LP-731

Al Grey - Boss Bone

Released 1964

Recording and Session Information

Al Grey, trombone; John Young, piano; Leo Blevins, guitar; Ike Isaacs, bass; Philip Thomas, drums
Ter Mar, Chicago, December 17 1963

12858 Terrible cap
12859 Grey being blue
12860 The give off
12861 Smile
12862 Salty mama
12863 Can't you feel it
12864 Mona Liza
12865 Tacos and grits
12866 Day in, day out

Track Listing

Smile	Turner-Parson-Chaplin	December 17 1963
Terrible Cap	Al Grey	December 17 1963
Mona Lisa	Jay Livingston & Ray Evans	December 17 1963
Tacos And Grits	Al Grey	December 17 1963
Can't You Feel It	Al Grey	December 17 1963
Salty Mama	Al Grey	December 17 1963
The Give Off	Al Grey	December 17 1963
Day In Day Out	Rube Bloom & johnny Mercer	December 17 1963
Grey Being Blue	Al Grey	December 17 1963

Liner Notes

THIS ALBUM is called BOSS BONE with justification, because Al Grey is unquestionably the boss of the swinging trombonists. His big, sensuous tone is always a joy to hear and his technical facility is envied by many a less gifted trombonist.

Al first gained wide acclaim during his stay with the Count Basie band in the late fifties but he joined the band bringing a long string of noteworthy past affliations. Al's first job after leaving the Navy at the end of World War II was with the Benny Carter band and he later worked and recorded with Jimmy Lunceford, Lionel Hampton, Arnett Cobb, Lucky Millinder and Dizzy Gillespie before joining the Basie brass section.

There is nothing like the experience of working with big bands to develop a jazz musician. In addition to developing the individual's reading and technical skills, it teaches musical discipline and a sense of form. Although most of Al's work since being on his own has been with small groups, the solid foundation of his band experience is always evident in his performances. One of the sad realities of today's jazz scene is the fact that most of the big bands have gone and with them the most important training ground for young musicians has passed.

Another thing that Al Grey learned from his band affiliations was respect for the listener. Since the bulk of the engagements were for dances, the bands tried to "reach the people" with the arrangements and selection of tunes. Al still tries to do this, both on stage and on record. He carefully selects his material, (both original tunes and standards), with the audience in mind and performs the tunes in a straightforward, clown-to-earth manner. No music for The Man In The Moon here!

Thinking of tunes brings Al's interpretation of "Mona Lisa" in this album to mind. Listening to this track is almost an erotic experience because of the way Al musically caresses the melody. To me, one of the marks of a superior jazz musician is the ability to handle a ballad. A lot of "shucking an' jivin'" can be done on a fast number but on the slow, pretty pieces the soloist has got to deliver. If "Mona Lisa" could have heard Al play the tune, that hint of a smile would have been a satisfied grin.

Al recorded this album while in Chicago doing an engagement at one of the local clubs. For his sidemen on the session he chose several Chicagoans that he respects highly. John Young and Phil Thomas are two-thirds of the JOHN YOUNG TRIO and Leo Blevins is one of our Windy City's most sought after guitarists for gigs and recording sessions. Charles "Ike" Isaacs was the regular bassist with Al when this session was cut. His career has included stints with Earl Bostic, Carmen McRae and Lambert, Hendricks and Ross.

Though Al makes Philadelphia his home, Chicago has always been one of his favorite cities and he has many fans here. In fact, he sponsors a bowling team in our "Fun Leagues" and whenever he's in town he makes it a point to roll a few games with his team. His team members, comprised of Barbara Lumpkin, Captain; Roy Dailey, Robert Lyles, Charles Taylor and Betty Doty are not only proud Of Grey as a sponsor but hold him in very high esteem as a person.

As the saying goes..."I don't know a lot about music but I know what I like." Well, I like Al Grey — I think he plays BOSS BONE.

Daddy-O Daylie

NOTE: Chicago's, Holmes (Daddy-O) Daylie is regarded as one of the nation's leading authorities on jazz. Daddy-O is currently heard four hours daily over WAAF and Saturday night over WMAQ, an N.B.C. owned and operated station. Daddy-O has never wavered from his format of broadcasting jazz exclusively daring the fifteen years he has been in radio.

LP-730

Sonny Stitt - Move On Over

Released 1964

Recording and Session Information

Sonny Stitt, alto, tenor saxophone; Nicky Hill, tenor saxophone; Eddie Buster, organ; Joe Diorio, guitar; Gerald Donovan, drums
Ter Mar, Chicago, June 7 1963

12487 Dexter's deck
12488 Shut the back door
12489 The lady is a tramp
12490 Love letters
12491 My mother's eyes
12492 Stormy weather
12493 Move on over
12494 A natural fox

Track Listing

The Lady Is A Tramp	Rodgers & Hart	June 7 1963
Stormy Weather	Harold Arlen and Ted Koehler	June 7 1963
Dexter's Deck	Dexter Gordon	June 7 1963
My Mother's Eyes	Abel Baer & L. Wolfe Gilbert	June 7 1963
Shut The Back Door	Sunny Stitt	June 7 1963
A Natural Fox	Sonny Stitt	June 7 1963
Love Letters	Victor Young & Edw. Heyman	June 7 1963
Move On Over	Sonny Stitt	June 7 1963

Liner Notes

SONNY STITT is one of the mainstays of todays modern jazz scene. His alto and tenor saxophonings have been consistent landmarks of bright improvisation ever since his first "Charlie Parker-like" solos came to light back in the early days of the fabulous "Be Bop" cra of the mid-40's. The critical ravings that "if there hadn't been Bird thcre wouldn't have been Sonny", however, is nonsense of the highest degree, for even while Bird was still evolving his style and discovering new things within himself, Sonny was fast becoming a recognized protagonist of all that was good in the "new Jazz".

Considered a Detroiter, although actually from Saginaw, Michigan, Sonny's nation-wide appearances have also garnered him "home town" accolades from Chicago (where much of his formative years were spent) and Washington, D.C. — where he is now a home owner. Throughout much of his career Sonny has been paired with numerous instrumentalist as co-soloists in person and on recordings, most notably of the great Chicago tenor giant, Gene Ammons. In person, Sonny is always amenable to the strivings of younger players and always encourages them to share the bandstand with him in a give and take session. When the other musician is still scuffling Sonny tries to show them things during his solo turn. But, if the other cat is smokin', it's a battle royal with no holds barred. And if the other musician — he needn't be a saxophonist — is another giant, the proceedings really get musically heated. In the duo saxophone portions of this album, the third situation is immediately recognizable.

Nicky Hill passed away a few weeks after this album was recorded and was without any doubt, a true giant of the saxophone! His personality did not permit him to venture into the wider sphere of well known jazz artists and he therefore developed, generally within the Chicago area, a conception and style all his own. Essentially a tenor player, Nicky had shortly before this date, been expressing himself on soprano and alto. A slight unfamiliarity with the horn accounts for the occasional mechanical difficulties Nick runs into here. His previous recorded efforts are available on Argo LP-621 (as a member of the original MJT + 3) and with the Ira Sullivan Quintet on ("Bird Lives") recorded for another label on location at one of the yearly Charlie Parker Memorial Concerts held in Chicago. His style, on tenor, has at times resembled certain facets of Harold Land's approach, mostly tonally. It is strongly rhythmic and lyrical, and it varies in intensity, depending upon the natural flow of ideas and temperament. In other words he is free, with no pre-conceived idea of soloing. This may not be hip, but it certainly is creatively beautiful. The solos herein are part of Nicky Hill's musical legacy, and are to be treasured.

The rhythm section for this LP sports a young guitarist whose eventual stardom seems assured. Joe Diorio possesses a musical sense of values that is to be greatly admired. His imagination is always tempered with good taste whether playing comp style rhythm, chordal intros or fanciful backgrounds for the other soloists. His own solos have a flow and logic that sets them apart from those of most of the other fine guitarists playing today and his technical ability gives him the means to complete them successfully. Jerold Donavon is the steady unobtrusive drummer and the organist is Eddie Buster.

Comments on the tunes that feature Sonny alone are almost unnecessary, except to saythat throughout the album he plays effortlessly, displaying the happy spark that has become his trademark. He is soulful and maintains an intelligent logical approach to all of the selections with the moving feeling of swing always dominant. On the sides with Nicky however, a little clarification on solo sequence and other highlights is necessary.

On "Lady Is A Tramp" Sonny opens with the first half of the theme on tenor. Nicky completes the theme on alto playing deep in the tenor range, and takes the first solo, in a spurting surging manner. Joe Diorio follows, with Donavon playing a sort of shuffle cymbal beat beneath him. Sonny then soars in on alto with a magnificent screaming melodic solo that builds irresistibly. Both sax men then go into an extended tag ending alternating with each other to the out theme.

The perennial jam tune, "Dexters Deck" features both men on alto all the way. Nicky plays lead for the theme and again solos first. After Sonny's driving high sailing venture Diorio plays an easy flowing solo that utilizes the entire spectrum of range on his mellow sounding guitar. The horns then re-enter to trade inspiring, slashing four bar ideas.

The first tune on side two is an easy rocking, simple lined blues. Guitar and rhythm intro lead to Sonny's tenor solo, in which he provides some unexpected chord alterations, and answers to his own statements. Nicky Hill then charges in screaming his blues message, and is followed by Diorio, with Buster comping piano style behind him. Sonny then returns with another happy solo and takes the tune to its closing theme.

Many jazz fans and critics have often wondered why particular artists, Sonny Stitt included, record so many albums. They claim that nothing new is being played, and that it all sounds the same. In many instances this may be true. But, when Sonny Stitt is involved in a recording, or a live engagement for that matter, there is always present, regardless of the fact that some of the other participants may not be even close to Sonny's ability, a certain glow and excitement, for there is always the possibility that the interaction of musical talents will produce some truly wonderful moments of creative jazz music. This has happened throughout this album. The rhythm section (a regular working trio under Buster's leadership) is a homogeneous unit with a pulse all its own, and contains a brilliant guitarist in Diorio who is as good as the very best. In the striving alto of Nicky Hill, Sonny found inspiration to inflame his own conceptions, and in reverse action spurred Nicky on to some exciting revelations o his own. The very evident results on this LP are valid enough to justify recording this particular group of musicians repeatedly. Fate, however, has made this impossible. Savor it while you can, there won't be another.

—JOE SEGAL

LP-729

Jimmy Grissom - World Of Trouble

Released 1963

Recording and Session Information

Jimmy Grissom, vocals; Jay Peters tenor saxophone; John Young, piano; George Eskridge, Matt "Guitar" Murphy, guitar; Sam Kidd, bass; Philip Thomas, drums
Ter Mar, Chicago, August 29 and September 3 1963

12651 Mean and evil woman blues
12652 World of trouble
12653 I don't want you to love me
12654 I believe I'll make a change
12659 Mood indigo
12660? Lost in meditation
12661 I'll miss you
12662 The cheater

Track Listing

World Of Trouble	Oscar Brown Jr	29 Aug, 3 September 1963
Mood Indigo	Ellington-Mills-Bigard	29 Aug, 3 September 1963
I'll Miss You	John Burton	29 Aug, 3 September 1963
Lost In Meditation	Ellington-Tizol-Mills	29 Aug, 3 September 1963
Mean And Evil Woman Blues	Hudson, Whittaker	29 Aug, 3 September 1963
I Don't Want You To Love Me	Jerry Crutchfield	29 Aug, 3 September 1963
I Believe I'll Make A Change	Robert Brown	29 Aug, 3 September 1963
The Cheater	E. Edwards	29 Aug, 3 September 1963

Liner Notes

VOCAL stylings, like instrumental improvisations, can vary so greatly from one performer to another that categorizing an artist is not only an almost impossible task, but in most instances an unrewarding one. For an immediate example let us examine the musical character of the featured performer of this album — Jimmy Grissom.

Jimmy, originally from Leland, Mississippi and now a Chicago resident, spent a great deal of his formative years on the west coast under the excellent tutelage of his uncle, the late Jimmy Lunceford, musician/vocalist, Dan Grissom. Dan who passed away in 1963 was still semi-active in the jobbing field. From him Jimmy learned many important things, among them the secrets of in-tune singing, big band phrasing and the overall facets of professional stage presence.

While working in the L.A. area (during the 40's and early 50's) Jimmy had a hit record, "Once There Was A Fool," the success of which was broad enough to launch him on a follow-up tour of the south-west, where after completing his own mostly blues shouting engagement, he "sang in" with the great Duke Ellington orchestra then passing through Ft. Worth on a string of one-nighters. Duke enjoyed his versatility and conception so much that he had Jimmy join the band shortly thereafter. He was a featured vocalist with Duke for six years (1952-'58).

Of the many recordings young Grissom made with Duke, the most prominent were "Without A Song" and "Blue Moon" on Capitol, and the vocal section of one of Dukes longer works, "Strange Feeling" on Columbia.

That Jimmy would be so very beneficially influenced by working with this great man and his musicians for such a long while is very obvious. So, by the late 50's we can discern two major influences, Dan Grissom and Duke Ellington. The afore-mentioned elder Grissom teachings and the latter moulding Ellington experiences led Jimmy Grissom to the basic development of his own personal style. Also treat not lightly the fact that during Jimmys tenure Duke also employed several other unique vocal artists including Betty Roche, Joya Sherrill, Ossie Bailey and Lil Greenwood, all of whom possess their own individual qualities with which they interpret and convey their feeling to an audience.

I think you'll also notice certain likenesses in some of Jimmy's phrasings, intonations and pronunciations to Al Hibblcr, Eddie "Cleanhead" Vinson, Joe Turner and Jimnny (with whom Grissom has worked). But still there is an identifiable Grissom sound and approach that is different from all of these. Although he's not what you'd call an out and out "blues shouter" like Turner. or a satirist like Hibbler and Vinson; he does embody the best qualities of these varied interpretations in a mold, with his own particular personality shining brightly through.

The "Lonely Ballads" half of the album title covers side one, the "Low Down Blues" haif, side two. Incidentally, this being Jimmy's first feature album particular care was given to the choosing of his accompanying musicians. They are some of the finest from Chicago's great well-spring of talent. Only guitarist Matthew Murphy may be a new name to Argo fans. The others, John Young, Phil Thomas, Sam Kidd (the John Young Trio), guitarist George Eskridge, and top tenor man Jay Peters have all appeared on previous Argo dates (and undoubtedly will do so on many future ones). Their accomplishments and solo bits are gems. Particularly listen to Jay Peters strong but sensitive tenor which solos on most every tune but most impressively on "I'll Miss You" (with a great Jimmy Forrest influence here) and "The Cheater." The rhythm section sparkles throughout with pianist Young especially glittering on the head cocking "gospely" "I Don't Want You To Love Me" and "The Cheater" with its reminder of the famous Pete Johnson/Joe Turner outings. Two of Ellington's beauties quite understandably are included on the ballad side, "Mood Indigo" with Kidd's walking bass providing the main rhythmic drive and the almost completely neglected mood song, "Lost In Meditation" (Young's intro and solo here are of pure unadulterated beauty). "Mean and Evil Woman" reminds me of "Outskirts of Town" and is a typical semi-humorous big city blues with Murphy's twangy gutter guitar solo sandwiched between Jimmy's statements that "I Ain't Gonna Let You Worry My Life No More." Oscar Brown Jr.'s bluesy ballad, "World of Trouble," is an up-to-date statement of a fairly universal problem with an obvious solution of 'living double.'

Throughout all of these selections Jimmy Grissom exhibits his good taste and excellent varied background. He swings when he wants to, shouts when he must and cries out his love and devotion most convincingly. His voice range covers the low, the high and the in-between in full fashion. There are no tricks or annoying cloying mannerisms. It's all straightforward and moving. For Jimmy Grissom is a straightforward and moving man. He is well schooled and prepared for whatever turns his career may take. He can go to the top, as I believe he will, and he's prepared to "pay some more dues" if he has to. But, one thing is sure, whatever happens Jimmy Grissom has something beautfully urgent to say and he's got all the know-how and equipment with which to say it. Give a listen !

—JOE SEGAL