LP-687X

Ramsey Lewis Trio - Sound of Christmas

Released 1961

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, 1960

10513 Santa Claus is coming to town
10514 Winter wonderland
10515 Hey Mr. Ray (unissued)
10516 Teardrops from my eyes (unissued)

Chicago, October 1961
11248 Christmas blues
11249 Merry Christmas
11250 Here comes Santa Claus

Addtional 10 unknown strings added, Riley Hampton, arranger

11251 What are you doing New Year's Eve?
11252 The sound of Christmas
11253 God rest ye merry gentlemen
11254 Sleigh ride
11255 The Christmas song

Track Listing

Merry Christmas Baby	Charles Brown	October 1961
Winter Wonderland	Smith, Bernard	October 1961
Santa Claus Is Coming To Town	Gillespie, Coots	October 1961
Christmas Blues	Ramsey Lewis	October 1961
Here Comes Santa Claus	Autry, Aldeman	October 1961
The Sound Of Christmas	Lewis, Hampton	October 1961
The Christmas Song	Torme, Wells	October 1961
God Rest Ye Merry Gentlemen	Arranged By – Ramsey Lewis	October 1961
Sleigh Ride	Anderson, Parish	October 1961
What Are You Doing New Year's Eve	Frank Loesser	October 1961

Liner Notes

MERRY Christmas to everyone and especially jazz lovers, but more especially to Ramsey Lewis Trio lovers.

Ramsev and his piano, along with Eldee Young on bass and Red Holt on drums, have put together some of the greatest Christmas sounds ever waxed in the jazz vernacular. And the best part of this album is that it won't go out with the season, because the sounds on many of the cuts such as Christmas Blues and The Sound of Christmas, which by the way are originals, are good jazz 365 days a year.

On Side l, you will hear typical Ramsey Lewis piano. (I would imagine the piano had to be tuned after each track)! They start off with Merry Christmas Baby, with a beautifully melodic introduction, and Ramsey's strong touch taking over as it progresses. Winter Wonderland and Santa Claus Is Coming To Town are two numbers that the trio have done before, and Here Comes Santa Claus swings in the same light cheerful style. Christmas Blues, however, is something else. This tune, along with The Sound Of Christmas, stands out in my mind as the two best pieces of work in the album.

Having already jumped to Side 2, I would like to mention that if Mel Torme and Leroy Anderson, who wrote The Christmas Song and Sleigh Ride, in that order, were to hear the performances of their labors as done by Ramsey, Eldee and Red, they would have to admit "Like it ain't never been done like this before". I hope Mr. Torme and Mr. Anderson will excuse the paraphrasing, but I just can't find better words to describe the interpretation given these two cuts.

God Rest Ye Merry Gentlemen, one of the most beautiful Christmas carols ever written, will satisfy the "Carol Singers" as well as the "Hippys". And closing out the album is one of my all-time favorites, What Are You Doing New Year's Eve. I don't mind saying it absolutely "flipped" me.

This album marks the first time the trio has recorded with strings. Side one features the trio only, but on Side two, they are accompanied by a beautiful string section, conducted by Riley Hampton. After you've listened to this side, I'm sure you will agree that the trio should continue to utilize strings in the future in at least a portion of each album.

While you're listening to The Ramsey Lewis Trio's SOUNDS OF CHRISTMAS, please keep in mind that all of us wish all of you a very Merry, Swingin' Christmas.

Nelson Noble

LP-686

The Ramsey Lewis Trio - Never On Sunday

Released 1961

Recording and Session Information

Ramsey Lewis Trio
Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, August 10 & 11, 1961

11138 The ripper
11139 I got plenty o' nuttin'
11140 Water boy
11141 Thanks for the memory
11142 Cielito lindo
11143 You just don't care
11144 Never on Sunday
11145 You've changed
11146 The breeze and I
11147 Exactly like you

Track Listing

The Ripper	Ramsey Lewis	August 10 & 11 1961
I Got Plenty Of Nothing	Gershwin, Gershwin	August 10 & 11 1961
Waterboy	Arranged By – Ramsey Lewis	August 10 & 11 1961
Thanks For The Memory	Robin, Rainger	August 10 & 11 1961
Ceilito Lindo	Arranged By – Isaac Holt	August 10 & 11 1961
You Just Don't Care	El Dee Young	August 10 & 11 1961
Never On Sunday	Hadjaidakis	August 10 & 11 1961
You've Changed	Carey, Fischer	August 10 & 11 1961
The Breeze And I	Stillman, Lecuona	August 10 & 11 1961
Exactly Like You	Fields, McHugh	August 10 & 11 1961

Liner Notes

THERE are two kinds of music listeners in the world of jazz as in all other kinds of entertainment. First, there is the social devotee who spins his "sides" whenever the notion strikes his fancy. He has the discretion of selecting what he wants to play, when and for how long. His record collection is the bona fide guide to his personal taste in waxing pleasure. There is little room for pretense or pretext here. The social devotee shells out cash on the line for his records and each niche filled on his record shelf represents a corresponding void in his bank account.

On the other hand, there is the professional listener. He listens, literally, for years on end. At times it seems as though the mountain of music to be listened to is never-diminishing. His collection is multitudinous. It is comprised primarily of records he has had to play. Few of the dozens of records received regularly ever reach that special corner in the record library rcscrved for those albums one wants to listen to again, if ever that mountain diminishes!

As a jazz disc jockey for some several years, I suppose I have developed a tolerant ear of the professional listener. Occasionally, a musical unit along which has that spark of vitality and freshness, mixed with just the proper portion of talent and musical presence, to stand these rather blasé old ears on their ---s, to put it precisely.

The Ramsey Lewis Trio story is one of those made-in-Hollywood tales heard much too infrequently in real life. The three, healthy young men of the same environment decide to improve their lot through playing music. They band together and find that the trio has an unbelieveable, scintillating cohesion right off the bat. They receive influential backing from prominent entertainment leaders, and are booked into and play to SRO audiences in a sophisticated downtown nightclub. A record contract follows and their albums plummet them into the national spotlight. A successful trip around the jazz circuit and growing audience appeal firmly establish the trio as one of the jazz units which is here to stay in an era when groups crop up, blossom and die like an Ephemerida.

This album will give ample evidence of why the trio has continually renewved its lease on public appeal. All of the spontaneous, alive, animation which characterizes the Ramsey Lewis Trio is here faithfully reproduced. As you listen, note that accepted traditions in jazz serve only as guideposts for these three, adventuresome young musicians. Mood, rhythm, instrumentation, utilization of personnel are skillfully manipulated to show off the tune to its best advantage. The material recorded here is deliberately varied and comprehensive. This unit has no "groove" in which they are compelled to play. True, the one word most often associated with their efforts is "funky," this is a treatment rather than a restrictive style. The selections here range from showtunes to folk songs to gutty, earthy blues. Each tune is treated with its own special. portion of the Lewis magic; and becomes an infectious, delightful listening experience.

It is really no wonder that the Ramsey Lewis Trio is the mutual choice of both the social and the professional listener when one wishes to listen for sheer delightful enjoyment.

There must be one word of caution added. Much has been said of the carefree ease with which the unit rollicks through its chores. This is a deceptive ease acquired from mastery of their instrumnents and the material hand. At times, one is startled at the precision and unity of musical approach which marks their work. The interplay between instruments, the uncanny complimentary support, the deliberate dips into rhythmic variety; all indicate the self assurance and musical maturity which grows more evident with each recording.

This is their latest offering and by virture of the above stated reasoning, it must be conceded that this is their most challenging. They approached the task with responsibility, and the recording will undoubtedly find a haven in the preferred record nooks of listeners of all types.

LP-685

Ahmad Jamal's Alhambra

Released 1961

Recording and Session Information

Ahmad Jamal Trio
Ahmad Jamal, piano; Israel Crosby, bass; Vernel Fournier, drums
Live "The Alhambra", Chicago, IL, late June 1961

Full set list. Released as LP-685, LP-691 and LP-786
11092 Ahmad Jamal We kiss in the shadow
11093 Ahmad Jamal Sweet and lovely
11094 Ahmad Jamal The party's over
11095 Ahmad Jamal Love for sale
11096 Ahmad Jamal Snowfall
11097 Ahmad Jamal Broadway
11098 Ahmad Jamal Willow, weep for me
11099 Ahmad Jamal Autumn leaves
11100 Ahmad Jamal Isn't it romantic?
11101 Ahmad Jamal The breeze and I
11102 Ahmad Jamal You're blase
11103 Ahmad Jamal You go to my head
11104 Ahmad Jamal Desert sands
11105 Ahmad Jamal I get a kick out of you
11106 Ahmad Jamal All of you
11107 Ahmad Jamal Where or when
11108 Ahmad Jamal What is this thing called love? 11109 Ahmad Jamal Star eyes
11110 Ahmad Jamal Isn't is a lovely day
11111 Ahmad Jamal Don't worry 'bout me (unissued)
11112 Ahmad Jamal I can't get started
11113 Ahmad Jamal You're driving me crazy
11114 Ahmad Jamal Let's call it a day
11115 Ahmad Jamal Time on my hands
11116 Ahmad Jamal Angel eyes
Ahmad Jamal Medley: (unissued)
11117 Ahmad Jamal With the wind and the rain in your hair
11118 Ahmad Jamal You are my springtime
11119 Ahmad Jamal There is no greater love (unissued)
11120 Ahmad Jamal My heart stood still
Ahmad Jamal Poinciana (unissued)
Ahmad Jamal We kiss in a shadow (alt) (unissued)
Ahmad Jamal Stella by starlight (unissued)
Ahmad Jamal The lady is a tramp (unissued)

Track Listing

We Kiss In A Shadow	Rodgers, Hammerstein	June 1961
Sweet And Lovely	Charles N. Daniels, Arnheim, Tobias	June 1961
The Party's Over	Byrne, Comden, Green	June 1961
Love For Sale	Cole Porter	June 1961
Snow Fall	Thornhill	June 1961
Broadway	Woode, McRae	June 1961
Willow Weep For Me	Ronell	June 1961
Autumn Leaves	Prevert, Kosma	June 1961
Isn't It Romantic	Rodgers, Hart	June 1961
The Breeze And I	Stillman, Lecuona	June 1961

Liner Notes

ARTISTS are, by and large, a dreaming lot. Musicians are no exception; in fact, some of the world's most prolific jazz creators ply their melodic trade while envisioning castles rising high into the sky. It is the privilege of each of us to dream and dream and dream again. It falls the lot of a few of us to equip that dream with spurs of driving, realistic ambition and hardwork. And here, the sky watchers are sifted from those solid bricks, out of whom come the pillars of our society.

Reaching modestly for the sun, there stands on Chicago's once elegant Michigan Boulevard, a new structure ironically reminiscent of the old splendor. This edifice is more than a brick and mortar symbol; it is the gossamer culmination of a dream — a dream spun of webs of inspiration and talent, hung together by threads of disappointments and health-sapping devotion. Yet watching the slight, bearded owner walking with quiet pride throughout the elaborate room, one knows instantly that he is savoring the sweet smell of success, and triumph over strife.

Ahmad Jamal was at home regularly at the turn of the 5th decade. Crowds had not yet begun to for his tinkling, happy piano. He played infrequently in clubs. There stirring within him that frustrating, incomplete feeling of not knowing the total acceptance of the mass populace; yet, he was playing music and remaining at home (an ideal situation for the family man). All that was lacking was financial fruit and the broadened horizon. In the mid 50's "The Hit" was cut and with the subsequent popular demand, Jamal took to the road to become the itinerant musician.

To offset his longing for the warmth and security of his home in Chicago, travelling Jamal began spinning his dream. Cities and countries of the world began to fascinate him and he mentally catalogued the most appealing attributes of each. Of all the lands he visited, actually and vicariously, the far and middle east most impressed the pianist.

In 1960, Ahmad returned to the Windy City to begin the fulfillment of the dream. In 1961, the doors of Ahmad Jamal's Alhambra were opened to the public. Beautifully appointed, boasting a completely imported interior, continental cuisine; the club elegantly speaks of its eastern heritage. There was never a more receptive audience than the members of the press who came out that extra-warm summer afternoon to offer best wishes to the owner-musician.

It was natural and appropriate that the first musical attraction at the new Alhambra should be the Jamal Trio. It was also fitting that, during Jamal's stay there, this session should be cut. The warmth and communion of spirit which prevades throughout the club is reflected here in the harmony and togetherness of the unit. Actually, time and its passage may show that the flow of this unity went in the opposite direction. In other words, this closeknit unit might have instilled into the Alhambra a healthy shot of its own oneness. If this be true, Alhambra is extremely fortunate.

The tunes recorded here constitute music heard and enjoyed each night during the trio's engagement. Artistically, this is one of the best on-the-spot recordings the group has yet produced. All elements seemed to be right and at the right time.

We share with Jamal and Argo, extreme pleasure and pride in the production of this album which is a lanmark in the annals of jazz recording. A prominent jazz artist of national and international acclaim sits at his own piano in his own club and plays own groove; and he records the event proudly for all posterity. We doff our hat to Ahmad at the Alhambra.

Sid McCoy