LP-753

Bunky Green – Testifyin' Time

Released 1965

Recording and Session Information

Walter Strickland, trumpet; Bunky Green, alto saxophone; James Meyertenor, baritone saxophone; Billy Wallace, piano; Cleveland Eaton, bass; Marshall Thompson, drums
Ter Mar, Chicago, February 18 1965

13754 When the sun comes out
13755 Testifyin' Time
13756 Tweedlee dee
13757 My Ship
13823 Silver Dollar
13824 Tamra
13825 Orbit Six
13826 On Green Dolphin Street

Track Listing

Testifyin' Time	Edith Green	February 18 1965
Silver Dollar	Jack Palmer / Clark Van Ness	February 18 1965
Tamra	William Wallace	February 18 1965
On Green Dolphin Street	Bronislaw Kaper / Ned Washington	February 18 1965
Tweedlee Dee	Winfield Scott	February 18 1965
My Ship	Kurt Weill / Ira Gershwin	February 18 1965
Orbit Six	Edit Green	February 18 1965
When The Sun Comes Out	Harold Arlen / Ted Koehler	February 18 1965

Liner Notes

CHICAGO's line of internationally-recognized saxophonists is irnpressively small. It includes such talents as Gene Ammons, Johnny Griffin, Eddie Harris, and by adoption, Sonny Stitt. The release of this, his very first Argo album, will most assuredly add Bunky Green's name to the list. Actually, considering Bunky's amazing musical prowess, it is little short of amazing that it has taken so long for him to emerge as a recorded leader. During 1956/57 he played in New York with Charlie Mingus. Chicagoans began to admire his playing shortly thereafter when he began to frequent the original Monday night Gate of Horn sessions from 1957 till 1959. During that time he locked horns with such stellars as Ira Sullivan, John Gilmore, and the late Nicky Hill, and more than held own with all of the above-mentioned musicians.

Bunky's personality in part may be responsible for his delayed entry into the recorded field, for Bunky Green likes to be ready. He always has stressed schooling and readiness and this album is undeniable evidence of that readiness! No last-minute rehearsals during studio time, or sidemen who couldn't fathom the arrangements.

As a result of winning the "Best Instrumentalist" and ' 'All Around Musician" awards at the 1964 Notre Dame Jazz Festival, Bunky has tucked away in his 'hip' pocket a scholarship to Berkeley's famous School of Music. Also as a result of being heard at that festival he was invited to do a State Department-sponsored tour of Algiers, which he completed last summer. "There," Bunky says, "I heard what those eastern musicians really are doing."

Bunky takes a realistic view of the music profession. When jazz jobs are not available in suf%cient abundance to permit sole dependence upon them, he works with the fine Latin band of Manny Garcia or, as was the case when this album was cut, plays tenor in a big show band. Bunky is now attending the music school at Chicago's Roosevelt Universlty, where he occasionally strengthens their Jazz Lab Band during rehearsals. Safely, Bunky Green might be described as a very talented, superb young modern musician who knows where his musical tastes lie, and plays like he knows it.

Bunky chose perfect sidemen for this recording. Pianist Billy Wallace, the only other featured soloist, is and has been a trio leader in his own right. Billy derives so much pleasure from a job with horns, however, that he has often taken those in preference to a higher-paying trio gig. His experience is widespread, including a tout with the famous Max Roach Quintet in the late '30s. Most recently he's been working with Bunky and he has also done short stints with Chet Baker and a Louis Bellson big band. Billy's beautiful original, "Tamra", and his arrangement of "When The Sun Comes Out" reveal that he has truc insight into what arranging is all about. His solos and 'comping' speak for themselves. Certainly he is another major talent.

Two very top musicians complete the rhythm section: bassist Cleveland Eaton and drummer Marshall Thompson. Marshall is a permanent member of the London House-ensconced trio of pianist Eddie Higgins. Cleve teaches days in Chicago's public school system for a long time was featured with the Larry Novak Trio at Mr. Kelly's.

Trumpeter Strickland and baritone saxophonist Jim Meyer fill out the big-sounding sextet with their all-important playing of the exciting shouts and figures of Bunky's excellent arrangements.

Opening side one with "Testifyin' Time", preacher Bunky makes the clarion call and the congregation answers heartily. They generate that jump and shout feeling that a tree rnee:tng Slings to mind. 'Silver Dollar", that old, old warhorse, is driven relaxedly through its "Baby, Won't You Please Come Home"-like chord structure with Bunky's fat lower register registering strongly. "Tamra" undoubtedly is one of the album's highlights. The feeling and rapport between Billy Wallace and Bunky Green is joyous to hear. It's almost as though their solos were duets with one another, so tight is their musical thought. "On Green Dolphin Street" piles in with a frantic ear-opening bagpipish intro by Bunky, which is cut off by Billy, who then sets the tempo at almost half that of the intro. It's a finger-popper. Bunky builds naturally to his multiple-note runs and alternates them with stretches of singing melody. Marshall Thompson's large musical ears are very apparent on this one and Billy's solo is very tasty.

Unlikely though it may be, Teresa Brewer's old hit, "Tweedlee Dee", was chosen as vehicle for jazz improvisation. Bunky's wailing of the bridge between the tongue-in-cheek corning of the theme gives the direction his version is to take. His original line on the theme that follows has got to be the hippest thing written in years. He screams on his solo with no holds barred and carries into that same figure which gives Billy Wallace a great springboard for his contrastingly light-touched and reserved solo. "My Ship", the lately rediscovered Kurt Weill beauty, is given its ballad due by Bunky, who shows here just how much he still admires and respects the musical heritage given him by Charlie Parker. An old stomp-time blues figure permeates "Orbit Six" whose main feeling is in 6/8. This original, Bunky tells me, pictorializes several cats on the corner holding a discussion to decide which way all are to go. All speak simultaneously, interrupting each other, till finally the direction is set. Then they all forge ahead swinging their heads off with Bunky in the lead. Billy's locked hands solo is one to remember. By way of contrast. the album's closer, "When The Sun Comes Out", is taken at a very relaxed tempo with Cleveland Eaton walking strongly beneath Bunky as he states the theme and shifts to harmony under the trumpet for the bridge. Bunky gets to cookin' before the piano solo and a nice key change leads the group out with a Hollywood-type scene-changing retard.

This is the kind of album you'll play over and over. You'll have a difficult time picking favorites within it, for all of the selections are marvelous. All of the musicians are topflight professionals who know their apples. I think you'll agree that Vernice "Bunky" Green is, right now, a major jazz talent and an important voice to be heard. He plays styles and has that wonderful cutting edge that identifies such great musicaans as Sonny Stitt and Cannonball Adderly. He also proves here that he is more than capable of wandering, with strong direction, into the baffling world of "free form" jazz. And he swings like a hip Ray Charles band. Bunky Green is ready, I hope you are!

—JOE SEGAL

LP-752

Rune Ofwerman's Piano With Voices - Cool

Released 1965

Recording and Session Information

Allan Botschinsky, trumpet; Rolf Billberg, alto saxophone; Rune Ofwerman, piano; Erik Moseholm, bass; Bert Dahlander, drums; Vocal choir, Gunnar Lunden-Welden, director
Copenhagen, Denmark, January 17 1961

Whatcha Gonna Do
Amen
Bobsled
Gospel Walk
Mellow Cool
Helen's Theme

Rune Ofwerman, piano; Jimmy Woode, bass; Art Taylor, drums
Stockholm, Sweden, February 15 1961

The Man From Potter's Crossing
King's Men

Rune Ofwerman, piano; Sture Nordin, bass; Egil Johansen, drums
Stockholm, Sweden, November 21 1961

M-83

Rune Gustaffson, guitar; Rune Ofwerman, piano; Sture Nordin, bass; Egil Johansen, drums, Bjarne Nerem, latin rhythm Stockholm, Sweden, November 12 1962

Bossa Nova Sueca
Ortego Bossa Nova

Track Listing

Whatcha Gonna Do	Nat 'King' Cole	January 17 1961
Amen	Donald Byrd	January 17 1961
Bobsled	G. Lunden-Walden/R. Ofwerman	January 17 1961
Gospel Walk	R. Ofwerman	January 17 1961
Mellow Cool	Ake Hallgren	January 17 1961
Helen's Theme	George Riedel	January 17 1961
Bossa Nova Sueca	R. Ofwerman/Kurt Mark	November 12 1962
M-83	R. Ofwerman	November 21 1961
The Man From Potter's Crossing	Jimmy Woode, Jr.	February 15 1961
Ortego Bossa Nova	R. Ofwerman	November 12 1962
King's Men	R. Ofwerman	February 15 1961

Liner Notes

ALTHOUGH jazz has been appreciated and played in Europe almost as long as it has in America, it continually amazes one to discover another kindred talent from there. In the northern European or Scandinavian section, musicians of superior worth have been on the modern jazz scene almost from the very beginning. Till now, Bengt Hallberg and Rheinhold Svensson have been the outstanding Nordic pianists With the emergence of Rune Ofwerman. the field now enlarges.

Rune is featured basically in two contexts: on side one a vocal chorus is added. Side two is all instrumental. His playing is on the bright, happy side, although his fondness for the piano's lower register sometimes gives him a more somber sound. In many places Rune shows the rhythmic influence of the late great pianist, Nat 'King' Cole. Of the eleven selections in this Rune is composer (in full or in part) of six. The chorus is conducted hy Gunnar Lundén-WeIden, and all of their arrangements, excepting George Riedel's 'Helen's Theme", are by him.

The vocal approach this small group is unique in that it does not, in this imitative day and age, try to emulate any of the going singing groups such as the Double Six Of Paris or The Swingle Singers. Rather, they revert to the lyric-less statements of chordal backgrounds which were so popular during the days of the fine groups of the swing era. Their voicings are mellow, never strained, and always in tune. Sometimes they merely state the theme, other times they'll shake you with a mighty brass-type shout.

The first two tunes of side one are American compositions, "Whatcha Gonna Do" by Nat 'King' Cole shows off the strong rhythm team of deep-walking bassist Erik Moseholm and well-known drummer Bert (Dale) Dahlander. Donald Byrd's "Amen" is the only augmented selection on the vocal side of the album, with two horns added. Rune's fine solo on this is matched with a short but sweet muted one by trumpeter Allan Botsehinsky. Lundén-WeIden and Ofwerman collaborated on the creation of "Bobsled", which has an odd, minor-sounding theme that features beautiful voice parts behind the piano. It gets a little 'Bach-ish' and gives a pictorial image of a bouncing bobsled gliding happily down the moonlit face of a friendly snow-covered mountain. Rune's "Gospel Walk" opens and closes with a rich choral statement that sets the down-home mood. In between, the rhythm swings steady and hard, while the chorus sounds mellow and happy. Rune's fleet Dizzy quote during his solo fits right into the shouting groove.

On the second side, Rune Öfwerman is given the chance to match creative skills with two different rhythm sections. One tunes one, two and four, he has Sture Nordin (bass) and Egil Johansen (drums), with Rune Gustafsson (guitar) and Bjame Nerem (rhythm) added on the bossa novas. On these tunes Rune's affection for and ability in the modern Latin idiom is very evident. "Sueca" swings lightly, "Ortega" mightily, the latter remniscent in its general chord pattern to that of the standard song. "Out Of Nowhere". An odd Martian-type intro, and an up-tempo body make "M-83" an excellent vehicle for the fast-walking bass of Nordin, and the Blakey-like drum solo of Johansen.

Two expatriate American musicians, now permanent European residents, drummer Art Taylor and bassist Jimmy Woode. Jr., support Rune Ofwerman on the remaining two selections. Taylor one of the very best jazz percussionists and is well-known internationally, mostly for his work with such greats as Bud Powell and Rollins. Woode's most fame-garnering stint was the time he spent as part of the elegant Duke Ellington organization. He composed "The Man From Potter's Crossing", the theme and handling of which conjures a swinging man of mystery, with one of Jimmy's rare solos showcased. Rune's tune, "King's Men", which closes the album, is a bright-tempoed blues that swings all the way. His four-bar exchanges with Art Taylor, and his fadeout on an "Afterhours" kick make this cut outstanding.

All in all, just from listening to these few offerings by Rune Ofwerman, it seems as though American pianists now have a new talent with which to contend. So also do the pop composers, for Rune's bossa novas are very beautiful. and his "Bobsled" and "M-83" are unusual and interesting. Yes, talented and versatile Rune Ofwerrnan should be highly successful in the music business, for, as the tide of this album indicates, he is Very "COOL"!

—Joe Segal

Rune Ofwerman was born on Christmas Eve in 1933 in a small village outside Stockholm caned Vingåker. He strtated taking piano lessons at the age of six but lost interest after couple of years. A few years he heard some boogie-woogie records and again became interested in the piano. During his college years in Stockholm he organised a band which soon became very popular. After his school years, Rune decided to become a professional musician and his first job was with trumpeter Rolf Ericsson, who is now living in the U.S. Since then, Rune has played with many top bands in Sweden and is considered one of Sweden's top jazz pianists. In 1957 he played with American clarinetist Tony Scott at the famous "Nalen" in Stockholm. Scott made some recordings with a trio headed by Rune and the trio sounded so good that Swedish record company recorded an album with the trio alone. The next year Rune was signed to an exclusive recording contract with Gazell Record Company and at that time he also became A&R director for the company, supervising both pop and jazz recordings. During the following years, he had a tremendous success with his jazz trio and many of the trio's recordings have sold large quantities. A few of his own compositions have become jaw standards. He has made recordings with practically every important Swedish jazz soloist, as well as with guesting Americans like Herbie Mann and Tony Scott. For a long period Rune played on all recordings featuring the famous Swedish baritone sax player Lars Gullin, and he is often heard with the Harry Arnold Radio Studio Band. As a pianist, he lists the late Nat 'King' Cole and Clarence 'Pinetop' Smith among his strongest influences.

LP-751

Ahmad Jamal – The Roar Of The Greasepaint - The Smell Of The Crowd

Released 1965

Recording and Session Information

Ahmad Jamal, piano; Jamil Nasser, bass; Chuck Lampkin, drums
Nola Penthouse Studio, New York City, February 24+25 1965

13788 Who can I turn to?
13789 That's what it is to be young
13790 This dream
13791 The beautiful land
13792 Look at that face
13793 Where would you be without me?
13794 It isn't enough
13795 My first love song
13796 Sweet beginning
13797 A wonderful day like today
13798 Feeling good

Track Listing

Look At That Face	Bricusse/Newley	February 24+25 1965
Where Would You Be Without Me?	Bricusse/Newley	February 24+25 1965
It Isn't Enough	Bricusse/Newley	February 24+25 1965
Who Can I Turn To (When Nobody Needs Me)	Bricusse/Newley	February 24+25 1965
Sweet Beginning	Bricusse/Newley	February 24+25 1965
The Dream	Bricusse/Newley	February 24+25 1965
Feeling Good	Bricusse/Newley	February 24+25 1965
My First Love Song	Bricusse/Newley	February 24+25 1965
A Wonderful Day Like Today	Bricusse/Newley	February 24+25 1965
That's What It Is To Be Young	Bricusse/Newley	February 24+25 1965
The Beautiful Land	Bricusse/Newley	February 24+25 1965

Liner Notes

BEFORE it arrived on Broadway, The Roar Of The Greasepaint—The Smell of the Crowd already had achieved a singular series of triumphs. Not only was it a spiraling hit on the road, but there were also more than fifty recordings of songs from the score (a pre-Broadway testament of optimism that exceeded even the welcoming trumpets that greeted Hello, Dolly! and Fiddler on the Roof), This album of Anthony Newley's and Leslie Bricusse's songs, however, is a distinctive tribute because the musical temperament and style of Ahmad Jamal are particularly suited to the Newley-Bricusse way of looking at life and reflecting what they see and hear in music.

Their previous American conquest was Stop the World—I Want To Get Off, a wry, poignant, irreverent morality play about the circular frustrations and self-evasions of a man "making it" in the 20th century jungle. The Roar of the Greasepaint—The Smell Of the Crowd is both a more astringent and more hopeful exploration of the game of life, At first, in an ingenious gameboard of a set, two figures are seen at the play of existence. Sir (Cyril Ritchard) represents those in power, whose basic characteristic is the over-riding desire to maintain power. Cocky (Anthony Newley) speaks for most of the rest of us — those without power or with such little power that we cannot really be in full charge of what hapens to us.

Evety time it app that Cocky may win a game, Sir changes the rules. I will not spoil your fun by detailing the rest of the plot, except to say that as new figures ppear, Cocky sees that there are other ways than his own passivity to counteract Sir. One can assert oneself; one can even refuse to play if the game is rigged. And finally, Cocky learns that he too can make his own rules so that Sir will have to learn to co-exist on equal terms rather than to dominate as if his power were a law of nature. It isn't.

The essentials of the Newley-Bricusse writing style — and of Newley's remarkably evocative skill as a performer — are disciplined simplicity, clarity of design, resiliant wit and a superb sense of timing. Without trying to make Jamal the image of them, it is nonetheless true that those same qualities describe Jamal's way of making music. Furthermore, Jamal himself is a contemplative, arching observer of the way we live now. He has strong feelings about the way things ought to be and could be and, like Newley and Bricusse, he has a firm sense of who he is and what his capacities are.

Accordingly, Jamal and this score fuse easily. Throughout, there are the immediately identifiable Jamal insignia — the plastic use of space; the lithe beat, the graceful humor and the sense of power in reserve. The propulsive force is there, as in sections of "Sweet Beginning" and "Feeling Good". He has supple sense of dynamics, and therefore, he is capable of varying gradations of climax. He swings without strain and with both subtlety and sensibility.

Tne softly glowing lyricism that is a fundamental element of Jamal's style is in evidence on every track, from the luminosity of "Where Would You Be Without Me?" to the aura of unfolding surprise he brings to "That's What It Is To Be Young". Chuck Lampkin and Jamil Nasser meanwhile provide Jamal with a crisply moving foundation on which he can play with time.

The album underlines the consistency of Jamal's firmly personal approach to music. Beginning in 1958 with his recording of a performance at Chicago's Pershing Hotel (Argo LP-628 & LPS-628), Jamal has experienced widening public delight in his work. He does not fall into any conveniently categorical "bag." He is, in sum, himself.

What Jamal has to offer musically - as in the recording — is refreshingly personal on its own terms. I mean his clarity, essentially sanguine view of life and his grace. And when you want to conjugate the possibilities of the kinds of kicks that come on a spring day, the Jamal microcosm is one place to visit. He is a singular part of today's roar of the greasepaint and smell of the crowd.

—NAT HENTOFF