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Saturday, October 21, 2023

The Joe Daley Trio At Newport '63

 

Ballad

The Joe Daley Trio At Newport '63
Produced by George Avakian and Angie Blume
Recorded at The Newport Jazz Festival, Newport, Rhode Island, on July 5, 1963
Recording Engineer: John Janus
RCA Victor LPM-2763
1963

Joe Daley - Tenor Saxophone
Russel Thorne - Bass
Hal Russell - Drums

From the back cover: One of the original ideals of the Newport Jazz Festival has been to bring to oplubic attention unknown but deserving talent. Producer George Wein has made it possible each year for such performers to appear alongside better-known "names," and, as Father Norman o'Connor (a long-tie friend of jazz who often doubles as a master of ceremonies at the Festival) observes at the beginning of this album, it often happens that the afternoon programs are more interesting and are closer to the heart of jazz than the bigger evening presentations.

Such was certainly the case when the Joe Daley Trio played at Newport on the afternoon of July 5, 1963. It had been –and, after this Chicago threesome performed, it baden again – a relatively conservative program. But while Joe was on-stage, it was like a fresh, cool breeze. (Incidentally, the paying audience didn't hear everything that' on this recording, as programing limitation did not permit the Trio to stay on-stage long enough; knowing this, we taped a rehearsal half for the purpose of balancing the sound, and this gave us material enough for a full album.)

The Joe Daley Trio walked on-stage at Newport unknown, but was quickly established as a fresh, venturesome unit of three imaginative virtuosos who worked as one. They proved that they could "blow" when they chose to, and could also go about as "far out" as anyone ever has at the Festival. But even so Abstract a piece as bassist Russell Thorne's Knell drew respectful and rapt attention from the audience; not even a passing plane (which you can hear on this recording) could break the spell.

Improvisation in the Joe Daley Trio means long-line development of a theme (or fragments of a theme), often without regard to tonality or meter in the conventional sense. The group, while it frequently plays an even more adventurous program than is heard in this album –its repertoire includes numbers that make Knell seem conservative – does not go so far as many "red-style" advocates in accepting "anything that comes out of the horn, goofs an all," in the name of artistic and philosophical freedom.

Daley, a throughly-grounded musician, points out that linear development which ignores key and bar-line restrictions can be extraordinarily free and, at the same time, quite within the framework of accepted musical practice. "Like many modern jazz musicians," he says, "we improvise developments. There is alma no limit to what you can do in this kind of form, so we don't feel restricted buy the imposition of standards of musicality." (This kind of working toward an over-all shape of the music has some pretty old advocates as well as recent ones: Beethoven and Bartok, for example, could build a development out of just one bar of music.) "But the thread of jazz must never be forgotten," Daley adds, "or else you end up with sort of chamber musics with improvising overtones."

Daley's views can be heard throughout this recording – in his original compositions, his own playing, and in the work of the Trio as a whole. Ode To Blackie (as original by Joe, dedicated to an old friend) is an easy, relaxed 3/4 piece in a modal vein, alternating between G and F harmonies, but cadencing on a D sound. His Ballad, influenced by a classical work which deserves to be better known, was composed to project a "free" blowing approach in a ballad style; a deliberately extreme breathy sound is part of the projection.

Dexterity, a Charlie Parker composition based on the harmonies of a familiar standard of the Twenties, is one of the Trio's more orthodox numbers, in which Joe's solo at the beginning does observe tonality and meter. "We play it to show that we enjoy mainstream music, too, and don't intend to discard it," says Joe. ("Mainstream" to Joe is pretty advance to most people!)

One Note is almost a reductio ad absurd demonstration of the complete simplification of thematic material for a fast-tempo tour-de-force improvisation. (Having run out of italicizable descriptions, we'll let Joe and the boys show you how it's done; it's good listening fun as well as good music!) The high-tension Knell is not written as a theme or melody with a form, but as a series of sounds (at one point, Joe sings into the mouthpiece as he blows) designed to convey a sad, mournful feeling, with a touch of blues. Ornate Coleman's Ramblin' does to the blue what Dexterity did to an earlier pop form. The breaks in the melody project a country roots feeling without disturbing the solid groove this piece generates.

The members of the Trio are representative of the jazz musician today who is a skilled technician with more than a touch of classical training and experience. Drummer Hal Russell holds a master's degree from the University of Illinois; his background ranges from playing with Miles Davis to playing with the Chicago Civic Symphony as a timpanist. He has an unusually varied kit of percussion instruments and makes full use of them; his sense of sound is a vital factor in the Trio's work. Russell Thorne is one of the most sound-conscious bassists around. His strong classical background – he is a former symphony musician who was drawn to the work of the most advanced contemporary composers as well as to jazz – is clearly discernible. His extraordinary technique is couple with a daring condition which resulted in accompaniments and solos which are often nothing less than breath-taking. At Newport, he electrified the crowd with some starling, but highly musical, effects by playing below the bridge as well as flying about the stings in more accepted fashion – only, it seemed, about twice as fast as anybody else you'd heard in a long, long time.

Joe Daley, himself, has been on the Chicago scene for many years, working with various bands (including Woody Herman's and a band that Joe Williams sang with – the two Joes had quite a happy reunion backstage at Newport). He has recorded in Chicago studios with innumerable pop artists, and has composed "serious" music as well as jazz. He, too, holds a music degree and continues to teach in Chicago although the Trio, happy to relate, is finding itself increasingly in demand on the night club and concert scene.

Something really new in jazz, with roots that are real – that's the Joe Daley Trio. – George Avakian

From Billboard - December 28, 1963: This is the avant-garde kind of music with a bit more swing and a bit more melody than has been available to the public at large previously. The Daley group is new on the jazz scene. He plays tenor and is accompanied by bass and drums. Set was recorded at Newport, 1963.

Ode To Blackie
Ballad
Dexterity
One Note
Knell
Ramblin'

Wednesday, October 18, 2023

The Horn's Full - Jack Montrose

 

Headline

The Horn's Full
Jack Montrose And All-Stars
Red Norvo
Supervision: Shorty Rogers
Photo by Ben Rose
RCA Victor LPM-1572
1958

Rosanne
Polka Dots And Moonbeams
The Little House
Solid Citizen
Do Nothing Till You Hear From Me
True Blue
The Horn's Full
Goody Goody

Jack Montrose - Saxophone
Red Norvo - Vibes
Barney Kessel - Guitar (Courtesy of Contemporary Records)
Lawrence Wooten - Bass
Mel Lewis - Drums

Dark Angel
Crazy She Calls Me
Headline

Jack Montrose - Saxophone
Red Norvo - Vibes
Jim Hall - Guitar
Max Bennett - Bass
Bill Dolney - Drums

From the back cover: First off, I'd tell you – and it is kind of important – that whenever a song appeals to me enough to make me want to write an arrangement of it, then I figure it is an appealing enough melody to remain in its original form. In other words, I don't eve change the melody. I do, however, elaborate on and add color to melodies by adding contrapuntal lines and counter melodies to them – sometimes one, sometimes tow, and in some cases even three when the spirit so demands. 

Second off, there's an important feature in the way my arrangement its turn out. I do not enjoy listening to plays on the harmony parts, and consequently do not like to write them either. That is work, and to my way of thinking, any time a body has to work to write music, it usually cones out sounding that way.

I reckon that these were the two main precepts that were running around in my head when I began working on the music for this album. If the music in general betrays a consistency and uniformity of approach, and I surely hope it does, then these two factors are mainly the reason why.

There is one other thing I would like to mention. When you get a bunch of guys together and there is a lot of sympathy and understanding and good feeling between them, and everyone digs each other, and all are eager and happy and want to play, then you have a definite feeling that some of these goodness is going to come through on a record. That is just what we all wanted to happen, and I believe that is just what did happen here.

Herbie Mann Live At Newport

 

Desafinado

Herbie Mann Live At Newport
Cover Photo: Jim Marshall
Back Liner Photo: Harry J. Gittes
Cover Design: Loring Eutemey
Supervision: Nesuhi Ertegun
Recording Co-ordinator: George Avakian
Recording Engineers: Mickey Crofford & Tom Dowd
Assistant Recording Engineer: Harry Mearns
This album was recorded in its entirety at the Newport Jazz Festival on July 7, 1963
The Newport Jazz Festival is produced by George Wein 
Atlantic 1413 
1963

Personnel

On Desafinado & Garota de Ipanema: Herbie Mann, flute; Diave Pike, vibraharp; Don Friedman, piano; Attila Zoller, guitar; Ben Tucker, bass; Bob Thomas, drums

On Soft Winds, Samba de Orfeu & Don't You Know: Percussionists Willie Bobo & Carlos "Patato" Valdez are added

Soft Winds
Desafinado
Samba de Orfeu
Don't You Know 
Gartoa de Ipanema

Tuesday, October 17, 2023

Yamaha Suite - Eugene Rousseau

 

Yamaha Suite

Yamaha Suite
Eugene Rousseau Saxophone Quartet
Golden Crest Records CRS 4224
1982

From the back cover: The Musicians 

One of the world's great saxophonist, Eugene Rousseau, has had an extensive background in classical and jazz music. Since his highly successful solo debut in New York's Carnegie Hall he has had engagements throughout the world. His great knowledge of woodwind instruments has been used thoroughly during his professional playing and teaching career. He earned his Ph. D. from the University of Iowa in 1962, and has been Professor of Music at Indiana University since 1964.

Rousseau has recorded numerous solo works for saxophone, including an album of concertos for Deutsche Gramophone. Among his publications are a two-volume Method For Saxophone (Kjos), and a work on the above-normal range of the saxophone, Saxophone High Tones (Etonile), plus numerous solos and arrangements.

As Chief Consultant to Yamaha for saxophone research and development, he has devoted his creative abilities to the artistic and acoustical development of saxophones and saxophone mouthpieces.

Born in Albuquerque, Bobby Shew began trumpet at age ten. He played with the Tommy Dorsey Band (with Dam Donahue), and the bands of Woody Herman and Buddy Rich. As a lead player he travelled with Robert Goulet, Paul Anka, Della Reese and Steve Allen and then to Las Vegas for nine years. He moved to LA in 1973 to return to jazz, playing in the combos of Bud Shank, Art Pepper, Frank Strazzeri, Barry Zweig and Chuck Flores. In big bands he has played lead for Don Menza, Neal Hefti, Frank Capp-Nat Pierce, Bill Berry and Oliver Nelson, in addition to the Akiyoski / Tabackin and Louis Bellson Bands.

Stephen Goacher is a member of the music faculty of Kentucky State University. One of this country's foremost woodwind doublers, he performers regularly on flute, obey, clarinet, bassoon, and saxophone.

Jean Lansing has distinguished herself as a prefer of the first rank in both classical and jazz music. A faculty member of Wichita State University, she continues to perform and travel extensively.

Dennis Bamber teaches at Notre Dame University and has his own music studio in South Bend, Indiana. A medal winner in the Geneva International Saxophone Competition, he is active as a soloist and has a number of recordings to his credit.

George Gaber has distinguished himself in the musical world as a percussionist, teacher, soloist, lecturer, and composer. His diversified background has brought a wealth of knowledge in the art of percussion to the School Of Music, Indiana University, which Professor Gaber established, is one of the world' most outstanding educational institutions in percussion. Pittsburgh Symphony Orchestra, New York Philharmonic, NBC Symphony of The Air, and the ABC Symphony. He has played premiere performances under the direction of Paul Hindemith, Darius Milhaud, Igor Stravinsky, Bela Bartok, and Gian Carlo Menotti.

Milton John Hinton is considered by many to  be the Dean of American Jazz Bassists. He is fondly called "The Judge" by musicians and fans. The list of artist whom he has accompanied reads like a Who's Who in show biz, Gleason, Erroll Garner, Artie Shaw, Red Norvo, Barbra Streisand, Lena Horne, Sarah Vaughn, Ella Fitzgerald, Quincy Jones. Milt has received an Esquire Sky, the Downbeat Awards, and the Duke Ellington Fellowship. In 1975 he was elected to the first Newport Jazz Festival Hall Of Fame.

Yamaha Suite - John Carisi
   Fantasia And Gospel Jazz
   Ballade
   Chase
Toccata In F - Marty Paich
Quartet For Saxophones - Robert Linn
   Allegro Con Brio
   Poco Adagio
   Vivo
Four Movements For Saxophone, Quartet And Timpani - Bernhard Heiden
   Moderato
   Allegro Molto
   Lento
   Allegretto All Marcia

New Fantasy - Lalo Schifrin

 

The Peanut Vendor

New Fantasy
Arranged & Conducted by Lalo Schifrin
Produced by Creed Taylor
Director of Engineering: Val Valentine
Cover Design: Acy Lehman
Cover Photo: Martin Dall
Recorded June 10 & 11, 1964
At Van Gelder Studios, Englewood Cliffs, New Jersey
Engineer: Rudy Van Gelder
Verve V-8601

Arranger, Conductor, Piano: Lalo Schifrin
French Horn: Ray Alonge, Bob Northern, Richard Berg, Earl Chapin
Trombone: Jimmy Cleveland, Kai Winding, J.J. Johnson, Urbie Green, Tony Studd
Trumpet: Marky Markowitz, Ernie Royal, Clark Terry, Snooky Young
Tenor Sax & Flute: Jerome Richardson
Tuba: Don Butterfield
Guitar: Mundell Lowe
Bass: George Duvivier
Drums: Grady Tate

From Billboard - November 28, 1964: There is no doubt that Lala Schifrin is one of the most talented composer-arranger-conductors in the world of jazz. A shining example of his artistry bursts forth with vigor and vitality in this record. All the eight tunes are dynamic in style and depth and performed by an excellent group of musicians. Their musicianship is of the highest order.

Prelude #2
The Peanut Vendor
Bachianas Brasileiras #5
New Fantasy
Slaughter On Tenth Avenue
The Blues
Sabre Dance
El Salon Mexico

Ahmad Jamal - Rhapsody

 

Effend!

Rhapsody
Ahmad Jamal With Strings
String Arrangements: Joseph Kennedy
Production & Supervisor: Ahmad Jamal and Dick LaPalm
Cover Photo: Three Lions
Cover Design: Michael Reid Design
Engineer: Tommy Nola
Recorded: Nola Studios, New York City, December 15, 16 & 17, 1965
Cadet (Stereo/Mono) LP-764

From the back cover: A side from being an avid music enthusiast, I am also a rabid sports enthusiast. Recently, I had a professional basketball player friend of mine describe one of the super-stars of the National Basketball Association by saying, "Man, he can do it all". Sitting here and listen gin to this new Ahmad Jamal album it occurs to me that Jamal is a super-star because he can certainly "do it all".

In thi day of over-emphasized chic and faddism, Ahmad Jamal has obviously chosen a very hazardous musical philosophy to espouse. His music is authentic; it's mature' it's uncompromising. Today, the rainbow's pot of gold seems to lie either with the music that is so elementary that practically all who chose to can relate to it, or with something so completely bewildering, if not necessarily musical, that the public is intimidated into accepting it for fear of being called unhip. Yes, I do mean intimidated! The Johnny-Come-Latelys who represent a large part of the audience haven't had suufficient time or exposure to the music to evolve their own unshakeable point of view, and an, as a result, they are very easily intimidated into companioning something about which they know or feel very little. I don't mean to embark on a diatribe against the low state of appreciation of the listening public; all of this is pertinent to Ahmad Jamal and his particular brand of music. and I use the word particular advisedly.

As with ask dedicated artists, Jamal has continued to grow to refine, to distill, so that his offerings represent, with each subsequent hearing, a further exploration, a striving if you would, for that ultimate expression. You can hear it in his economy, the placement of the right notes at the right places. This, to me, has always been the sign of maturity in any artist; the mastery of knowing what to leave out. Jamal's use of space and time are incredibly effective. Still, when it is felt to be dictated, his facility, technique and dynamics are superb. The inference can even be drawn from the program material on this album that Ahmad is striving to provide a full range of entertainment, witness his choice of selections, the varying temps and the different contexts.

I think it is sage to say that it has never been Ahmad Jamal and a rhythm section. Always the well-meshed group feeling has prevailed in his music. For this album, too mush cannot be said about the efforts of Jamil Nasser on bass and Vernel Fournier on drums. Ahmad is a strict disciplinarian, a veritable martinet. This passion for getting things done the best possible way he imposes not only on himself, but on his sidemen, the engineers the A&R man, practically anyone who has anything to do with delivering the finest possible finished product. Very often this kind of rigorous discipline can backfire and cause some static in the proceedings, but not so here. I think it works so well with Jamal because he deals from a quiet kind of strength that breeds inspiration.

I know that Ahmad would be distressed if I didn't wax enthusiastic, perhaps ecstatic, about the extraordinary and as yet unrecognized talent of Joe Kennedy. Joe arranged and conducted the string porting of this album, and what a masterful job he has down. This is another good get-together for Ahmad and Joe, an encore for their Penthouse album of several season ago (Jamal At The Penthouse – Cadet LP-646). And if anyone should know about how strings should sound, Joe Kennedy is eminently qualified because he is one of the finest violin players on the scene. On the off-chance that someone with authority from  Westinghouse is reading this, Joe's original, You Can Be Sure, would make a great theme for one, off not all, of your programs.

Musical dissection, tune by tune, has become passé on liner notes, I believe. After all, what do you care which is my favorite track on the album. Actually, this  one of those "once in too great a while" albums where I don't have a favorite. I would say that this album is as strong an argument that I could present for the premise that good music will prevail. It will prevail in spite of all who, for whatever the reason, pander. If I may cap on the title of Joe Kennedy's original, when you lay down  your money for an Ahmad Jamal album, past,  present, or future... You Can Be Sure. – Mort Vega

From Billboard - May 21, 1966: Ahmad Jamal, with his combo and backing from a 15-piece string orchestra, produces mood music with soul. His restrained and sophisticate treatment of "I Hear A Rhapsody," "This Could Be The Start Of Something New" and "Shadow Of Your Smile" which should register well.

I Hear A Rhapsody
This Could Be The Start Of Something
Then I'll Be Tired Of You
Effendi
Invitation
The Shadow Of Your Smile (Love Theme from The Sandpiper)
Strange
You Can Be Sure
Concern

Stereo Trick And Treat! - Gig Wallace

 

Rockin' On The Railroad

Stereo Trick And Treat!
Gig Wallace And His Orchestra
Colombia CS 8187
1959

Barney Google
Rockin' On The Railroad
Tip Toe Thru The Tulips With Me
Down By The Old Mill Stream
Oh, How I Miss You Tonight
If You Knew Susie Like I Knew Susie
Show Me The Way To Go Home
Chasin' Boys
Baby Face
The Pixie
In The Good Old Summertime
Ma! (He's Makin' Eyes At Me)

I Happen To Like New York - Caterina Valente

 

Autumn In New York

I Happen To Like New York
Caterina Valente
With The John Keating Orchestra
Produced by records by Tony D'Amato
Liner Photography: Michael Ward
London LL 3362
1964

From the back cover: Caterina Valente is an international favorite who has left an unending trail of admirers behind her in every city she has appeared in throughout the world. For more than a decade she has been a top screen actress, television and night club performer, and record artist in Europe, and in the United States she has delighted millions with her appearances on the Perry Como and Garry Moore television shows with her many best-selling records. When Caterina began her supper club career on this side of the Atlantic, she was given some of the most laudatory reviews ever given a singer for an opening night performance at the Persian Room of New York's Hotel Plaza – a room which has become a mecca for the singer of consummate skill, and it might be added, a mecca for the discerning supper club patron. – Bob Ettinger

I Happen To Like New York
Lullaby Of Broadway
Autumn In New York
Chinatown, My Chinatown
Something's Coming
New York, New York
Broadway
Sidewalks Of New York
Take The "A" Train
Oh Lawd, I'm On My Way

Monday, October 16, 2023

Dance Time - The Cool Colonels

 

Bernie's Tune

Dance Time
The Cool Colonels
Record No. 1002

Trumpets: Ted Piercefield, Mark Haggard, Danny O'Brien, Dale Dickson
Saxophones: Jim Rich, Barry Campbelle, Cal Owens, Doug Petty, Steve Monhollen
Trombones: Gary Johnston, Marvin Thirs, Wayne Bowling, Steve Nichols
Rhythm: Bobby Townsend (Drums), Michael George (Bass), Arthur Motz (Piano)

From the back cover: The Cool Colonels were organized seven years ago by their present conductor, Roger Schueler. The original group was formed as a dixieland combo. The purpose of the groups was not the propagation of jazz for the sake of jazz, but to serve a small number of musicians who were eager to play beyond the written page in the high school music program. As the years progressed more and more candidates wanted to join the group until the number grew beyond the bounds of a small combo. To serve a larger group, the big band as it is known today was formed, and many additional facets were opened to the talented and eager student.

All of the musicians in this album are students from Dixie Heights High School, South Fort Mitchell, Kentucky. The average age of the Cool Colonels is fifteen years.

During the past seven years approximately sixty-five musicians have graduated from the Cool Colonels. From this group many have gone to college to further their musical studies and some have chosen music as a profession. It is the wish of the Cool Colonels to dedicate this album to the alumni for their efforts in making this group possible.

Mr. Schueler has been on the faculty of Dixie Heights for the past ten years. He received his formal training from Indiana Central College; and the Cincinnati Conservatory of Music. Since that time he has done post-graduate work at the University of Illinois. He has studied conducting at L' Ecole Monteux as a student of Pierre Monteux; and a recipient of a Ford Foundation Grant to further his musical studies.

I've Found A New Baby
Intermission Riff
Swing Easy
A String Of Pearls
Tuxedo Junction
Woodchopper's Ball
Just For A Thrill
For Swingin' Dancers
I'm Getting Sentimental Over You
Jersey Bounce
Bernie's Tune
Pretty Eyed Baby

Teensville - Chet Atkins

 

Boo Boo Stick Beat

Teensville
Chet Atkins
Produced by Chet Atkins
Recorded in Nashville, Tennessee 
Recording Engineer: Bill Porter
RCA Victor LSP-2161
1960

White Silver Sands
Boo Boo Stick Beat
Oh, Lonesome Me
One Mint Julep
Take A Message To Mary
Teensville
Night Train
Come Softly To Me
Sleep Walk
Django's Castle (Manoir de Mer Reves)
Till There Was You
Hot Toddy

The Singing Side Of Jack Jackson

 

Scotch And Soda

Seven Daffodils

The Singing Side Of Jack Jackson
A Square Dancer's "After Party"
Folkraft Records - Newark, N.J.
LP 27

From the back cover: It was several years ago, the first time I saw Jack take his guitar, settle himself on a stool in front of a large fireplace at Grosvenor's Inn in Estes Park, Colorado, and proceed to keep his audience, most of whom were entirely uninitiated to the charm of any form of folk music, spellbound. Since that time it has been my good fortune to work with Jack at many square dance institutes and functions and watch him time and again bring folk music to square dance audiences in a manner that they could understand and appreciate.

Jack is a Navy veteran and since that time is also a veteran of many nation-wide calling tours which have taken him to every corner of the United States and Candid. These travels have given him an insight and an understanding of the things and places of which he sings.

Jack is one of those rare folk singers with at the ability and voice to sing a song as he "feels" it. He does not have to rely on gimmicks, electronic gadgets or echo chambers to "get a song across." This plus the fact that he is a highly skilled guitarist in a field where many of the singers are content with strumming a few chords while accompanying themselves, make him one of the best equipped men in this field.

I think that after you hear him sing on this album, if you have not already heard him at one of his personal performances, you will agree that he certainly has the vitality, sensitivity, and the style that distinguish him as a "top performer". – Frank Lane

This Train
I Am A Square Dance Caller
Laredo
Scotch And Soda
The Pig
Far Side Of The Hill
The Caller
Seven Daffodils
Down At The Square Dance Institute
Waiter's Song
Lass Of The Low Country
Morrow
Abilene
Seven Nights Of Square Dance Class
Round Dance Song
Scarlet Ribbon
I Come For To Sing