LP-690

Dorothy Ashby

Released 1962

Recording and Session Information

Dorothy Ashby, harp; Herman Wright, bass; John Tooley, drums
Chicago, August 8, 1961

11126 Booze
11127 I'll remember April (unissued)
11128 Lonely melody
11129 John R.
11130 Django
11131 Secret love
11132 You stepped out of a dream
11133 Satin doll
11134 Li'l darlin'
11135 Gloomy Sunday
11136 Stranger in paradise
11137 Aeolian groove (unissued)

Track Listing

Lonely Melody	Arranged By – O. McLaughlin	August 8 1961
Secret Love	Webster, Fain	August 8 1961
Gloomy Sunday	Javor, Seress, Lewis	August 8 1961
Satin Doll	Ellington	August 8 1961
John R.	D. Ashby	August 8 1961
Li'l Darlin'	Neal Hefti	August 8 1961
Booze	D. Ashby	August 8 1961
Django	J. Lewis	August 8 1961
You Stepped Out Of A Dream	Lane, Washington	August 8 1961
Stranger In Paradise	Forrest, Wright	August 8 1961

NB: You Stepped Out Of a Dream wrongly attributed to Lane, Washington rather than Gus Kahn, Nacio Herb Brown

Liner Notes

A JAZZ HARPIST is a rare thing. First of all the harp is a rather unlikely instrument to swing. It's an awfully difficult instrument to play really well and it demands technique that is incongruous With swinging. Perhaps as important is the thinking that the harp, by the very nature Of the instrument, is likely to attract musicians who, in themselves, are improbable swingers. Dorothy Ashby is, then, a rare thing. She is indeed a jazz harpist and she does swing.

I first became aware of Dorothy some years ago when hearing her front small groups of really exceptional musicianship. I heard her with Frank Wess playing flute, and with Ed Thigpen on drums, and with a great many men who's musicianship is, I think, a commentary on Dorothy as a woman in jazz. Frank Wess is regarded by many as having been the first jazz flutist, which might get you an argument in some quarters but not many. He has been an important contributor to the Basic band for nearly ten years. Ed Thigpen, now of the Oscar Peterson trio, is perhaps the ideal trio drummer and an infinitely respected one. That Dorothy has worked and recorded with these men and has performed consistently for such a long time with men of this stature suggests, I think, a rather unique position in music, not unlike that of Melba Liston. Melba was, for a time, an important part of the Dizzy Gillespie hand and the Basie band. She has sat side by side in trombone sections with such men as Brookmeyer and has worked among men who are real giants. This is not because a woman playing trombone is a novelty, but because she plays that well. Dorothy, too, has long worked among men of real stature, not because jazz played on a harp by a woman is a novelty, but because she plays that well.

Dorothy is a Detroit musician and in some circles that, in itself, is some claim to fame. Detroit has produced an uncommon group of splendid musicians...Milt Jackson, Paul Chambers, Kenny Burrell, Pepper Adams, all those Joneses, Frank Rosolino and many more — rather a strong group to stand out among, Cannonball Adderley recently made the remark that any musician who makes it among that Detroit crowd has got to be saying something, Dorothy is much loved and respected among her Detroit contemporaries and has surely distinguished herself in their company.

This is a trio album. With Dorothy are Herman Wright playing bass, and John Tooley on drums. Again Dorothy is with men of stature. Herman Wright has been a firmly established musician for a long time and appears in an enormous number of albums, but is probably best known for his work with Terry Gibbs and more recently with George Shearing. John Tooley's credits include that coveted experience of accompanying Billy Holiday.

Most of the music in this set is familiar, even if seldom heard. I think particularly of Gloomy Sunday, done so many years ago by Shaw. While rarely heard now, the tune is virtually a legend and so well remembered for the impact of its lyric that the beauty of its melodic line was all but overlooked at the time. And Diango, the wonderfully interesting John Lewis tune that is too rarely heard. Lonely Melody is borrowed from the theme music of the motion picture Goodbye Again and the Goodbye Again people rowed it from Brahms' Third Symphony. Much more familiar are three that have been very big pop hits, You Stepped Out of A Dream, Stranger in Paradise from and Secret Love, done here at a tempo that is a complete surprise. Ellington's Satin Doll and Neal Hefti's are two very charming things that belong to the jazz world because of their association with the Ellington and Basie bands, but have been adopted by the rest of the world for their simple and quite beautiful melodic lines. And there are two originals here, John R. and Booze. John R. is named for John R. Street in Detroit which, like Chicago's Rush Street, has been an important street in Detroit night club life. Dorothy has long been a regular performer on John R. Street. I don't know why Booze is called Booze!

This is not hard jazz. This is an album that says jazz can, after all, be melodic, that a thing can be gentle without being weak and can be sweet without being saccrine. What is done here is done well, the improvisation is creative, and in typical Dorothy Ashby thinking—it's done in beautiful taste. She is indeed a jazz harpist and she does swing.

Jim Rockwell

LP-689

The Al Grey-Billy Mitchell Sextet

Released 1961

Recording and Session Information

Al Grey-Billy Mitchell Sextet
Henry Boozier, trumpet; Al Grey, trombone, baritone horn; Billy Mitchell tenor saxophone, alto saxophone; Gene Kee, piano, alto horn; Art Davis, bass; Jual Curtis, drums; Ray Barretto, conga
Live "Museum of Modern Art", New York, July 6, 1961

11030 African lady (unissued)
11031 Bantu
11032 Just waiting (unissued)
11033 Melba's blues
11034 Nothin' but the truth (unissued)
11035 Maggie's theme (unissued)
11036 On Green Dolphin Street
11037 Wild deuce
11038 I got it bad (unissued)
11039 Bluish grey
11040 Home fries
Grey's blues

Track Listing

Bluish Grey	Thad Jones	July 6 1961
Wild Deuce	Gene Kee	July 6 1961
On Green Dolphin Street	Kaper, Washington	July 6 1961
Bantu	Randy Weston	July 6 1961
Melba's Blues	Melba Liston	July 6 1961
Home Fries	Gene Kee	July 6 1961
Grey's Blues	Al Grey	July 6 1961

Liner Notes

WHEN AL GREY AND BILLY MITCHELL appeared on one of the afternoon programs at Newport '61, they blew up such a storm that they were instantaneously retained for a return engagement on the highly competitive evening bill. Needless to say, Al and Billy broke it up under the kleig lights, just as they had in the bright sunshine. These two graduates summa cum lande from Count Basie's Advanced Academy of Swing know how to put the jazz message across.

Al and Billy made the trip to Newport alone. The budget which allowed for Judy Garland with 30 pieces could not be stretched to accommodate Al and Billy plus 4. The full sextet was launched on the nation's jazz scene, after spring training in Pennsylvania and a warmup at a Village Vanguard Sunday session, at the event which has been preserved in essence on this album. It was the second concert of the second season in Metronome's 'Jazz in the Garden" series at New York's Museum of Modern Art. We booked the Grey-Mitchell Sextet because we believe that one of the main functions of the concerts, presented in surroundings and under auspices considerably nobler than usually accorded to jazz, is to present new and exciting groups and musicians to the public and the jazz world. (And undeservedly neglected veteran talent as well.)

Metronome is pleased and proud to have had a hand in the successful launching of this hne new group, and doubly pleased that Argo Records shared our feelings about it. These feelings were echoed by our good colleagues on Down Beat, who said that the sextet has "that special, immediate and warm quality that will make it successful."

One of the nice things about this band is that it is a band. It has a unity of purpose and a cohesiveness which is, sadly missing in many of the current assemblies hastily gathered in the recording studios. Considering the background of the co-leaders, this doesn't seem odd at all. Al Grey's biography was outlined in inimitable style by Jon Hendricks in his liner-notes to Al's second Argo album. "The Thinking Man's Trombone" (Argo LP 677). Suffice it to say here that Al has paid his dues with a veritable Who's Who of great jazz bands: Benny Carter, Jimmie Lunceford, Lucky Millinder, Lionel Hampton, Dizzy Gillespie—and Of course, Count Basie. In early 1961, Al decided to split from the Count's fold, joining a sudden exodus that had begun with Joe Williams and Joe Newman. Billy Mitchell, who had joined Count at almost the same time as Al, made the leap with him. Billy, though born in Kansas City, grew up in that spawning-ground for contemporary jazz talent: Detroit, the Motor City. He, too, has considerable major league jazz experience under his belt. including service with Lunceford, Millinder, the famous territory band of Nat Towles, Woody Herman, and Dizzy Gillespie (the latter when Al was also on the band). In between, Billy headed his own groups in Detroit. Among his sidemen were such current luminaries as Thad and Elvin Jones and Tommy Flanagan.

Both men have found their own personal voices. Al Grey is famed for his plungermute work, continuing a tradition which is most closely identified with Duke Ellington's immortal Joe "Tricky Sam" Nanton. Aside from his expertise with the plunger, Al is a master of modern trombone with few peers in the realms of speed and control. On this album, Al also returns to his first instrument, the Baritone Horn, on which he displays a big, warm and mellow sound.

Billy Mitchell was Basie's star tenor voice during his tenure with the band, and with good reason. He is a true master of the tenor. Though strongly rooted in mainstream tradition, his style is no eclectic amalgam of influences. Billy is strictly his own big-toned, aware and swinging self. On this album, you will also hear him on alto, during the proceedings on Home Fries. Billy also plays clarinet when the occasion requires.

The co-leaders are not only 'doublers" in the band. In Gene Kee, the sextet has a quadruple-threat man who plays piano and Alto Horn (or "Peck Horn," as it is commonly known), and is a gifted composer and arranger as well. This album reveals all aspects of his talents excepting one: Gene Kee is also a trained audio technician. Trumpet man Henry Boozier cuts the arrangements in style, and in Jule Curtis Al and Billy have found a young drummer who keeps time instead of indulging himself in displays of gymnastics. On this album, his team-mate is one of the outstanding young bassists of the day, Art Davis. On two of the selections, the group is augmented by Ray Barretto, whose congas are jazz-educated.

In today's highly restricted jazz market, it is no easy thing to launch and sustain a new group. But we believe that the Al Grey-Billy Mitchell Sextet has what it takes for the major leagues, Blue is Grey, a Thad Jones original, opens with soft locked-hands piano over a beat straight from Father Basie's good book. Al leads the neat opening sermonette, then launches into some straight talk with the plunger. Billy enters on a blue phrase, stretches it for size and delivers some impassioned blues. Ensemble prepares for the landing, accomplished with a final plunger roar.

The sextet's varied palette of sounds and moods is next displayed on Gene Kee's Goose. which corncs on like a whole flock. A neatly scored ensemble opening sends Billy into a succinct statement with both roots and antennae. Al emerges from the background riff for a mellow but stern message on baritone horn, whereafter a commendably brief drum solo sets the stage for a short visit to Cuba — and out we go. This performance is together, with Curtis' drumming in the groove.

Green Dolphin Street is a romantic locale. Kee's arrangement, showcasing him on alto horn, has a sound and feeling reminiscent of the great Tadd Dameron. (Another nice thing about this band is that things keep happening behind the soloist — maintaining both his and the listeners' interest.)

An intriguing aspect of contemporary jazz-orientation is aired on Bantu, the third movement of Randy Weston's "Freedom, Africa" suite, here scored by the gifted Miss Melba Liston. After a mysterioso opening, the Bantus emerge in full cry. Al, again on baritone horn, delivers the call to arms, where-upon Ray Barretto, with solid support from Curtis, sends out the signals. The ending is a gas.

Side Two opens with another contribution from Miss Liston, this time in the dual role of composer and arranger. (Melba was in Dizzy's talent incubator along with Al and Billy.) Melba's Blues is blue indeed, opening with Art Davis walking like a natural man with nothing but the blues on his mind. The tempo is one which challenges the group's ability to swing — playing slow is harder than racing. They come through with applomb. Al's sermon is almost ominous in mood; Billy is both tough and lyrical. Art Davis' plucked solo is the blues with a smile. Art continues to the fore during the concluding ensemble.

Gene Kees Home Fries are a species of soul food not recommended for ulcer diets. The harmonic climate is minor. The solos flash by: Kee comes on like a French Horn, Billy's alto soars, Boozier's only solo of the date is brief but literate, and Al's contribution includes a quote from "Summertime' plus a characteristic coda.

The session ends with a happy opus by Grey, Ray's Blues, dedicated to congaist Ray Barretto. Drums and conga set the stage for a riff; a call-and-response sequence pits Al's trombone against the ensemble and sends him off on a wild and wooly ride. The riff returns to launch Billy on a free and rousing romp which dumps the listener right into the percussionist's lap. Messrs. Barretto and Curtis have a ball, and a brief restatement of the theme wraps up the concert in style.

Dan Morgenstern

LP-688

The Jazztet At Birdhouse

Released 1961

Recording and Session Information

Art Farmer, trumpet; Tom McIntosh, trombone; Benny Golson, tenor saxophone; Cedar Walton, piano; Tommy Williams, bass; Albert "Tootie" Heath, drums
Live "Birdhouse", Chicago, IL, May 15, 1961

11208 Junction
11209 Farmer's market
11210 Darn that dream
11211 Shutterbug
11212 'Round midnight
11213 A November afternoon

Track Listing

Junction	B. Golson	May 1961
Farmer's Market	A. Farmer	May 1961
Darn That Dream	E. DeLange, J. V. Heusen	May 1961
Shutterbug	J.J. Johnson	May 1961
Round Midnight	B. Hanighen, C. Williams, T. Monk	May 1961
November Afternoon	T. McIntosh	May 1961

Liner Notes

THIS is the fourth album by the Art Farmer-Benny Golson Jazztet, and it's happy I am that I can tell you in all truth it continues their record-breaking Argo cavalcade.

How long it will go on the Lord only knows, but as for the present, they've once again come up with something new as well as another first-rate program of jazz music.

Not to keep you in suspense, but to tell the story from the start, the first record was set by Meet The Jazztet (Argo LP 664). Since this was the group's initial album it necessarily was something new. Even better, according to The Jazztet's manager, Kay Norton, is that the LP turned out to be a consistent good seller.

The second Jazztet album, Big City Sounds (Argo LP 672), presented a reorganized lineup, with only the leaders remaining from the original unit.

The unusual feature of the third album, The Jazztet And John Lewis (Argo LP 684), is the material: Six compositions by the internationally-famed musical director of the Modern Jazz Quartet which he arranged specifically for The Jazztet.

The Jazztet's newest album — the one you're holding as you read this — is the first ever made by the group during a public performance. It also marks Art Farmer's recording debut on the fluegelhorn.

The six extended numbers that comprise this set were taped a few months ago while The Jazztet was at the Birdhouse, a jazz club on Chicago's Near North Side. Farmer and Golson have a particular fondness for the club, not only because The Jazztet opened it about a year ago, but also because of the room's superior acoustics. Hence the suggestion that Argo tape the group during performance at the Birdhouse was quickly accepted.

So far as this observer is concerned, the decision was both wise and highly rewarding. Studio sessions can eliminate the occasional fluffs and clinkers to which even the best jazz instrumentalists are subject while in the throes of spontaneous creation, but at the same time such sessions lose the emotion-gripping quality that is instilled by a performance for paying customers. Evidences of this energizing situation are to be found here in the listeners' applause for soloists and the group, in occasional out-cries by the musicians, and in the music itself.

Before dealing with the individual selections, something about The Jazztet should be noted for the benefit of those still unacquainted with the group. The Jazztet was conceived in the summer of 1959 when Farmer and Golson, separately planning to organize their own combos, each broached this idea to the other. It soon became apparent that their aims were similar: Creation Of a group that would strike a musical balance between organization, as exemplified by fresh, thoughtful writing, and extemporization, the heart of jazz. That they have been eminently successful in steering a safe course between the Scylla of a "jamming band" and the Charybdis of an "arranger's band" is the firm belief of this writer.

The Music

Jünction, an easy rocker that evokes the Count, is a Golson composition and arrangement. Benny slips into the forefront smoothly and lightly to launch a flowing tenor solo that becomes assertive near its end. Farmer joins in with some clipped observations before proceeding to speak his piece, a somewhat fragmented discourse that has the rhythm section commenting.

Farmer's Market is Golson's arrangement of the composition that Art created some ten years ago and which received its most notable expositions in the late Wardell Gray's tenor solo and in the 1952 vocal written and recorded by Annie Ross. In the present version the tune is taken at racetrack tempo. There are cooking solos by both Benny and Art. Pianist Cedar Walton, who takes the spotlight after a drum break and stage-setting ensemble passage, contributes an exceptional solo that contains some notable phrasing and intriguing shifts of meter.

Darn That Dream, the only "pop" standard in the album, is a showcase for the Farmer fluegelhorn and proves that the months Art has devoted to this instrument were well spent. It is evident that he has accomplished the unusual feat of transferring his own wide, warm trumpet sound to the horn, a quality that adds to the effectiveness Of ballads such as this. The tender mood that Farmer creates and the beautiful coda with which he ends the piece further confirms the belief that he has few peers in this romantic realm.

Shutterbug is the J.J. Johnson tune and he arranged this uptempo version for The Jazztet. A staccato introduction heralds Farmer's solo during the course of which he demonstrates his fine control of sound as well as his ability to play hot. With the rhythm section stoking the fire to keep the pot bubbling, Golson moves in for a solo that exhibits his command of high-speed technique and, more importantly, his talent for improvisation. Drummer Albert Heath gets a brief solo before the minor.feeling number is concluded with a senerous ensemble.

'Round Midnight is the longest and, to this listener, the most rewarding number on the album. Golson's arrangement of Monk's lovely composition an The Jazztet's playing of it attain the group's aims to the fullest extent. The opening horn note and brief piano passage establish the mood, which is most movingly amplified by the succeeding segment that has a passage by fluegelhorn, a three-horn voicing, a brief, rhapsodic tenor interlude and another ensemble bit. Farmer introduces a new element with a trumpet solo which seems to hint that the sun will again be shining a few hours hence. The mood changes again as Golson comes on with a tenor solo that begins with a beautiful singing quality that gradually is transformed into a soul-wrenching cry. As the rhythm moves into a more propulsive groove, the sound of the tenor expands to climax its tale of loneliness. I believe this to be one of Benny's finest recorded solos. The arrangement makes further effective use Of the instruments before conduding its provocative story.

November Afternoon was written and arranged by trombonist Tom McIntosh. A delightful piece, it hints at a ballad as it begins but quickly shifts into a romping vein. While the number gives a fine display Of McIntosh's work, Farmer and Golson are not neglected. Here too, as throughout the album, the support of bassist Tommy Williams, Walton and Heath is of high value.

Russ Wilson