LP-658

Richard Evans Trio - Richard's Almanac

Released 1959

Recording and Session Information

The Richard Evans Trio
Richard Evans, bass; Jack Wilson, piano; Robert Barry, drums
Ter-Mar Recording Studios, Chicago, July 21, 22 and 23 July, 1959

9609 Jeepers Creepers
9610 I'm glad there is you
9611 Trees
9612 Vera
9613 The Preacher
9614 Consu
9615 Crazy Rhythm
9616 Bye bye, blackbird
9617 Daybreak (unissued)
9618 Should I?

Track Listing

Trees	Rasbach, Kilmer	July 21-23, 1959
Vera	Richard Evans	July 21-23, 1959
I'm Glad There Is You	Madeira, Dorsey	July 21-23, 1959
The Preacher	Horace Silver	July 21-23, 1959
Crazy Rhythm	Meyer, Kahn, Caesar	July 21-23, 1959
Bye Bye Blackbird	Henderson, Dixon	July 21-23, 1959
Daybreak	Adamson, Grofe	July 21-23, 1959
Consu	Jack Wilson	July 21-23, 1959
Should I	Brown, Freed	July 21-23, 1959
Jeepers Creepers	Warren, Mercer	July 21-23, 1959

Liner Notes

LINER NOTE WRITING, unlike other forms of fun-and-profit endeavor, is a unique and significant means of expression. It is the last bastion in the struggle to preserve The Impertinent Essay.

This profound realization came to me quite suddenly recently, while I was sitting in the bathtub thinking about the Richard Evans trio and its performance in this LP. I thought about all the jazz critics, musicologists, psychologists, philosophers, night club comedians, record company owners, sociologists, and eccentrics writing liner notes. Every thirty seconds a set of liner notes is born, I said to myself. Obviously in need of inspiration, I splashed a bit of lukewarm water in my face and thought what some of the leading liner note scholars would say about this album.

Heinz Gruber-Jung, the noted classical composer and Birdland bleacherite, would write: "It is notable that Evans, in both his choice of keys and diminished chords, should reflect the thinking of both Bela Bartok and Luke Appling. But, of course, it was Monk who began it all be playing tonic chords with his jaw in 1947.

Or Morton Willhoff, editor of The Jazz Cipher: "Evans, it seems to me, plays in an angular, variegated fashion—a pastiche of James P. Johnson, Heinrich Wasserman, and Rob Roy. Of course, it was Heinz Gruber-Jung who first termed his playing 'notable'."

Or Ara Gitwit, the jazzman's friend and usher at some of the most epochal jazz record sessions: "Evans blows. He blows hard. And when he blows the other guys join in. They dig him. They blow, too. It's wild."

Somehow, I couldn't imagine any of these approaches being the right one. After all, this marked Evans' debut on records as leader of his own group. The record was important to him. So I talked with Evans.

I discovered that he is 27 years old, that he was born in Birmingham, Alabama. He came to Chicago when he was five. He was more concerned with painting than music (he won a citywide contest, as a painter, when he was at DuSable high school in Chicago). When he was 17 he began studying trombone, then turned to bass. After a stint in the army from 1953 to 1955 (as an illustrator), he returned to his home and worked with local jazz groups.

In 1956, he spent eight months as bassist with the band of Lionel Hampton, touring Europe and Australia. He spent three months with Maynard Ferguson's band, then accompanied Dinah Washington in '57. After a session of study at Wilson junior college, he returned to jazz, working local concerts, jamming at sessions, and accompanying visiting singers (including Dakota Staton). From November, 1958 to May, 1959, he headed his own trio at the southside Pershing Lounge.

He has recorded with Ferguson, Hampton, Miss Washington, and a group headed by Chicago jazzman-philosopher Sun Ra. His compositions (he's turned out approximately 25 to date; more are in the work) have been recorded by Johnny Griffin (Where's Your Overcoat, Boy), Hampton (Lullaby Of Forrealville) and Benny Golson (This Night).

Jack Wilson, the pianist in the Evans trio, is 23. He's from Fort Wayne, Indiana, but Evans met him in Atlantic City in 37. Evans was with Dinah Washington; Wilson was heading his own quartet. Soon, Wilson joined the Washington entourage. In '58, Wilson settled down in Chicago as a member of Evans' group. A months ago he entered the army. He's currently performing as a musician-in-uniform.

Drummer Robert Barry, 27, has been playing drums since he and Evans were classmates at DuSable. His experience has been confined to local groups, including those of Johnny Griffin and Sun Ra.

Evans had no intention of creating a "new music" for this date. "The tunes are digestible, not involved," he told me. "They're not for musicians only. This is music the people can dig, too." The tunes were selected because Evans "liked the way the chords ran; they gave us food for thought."

Eight of the tunes are standards. Trees, by Joyce Kilmer and Oscar Rasbach, dates from 1922, but is planted in modern earth here. I'm Glad There Is You, a Jimmy Dorsey-Madeira collaboration, is given a Latin flavor by the Evans trio. Horace Silver's The Preacher is gospelish enough to make Mildred Falls smile; on it Evans takes an arco solo (note that he's out of the solo light most of the time). Crazy Rhythm, which goes back to Broadway in 1928, features drummer Barry, logically enough.

Bye Bye Blackbird, another oldie, features Evans again, briefly and tastefully. Daybreak is the most balladic of the lot. Should I (remember the 1929 Hollywood film, Lord Byron Of Broadway? Neither do I.) bounces along lightly, with some walking bass and fleet Wilson piano. Jeepers Creepers (Hollywood again: the 1958 film, Going Places) is the sprightly closer.

The two originals — Evans' Vera and Wilson's Consu — have a common inspiration. Each is a tribute to the musician's fiance. Vera emerges here as a Latinish type, zestful and bright; Consa (for Consuela) is moody and softly romantic.

And that's it — three young musicians performing eight standards and two originals, On their initial LP as a trio.

I could say that this LP will live forever in the annals of recorded sound. I could say that this trio will "gas you" or "recall moments of Ravel or Debussy. But I won't.

As Wynton Kelly, one of our leading free thinkers, says, "I'm only one...guy." I'll stop right here. The rest is for listening.

Don Gold

LP-657

The Herb Pilhofer Trio

Released 1960

Recording and Session Information

The Herb Pilhofer Trio
Herb Pilhofer, piano; Stuart Anderson, bass; Dale Olinger, guitar
Ter-Mar Recording Studios, Chicago, 8th and 9th September 1959

Valse Hot
Sweets
More than you know
The Duke
My Ship
Trio
A ship without a sail
Isn't it romantic?
It might as well be spring
Godchild

Track Listing

Valse Hot	Sonny Rollins	September 8 & 9 1959
Sweets	Bill Russo	September 8 & 9 1959
More Than You Know	Youmans, Rose, Eliscu	September 8 & 9 1959
The Duke	Dave Brubeck	September 8 & 9 1959
My Ship	Weill, Gershwin	September 8 & 9 1959
Trio	Herb Pilhofer	September 8 & 9 1959
Ship Without A Sail	Rodgers, Hart	September 8 & 9 1959
Isn't It Romantic	Rodgers, Hart	September 8 & 9 1959
It Might As Well Be Spring	Rodgers, Hammerstein	September 8 & 9 1959
Godchild	George Wallington	September 8 & 9 1959

Liner Notes

A GOOD PORTION of American jazz, like many other areas of entertainment, is embroiled in a star-system that exults the individual performer and discourages ensemble efforts.

Many groups have no choice but to build their work around a featured performer because they lack the ability to perform as an integrated unit. Such groups are quickly transformed into the promotion man's "personality" product.

And so it is indeed refreshing to find a group like the Herb Pilhofer trio that produces that scarce commodity, ensemble jazz, and with such extremely good taste. So emphatic is Pilhofer about the group concept that he rejected several bookings that would have featured him with bass and guitar. It was the group or nothing, a decision that delayed wider recognition, but kept Herb's musical philosophy intact.

Argo has, with this album, acknowledged the honesty and integrity of Pilhofer's bias. As one observer remarked while listening to the tapes, "it's the whole cloth, without any superfluous embroidery."

It is a good metaphor for describing the trio's work, comparing its music to a rich and finely woven fabric. No matter what the trio cuts from the bolt it applies its craft masterfully.

This album demonstrates Pilhofer's theories Of unity, There are no exhibits of individual talent at the expense of thc trio. It's the total instrumentation — piano, a guitar, and a bass — that prevails. One exception is Pilhofer's solo performance of It Might As Well Be Spring. Still, this an obvious showcase for the piano and not misappropriation of the unit.

The son of a building contractor, Pilhofer was born April 18, 1931, in Nuernberg, Germany. He began studying at the family box-styled piano when he was 17 with thoughts of being commercial artist (illustrator) still in his mind.

"I was sparsely trained, but developed an early interest in jazz from listening to American recordings. I used to try and play like Teddy Wilson, but I soon realized that what I was doing wasn't honestly me, I guess I developed my own style gradually."

Pilhofer resists efforts to identify him with any particular school of pianists. His strong individuality happily defies most labels.

He organized his own small combos, trios and quartets, and played in the Nuernberg area and in USO Camp shows. He arranged and recorded for Radio Munich where he learned the rudiments of composition arranging.

An army captain from Baltimore, Md., sponsored Pilhofer's trip to the United States. The day he left Germany he married an Albert Lea, Minn., girl who was studying in Vienna. "I got stranded in the Twin Cities because she (his wife, Margery) was from Albert Lea."

Shortly after settling in Minneapolis he organized a trio that has, at times, tripled its size. The Pilhofer groups have in constant demand by club owners, concert directors, and civic promoters.

Pilhofer has continued to grow musically. In January, 1960, he added a drummer to the trio and appeared with the Minneapolis Symphony orchestra in the premier performance of his Three Pieces For Jazz Quartet and Orchestra. The success of the composition, which daringly allows improvisation within the orchestral framework, was immediately apparent when audience called the group back to repeat the third piece.

While working six nights a week at various Twin Cities clubs, attending school and teaching, producing commercial recordings and composing, Pilhofer has found time to write arrangements for Chico Hamilton and Art Van Damme. A Minneapolis church uses a children's songbook composed by Pilhofer.

Dale Olinger, a 38.year-oId Minneapolis native, was first a trumpeter and during the late 1940s with the Claude Thornhill band. He returned to Minneapolis and played with local groups including the Lou Levy quartet. His playing is undergoing steady improvement with particular attention to developing his technique. A member Of the trio for the last two years, Olinger has done some writing for the group, He teaches guitar and piano.

Stu Anderson, leads a double life as an English and speech teacher by day and bassist by nighL A University of Minnesota graduate, he majored in English and music. He also worked with Levy, the late Serge Chaloff, and Conte Candoli

"The most admirable feature of both is their lack of musical prejudices. Both are willing to experiment. That's a healthy attitude that adds to our strength," Pilhofer said.

"Since the guitar and piano are both chordal well as melodic instruments they can really get in each other's hair. This problem — which I often encountered with other guitarists — never seems to arise with Dale. We complement each other.

"And Stu has such a good harmonic rhythmic sense. So many younger bassists play their instruments like violin. They ignore its basic purpose. Stu never gets in the way and always seems to when you need him."

Pilhofer thinks his partners in the trio have the proper philosophy of trio jazz. "We've agreed that we are not intercstcd in 'manufacturing' a style at the cost of becoming stereotyped. We don't want to straight-jacket a tune for the sake of a sound, something that may be commercially good but musically restricting."

Charles Hanna

LP-656

Various Artists - Fanfare Of Hits

Released 1959

Recording and Session Information

5287 M-3000 The Pastels Been So Long
5257 8225 Paul Gayten Music Goes Round and Round
5289 8569 Clifton Chenier My Soul
5309 8746 Eddie Fontaine Nothin’ Shakin’
5249 7964 The Daps When You’re Alone
5277 8540 Paul Gayten/Oscar Wills Flat Foot Sam
5276 8537 The Ravens That’ll Be The Day
8568 Clifton Chenier Bayou Drive
8132 Bobby Charles Time Will Tell
8252 5265 Earl Zeb Hooker Frog Hop
8071 5256 Billy Stewart Billy’s Blues
8773 5300 Paul Gayten Tickle Toe

Track Listing

Been So Long	The Pastels	Pastels
Music Goes Round and Round	Paul Gayten	Farley, Riley, Hodgson
My Soul	Clifton Chenier	Chenier, James
Nothin’ Shakin’	Eddie Fontaine	Colacrai, Lampert, Fontaine, Gluck
When You’re Alone	The Daps	Smith
Flat Foot Sam	Paul Gayten	Wills, Lewis
That’ll Be The Day	The Ravens	Holly, Allison, Petty
Bayou Drive	Clifton Chenier	Chenier
Time Will Tell	Bobby Charles	Guidry
Frog Hop	Earl Zeb Hooker	Hooker
Billy’s Blues	Billy Stewart	Stewart, Williams
Tickle Toe	Paul Gayten	Gayten

Liner Notes

SOME OF THE GREAT songs and recordings of recent years have been released on the Argo Aabel. Artists like The Pastels, The Ravens, Bobby Charles, and Paul Gayten have presented their best work in that time, and so many have been the requests from record-buyers the country over to assemble some of their recordings in LP form, this album is the result.

And there is a great variety of selections here, from The Pastels' haunting version of Been So Long to Paul Gayten's rocking treatment of Music Goes 'Round And 'Round, the sensational song hit of the mid-1930s brought up to date in Gayten's inimitable modern fashion; from Clifton Chenier's moving Bayou Drive to the rollicking Billy's Blues by Billy Stewart, also well-known as the pianist with the great Bo Diddley when this side was cut.

You'll hear the sensational stylings of two outstanding young singers — Eddie Fontaine and Bobby Charles. Eddie romps through Nothin' Shakin' in the style that opened his door to hitdom and Bobby tells his message on Time Will Tell.

Two more vocal groups come to the fore on That'll Be The Day and When You're Alone. The former is given a foot-patting arrangement by The Ravens, the long-established hit-makers, while Alone is given respectful and moody ballad treatment by The Daps.

Three other instrumentals played with a tremendous dance beat round out this collection of winners. One is Earl Zeb Hooker's Frog Hop, the others ale Flat Foot Sam and Tickle Toe, done by the old master pianist, Paul Gayten.

You'll have a ball hearing some of these chart-topping recordings again, all assembled on one rhythm-packed, ear-catching album. It's great listening!

Notes:

Eddie Fontaine - Nothin' Shakin'
From: https://www.discogs.com/master/666159-Eddie-Fontaine-Nothin-Shakin
Fontaine went into the studio at his own cost and cut a demo of a song he had written (or at least, he has always claimed that he was the sole writer), "Nothin' Shakin'", using guitarists George Barnes and Eddie O'Connor, drummer Cozy Cole and two others. He submitted the demo to publisher Gene Goodman in the hope that he would get the song placed with a record company, but there were no takers initially. Eddie then signed with Tommy Valando's Sunbeam label and rerecorded "Nothin' Shakin'" for them. Soon after the release of this new version he found out - to his dismay - that his original demo had been sold to Chess Records without his knowledge and had acquired three additional writing credits : by Diane Lampert, John Gluck, Jr (later co-writer of "It's My Party") and Cirino Colacral. This original (and superior) version came out on Argo 5309 in August 1958 and climbed to # 64 on Billboard's Hot 100, the only chart entry of Eddie's career. "Nothin' Shakin'" was also released in the UK (London HLM 8711) and was later recorded by the Beatles (for the BBC), Billy Fury and Craig Douglas, among others.