LP-719

Ahmad Jamal - Poinciana

Released 1963

Recording and Session Information

"Pershing Lounge", Chicago, January 16 1958
Ahmad Jamal, piano; Israel Croby, bass; Vernell Fournier, drums

Poinciana
September 5/6 1958 Spotlight Club, Washington D.C.
9026 Autumn Leaves
9033 Tater Pie
9037 Gal In Calico
9041 This Can't Be Love
9047 Ivy
9050 Old Devil Moon
9053 You don't know what love is

Poinciana	Bernier / Simon	January 16 1958
You Don't Know What Love Is	D. Raye, G. DePaul	September 5, 6 1958
Gal In Calico	A. Schwartz, L. Robin	September 5, 6 1958
Ivy	H. Carmichael	September 5, 6 1958
Tater Pie	Irving Ashby	September 5, 6 1958
Autumn Leaves	Prevert, Mercer, Kozma	September 5, 6 1958
This Can't Be Love	Rodgers & Hart	September 5, 6 1958
Ole Devil Moon	Lane, Harburg	September 5, 6 1958

Liner Notes

THERE have been piano trios in great abundance in Jazz ever since Art Tatum showed the way back in the early 30's. Most of them have been "One man" trios, such as Art's, because of the overwhelming talent with which the leader-pianist was usually imbued. The bass and drums usually kept to the unobtrusive role of time keeping. Erroll Garner's men are listed as string and percussion accompaniment, which they very finely but innocuously are. And so the trios go.

With The Ahmad Jamal Trio of this setting the word trio means exactly that; three! Indisputably, it is Ahmad's trio, it is he the general public comes to see and hear. They come now to hear his new group which is rapidly growing to excellence. However. the trio herein is no more. Its great bassist, Israel Crosby has passed on, and its greatly underrated but superbly inventive drummer, Vernell Fournier is now with George Shearing. Those of you who've heard this trio may differ With me and say that Israel or Vernell never did solo, that they merely kept time and were subservient to Ahmad's explorations. In the sense of an out and out extrovert type solo this is essentially true. However, the few breaks they do take plus their overall contributions to, the general meaning of the selection being played are so important and so much a part of the whole conception that without their rapport it is very doubtful that the Ahmad Jamal Trio would have gained the fame it so deserved. No one, I'm sure realizes this fact as keenly as the exceptionally talented pianist-composer, Ahmad Jamal. (This is one reason he has reorganized his present trio along the same lines, with Richard Evans, bass and Chuck Lampkin, drums). Both of these excellent sidemen possess some of the great qualities of their predecessors, plus of course, their own personal talents, which are quite large!

All of the selections included in this album were recorded before a live audience and their appreciative reactions are easily evident after each number. "Poinciana," one Of the first tunes to really boost the group begins side one, and is followed by a great standard, "You Don't Know What Love Is." Sprinkled by many humorous ihterpolations, this selection swings along with Israel giving "singing" lessons to all bassists while propelling Ahmad into some fanciful flights of two fisted chords and deftly turned single note runs. "Gal In Calico" which follows features some of the most finger poppin'est head shakin' swingin' ever recorded. Vernell builds right along with Ahmad and distinguishes himself by crashing the loudest cymbal ever in his long career. Obscure but beautiful is the ballad, "Ivy"; its Rhumba like treatment alternating with a deep sounding 4/4 is perfect interpretation by these masters. The first side ends With guitarist Irving Ashby's composition, "Tater Pie," a light sounding swinger which lends itself admirably to the easy styled improvisations Of Ahmad. Israel's meter, choice Of notes and unfrantic but definitely positive style of bass walking on this tune are remarkable, and without fear of stretching a point I would say this is the way most bass players would like to be able to play!

The longest tune in the the forever standard, "Autumn Leaves" opens the second side, and is given vastly treatment than Miles Davis' famous interpretation. "This Can't Be Love," which I've always loved by Lester Young is played robustly with tongue-in-cheek. Many truly humorous interpolations poke their way through the web of the tunes' melody which Ahmad constantly toys with in much the same did with multi-noted flourishes alternating with open gaps of rhythm. On this and the album's closer, "Ole Devil Moon," Israel Crosby once again rules the world of tasteful bass playing hands down. Notice also the interplay between drums and bass, both listening to Ahmad and each other.

Listening to and appreciating each other musically and personally with the talent already involved was perhaps the secret of the TRIO. I truly feel that Ahmad Jamal's Trio is most certainly among the elite in its field of music. This album, among his many others, helps to justify this position, as does his new trio. I sincerely think POINCIANA will meet with the approval of your discerning ears.

—JOE SEGAL

LP-718

Al Grey - Having A Ball

Released 1963

Recording and Session Information

Dave Burns, trumpet; Al Grey, trombone; Bobby Hutcherson, (as Robert J. Hutcherson) vibes; Hugh Lawson, piano; Calvin Newborn, guitar; Herman Wright, bass; Otis (Candy) Finch, drums
RVG, Englewood, New York, January 29 1963

12175 Rinky dinky
12176 Deep fried
12177 I don't want to cry
12178 Stand by me
12179 Stone crazy
12180 One day I'll show you
12181 Boss Tina
12182 Something's got a hold of me

Track Listing

Deep Fried	Al Grey	January 29 1963
One Day I'll Show You	Maurice McAllister	January 29 1963
Something's Got A Hold On Me	Woods-Kirkland-James	January 29 1963
I Don't Want To Cry	Jackson & Dixon	January 29 1963
Stand By Me	King & Glick	January 29 1963
Boss Tina	Al Grey	January 29 1963
Rinky Dink	David Clowney	January 29 1963
Stone Crazy	Al Grey	January 29 1963

Liner Notes

JAZZ used to be a happy music that was associated with dancing and good times. However, the trend lately has been toward making the music and its appreciation a somber and serious business. No one seems to be having a good time, the atmosphere is more like a college demonstration than of a Jazz performance. The musicians maintain a "super-cool" attitude on the stand and the audience, afraid of being called "square", sits stoically without expression change throughout what may musically bc an exciting performance. Many of today's top innovators seem to be conducting classes right on the band stand with the audience expected to absorb all of the many complex musicalities thrown at them (inventive as they may be). It is very doubtful that even percentage of these audiences, culled as they are from mostly untutored fans, actually "dig" what's going on. This may be one important reason jazz club audiences have dwindled so drastically during the past few years.

One of the newer groups to emerge a major unit during this hiatus period is that of trombonist, Al Grey. The reasons for their increasing popularity are very easy to comprehend. The music they play is happy, not overly complicated, and always swinging with a clearly defined beat. The mien of Al and every one of his sidemen is one which invites audiences to participate in the obvious "ball" the band is having while playing, Although in their improvisatory excursions the individual band members may "stretch out" into some exploratory ideas, never for a moment is the framework of reference forgotten, or the flavor of the selection being played ignored!

Al'S background ecompasses many eras and many fine bands including those of Benny Carter, Jimmy Lunceford, Lucky Millinder, Lionel Hampton, Sy Oliver, Bullmoose Jackson, Arnett Cobb, Dizzy Gillespie and Count Basie. You may notice in that impressive run down of former employers quite a few of what might be called Rhythm and Blues, and of course, just plain rhythm. From these sources Al has derived a good feeling for some of today's better rock and roll compositions (after all a hybrid development stemming from R&B), and has included them in this album, as he does extensively during his in-person engagements. This "in-person" feeling, incidentally, is very difficult to capture during a studio recording date. That these musicians have managed it so easily and beautifully is a great credit to their professional artistry.

I think the selections speak eloquently for themselves. No high toned explanation running down each nuance to you is necessary. There are musical highlights within the entire framework of excellence that should be pointed out however. These include the two all two Dave Burns muted solos (bridge of "I Don't Want To Cry" and "Stone Crazy"), Bobby Hutcherson's mellow vibraphoning on "Cry" and Boss "Tina, the brief but groovy guitar work of Calvin Newborn and the continually interesting solo and comping style of pianist, Hugh Lawson. Al Grey rocks throughout, whether open horned or muted and his opening statements to the congregation on the gospelly "Somethings Got A Hold On Me" are insistently humorous. A tune of real Jazz departure in this album (Baby Cortez' "Rinky Dink") is done in an out and out Cha Cha style and is so captivating that even a clod like me tried to dance to it (almost successfully).

Al's personal tromboning influences are fairly evident upon an even casual hearing (Bennie Green, Tricky Sam Nanton, J.J. Johnson - there's a bone section for you), but throughout all of these influences and/or amalgamations of styles there persists the ever bubbling exciting and happy exuberance that truly marks Al's performance. In today's over crowded market of droll faced "silence or I quit playing" creators, Al Grey's out-going personality is much welcomed. He digs nothing better than having you, his audience, join him while he and his band are "Having A Ball".

-JOE SEGAL

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