LP-717

Frank Foster - Basie Is Our Boss

Released 1963

Recording and Session Information

Al Aarons, trumpet; Frank Foster, tenor saxophone; Eric Dixon, tenor saxophone, flute; John Young, piano; Buddy Catlett, bass; Philip Thomas, drums
RCA Studios, Chicago, February 18 + 20 1963

12234 Vested interest
12235 I've got a lot of living to do
12236 Why try to change me now?
12237 Kelly blue
12238 May we
12239 Samba blues

Track Listing

Vested Interest	Frank Foster	February 18+20 1963
Why Try To Change Me Now	Coleman-McCarthy	February 18+20 1963
May We	Frank Foster	February 18+20 1963
Samba Blues	Esmond Edwards	February 18+20 1963
Kelly Blue	Wynton Kelly	February 18+20 1963
I've Got A Lot Of Living To Do	Adams-Strouse	February 18+20 1963

Liner Notes

ONCE there were numerous big bands. Many of these featured small units within the framework of the larger orchestra. Sometimes they recorded away from the parent organization. If there were several splinter groups, it was always interesting to hear how each reflected the larger band in their own particular way, Now there are just a few practicing big bands of any jazz note. Most of these are the names we have come to know and love through the years. Count Basie is one that has endured. Today, as it was years ago, there are men within his band Who are worth hearing at greater length in the context of the small group.

In July 1953, on the recommendation of Ernie Wilkins and Billy Eckstine, a 24-year-old Frank Foster was hired by Count Basie. It was a move, judging by the longevity of their association, that neither has regretted. Foster, originally from Cincinnati, where he was born in 1928, studied clarinet and saxophone in high school, and later attended Wilberforce University (also in Ohio) where he was a member of the famous Wilberforce Collegians. It wasn't until he started playing around Detroit in 1949-50, however, that he began to be discussed along the musicians' grapevine that extends from coast to coast. This talk was inspired by the saxophone duets that Frank was engaged in with Wardell Gray. While he was in the army between 1951 and 1953, Frank was stationed for a time on the west coast, and again had the opportunity to play with Wardell. Then, after his return from the Far East and subsequent discharge, Foster joined Basie.

There are others present here who also can be found under the Basie banner. All three are comparatively recent additions to the band, that is if you're stacking them up against Foster's employment record.

Tenor man Eric Dixon came over from the Quincy Jones organization in December 1961. He plays a big-toned, warm tenor, but in this album confines it to the ensemble. His solos are blown on the flute, which he also handles in an extremely virile manner. Dixon has the distinction of being one of the few jazzmen from Staten Island. N. Y.

Trumpeter Al Aaron joined Basie in the spring of 1962. In his late twenties, Aaron is originally from Pittsburgh but he did considerable playing in Detroit, including a stint with the Choker Campbell band. Al plays his horn with heat and a real bright sound — the brassy quality comes through even in his muted work. On Samba Blues he can be heard on tambourine.

Buddy Catlett is another relatively recent addition to the Basie band. He was the bassist with the Quincy Jones aggregation that toured Europe in Free and Easy during 1960. Before joining Basie, Catlett free-lanced around New York, appearing with Al Cohn and Zoot Sims (at the Half Note) among others.

Obviously, since he is a pianist, John Young is not one of Count's men. Many of you know him from his trio albums for Argo (Young John Young and Themes and Things). Those of you in Chicago have heard laim first hand at various local clubs. Young, born in Little Rock, Arkansas, came to Chicago at an early age. As a sideman he worked with Andy Kirk, Eddie Chamblee and King Kolax, His own trio, including drummer Phil Thomas, has backed such stars as Sonny Stitt, Gene Ammons, Howard McGhee, Benny Green and Ira Sullivan. Here, with the Basie-ites, Young exhibits a swing that is a looser contrast to his trio work, and an adroit placement of notes that contains much good humor. He and Thomas are fine accompanists. "A piano player can make or break a date — so can a bass player and drummer, individually or collectively". This was Foster's comment when he made clear how fortunate he felt to have the company of Young and Thomas, as well as Catlett.

Foster's talents are not limited to playing the saxophone, as anyone who has heard his arrangements for Basie will testify. Here he is represented by two original lines and all the charting, wherever it was required.

Vesteå Interest, a blues with a minor-key bridge added, is Frank's tune. The title stems from the way comedian Nipsey Russell used the phrase in his act. From the opening mood set by Young, this one moves along in a medium groove that never falters.

May We, a verbal play in a French expression, is also Foster's. It's romping and stomping from bar one. Again Young has the first solo — this time after the theme — and he keeps things going with some Monkish asides. Choruses by Dixon and Aaron lead to a climatic set by Foster.

Samba Blues, is more southside than South American. If the beat isn't exactly bossa nova, it is latin with appropriate solos by all four principals.

Wynton Kelly's Kelly Blue starts off in a more of Hibernian bag but it gets down home before very long. Al Aaron really shouts on this one.

The slow ballad of the date is Why Try to Change Me Now. Foster heard Frank Sinatra's record on the radio and liked it immediately. He "sings" it romantically but is never over-sentimental. Young assists with a pleasant interlude. Foster's approach here shows his link to Wardell Gray.

One of the high points of the album is reached in I've Got A Lot of Do. When the BasiÉ band was at the Waldorf, the Hi-Los were on the same show and Foster became familiar with the song through their version. His arrangement has much color and rhythmic variety. It begins in 6/8 and shifts into 4/4 in the bridge of the second chorus before sliding back into 6/8. Listen to Frank's break at the beginning of the second chorus. It leads him beautifully into a strong, controlled improvisation that is his tour de force of the set. Like many contemporary tenor men, he has been touched by John Coltrane, but he is a mature enough musician to maintain his own important identity.

These are the Count's men — Basie is their boss. Paced by Frank Foster, they represent themselves, as well as their regular leader, in fine style. In reply to "Basie is our Boss" Count should be proud to state, "There are my men!"

IRA GITLER

LP-716

Benny Golson - Free

Released 1963

Recording and Session Information

Benny Golson, tenor saxophone; Tommy Flanagan, piano; Ron Carter, bass; Art Taylor, drums
RVG, Englewood, New York, December 26 1962

12081 My romance
12082 Just by myself
12083 Mad about the boy
12084 Just in time
12085 Sock cha cha
12086 Shades of Stein

Track Listing

Sock Cha Cha	Will Davis	December 26 1962
Mad About The Boy	Noel Coward	December 26 1962
Just By Myself	B. Golson	December 26 1962
Shades Of Stein	B. Golson	December 26 1962
My Romance	R. Rodgers - L. Hart	December 26 1962
Just In Time	Adolph Green, Betty Comden, Jule Styne	December 26 1962

Liner Notes

THE title of this album is "FREE." It does not mean "Free" in the sense of abstraction or surrealism, but rather as an opportunity to work within the framework of a quartet which affords me many more possibilities for exploiting my horn. By not having to, or choosing to, play arrangements I feel "Free" even on the melodies.

I explained to Esmond Edwards (A & R man with Argo) before I did this album just what I was striving for and how I wanted to record. After I completed it, he came up with the title — "FREE." It had never before occurred to me the significance of this one word in relation to what I was looking for on my horn.

In the past I did many things with perfection being my foremost consideration, especially of arrangements, but now as look back I see that this approach made the musical value quite academic and very near void of any real feeling. In the last year or so I have felt a need to be "Free"; a chance to say what I want at any given time — this way tonight — that way tomorrow night. I feel, now, that without this periphery of horns I can better express what I have to say.

Although I am an arranger — it is only when I have my pen in hand. When my horn is there something else goes through my mind. There is absolutely no marriage between the two.

I know that the basic emotional element in jazz is feeling — not how precise the performance (although it helps), but with how much real feeling. I say real because some composers try to write feeling into their music through notation. Of course, this approach is erroneous and ludicrous; the real feeling comes from the performer.

If one has progress in mind, looking back can only serve one useful purpose, and that is to show what should be done in the future. But looking too far back can be rather dangerous. For example, if, while driving an automobile you should chance to look back to see what is behind you, you lose perspective on what is coming up before you. The same holds true in music. Upon completing one task you must immediately prepare for the next. Of course, there are those people who would decry these attempts, but I feel every person is entitled to his own opinion. The artist must not let these opinions (not even censorious, peremptory critiques) deter or subjugate him. He must be a mirror of his own aspirations. He must be like a bullet that is spent.

It is axiomatic that a small group session have a strong rhythm section and it is exemplified here by Tommy Flanagan, Ron Carter and Art Taylor.

TOMMY FLANAGAN is one of the most sensitive pianists I have ever had the pleasure of working with. When he participates in a group it seems as though he has a direct wire to everyone's thoughts. Seldom does he play an extraneous note or chord, and watching him create his solos is like watching a delicate operation being performed with skill and care.

"Wonderful RON CARTER," as Roy McCurdy calls him, is just that. In a couple of years he has become one of the most sought after bassists in New York. One of the first things I noticed about him was his big sound, and his ability to sustain notes at will. I'm also fond of the inventiveness with which he plays. Instead of the same old monotonous 1-2-3-4, he interjects meaningful, musical, rhythmic gems.

ART TAYLOR is a drummer whose taste is admired by many musicians, and as a result he has worked with most of the important ones. His solo ability is sharp and exciting (listen to our exchange of fours on "Just In Time"). Never does he over or under play because he possesses a keen sense of awareness, and in his style he is a perpetual driving force. He is a strong yet flexible drummer, like a metronome in a sea of music.

I'd like to mention in just a few words how I came to choose my material for this album. "Just In Time" is a tune I used to play a year or so ago, but it seemed then as though I could never really get my teeth into it the way I wanted. I thought I'd like to try again because I like the tune.

Up until I heard Art Farmer play '"My Romance," I sort of took the tune for granted. He seemed to bring out all the beauteous fine points in it, which in turn brought about a deeper appreciation on my part.

"Just By Myself" is one of my older tunes that I played a few years ago when I was with the Jazz Messengers. Although I liked the chord structure I soon got tired of the tune from repetition. It ran through my mind a few months ago, and decided to do it since my approach is now different.

I have always liked "Mad About The Boy," but whenever I'd call it somewhere, nobody would seem to know it. On this session I decided that this was the time to do it — so I went to the session with melody and chords.

The odd title of "Sock Cha-Cha" was written a few years ago by Will Davis, a Detroit pianist, whom I met about three years ago. While at his house one afternoon he played an album of his which included this tune. I "dug" it so much that he gave it to me, and the melody has constantly haunted me. 'l'he structure is rather unusual and looks something like this: 9-9.16.9.

For quite some time I have been an admirer of the works of the late writer Gertrude Stein. I named "Shades of Stein" because of its similarity to her rather unusual style of repetition and in this tune I have used repetition and also variations in the outside melody. The bridge has intervals of major thirds and fourths which outlines major thirds moving up chromatically and is a harmonic repetition.

Most things in life change. Music and its performers are no exception to the rule. During the last year or so I've felt an insurgent need within me to do something else musically — not derniecri (that "freedom" approach) —but rather an extension of what I have been doing. I feel I have finally found a direction, but, of course, I must develop it.

Time is a tattle-tale; it tells everything.

—Benny Golson

LP-715

The Ramsey Lewis Trio - Pot Luck

Released 1963

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass; Red Holt, drums
Universal Recording Studio, February 27-28 1963

12292 Andaluza
12293 Look-a-here
12294 Arrividerci Roma
12295 I gave my love a cherry
12296 Loch Lomond
12297 Nature boy
12298 We blue it again
12299 I remember the starlight
12300 Shenandoah
12301 Swamp girl

Track Listing

Andaluza	Granados	February 27-28 1963
Look-A-Here	Ramsey Lewis	February 27-28 1963
Arrivederci Roma	Sigman, Kascel	February 27-28 1963
I Gave My Love A Cherry		February 27-28 1963
Lock Lomond		February 27-28 1963
We Blue It, Again!		February 27-28 1963
Nature Boy	Eden Ahbez	February 27-28 1963
I Remember The Starlight	Puccini	February 27-28 1963
Shenandoah		February 27-28 1963
Swamp Girl	Eldee Young	February 27-28 1963

Liner Notes

JAZZ musicians used to be surprisingly conservative and unimaginative in their selection of tunes to play, stuck to a few standards and "original" compositions which were often based on the chord patterns of those same standards. In part this reliance on well known material may have stemmed from a concession to mass taste by the musicians: they tried to play tunes that were readily accessible to the public. But a large quantity of good material was constantly passed up. tunes thJt were familiar enough to readily "reach the people" yet weren't shopworn.

Sometimes jazz musicians shy away from tunes because they feel the material isn't suitable for jazz interpretation. or an artist will say that it would Sc disrespectful to melody to do a jazz version of it. To me this seems to represent a lack of respect for their own art, since if they have pride in their music and consider it a valid and serious form, they should be able to interpret any melody regardless of its q»urce without feeling they were degrading the material. Jazz is basically a way of playing music, not a kind of music and the entire musical library is available to thc jazz interpreter. It's up to his good taste to decide how a particular tune should be done.

One factor that has served to encourage jazz artists to widen the scope of their material is the profusion of recording activity that's been going on during the past several years. In order to find new grist for the insatiable mill of new releases, the jazz musician has had to search out material from many sources and some interesting and worthwhile finds have been made.

Some performers have always displayed a willingness to try tunes from many diverse sources. Ramsey Lewis for example. He firmly believes that any melody that is enjoyable in its original form is valid material for a jazz interpretation. In "POT LUCK" he makes a strong argument for his contention. Included in the album is an adaptation of an aria in the opera Tosca, a Scottish folk tune, an American folk tune, a popular Italian melody and a classical melody based on a Spanish folk tune.

The trio approaches each tune differently, managing to retain the original flavor of the melody while giving it the distinctive Ramsey Lewis Trio style. When some jazz groups shift moods from tune to tune it seems as though different group is performing each tune. The fast tunes have one sound and the slow ones another. Ramsey, Eldee and Red always have their own special sounds going for them and whether they're playing the gently swinging "I GAVE MY LOVE CHERRY" or the heavily rhythmic "ANDALUZA" it's always clear that it is a RAMSEY LEWIS TRIO performance.

One of the most beautiful and effective numbers in "POT LUCK" is "I REMEMBER THE STARLIGHT" the aforementioned aria from Tosca. This has always been one of my favorite melodies and the trio performs it with a warmth and sensitivity that rivals any I've ever heard by an operatic diva. Still it is jazz all the way and in no way reminiscent of Roger Williams or Liberace playing their syrupy, whip-cream topped pastiches.

From their years of musical association these three young men have developed into a tightly knit, professional trio. The three seemingly have one mind and audiences lucky enough to them in person are always impressed by the well rehearsed precision of the group. Unlike some tightly knit groups however, the fellows never sacrifice their basic intent — to Swing!

Esmond Edwards