LP-732

Ramsey Lewis - Back To The Blues

Released 1964

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass, cello; Richard Evans, bass; Redd Holt, drums
Ter Mar, Chicago, January 31 1964

12971 Travel on
12972 Peace and tranquility
12973 For the love of a princess
12974 Misty days, lonely nights
12975 Why don't you do right?
12976 Sadness done come
12977 You'll love me yet
12978 All my love belongs to you
12979 Dance mystique
12980 Bach to the blues

Track Listing

For The Love Of A Princess	R. Lewis	January 31 1964
Why Don't You Do Right	L. Green	January 31 1964
Misty Days, Lonely Nights	R. Lewis	January 31 1964
Bach To The Blues	E. Edwards	January 31 1964
Travel On	E. Young	January 31 1964
Dance Mystique	R. Lewis	January 31 1964
Sadness Done Come	R. Lewis	January 31 1964
You'll Love Me Yet	R. Lewis	January 31 1964
Peace And Tranquility	E. Young	January 31 1964

Liner Notes

AFTER almost fourteen years of playing together, our trio is very close to achieving something that every group of musicians strives for. That is, to be able to think and play as one.

Fortunately Red, Eldee and myself have similar ideas concerning music and life in general. An individual's music is an extension of his life and the fact that we have similar tastes and goals makes it much easier for us to blend musically.

From the beginning we have striven for a true group sound, a true group image in which each participant's role is of equal importance instead of two of the members serving primarily as accompanists. Among the jazz groups that I feel have most nearly accomplished this sound are. The Modern Jan Quartet, The Bill Evans Trio and the original Miles Davis Quintet (with Coltrane, Garland and Philly Joe).

Where two or more people are involved in a performance, it is impossible for an individual to attain complete freedom of expression — some concessions must be made to the ideas of the other musicians. However. the joy and satisfaction of being an integral part of a well functioning whole is just as rewarding, if not more so.

During my course of study with Dorothy Mendelsohn in Chicago, I developed a great love for the classics. Not only did classical study develop my technique at the piano but it also served to broaden my tastes in music and the arts in general. I also arrived at the conclusion that although classical music is included in the list of creative arts; it offers the least amount of freedom for self expression for the performer. The composer has äll the freedom he desires to project what is in his heart but the performer only recreates what is on the paper. This in itself is no easy task. It takes hours and hours of training and practice to master the great composers and regardless of your instrument or musical goal, the best route to competence is a solid classical background.

To return to my original point though; satisfaction is gained in performing the classics more through technical accomplishment rather — the infant of the creative than creative, self-expression as in jazz arts. The jazz soloist must be an interpreter and composer.

Eldee, Red and myself have always tried to incorporate knowledge gained through our classical training into our work in jazz and on previous albums we have used melodies from the great composers as the basis for inprovisation. We believe, as does Esmond Edwards, that most music regardless of its origins, can be expressed in jazz terms. Errol Garner has recorded "I Want To Be A Rug Cutter" and the works of "serious" composers like, Delibes, Villalobos and Rodrigo have been used as the basis for jan expression, How about Curtis Fuller's exciting arrangement of "Three Blind Mice" as recorded by Art Blakley's Jazz Messengers!

Five of the tunes in this album are based on classical themes. "For The Love Of A Princess" is based on a theme of Rimsky-Korsakov, Days, Lonely Nights" is from Rachmaninoff, "Bach To The Blues" owes a debt to J. S. Bach, "Dance Mystique" is a Tchaikovsky derivative and "You'll Love Me Yet" is from Brahms. The other four tunes have their roots in the blues.

This is not an offering of third-stream, main-stream, progressive, commercial or "funky" jazz. This is music that Red, Eldee and I love to play and also make a living at. (To borrow a phrase of Chicago DJ "Daddy-O Daylie".) We sincerely hope you will enjoy a few moments of pleasurable listening to Bach...and the blues.

RAMSEY LEWIS

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