LP-713

The John Young Trio - A Touch of Pepper

Released 1963

Recording and Session Information

John Young, piano; Sam Kidd, bass; Philip Thomas, drums
Ter Mar, Chicago, 29 November & 4 December 1962

12043 Joey
12044 Got a lot of living to do
12045 Blues Oreenee
12046 Serenata
12047 Everything's coming up roses
12048 Search me
12049 The inch worm
12050 The bridge
12051 In other words
12052 Paprika (unissued)

Track Listing

Blues Oreenee	John Young	29 Nov, 4 Dec 1962
Joey	Frank Loesser	29 Nov, 4 Dec 1962
Everything's Coming Up Roses	J. Styne, S. Sondheim	29 Nov, 4 Dec 1962
A Lot Of Living To Do	Charles Strouse, Lee Adams	29 Nov, 4 Dec 1962
Search Me	Sam Kidd	29 Nov, 4 Dec 1962
Serenata	Leroy Anderson	29 Nov, 4 Dec 1962
Inch Worm	Frank Loesser	29 Nov, 4 Dec 1962
The Bridge	Sonny Rollins	29 Nov, 4 Dec 1962
In Other Words (Fly Me To The Moon)	Bart Howard	29 Nov, 4 Dec 1962

Liner Notes

A Touch of Pepper is the highly descriptive title of this third John Young Argo album. His previous two, Young John Young (Argo 612) and the popular Themes and Things (Argo 692) contain excellent examples of his bubbling fire and effervescence but it is this one that really reaches deep and captures that personal spark for which John Young is so admired. This album presents John's experienced trio in its most unhampered swinging recording to date. As always, before presenting any material to his vast following, John has perfected the approach and interpretation of each selection to such a degree that even a casual hearing implies that his is the definitive version.

John Young's versatility is well known in the music field. He is constantly sought for all types of live and recording dates; from preferred anonymity on rock n' roll gigs to "elite" pleasing fashion shows and club dances. All of these assignments he handles with easy professionalism. However, some of the more challenging chores he has accepted, such as regular Chicago accompanist for Nancy Wilson, or his recent rhythm section date (with his drummer, Phil Thomas) for Frank Foster's new swinging *Basie Is Our Boss, Argo 717), have placed him in the very top echelon of todays jazz artists.

During the past three years John's trio has boasted some of the finest sidemen in the business including bassmen Israel Crosby, Vic Sproles, William Yancey, his present bassist Sam Kidd, and his long time drummer Phil Thomas. His home base, bread and butter gig is a small intimate southside club known as the Kittykat. Most of his jobs backing vocalists have been at the famous Sutherland Lounge.

John's musical library, filled with standard "goodies," is also well sprinkled with contemporary fare and top show tunes. The framework of each selection is fairly easy to comprehend and needs no great explanation from me to you. However, a few highlights may help you enjoy the album even more.

Opening side one is John's composition, Blues Oreenee and a deeper swinging, more stimulating blues has never been cut! A really rocking left hand against a "peppery" right hand trill midway through with Sam Kidds hard walking bass keeping the groundwork firm, is unbeatable (no pun intended). Keep your head still on this one if you can! Sam is featured in an earthbound solo on his own composition, Search Me which closes the first side.

In between are three current show tunes, the blues oriented Joey, Joey, the furious tempered Everything's Coming Up Roses and the Bossa Novaed Living. John's touch on this last selection is light and airy and seems to float above the 4/4 swing used during the improvisatory choruses.

The always beautiful and challenging standard, Serenata has long been one of John Young's favorites, and was wisely chosen to open side two. He shows his concert style virtuosity in the opening solo statement with the rhythm section then setting the feeling with Phil on Conga all the way. John's rich full sounding chords and pleasantly surprising glissandes keep the ear tingling throughout. Inch Worm, most notably recorded by John Coltrane and Ira Sullivan, is given an unlikely bluesy intro by John Young with bell like chords following in a relaxed but definitely swinging manner. Another fine Capt. Kidd bass solo and some stacatto-ish drum breaks by Phil Thomas help Inch Worm liven his pace considerably. The only out-and-out Jazz composition of the date is Sonny Rollins' The Bridge, and the trio maintains Sonny's original intent by keeping to the difflcult pattern of an up tempoed switch from to and back again throughout the theme and all of the solos. According to John Young the Moon involved in In Other Words is made of Blue(s) cheese filled with large chunks of beautiful full locked chords. A tasty tidbit to wind up the hearty well balanced and well seasoned (peppery?) offering sterved up by the John Young cookers, supreme chefs all!

Those of you who have heard John in person may have had some misgivings about the approach and material content of his previous albums. Admittedly they were constructed and released to reach a broader audience than the faithful but outnumbered legion of true Jazz fans. This set should please all because it is the least hampered materialwise, and is the fullest free swinging LP John Young has yet recorded. Dig it! The pleasure will be yours.

JOE SEGAL

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.