Life Is A Many Splendored Gig- Herb Pomeroy

No One Will Room With Me

Life Is A Many Splendored Gig
The Herb Pomeroy Orchestra
Recording Supervision: Joe Guercio
Cover Photography: Chuck Stewart
Roulette Birdland Series R-52001
1958
Personel:

Trumpet: Herb Pomeroy, Lennie Johnson, Augie Ferretti, Evertt Longstreth and Joe Gordon
Trombone: Joe Ciavardone, Bill Legan and Gene Di Stasio
Saxophone: Dave Chapman, Boots Mussulli, Varty Harcutunian, Jakie Byard and Deane Haskins
Piano: Ray Santisi
Bass: John Neves
Drums: Jimmy Zitano

From the back cover: Not long ago a Broadway dance casino operator decided that it would be a nice gesture – as well as good business – to put Paul Whiteman, the daddy-o of dance music, in front of a brand new band and present him for two weeks in a big anniversary program. Whiteman agreed, with enthusiasm. Then they began studying the costs. It was found that such a two-week, big band production would cost more than $20,000. At almost the same time, Herb Pomeroy came bouncing down from Boston with a 16-piece orchestra, made his first stand a Birdland on The Big Apple, and almost immediately made this album, his first.

Hardly any member of the Pomeroy outfit was born when Whiteman was playing "Moonlight On The Ganges" and other primitives. Yet the fact remains that these youngsters were able to do what was too much for one of the legendary figures in American music – put a band together and make it stick. Further, Pomeroy and his strongboys did it the hard way. No important money was involved. A group of young professional musicians just wanted to make an orchestra so badly they up and made one.

The title, "Life Is A Many Splendored Gig," is particularly appropriate. Hearken, dear reader, to some of the obstacles which were overcome before the music finally beat the machines. First a date was set. Then it was found that saxophonist Dave Chapman couldn't leave his bank. He wasn't counting his money, he was counting other people's money because he supplements his musical earnings with a daytime job as clerk. Another date had to be changed because trombonist Bill Logan arrange to get a day off from his maintenance duties in a men's home. Trombonist Gene Di Stasio had to drop his drill in the dental school around Boston where they teach.

Roulette Records was faced with an odd problem even for the record industry, which expects problems. The record firm had to get the band together before it could start to play. What it played speak for itself. The music on this album is as exciting and as full of verde as the men who play it.

Herb Pomeroy is a Boston boy and a graduate of the Stan Kenton band. A couple of years ago he got a job at The Stable, the Boston jazz club, when local business was at its nadir. He built a six piece combo with Varty Haroutunian, Joe Gordon, Ray Santial and Alex Cirini, all either professional musicians or music teachers in nearby schools. The combo, and, The Stable, started to jump. Pomeroy was determined to make his band jump bigger and farther. He started to build.

In and around Boston – as, alas! in many other cities – were able professional musicians who had been forced by one reason or another to abandon jazz as a sole means of living. Some were married and had the understandable wish to live with wife and children rather than in buses and in those road hotels. Others had seen too many bands disintegrate after too few experimental paydays. Still others had never found the band they wanted to sacrifice things for, just to belong. The economics of show business today still have the big band business in the doldrums.

Little by little, week by week, Pomerory found the men he wanted. His band got larger, so did the book. At first, the "big" band could only play on night a week at The Stable. Finally it was playing two nights a week. The men worked together and found a common theme, a mutual beat on and off the bandstand. In less than two years the Pomeroy orchestra, one of the few bands in history which actually invented and created itself, was ready for the big time.

The songs which are recorded in "Life Is A Many Splendored Gig" are evidence of this originality. With the exception of one or two little known or forgotten tunes, all are originals. Most noticeable , to the first listener, is the full-beat background which never varies with the most imaginative and original solos and front line breaks.

It's a high-styled circuit agains a solid foundation which is where Pomeroy firmly intends to keep it. As to style, he feels that it is a band which will form and improve a style of its own while never shutting its ears to the basic beats which have been the anchor of almost every truly great big band which has lasted through the years.

Probably most important of all, Herb Pomeroy and his partners should be an inspiration for musicians all over the country. Pomeroy proved it could be done. There's no reason why somebody else can't do it their own way. It is proven with this record, and with the acclaim that Pomeroy music already had received in musical circles, that the obstacles and the problems which almost drove the big bands from the music scene aren't insurmountable. – Robert Sylvester

From Billboard - February 3, 1958: The charging Herb Pomeroy ork out of Boston presents a brace of fine performances with sharp, well rehearsed (often essaying Basie and Herman) arranging flavors. The band is enthusiastic and compels by sheer rhythmic impact. Unidentified tenorist, reminiscent of Zoot Sims, and trumpeter Joe Gordon are solo stand-outs. Try "Wolafunt's Lament" and "Feather Merchant" as demo-tracks. Could sell well to buyers of modern big-band sound, if shown.

Blue Grass
Wolafunt's Lament
Jack Sprat
Aluminum Baby
It's Sandman
Our Delight
Theme For Terry
No Now Will Room With Me
Feather Merchant
Big Man
Less Talk