Loose Wig
Produced by Chuck Darwin
Cover Photo: Lee-Myles Assoc,. N.Y.C.
Dawn Records DLP 1124
Manufactured by Seeco Record, Inc. New York, N.Y.
1957
From the back cover:
About The Sound and Equipment
The selections on this record were recorded in Carl Fischer Concert Hall in New York City. Never more than two microphones were employed, and the two trio pieces were made with one. The microphones used were specially modified RCA 44A (MI 3026A) ribbon types, with measured responses exceeding the 20 to 20,000 cycle range. These microphones, unlike most condenser types, have no resonant peaks in the effective audio range. Tapes were made at fifteen inches per second on a modified Ampex model 350 tape machine, using Minnesota 120A tape. The use of this tape at normal output levels enabled the engineer to avoid monitoring any sudden peaks, a practice of which he disapproves. The lacquer masters were made on a modified Van Eps lathe equipped with automatic groove pitch control, using a Grampian cutter and an amplifier designed by David Sarser. There are no frequencies present on the tape that are not also present on the disc. Whether the entire range can be played back depends, of course, on the nature of the playback equipment used. You need to feel no doubts on this score if your equipment consists of the items depicted on the cover of this LP. They are the MacIntosh pre-amplifier and 60 watt amplifier line; the Acoustic Research AR-1 loudspeaker, used by one consumer testing organization as a standard, the ESL Professional arm and cartridge, generally considered supreme; the Red-O-Kut Ronnie turntable, rated high by another testing organization; and the Sherwood tuner, well thought of in the industry. However, tastes differ, and on the second record of this series will be shown another compilation of equipment chosen with equal care. – David Hancock
About The Music and The Musicians
"Start Here" is a perfect selection with which to open this "Jazz For Hi-Fi Lovers" concert. The album from which it comes, "The Kid From Denver", (DLP-1109) earned much high praise, not only for its star, Paul Quinichette, but for its producer, Chuck Darwin and its engineer David Hancock. The personnel: Paul Quinichette – tenor sax, Thad Jones, Renauld Jones and Joe Newman – trumpets, Henry Coker – trombone, Bill Graham – baritone sax, Nat Pierce – piano, Freddie Green – guitar, Ed Jones – bass, and Sonny Payne – drums. This line-up practically amounts to a small Basie band the only non-Basie man, Nat Pierce. Nat has done some arranging for Basie however, and the playing style he employs here make him a natural "sit-in" for the Count. "Start Here" is a successful overture. The guys say something worthwhile musically without losing one shred of the spirit and enthusiasm necessary to a good jazz performance.
On track 2 we hear a very different combination of sounds. "If I'm Luck" is played by Dick Garcia on guitar, Gene Quill on alto sax, Terry Pollard on piano, Bill Anthony on bass and Frank Isola on drums. ("Lucky" is out of "A Message From Garcia", DLP 1106) The expression here is straight-forward and simple. Garcia and Quill achieve a feeling of gentleness and ease which pervades the relaxed atmosphere set up by the rhythm section.
On track 3 Randy Weston provides a further contrast with his rendition of "Loose Wig". (The Modern Art of Jazz by Randy Weston", DLP 1116). Randy's distinctive style and touch are provocatively employed here to convey "madness". He is excellently supported by Abdul-Malik on bass and Willie Jones on drums. The over-all effect is successfully captured and transmitted.
Mat Mathews on accordion, with Art Farmer on trumpet, Gigi Gryce on alto sax, Dick Katz on piano, Oscar Pettiford on bass and Kenny Clarke on drums, occupy the 4th tracks of side 1 of this Hi-Fi Lovers' offering. "Not So Sleepy", a Mathews original, come from "The Modern Art of Jazz by Mat Mathews". (DLP 1104). The tune is presented in a interesting arrangement, and developed through a series of moving and colorful solos. The extraordinary sonority of Mathews' accordion, the plaintive quality of Farmer's trumpet, the raspy tone of Gryce's alto, the fine clean-cut notes of Katz' piano, the rich and the precise music of Pettiford's bass, the firm yet light-handed beat of Clarke's drums are all present and accounted for.
Side 2 begins with "Catch Her", a neat up-tempo original out of Les Mode' collection; high fashion of course. This Julius Watkins design is tastefully executed by himself, co-leader Charlie Rouse – tenor, Gildo Mahones – piano, Marin Rivera – bass, Ron Jefferson – drums and Chino Polo – bongos. Julius displays his extraordinary facility on French horn. Charlie is his usual articulate self on tenor, and the addition of Pozo on bongos gives extra color to the rhythm contingent. ("Catch Her" is from Les Modes' "Mood in Scarlet", DLP 1117).
"Jazzville", Vol. 2 (DLP 1107), is the source for the Alex Smith solo on "Darn That Dream". Ably abetted by bassist Paul Worthington and drummer Al Beldiny, Alex exploits the piano with sensitivity and a comprehensive understanding of the instrument. His use of dynamics for interpretive purposes demonstrates a fine grasp of content. The sense of presence on this recording makes for a fuller appreciation of the artist's pianistic gifts.
"Bye Ya" is a Thelonius Monk original recorded by Foot Sims – tenor, Jerome Lloyd – trumpet, John Williams – piano, Bill Anthony – bass and Gus Johnson – drums for "Zoot Sims Goes to Jazzville", (DLP 115). The group sound is warm and open, with very solid backing by the rhythm section. Tenor, trumpet and piano each get off a good solo, and here again, listening pleasure is augmented by the accurate reproduction of tonal qualities.
Gene Roland on trumpet heads the eight piece band rendition of his own "Suitcase". (Jazzville" Vol. IV DLP 1122) Trumpet, tenor sax, alto sax and trombone are represented in that order by Johnny Carisi, Paul Quinichette, Dick Meldonian and Robbie Swope. The rhythm section is comprised of Nat Pierce – piano, Walter Nolan – drums, and Dudley Watson – bass. Gene has managed some very solid arranging here, framing spaces for sonic result in "reported" with authenticity.
That's very Hi-Fidelity! – Paul Gibard
Start Here - Paul Quinichette and his band
If I'm Lucky (I'll be the one) Dick Garcia - Gene Quill
Loose Wig - Randy Weston
Not So Sleepy - Mat Mathews
Catch her - Les Modes
Darn That Dream - Alex Smith
Bye Ya - Zoot Sims
Suitcase - Gene Roland Octet
The selections on this record were recorded in Carl Fischer Concert Hall in New York City. Never more than two microphones were employed, and the two trio pieces were made with one. The microphones used were specially modified RCA 44A (MI 3026A) ribbon types, with measured responses exceeding the 20 to 20,000 cycle range. These microphones, unlike most condenser types, have no resonant peaks in the effective audio range. Tapes were made at fifteen inches per second on a modified Ampex model 350 tape machine, using Minnesota 120A tape. The use of this tape at normal output levels enabled the engineer to avoid monitoring any sudden peaks, a practice of which he disapproves. The lacquer masters were made on a modified Van Eps lathe equipped with automatic groove pitch control, using a Grampian cutter and an amplifier designed by David Sarser. There are no frequencies present on the tape that are not also present on the disc. Whether the entire range can be played back depends, of course, on the nature of the playback equipment used. You need to feel no doubts on this score if your equipment consists of the items depicted on the cover of this LP. They are the MacIntosh pre-amplifier and 60 watt amplifier line; the Acoustic Research AR-1 loudspeaker, used by one consumer testing organization as a standard, the ESL Professional arm and cartridge, generally considered supreme; the Red-O-Kut Ronnie turntable, rated high by another testing organization; and the Sherwood tuner, well thought of in the industry. However, tastes differ, and on the second record of this series will be shown another compilation of equipment chosen with equal care. – David Hancock
About The Music and The Musicians
"Start Here" is a perfect selection with which to open this "Jazz For Hi-Fi Lovers" concert. The album from which it comes, "The Kid From Denver", (DLP-1109) earned much high praise, not only for its star, Paul Quinichette, but for its producer, Chuck Darwin and its engineer David Hancock. The personnel: Paul Quinichette – tenor sax, Thad Jones, Renauld Jones and Joe Newman – trumpets, Henry Coker – trombone, Bill Graham – baritone sax, Nat Pierce – piano, Freddie Green – guitar, Ed Jones – bass, and Sonny Payne – drums. This line-up practically amounts to a small Basie band the only non-Basie man, Nat Pierce. Nat has done some arranging for Basie however, and the playing style he employs here make him a natural "sit-in" for the Count. "Start Here" is a successful overture. The guys say something worthwhile musically without losing one shred of the spirit and enthusiasm necessary to a good jazz performance.
On track 2 we hear a very different combination of sounds. "If I'm Luck" is played by Dick Garcia on guitar, Gene Quill on alto sax, Terry Pollard on piano, Bill Anthony on bass and Frank Isola on drums. ("Lucky" is out of "A Message From Garcia", DLP 1106) The expression here is straight-forward and simple. Garcia and Quill achieve a feeling of gentleness and ease which pervades the relaxed atmosphere set up by the rhythm section.
On track 3 Randy Weston provides a further contrast with his rendition of "Loose Wig". (The Modern Art of Jazz by Randy Weston", DLP 1116). Randy's distinctive style and touch are provocatively employed here to convey "madness". He is excellently supported by Abdul-Malik on bass and Willie Jones on drums. The over-all effect is successfully captured and transmitted.
Mat Mathews on accordion, with Art Farmer on trumpet, Gigi Gryce on alto sax, Dick Katz on piano, Oscar Pettiford on bass and Kenny Clarke on drums, occupy the 4th tracks of side 1 of this Hi-Fi Lovers' offering. "Not So Sleepy", a Mathews original, come from "The Modern Art of Jazz by Mat Mathews". (DLP 1104). The tune is presented in a interesting arrangement, and developed through a series of moving and colorful solos. The extraordinary sonority of Mathews' accordion, the plaintive quality of Farmer's trumpet, the raspy tone of Gryce's alto, the fine clean-cut notes of Katz' piano, the rich and the precise music of Pettiford's bass, the firm yet light-handed beat of Clarke's drums are all present and accounted for.
Side 2 begins with "Catch Her", a neat up-tempo original out of Les Mode' collection; high fashion of course. This Julius Watkins design is tastefully executed by himself, co-leader Charlie Rouse – tenor, Gildo Mahones – piano, Marin Rivera – bass, Ron Jefferson – drums and Chino Polo – bongos. Julius displays his extraordinary facility on French horn. Charlie is his usual articulate self on tenor, and the addition of Pozo on bongos gives extra color to the rhythm contingent. ("Catch Her" is from Les Modes' "Mood in Scarlet", DLP 1117).
"Jazzville", Vol. 2 (DLP 1107), is the source for the Alex Smith solo on "Darn That Dream". Ably abetted by bassist Paul Worthington and drummer Al Beldiny, Alex exploits the piano with sensitivity and a comprehensive understanding of the instrument. His use of dynamics for interpretive purposes demonstrates a fine grasp of content. The sense of presence on this recording makes for a fuller appreciation of the artist's pianistic gifts.
"Bye Ya" is a Thelonius Monk original recorded by Foot Sims – tenor, Jerome Lloyd – trumpet, John Williams – piano, Bill Anthony – bass and Gus Johnson – drums for "Zoot Sims Goes to Jazzville", (DLP 115). The group sound is warm and open, with very solid backing by the rhythm section. Tenor, trumpet and piano each get off a good solo, and here again, listening pleasure is augmented by the accurate reproduction of tonal qualities.
Gene Roland on trumpet heads the eight piece band rendition of his own "Suitcase". (Jazzville" Vol. IV DLP 1122) Trumpet, tenor sax, alto sax and trombone are represented in that order by Johnny Carisi, Paul Quinichette, Dick Meldonian and Robbie Swope. The rhythm section is comprised of Nat Pierce – piano, Walter Nolan – drums, and Dudley Watson – bass. Gene has managed some very solid arranging here, framing spaces for sonic result in "reported" with authenticity.
That's very Hi-Fidelity! – Paul Gibard
Start Here - Paul Quinichette and his band
If I'm Lucky (I'll be the one) Dick Garcia - Gene Quill
Loose Wig - Randy Weston
Not So Sleepy - Mat Mathews
Catch her - Les Modes
Darn That Dream - Alex Smith
Bye Ya - Zoot Sims
Suitcase - Gene Roland Octet
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