LP-712

Ahmad Jamal - Macanudo

Released 1963

Recording and Session Information

Ahmad Jamal, piano; Art Davis, bass; Richard Evans, dirextor with large orchestra
RVG, Englewood, New York, December 20-21 1962

12087 Sugar loaf at twilight
12088 Montevideo
12089 Belo horizonte
12090 Bossa nova do Marilla
12091 Buenos Aires
12092 Bogota
12093 Haitian marketplace
12094 Carnival in Panama

Track Listing

Montevideo	Richard Evans	December 20-21 1962
Bogota	Richard Evans	December 20-21 1962
Sugar Load At Twilight	Richard Evans	December 20-21 1962
Haitian Market Place	Richard Evans	December 20-21 1962
Buenos Aires	Richard Evans	December 20-21 1962
Bossa Nova Do Marilla	Richard Evans	December 20-21 1962
Carnival In Panama	Richard Evans	December 20-21 1962
Belo Horizonte	Richard Evans	December 20-21 1962

Liner Notes

THIS IS A SPANISH slang word for "hip". It is very appropriate on this occasion for this album is a "hip" blending of the best rhythmic currents in Afro-Harlem and Afro-Latin American music. This album, in fact, is a justly-deserved tribute to President and Mrs. Jack Kennedy. It grew out of the President's cultural program which carried Composer Richard Evans to several South American countries as a musical ambassador and ended with an unprecedented White House jam session. Here. in eight impressionistic tone paintings of eight Latin American cities, is the musical result Of that cultural safari. If you are looking for hard-driving examples of the exciting rhythmic concoctions of Latin America, this is your record. If you are looking for gimmicky "fad" music, however, pass this one up. Ahmad Jamal, Richard Evans and their supporting cast on this brilliant album are to be commended for their good taste in avoiding the "fad" aspects of the contemporary Latin American movement. This is a record which doesn't try to prove anything—except that music is fun, from any part of the country.

Ahmad Jamal, the driving force behind this album, is at home in Brazil. On the driving Haitian Market Place and the imaginative Buenos Aires, Jamal demonstrates that he has no peers in the art of piano magic. Coaxing great blocks of shimmering sound from the piano, the great pianist successfully defends his title as the most rhythmic and creative artist working on the keyboard today. On Sugar Loaf, incidentally, Jamal breaks new ground with an extraordinary solo on the celesta. As a musical host and as a recording director, I have followed Jamal's climb from Chicago's Pershing Lounge to the Himalaya of jazz. This is one of his best.

Richard Evans, the Chicago-based bassist who received long overdue recognition when he made the White House scene, blossoms forth on this album as a composer of note. Although he is only thirty, Evans has played and written for Maynard Ferguson, Dinah Washington and other musical greats. He served also as musical director of the Paul Winter sextet which made a six-month tour of Latin America and returned to Washington to make musical history as the first jazz group to give a concert at the White House.

Evans provides a colorful frame for the Jamal palette. Using jazz greats and conservatory-trained musicians from the New York Philharmonic and other symphony orchestras, he paints brilliant impressionistic portraits with strings, French horns, flutes and the harp and bell. Darting in and out of the splashes of sound, Jamal rises to great heights as an artist by dominating this large and impressive orchestra.

Jazztistically speaking, this is a record for the musical buff who has everything. It is one of those rare records that yield choice delights with repeated listening.

Here, in the swinging, uninhibited words of Composer Evans, is the musical fare: Montevideo — The capital of Uruguay is bright, fast and happy. A rolling eloquent recital by Ahmad Jamal delineates the modern and traditional in this great South American city.

Bogota — Bogota, Colombia, is paradox-ville. It is beautiful and beastly, hip and square, kind and cruel, old and new. Playing against the full orchestra, Jamal goes to the heart of the paradox.

Sugar Loaf — When you see the orange rays of the sun bathe Rio de Janeiro at twilight, you are filled with a feeling of peace which can best be defined with the soft tones of strings, celesta and French horn. The highlight of this tone painting is Jamal's lovely solo on the celesta.

Haitian Market Place — Imagine an open market in Port-au-Prince, Haiti, with hundreds of Haitians selling their wares and chanting in broken French. The pure African rhythms, the poverty and the soul combine to make you want to scream for them and moan with them. In this portrait, the brass screams and Jamal moans.

Buenos Aires — Argentina, the New York of South America, is so hip they call it B. A. The musical scene? No senoritas with guitars, no castanets, but some darn good modern jazz musicians who will send many North American jazz musicians back to the "wood shed." B. A. deserves undiluted jazz. B. A. deserves a sparkling Jamal solo.

Bona Nova Do Marilla — This number and the inventive Jamal interpolations capture the mood of the little out-of-the-way town of Marilla, Brazil. Here are the quiet, polite people, the pleasant little restaurant around the corner, the modest cemetery and the sheer beauty of Marilla's simplicity.

Carnival in Panama — Jamal sets the pace for this fast, rhythmical number with a percussive solo that shimmers and delights.

Belo Horizonte — This Brazilian city is smooth and relaxing. Bossa Nova is in order here with another pulsating Jamal solo and a Jamal-influenced ending.

Daddy-O Daylie
WAAF.WMAQ

LP-711

Al Grey - Night Song

Released 1963

Recording and Session Information

Dave Burns, trumpet; Al Grey, trombone; Billy Mitchell, tenor saxophone; Bobby Hutcherson, vibes; Eal Washington, piano; Herman Wright, bass; Otis "Candy" Finch, drums
Ter Mar, Chicago, November 1 1962

11984 The way you look tonight
11985 Night and day
11986 Blues in the night
11987 Through for the night
11988 Laughing tonight
11989 Star dust
11990 Stella by starlight

Track Listing

Blues In The Night	H. Arlen - J. Mercer	November 1 1962
Stella By Starlight	N. Washington, V. Young	November 1 1962
The Way You Look Tonight	D. Fields, J. Kern	November 1 1962
Through For The Night	Trummy Young	November 1 1962
Stardust	M. Parish	November 1 1962
Night And Day	Cole Porter	November 1 1962
Laughing Tonight	Frisch, Alfred	November 1 1962

Liner Notes

In 1961, I was offered one of those rare opportunities extended a jazz disc jockey. The CBS affiliate in Philadelphia (WCAU-TV) conducted a summer series entitled "Experimental '61." The producers of this series offered an opportunity to members of the staff to offer some fresh, new programming ideas. Upon submitting my idea of a jazz show I was amazed and pleasantly surprised to receive the go ahead sign with no holds barred.

The idea of a jazz show on television is not new. But in my case it was the result of a conversation I held with Al Grey the summer before when he and I had a chance to talk back stage in Atlantic City when the East Coast was presented one of the best three day jazz festivals ever given. At that time, Al was seated comfortably in the Count Basie Band and slowly emerging as one of the important lead soloists. This was by no means an easy task if you will review the personnel of the band at that time.

I recall Al's remarks. He stated that what the average jazz show lacked was taste and ability to reach the people. He went on to say that if the chance were ever given him to participate on a show, he would be sure to reach the people and show them that jazz can be melodically beautifully and tasteful.

Al was given the chance on the show I produced. It was called "A Taste Of Jazz". The Al Grey Billy Mitchell Sextette shared the half hour With Jimmy Smith and his trio.

The comments received following the airing of the show were unanimous in their approval and complimented the musicians on their "tasteful presentation". In fact, many of the letters received following the show stated the viewers had no idea that jazz could be so tasteful.

Following "A Taste of Jazz", we had a chance to produce a late night summer series for six weeks on the NBC affiliate (WRCV-TV) in Philadelphia. Being a co-producer of the series as well as host of the show I immediately insisted on using only Jazz musicians.

Once again the SOS went out to Al Grey.

The three appearances the group made was at the early formation of the first Al Grey-Billy Mitchell Sextette. Following their appearance on the "Del Shields Summer Showcase" the same comments were received from viewers on their tasteful presentation.

I think therein lies the story of Al Grey, heir apparent of Trickey Sam Nanton, Last of Big Time Plungers and owner of the Thinking Man's Trombone.

Al Grey is a tasteful, articulate trombonist. He is a modest man who like most jazz musicians, prefers to speak through his horn.

Among the jazz musicians, when the subject of the top trombonists is discussed, All Grey is always included among the leaders. His list of credits and recording dates are more than impressive. He earned his musical letters in the big bands of Dizzy Gillespie and Count Basie. Surrounded by star studded soloists and brilliant technicians, the "vocal" style of Al Grey was always heard prominently so that he was always among the leading solo voices. His trombone style has been such a personal thing that when he recorded with many studio bands, arrangements were tailored to include an Al Grey solo. Nat "King" Cole, Sammy Davis, Jr., Gloria Lynne, Sarah Vaughan and Ray Charles album have included the trombone voice of Al Grey.

Al Grey has been steadily working, studying, developing and producing a sound that all of jazzdom is learning to respect. When he appeared with Dizzy Gillespie at Newport in 1957 and soloed on "Dizzy's Blues" and "Cool Breeze", the thousands of jazz devotees recognized that Al Grey was a trombonist to be heard.

Confirmation of the 1937 reaction was awarded Al Grey again in the summer of when he appeared with Billy Mitchell at Newport. Critical reactions was so overwhelming they were called back for an additional appearance.

The recent award by the International Jazz Critics and the prominent positions Al has been gaining in the various jazz popularity polls attest to his slowly but surely gaining an audience that is pleased with his musical message.

In this album, Al Grey is the main soloist. This is the fourth album Al Grey has recorded for Argo. Although the Sextette is always in evidence, this album should move Al Grey„ up a notch within the charmed circle of first rank jazz trombonists.

Blaes in the Night...The plunger style of Al is greatly in evidence as Al shares the solos with Billy Mitchell. The Sextette frames the musical picture as Al fills with his varied colorations. The group comps in unison keeping a steady foot pattin' groove.

Stella by Starlight...A latin beat is laid down by the group before Al Steps in. Putting aside the plunger, he offers a round warm tone as he states the opening theme before beginning his improvisations. Bobby Hutcherson eases into the spotlight followed by Dave Burns. The vibes and trumpet keep the light happy feeling of Stella moving Earl Washington's solo on piano is brief but tasteful. Al re-enters before the group in ensemble places the final period.

The Way You Look Tonight...Is also latinesque in format. Once again the full round tones of Al's trombone is almost "trumpetsque" in sound.

Through For Zhe Night...This fondly remembered Trummy Young chestnut brings to mind that Al Grey has fond remembérances for the tunes with his treatment. The exacting technique of Al's in displaying a technique of firmly controlled discipline on the horn makes the night a light evening.

Stardust...Many times done...many times recorded...many times sung. Yet, never given the delicate treatment on trombone as Al offers here. Gently nudged by Bobby Hutcherson's sensitive vibes and Dave Burns' muted trumpet makes this ballad live again.

Night and Day...although Al is again the principal soloist, Bobby Hutcherson's vibes adds that bit of schmaltz that gives this evergreen a tasty jazz treatment. Then Dave enters with mute to offer a short chorus of spice.

Laughing Tonight...Jazz need not be paced at breakneck speed with half slurred notes to display technique. Here the group offers a shining example of how a tune can be treated sympathetically with a beat and project a happy sound.

Del Shields
WDAS FM
Philadelphia, Pa.

LP-710

Bill Leslie - Diggin' The Chicks

Released 1962

Recording and Session Information

Bill Leslie, tenor saxophone; saxella Tommy Flanagan, piano; Thornell Schwartz, guitar; Ben Tucker, bass; Art Taylor, drums
RVG, Englewood, New York, October 19 1962

11946 Rosetta
11947 Margie
11948 Goodnight Irene
11949 Madge
11950 Got a date with an angel
11951 Angel eyes
11952 Lonely woman

Track Listing

Good Night Irene	H. Ledbetter	October 19 1962
Angel Eyes	Matt Dennis, Earl Brent	October 19 1962
Madge	Wm. Leslie	October 19 1962
Margie	Robinson, Davis, Conrad	October 19 1962
Lonely Woman	Ornette Coleman	October 19 1962
Got A Date With An Angel	Walter, Tunbridge, Miller, Grey	October 19 1962
Rosetta	Earl Hines, Wm. Woode	October 19 1962

Liner Notes

EVEN though this is Bill Leslie's first album as a leader, he has already gained a solid reputation among musicians as a young tenor player who has achieved a good measure of singular self-expression, i.e., he is "inta something" or "taking care of bizness," to use the easy jargon of the industry. And Leslie comes by this reputation through an admirable balance of musical attributes which combines a dazzling technical fluency with a deeply felt blues sense that colors and broadens all his music. Listening to this first album. and reflecting on the individuality and emotional maturity of Leslie's playing at this stage of the game one cannot help but wonder where he will go next, and hope to Se informed of his next move. This album really whets your appetite.

Bill has sessioned in and worked around Philadelphia for years, and even though he is interested in a very contemporary expression his dues years in the various cabarets and dance halls of Philadelphia have rewarded him with a strong blues pulse which is evident in everything he plays. So that even though Leslie names such new thinkers as Coltrane, Sonny Rollins, and Ornette Coleman as the saxophonists he likes best, one can still hear in his playing a very cool distillation of the muscular "gutbucket" saxophones that drive rhythm bands like Bill Carney's in Philadelphia or Louis Jordan's, two of the groups that Leslie came through. This is certainly one reason why Leslie's fluency and facility with the horn never breaks down into shallowness or glibness. He can "get around" on his horn without sacrificing or forfeiting any of his emotional fervor.

Half of the rhythm section on this date, i.e., pianist, Tommy Flanagan and drummer, Arthur Taylor, are two of the most sought after sidemen on the scene; and thev have played together on countless LP's. The bands these men have gone through and the, like they say, "big names," they have played with probably form some wild catalog of what has been happening in jazz in the last ten years.

Bassist, Ben Tucker is also no new hand when it comes to cementing swinging rhythm sections together. He has worked, at various times, with Art Pepper, Roland Hanna, Carl Perkins and Warne Marsh, for a few names.

Thornel Schwartz and Bill Leslie have played together many times before, and Bill was featured on Thornel's debut as leader, as well. These two men certainly have a deep feeling for each other's music, and it is immediately apparent how expertly they can complement and comment on each other's solos (as on the indelibly lovely Lonely Woman where Thornel's almost evanescent chords ring just beneath Leslie's brooding solo, calmly enforcing his beautiful statements).

All these tunes are for or about ladies, as the title should indicate. And as I mentioned, all these tunes are for or about ladies, as the title should indicate. And as I mentioned, probably the most singularly beautiful title on the album is Ornette Coleman's severely introspeetive ballad. Lonely Woman, which Leslie plays the soprano saxophone sounding saxella. This intrument's slight piercing sound, sometimes almost pleadingly speech-like, evokes a chillinglv programmatic image of an emotion that both composer and instrumentalist seem to understand perfectly. The rhythm section is also impeccable on this tune; Tucker's firm quiet chords, and Taylor's continuous dirge-like cymbal, reinforce the total feeling of the piece quite movingly.

Got A Date With An Angel and Rosetta are both taken at about the same bright, fingerpopprng tempos, though Rosetta is just a little quicker on her feet. But both tunes show just how quick Bill Leslie can move around his horn. He has a way of sounding cool and casual even when he is starting to "go upstairs," as is the case on Rosetta, a tune last heard to good advantage when played by Red Allen and Coleman Hawkins.

Ben Tucker provides the western waltz background for the rather tongue-in-cheek version of Good Night Irene. Thornel Schwartz also contributes to the outdoorsy feeling strumming away like it was Hick Night at the Apollo. And after a time, Bill Leslie makes it pretty obvious that Irene was not completely unaware of the blues, as does Tommy Flanagan's brief but vitally bluesy solo.

Angel Eyes is the lovely lovely standard that the M.J.Q. revived a few years ago. And again. Bill Leslie shows the devastatingly introspective and tender aspect of his piayzng, backed with equal purpose by Flanagan. The two show how much feeling can be gotten out of this incredibly fragile piece of music. One of the most exacting tests of a jazz musician is how well he can play a ballad. Many musicians who can play a "jam" handily find it impossible to play a ballad meaningfully.

Leslie's original, Madge, is a "straight up" blues, taken at walking tempo. This chick is an elegantly bluesy type "soul sister" who doesn't have to raise her voice to make a point. Bill's very warm very relaxed sound, aided by Thorne! Schwartz' soft blues chords paint a very attractive portrait and demonstrate quite readily that you don't have to fall down on your back and kick your feet in the air to get that old funky blues thing going.

Margie shows that Bill Leslie can revive any tune with the freshness of his imagination, since this tune is one of the most beat up pieces since the Star Spangled Banner. Notice the way he searches for alternate and minor chords, never content merely to "run the changes." But one of the most salient characteristics of Bill Leslie's playing is that he always seems intent on finding the most expressive way to say a thing. He is never content with the stale or obvious. Let's say Leslie's trying most of all to play like himself, which is maybe a weird idea for a lot of people, but luckily for us, Bill doesn't think it's so weird. Listen to him!

LeRoi Jones