LP-720

Lorez Alexandria - For Swingers Only

Released 1963

Recording and Session Information

Lorez Alexandria, vocal; Ronald Wilson tenor saxophone, flute; John Young, piano; George Eskridge, guitar; Jimmy Garrison, bass; Philip Thomas, drums
Ter Mar, Chicago, January 2-3 1963

12097 Love look away
12098 The end of a love affair
12099 All or nothing at all
12100 Traveling down a lonely road
12101 That old devil called love
12102 Little girl blue
12103 Baltimore oriole
12104 Mother earth

Track Listing

Baltimore Oriole	Hoagy Carmichael-Paul F. Webster	January 2-3 1963
Little Girl Blue	R. Rodgers-L. Hart	January 2-3 1963
All Or Nothing At All	Jack Lawrence-A. Altman	January 2-3 1963
Traveling Down A Lonely Road	M. Galdieri-N. Rota-D. Raye	January 2-3 1963
Mother Earth	P. Chatman	January 2-3 1963
Love Look Away	Rodgers-Hammerstein	January 2-3 1963
The End Of A Love Affair	Edward C. Redding	January 2-3 1963
That Old Devil Called Love	Allan Roberts-Doris Fisher	January 2-3 1963

Liner Notes

LOREZ ALEXANDRIA is a poised, vital, articulate girl who, singing or talking, makes it clear at all times that she is a person of strong convictions and has the courage to express them. These are important personality traits for any real individualist; when you add to them the virtues of attractive timbre, a natural sense of style and phrasing, the elusive element sometimes known as soul, and top them all off with an instrumental accompaniment. you can be reasonably sure results that are going to be out of the ordinary.

This is precisely what happens on For Swingers Only. In many respects I feel this is Lorez' best album to date. For one thing, her always admirable taste in selection of material is reflected here in a particularly impressive repertoire. Secondly, there are eight tracks instead of her previously customary ten; this enables her to stretch out comfortably on all of them and to add occasional variety in the form of instrumental passages. Third and most important, I believe every intelligent singer matures, learns from the study of previous efforts on records and improves with the passage of time.

Lorez, as most listeners presumably know by now, is a Chicago girl whose background is rooted in music. Her experience has ranged from early church singing to big band work (with King Fleming's orchestra) as well as vocal group work on both semi-classical and pop-music levels. Since early 1962 she has been living in Los Angeles with her husband, publicist Dave Nelson; however, these sides were taped in Chicago and are notable for the inclusion of a promising local musician, flutist Ronald Wilson, whose obligatos lend rich color to the backgrounds.

Any album titled For Swingers Only would do its name less than justice if it came up with a less than remarkable rhythm section. A glance at the personnel makes it clear that business was well taken care of in this department. Pianist John Young (well known for his work with the Eddie Chamblee combo) and guitarist George Eskridge will be familiar to many of Lorez' fans through their contribution to one of her most successful earlier LPs, Deep Roots (Argo 694). Jimmy Garrison happened to be in town with John Coltrane's quartet when the session was cut; Vernel Fournier, the New Orleans drummer (also heard on Deep Roots), was with Ahmad Jamal for several years and has been with George Shearing for the past year.

Ballimore Oriole is Lorez' second recorded version of the Hoagy Carmichael standard; she cut it for another label several years ago. The new treatment similar in approach to the original, makes a striking illustration of Lorez' warmth and assurance; listen especially for the ease with which she dips downward on the word "blackbird" not far from the opening.

"They told me Little Girl Blue has been done so many times before — I had to persuade them to let me include it," says Lorez, "because it's always been a favorite tune of mine." Noteworthy here are the oblique opening — the first nine words sung a capella, and the confidence with which Lorez' range enables her to get a low E Flat (on "unlucky") and soar soon after to a high B Flat.

All or Nothing a: All is a firm swinger all the way from Wilson's flute intro through Lorez' chorus and Young's solo. Garrison walks impressively through this unusual interpretation of the 1940 standard.

Traveling Down A Lonely Road was originally an instrumental theme heard in the movie La Strada. To my knowledge it has seldom, perhaps never, been recorded as a vocal. The moderato waltz meter is confidently handled by Lorez and there is a charming flute interlude.

The intimations of mortality in the lyrics of Mother Earth were first addressed to us by veteran blues singer Memphis Slim. On this track Ronald Wilson switches from flute to tenor sax and Lorez gets into a fittingly earthy blues groove with a 12/8 beat in the back ground.

Love Look Away is a theme from The Flower Drum Song. Once again there is a slow but solid beat and the flute adds an exotic touch.

The End of a Love Affair is handled very differently from the customarily melodramatic approach to these lyrics. A Latin beat is added, behind the vocal and during John Young's piano solo.

That Old Devil Called Love was introduced by Billie Holiday on a 1944 recording. There have been other Holiday-associated songs in Lorez' albums, but as she points out, there is never any attempt to imitate the original style or approach. ("That would be sacrilegious"). The tempo is a little brighter than that normally accorded to the tune; when you examine the meaning of the lyrics this seems very logical. George Eskridge is heard in four-bar trades with Lorez and Ronald Wilson again contributes a tasteful solo.

A concluding word about that title; it should not be inferred that only those concerned with swinging up tempos will appreciate this album. Perhaps a more comprehensive title would have been "For Admirers of Tasteful, Swinging Singing Only." On that basis, every Lorez Alexandria album would have a place in your library. But more than any previous set, I believe this one will convince any fence-straddlers that in Lorez we have one of those rare singers who can sense all the qualities required in a contemporary jazz-oriented vocal performance—and who knows how to translate those qualities into living, swinging reality.

—LEONARD FEATHER
(Author of The 'New Encyclopedia of Jazz)

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