LP-706

The Mike Mainieri Quartet – Blues On The Other Side

Released 1962

Recording and Session Information

Mike Mainieri, vibraphone; Bruce Martin, piano; Julius Ruggiero, bass; Joe Porcaro, drums
Van Gelder Studio, Englewood Cliffs, September 5 1962

11875 B.R. blues
11876 Blues on the other side
11877 When I fall in love
11878 Waltzin' in and out
11879 When I grow too old to dream (unissued)
11880 If I were a bell
11881 Tenderly

Track Listing

Blues On The Other Side	Mike Mainieri	September 5 1962
If I Were A Bell	Frank Loesser	September 5 1962
Tenderly	Walter Gross	September 5 1962
B. R. Blues	Mike Mainieri	September 5 1962
When I Fall In Love	Victor Young	September 5 1962
Waltzin' In And Out	Mike Mainieri	September 5 1962

Liner Notes

THE REALITIES of commerce and the artistic temperament both being What they are, it is likely that the careers of many jazzmen have been stunted by an idealistic refusal to admit that they are in show business. This refusal can manifest itself in attitude the audience, or in an attempt to remove the element of entertainment from their music. Whatever size the career of vibraphonist Mike Mainieri, whose first LP as a leader is contained in this LP as a leader is contained in this jacket eventually assumes, such attitudes will have little to do with it. He has been of show business for as long as he can remember. Both his parents are veterans of vaudeville...his father was a tap dancer...and so he is thoroughly versed in the discplines of entertainment. His first professional appearances were spent performing a vibraphone display-piece that had been transcribed from Flight Of The Bumblebee. When he was fifteen, he had formed a trio that was appearing on a Paul Whiteman radio show. Not Bumblebee, though, He had already become aware of Lionel Hampton and Red Norvo, and was playing jazz.

Today, less than a decade later. his career had already undergone enough twists and turns to make up a full life for someone twice his age. A drummer friend of Mainieri's, Pete Voulo, was also a friend Buddy Rich. Rich had, a years back, retired from the big band scene because of illness, and was now seeking to return to active life via a small group. Rich's unit was playing at New York's Village Gate one night when Voulo brought Mainieri down to sit in. The vibraphonist looks even younger than he is, and Rich, fearful of what might happen, made him stay until the club had begun to empty before allowing him to play. It is sufficient to say, minus the star-is-born details, that when the evening ended, Mainieri had a job in the Rich group, and had signed a personal management contract with the drummer. He stayed with Buddy for two years, and feels today that any jazz notoriety he has came about as a result of Rich's attention, concern and promotion.

One tangible result of the association was the New Star vibraphone award which Mainieri won in the Down Beat Critics' Poll in 1961. Fittingly enough, an original on this LP as a leader is titled, in thanks, B. R. Blues.

Such recognition, coming as it did before he had any albums of his own released (and only two with Rich), might have seemed to the beginning of an unstoppable career. But things were not to work out that way. In 1961, Mainieri went on a State tour lasting six months. That in itself is enough to take one out of the viciously competitive and short-memoried jazz limelight, but on his return he came with an ailment contracted overseas. Hospitalized for three months, he was unable to play for two more. Other new musicians have come to notice in that time, so this album, made soon after Mainieri was able to play again, represents, in a very real sense, the comeback of a twenty-four year old musician.

What all this amounts to, in a sense is the strange opposite of the Sonny Rollins sabbatical; a promising musician absent from the scene through no fault of his own, unattended by publicity. But in another sense, it is similar, in that Mainieri will startle no-one with an all-new, all-different style. He plays much the same sort of music that brought him to his recent attention, plays it with more authority because he is more mature, and plays it better.

The musicians who play With him on this album were the ones he had worked with around his home in Yonkers, New York, after his release from the hospital. Drummer Joseph Porcaro Jr., has played with different bands, most notably one led by Bobby Hackett. Bassist Julie Ruggiero was a member of the trio that played on the Whiteman show, and is currently a member of the Tonight Show band led by Skitch Henderson. Mainieri, in speaking of the album, dwells very little on his own work, but stresses that of the pianist, Bruce Martin. Martin studied for two years with Oscar Peterson ("You can hear some of, Mainieri says), and was working with trumpeter Charlie Shavers at the Metropole in New York when Mainieri heard him. Mike strongly believes the pianist to a future star, and succintly sums up the rapport he feels when working with him: "We've kind of got our own little bag."

Out of that bag comes some of the pleasant, unassuming yet thoroughly musicianly albums in quite a while. Three of the tunes are well-known standards: Temderly, If I Were A Bell, and When I Fall In Love. The latter two are closely associated with Miles Davis, but their inclusion is sheer coincidence. They are played "because the piano player and I like them," not because of an influence. Mainieri, who professes not to listen to other vibraphonists very much, names the same two musicians when asked the inevitable question: Clifford Brown and Charlie Parker in that order.

The remaining three are Mainieri originals. Two of them are blues: the slow, moody Blues On The Other Side and the faster, previously mentioned tribute to Buddy Rich. For this listener's tastes, the most distinguished track is the final Waltzin' In And Out, which manages to bring a fresh inventiveness to funk at this late date. But the entire set, from the joyous Bell to the Tenderly played with perfect attention to the title, is enough to make Mike Mainieri's return so welcome that many will wonder why they didn't know he was away,

Joe Goldberg

LP-705

The Ramsey Lewis Trio - Bossa Nova

Released 1962

Recording and Session Information

Ramsey Lewis, piano; Jose Paulo ,guitar, pandeiro; Eldee Young, bass; Redd Holt, drums; Carmen Costa, cabaca,vocals
Yamaha Studio, San Francisco, California, September 22 and 25 1962

11903 O pato
11904 Manha de carnaval
11905 As criancinhas
11906 A noite de meu bem
11907 Roda moinho
11908 Canacao para Geralda
11909 Samba de Orfeu
11910 A felicidade
11911 Care de Palhaco
Generique

Track Listing

Samba De Orpheus	Jobin, Bonfa	September 22 + 25 1962
Maha De Carnaval (The Morning Of The Carnaval)	Jobin, Bonfa	September 22 + 25 1962
A Criancinhas (The Children)	Eldee Young	September 22 + 25 1962
A Noite Do Meu Bem (The Night Of My Love)	D. Duran	September 22 + 25 1962
O Pato (The Duck)	J. Silva	September 22 + 25 1962
Generique (Happiness)	Ramsey Lewis	September 22 + 25 1962
Roda Moinho (Whirlpool)	V. Guaraldi	September 22 + 25 1962
Cara De Palhaco (The Face Of The Clown)		September 22 + 25 1962
Canacao Para Geralda (A Song For Geraldine)	R. Lewis	September 22 + 25 1962

Liner Notes

ONCE IN A LONG, long while there comes along a musician who seems to have the knack of keeping his ear and his music in tune with the broad taste of thc public. He struggles along unheeded by the teeming throng, he may become recognized as a great neglectcd artist. If he is quickly and painlessly accepted and is financially successful, more than likely he will be classified as quote "commercial" unquote. For some logic-defying reason, money and acceptance in jazz can become the kiss of death.

The Ramsey Lewis Trio has been, since its inception, a "winner." The group suffered through no "dues paying" period per se. The three healthy, normal, well adjusted family men got together in Chicago, rehearsed, worked local clubs, recorded and became a popular attraction without ever leaving home. More than five years later the original musicians still with the trio as normal, well adjused family men - (same families). Commercially, the trio is the one shining exception to Chicago's traditional indefference to homegrown talent. Lewis & Company is an ovcrwhelming favorite in the Windy City. This album is a good indication of why.

For the past eighteen months, jazz has been floundering in the dregs of the waning "soul" movement. Writers, listeners, and music fringe craftsmen have been groping feebly for new, fresh ways of saying "It's the same old groove: badly mutilated and overdone." Meanwhile the serious jazz musician has been experimenting with a new idea. The perfected product is now bombarding the airwaves under the grandiose title of Bossi Nova.

In the past, American jazzmen have drawn on the latin culture for rhythmic variation; flavor and excitement in music. In the main, however, the latin harmonic limitations were not conducive to jazz improvisation. Melodies were undistinguished and almost horizontal in structure. There few challenging chord progressions or variations. The emphasis was strictly on rhythmic development.

In the late fifties, a new musical concept was becoming prominent in certain areas of Latin America. Primarily based in Brazil, a style was emerging which still employed the latin rhythms; but displayed more extensive harmonic breadth. Gradually, the melody began to stand out with an identity of its own. With this change, the latin music of Brazil began to lend itself more readily to jazz adaptation. There were fundamental compromises to be made before jazz and the Brazilian music were to fuse into a new "school."

The latin music was still basically a percussion orientated one; while in jazz, the piano is the only prominent percussion instrument and it is employed in a melodic or harmonic capacity as well as a rhythmic one. Often jazz musicians, accustomed to playing primarily in flat keys found themselves faced with the dilemma of either transposing this music and possibly losing some of its subtle connotation or playing it in the unfamiliar, sharp keys. There were infinite variations in instrumentation to be adjuested to.

It was Ramsey's task to make these adjustments within matter of days. Having become acquainted with the music as a listener and admirer, he set about learning the technical fundamentals of the form. He was fortunate in having Josef Paulo and Carmen Costa to woodshed with the trio. These artists are two of the most sought after performers in the Bossa Nova rage. So thoroughly did the trio become entrenched in their music, that both Lewis and Eldee actually contributed original tune to this date.

By this time, "Bossa Nova" is the big thing in jazz and everyone should have become familiar with the term. For those who may not have heard yet, "nova" means new and there is no literal English translation for "bossa." Very, very loosely, it represents the equivalent of our slang "bag" or "thing." Ironically, there is a similar Russian pronunciation which means "barefoot"; that should result in an International definition "new barefoot" music. Somehow, the term seems appropriate for the Ramsey Lewis Trio whose music has always been synonymous with that which is and "of the people."

Again this unit has responded to the music of the hour. Today, the listening public is halfway between the emotional outpourings of the "soul" school and the exciting rhythmic beckoning of Bossa Nova. This album is a happy balance embodyipg both.

Barbara J. Gardner

LP-704

Thornel Schwartz With Bill Leslie – Soul Cookin'

Released 1962

Recording and Session Information

Bill Leslie, tenor saxophone; Lawrence Olds, organ; Thornel Schwartz, guitar; Jerome Thomas, drums; Donald Bailey, drums
Van Gelder Studio, New York, September 4 1962

U11866 Soul cookin'
U11867 Brazil
U11868 You won't let me go
U11869 Theme from "Mutiny on the Bounty"
U11870 Blue and dues
U11871 I'm getting sentimental over you
U11872 Don't you know I care ?

Track Listing

Soul Cookin'	E. Edwards	September 4 1962
Brazil	S.K. Russell, A. Barroso	September 4 1962
You Won't Let Me Go	B. Allen, B. Johnson	September 4 1962
Theme From Mutiny On The Bounty	B. Kaper	September 4 1962
Blues And Dues	T. Schwartz	September 4 1962
I'm Getting Sentimental Over You	Bassman, Washington	September 4 1962
Don't You Know I Care	Ellington, David)	September 4 1962

Liner Notes

GUITARIST Thornel Schwartz, though still a relatively young man, already seems ready to add a few new touches to anybody's ideas about how the jazz guitar should be played. He is the fresh new blood that always seems to happen along when the imitators have beat up on some innovator's good idea for so long that it starts to wilt under the punishment. But Thornel is no sudden overnight whiz (of which jazz has certainly had more than its share) who blossoms under the constant care of press agents and opportunistic disc jockeys, but who disappears just as quickly after the serious listeners have had a chance to sit with his records or in listening clubs and discover how weak he really is. Thornel has had to pay his dues and as a matter of fact, is still paying them. And he is coming into his reputation as one of the best young guitar men around now, only because he can play. He works very hard at it too, e.g., when I called him about this album and asked when he had picked up the guitar, he said, "I'm still trying to pick it up...I was practicing when you called me."

Thornel actually picked up the guitar some 13 years ago, when he was just about 19. after having been "got to" by some Charlie Christian records. Ironically, and as it turns out for us, happily, he really started getting serious about the instrument after he'd broken his leg playing ball. He really got into it while recuperating. "I bought the guitar at a pawnshop with my last six dollars and the accident really gave me a chance to settle down and practice."

Thornel worked with a lot of groups around Philly, playing at the various cabarets, dances and small night spots that are so integral a pact of the young jazzman's experience. One of the groups he played with, Chris Powell's band, even though it played mostly Rhythm & Blues oriented sounds, still had Clifford Brown on trumpet, Jimmy Heath on saxophone, and Jymie Merritt playing bass. (And that sounds like a swinging group no matter what they were supposed to be playing.) Thornel also worked with organist, Jimmy Smith around Philadelphia and on the road for almost three years. Smith has certainly been one of the most important reasons why the organ has re-emerged so strongly in jazz. And Thornel's long stint with Jimmy Smith was one big reason why he's always in demand to play behind the new funky breed of jazz organists that have sprung up recently. Thornel says about his work with Smith, "That group seemed to start the organ-guitar combination. It got very popular around the time I was with Jimmy, and a few guitarists even picked up on the way I was comping behind Jimmy, and almost everybody was picking up on Jimmy."

After working with Jimmy Smith, Thornel's different gigs with organists really began. In fact, any list of organists with whom Thornel Schwartz has worked reads like some kind of Who's Who in jazz organ playing. After Jimmy Smith Thornel worked with Johnny "Hammond" Smith, another pace setter on that instrument. Then he worked with two younger organists who have rising reputations for their fresh innovations on the instrument; Richard Holmes, who has been coming swiftly into his own out on the west coast. and one of the swingingest young organ players in the business, Larry Young, Jr.

When Thornel finally got his own group together, Larry Young, Jr. was certainly in it, and Thornel has been on most of Larry's recording dates. On this date, however, while he wasn't able to get Young because of contract commitments, Thornel did come up with a very fine replacement, organist Lawrence Olds. Old's ideas are remarkably like Young's and he does an amazing job of filling in.

Another musician who has played with Thornel on many occasions is young tenor man, Bill Leslie. Leslie is a musician who knows where he wants to go and is already causing a stir where he is now. Bill has a bluntly contemporary approach to his horn, and he always plays with no holds barred. He is quick to praise all the significant new voices on his instrument like Sonny Rollins and John Coltrane, as well as the dynamite influence of this jazz epoch, Ornette Coleman. But even though Leslie is definitely in favor of the most contemporary approach to his music, he has still profited by playing with some of the old guard rhythm groups around Philadelphia and on the road. Bill Carney and Louis Jordan are two of the heavy-duty rhythm bands Leslie has made his way through, and their enriching influence is still solidly evident in his playing. So not only is Bill Leslie as quick and facile as any young tenor around these days, but he also has that solid blues background which seems indispensable for any good jazzman. In recognition of Bill Leslie's fast consolidating talents, Argo has just finished getting his first record date as a leader into the can. On that album he uses Thornel as well as Arthur Taylor and Tommy Flannagan, so it should really be something to hear.

The two drummers on this date are both fanliliar with Thornel's music. as well as the idea Of the guitar-organ-horn sound. Jerry Thomas is Thornel's regular drummer, working with him when these notes were written, at Philadelphia's Oasis Club. Donald Bailey is Jimmy Smith's regular drummer, and it is easy to see why behind his driving work on the title tune, Soul Cookin'.

As far as the music on the album is concerned, the title just about indicates what's going on. Everyone in this group plays with a deep and constant commitment to the blues. And it is a stirring blues pulse that dominates all the music on the album, the tune is a popular ballad like Don't You Know I Care, or a funky original like Soul Cookin'. Cookin' should really set the jukeboxes on fire. It has that "low down' flavor that's so much in evidence these days. And while organist Olds and drummer Bailey setting down a heavy, heavy rhythm line, Bill Leslie and Thornel Schwartz are free to stretch their blues legs. When Leslie solos, listen also to Thornel's persistent guitar broadening the entire bass line. Thornel really understands what a rhythm guitar function is, even though he is a brilliant soloist.

You Won't Let Me Go is put to a double purpose. Not only is it allowed to keep great deal of its original misty ballad quality, but it soon becomes evident that tune will be used as a vehicle for more home cookin'. Organist Olds also moves and steams on this tune, first keeping up a steady rolling line behind Thornel, and then stretching out on his own, letting Thornel comp behind him. It's a brilliant muscial relationship these two men have, and they almost always make the most of it.

But all the musicians take care of business admirably throughout the entire date. Mutiny On The Bounty, another juke box natural, has much more than that to commend it. Bill Leslie's sornetirne quietly intimate and then movingly raucous solo makes this tune more than just another movie theme put to jazz. Thornel's very pretty blues thinking gives the long blues Blues Aud Dues a kind of funky nostalgia that should certainly stir any sensitive listener with the delicacy and moodiness of its voicing.

It's true that Thornel Schwartz, Bill Leslie and the others on this album might be new voices, but they are voices that have to be heard. Their playing here is certainly into more than mere promise. These mu»icians, as young as they are, are already off and running, and in their own directions.

LeRoi Jones