LP-754

Illinois Jacquet – Spectrum

Released 1965

Recording and Session Information

Russell Jacquet, trumpet; Illinois Jacquet, tenor saxophone; Patti Bown, piano; George Duvivier, bass; Grady Tate, drums; Candido Camero, conga drum
RCA Recording Studios, New York, April 29 1965

13905 Big Music
13906 Black Foot
13907 Blues for Bunny
13908 Blue Horizon

Ernie Royal, Jimmy Nottingham, trumpet; Illinois Jacquet, Buddy Lucas, tenor saxophone; Haywood Henry, baritone saxophone; Ed Stoute, piano; Billy Butler, Eric Gale, guitar; Leonard Gaskin, bass; Herbie Lovelle (d) Bert Keyes arr,conductor
RCA Recording Studios, New York, April 30 1965

13909 Goin' out of my head
13910 Spanish boots
13911 Elise
13912 I remember her so well
13913 Now and them

Track Listing

Goin' Out Of My Head	Randazzo / Weinstein	April 29 1965
Spanish Boots	Don Menza	April 29 1965
Elise	Michel LeGrand	April 29 1965
I Remember Her So Well	Halletz / Coburn / English	April 29 1965
Now And Then	Ortolani / Newell	April 30 1965
Blues For Bunny	Russell Jacquet	April 30 1965
Black Foot	Russell Jacquet	April 30 1965
Big Music	Illinois Jacquet	April 30 1965
Blue Horizon	Edwin Stoute	April 30 1965

Liner Notes

JAZZ IS A MAN AND HIS HORN. Jazz is a man like Illinois Jacquet. This giant of a musician has traveled many roads, exploring and forming never-to-be-forgotten sounds.

When I look back to the early forties, I recall the sounds of Lester Young, Don Byas, Chu Berry, Ben Webster and Illinois Jacquet. Then, if I move my musical calendar forward in time, my memory fills with the names of Stan Getz, John Coltrane, Allen Eager, Flip Phillips, Gene Ammons, et al. And Illinois Jacquet's name still holds strong. The man and his music moved with the times. Today, as well as yesterday, the Jacquet style, the Jacquet tone, is an oasis of jazz.

In this album you get "spectrum" of music, music contemporary with the demands of today's record buying public. On my all-night show in Miami Beach, the listeners want sounds with a beat, a Latin sound and pretty music. The young set who grew up on rock and roll now dig jazz, but they need to feel a beat. This album caters to the basic needs of a cross-section of the American jazz public.

The five tunes on side one were all arranged by Bert Keyes — one of the top Rhythm and Blues arrangers in New York City. Bert's charts always emphasize strong rhythm and in these the beat is cooking throughout. The tunes on this side were chosen from a variety of bags. "Goin' Out Of My Head" was a big R&B hit for Little Anthony and the Imperials; "Spanish Boots" is a jazz composition of compelling force, and the other three compositions are from recent movies. Jacquet's robust tenor sax makes every track a personal triumph — now playing the melody straight, now weaving around and through the chord structure of a piece with tasty inventions.

Side two is more conventional — at least as far as instrumentation is concerned. Here, Illinois and his trumpeter brother, Russell, collaborate with a really broiling rhythm section. Patti Bown on piano, George Duvivier on bass, drummer Grady Tate, and conga drummer Candido lay down such a groovy foundation that you'd have to have advanced rigor mortis not to feel the excitement.

Russell Jacquet has worked in his brother's bands off and on since the forties, but now they live in opposite parts of the Country — Illinois in New York, and Russell alternating between Texas and Calitornia. Russell flew to New York specially for the session and it was swinging reunion.

Patti Bown. a young lady who plays a whole lot of piano keyboard, shares the solo space with Illinois and Russell and she makes sparks fly.

But Illinois Jacquet is the star. He is all "pro" and his horn is an instrument for creating musical joy. SPECTRUM is Illinois' fourth ARGO album; each has presented him in a different setting and he's come through like a champ each time.

—ALAN ROCK
THE ONLY JAZZ VOICE
WMBM AM & FM
MIAMI HEACH, FLORIDA

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.