interested in the near east; Miles Davis in scales from anywhere he can find them, including the folk scales used by Khachaturian; and Cecil Taylor in the color possibilities of Bali and India, it may well be that no music will be found immune to fusion with jazz in the years ahead. The only caution is that these elements ought not be grafted on from without, but should be balanced as an organic part of each player's or writer's individual self-expression. The basic point is there is no reason why these meetings cannot happen — as they have before in jazz history, from Jelly Roll Morton's "Spanish tinge" and beyond.

Brazil is in 5/4 time, and is another challenge Yusef sets himself and his players, not as an exercise but because he felt this rhythmic pattern best suited the feeling he wanted from this tune. The arghool is heard at the beginning. After an introduction by Yusef, the group plays Yusef's Let Every Soul Say Amen, a serene, almost impressionistic piece, although it is colored, as is characteristic of Yusef, wwith eastern textures. "It's in a free form," explains Yusef, "and every time we play it, it sounds different. It's built around A minor sixth and inversions of it."

Woody n' You> is Dizzy Gillespie's, and Yusef's version provides a loose framework for extended improvisation by all, especially Yusef, That's also Yusef in the intriguingly multi-colored polyrhythmic percussion sections scraping a kind of rams' head (it looks like an open powder horn) with a penny.

In the Cranbrook catalogue, there is this description of how an architect should function: "Architecture is a social as well as an organic art form. Since cultural activities can achieve fullest maturity only in a culturally sound environment, the architect must assume responsibility for planning such an environment. He must expand his concept of shelter to include all the form-world, from the intimacy of the room to the comprehensiveness of the metropolis. Conditioned by this basic approach, the student learns through personal research and individual expression..."

Substitute "musician" for "architect" and you'll have an idea of what motivates Yusef's approach to music.

NAT HENTOFF
Co-editor
The Jazz Review

LP-633

J.C. Heard Octet - This Is Me, J.C. Heard

Released 1958

Recording and Session Information

Chicago, March 8 1958
Joe Newman, trumpet; Bennie Powell, trombone; Frank Wess, alto, tenor saxophone, flute; Charlie Fowlkes, baritone saxophone; Ronnell Bright, piano; Johnny Pate, bass; Dave Heard, drums; J.C. Heard, drums, conga, vocals

8899 For You My Love
8900 Blues For Sale
Coastin' With J.C.
Nightingale
Heard The Word
Cuban chant
Idaho

For You My Love	Paul Gayten	March 6 1958
Coasting With J.C.	J.C. Heard	March 6 1958
Nightingale	Cugat, Rosner, Wise-E.B. Marks	March 6 1958
Heard The Word	Johnnie Pate	March 6 1958
Cuban Chant	J.C. Heard	March 6 1958
Blues For Sale	J.C. Heard	March 6 1958
Idaho	Jesse A. Stone	March 6 1958

Liner Notes

THE THREE FACES OF J. C.

STORE ALBUM SIDE THIS SIDE UP ->

When two or more "aficionados" of jazz congregate, it seems inevitable that a heated debate arises which goes something like this. "'Who do you dig the most on such and such an instrumenr?' 'I guess I dig so and so' 'Whaaaaat! Man, you must be out of your skull, that frame is a pale copy of you know who, etc. etc" ad nauseum. Of course, this is an exaggeration, but it is true that when jazz fans get together they often discuss their favorite musicians in a most animated manner. Let the subject of good drummers occasion, and the name J.C. Heard will drop from the lips of the speakers almost as often as drum beats.

That J.C. possesses one of the finest pairs of drum hands in the business, is a generally conceded fact among those who really dig. That there are a couple other facets, just as well polished, to this gem-like entertainer may be the cause of a few raised eyebrows but no great surprise to the knowers. Talent begets talent.

If you are fortunate enough to cacch Mr. Heard at a note club or show bar, be prepared to be immensely entertained by his consumate skill at tap-dancing. and perhaps he'll throw a swinging vocal your way. One's as good as the other: he does not miss. Aa a matter of fact, you are given an ample demonstration of his vocal talent on this and a bet that you'll really get with it.

Today, at 40, J.C has the appearance of a youthful Cab Calloway; and he can look back with satisfaction on a professional career of twenty-five years standing. The list of musicians and entertainers for whom he has kept the beat reads like a "Who's Who" in jazz.

After playing "money-gigs" for four years, he left his home town, Detroit at the age of nineteen (however, he was born in Dayton, Ohio) to travel with Teddy Wilson's band. From then until now, he has sparked the aggreptions of other such musical luminaries as Count Basie, Duke Ellington, Woody Herman, Coleman Hawkins, Cab Calloway, Dizzy Gillespie, Erroll Garner, Charlie Parker, Billie Holliday and more, many more. In 1945, J. C formed his own band, and he featured as vocalist athen little-known young lady, Sarah Vaughan. During these years of steady work, made numerous reconlings as a change from potatoes, he appeared in eight motion pictures.

In 1947, Norman Granz saw fit to require J.C.'s services on the J.A.T.P. tours. More people got to hear him; as a result his popularity soared, and this was evidenced by his various awards from Down Beat, Metronome, and Esquire magazines. In 1953, the J.A.T.P with J.C. emarked on a world tour which carried them through most of Europe, Scandinavia and thence to the Orient. While in Japan, Heard and the Philharmonic parted company and he spent the next three years enjoying enthusiastic public acclaim wherever he went (Japan, China, Australia, and points east). There was no dearth of work in these three years what with theater, nite club, concert and four movie appearances. However, fame couldn't offset the longing for home and back he came to an interesting variety of gigs and, his first gigs and, his first American LP recording with his own group.

The nucleus of the group are the horns of Frank Wess, Joe Newman, Bennie Powell, Charley Fowlke, who have in common; this LP, a warm friendship with J.C and the distinction of being an integral part of rhe Basie band. The rhythm section is comprised of Ronnell Bright, who is accompanist to Sarah Vaughan; Pat John's of Chicago and J.C, the guy who all these words are about. Incidentally, the tracks on which J. C. sings and plays congo and timbales, the drum seat is occupied by younger brother Dave Heard. Dave has nimbly followed in his brother's drum beats and now heads his own group in Detroit.

All arrangements on this recording date were done by John W. Pate Sr.

RAY GLASSMAN

JOHN W. PATE SR.—ARRANGER
JACK WIENER—RECORDING ENGINEER
W. HOPKINS—COVER DESIGN
DAVE USHER—PRODUCER
RECORDED MAR. 6, 1958

LP-632

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