The Jazzpickers For Moderns Only

Monti-Cello

The Jazzpickers
For Moderns Only
Mercury Records
SR 80013
1957

From the back cover: Down Beat's west coast correspondent, John Tynan, recently went out on a limb in an enthusiastic review of what was then a brand-new combo, playing a series of Monday evening concerts at the Purple Onion Jazz Informals, sponsored by the Hollywood Jazz Society. The sound of the group as a whole, and the invaluable work of the soloists, came in for unqualified responsive, "and the group's commercial potential was assessed as follows; "The Jazzpickers should go well in the smaller, more intimate jazz rooms. There's musical interest aplenty here... The leader's attitude and its expert application should help put his combo over with jazz lovers on the lookout for 'something different'."

The leader in question, whom you can now meet in the record debut of this unusual new combo, is Harry Babasin, the founding father of jazz cello, whose first pizzicato sounds on this instrument were recorded a decade ago on a long-forgotten date with Dod Marmarosa. Born in 1921 in Dallas and raised in Vernon, Texas, Babasin, like Jimmy Giuffre, Herb Ellis and other jazz stars, claims North Texas State College as his alma mater. After touring with midwestern bands he came to New York as a bassist with Gene Krupa, later working in California with Boyd Raeburn. In the next few years he was heard with Charlie Barnet, Benny Goodman, and in 1948 with Woody Herman, playing all these jobs on bass. During most of the past decade, however, he has remained in Hollywood as a much-in-demand free-lance musician around the TV and recording studios.

An important adjunct to the group is Buddy Collette, the native Los Angeleno who worked with many name bands during the 1940s (among them the Treniers, Louis Jordan, and Benny Carter) and for the past several years has been on TV regularly as a member of the Jerry Fielding orchestra on the Groucho Marx show. Buddy was named in the Encyclopedia of Jazz as "one of the most talented of the west coast musicians and among the two or three top flutists in jazz."

Bob Harrington, another important associate of the Jazzpickers, has had a triple career as pianist, vibraphonist and drummer. Born in 1912 in Marshfield, Wis., he worked on drums in the 1940s with Red Nichols and Bud Freeman. During the '50s his credits have included three years as a pianist with Charlie Barnet and, since 1955, jobs with George Auld, Buddy DeFranco and Maynard Ferguson. Bob's influence quiet evidently is Red Norvo, whose gentle, legato style he recalls in his vibes solos here. On the numbers where no vibes work was called for, Bob played drums; on the vibes titles the drummer was Bill Douglas.

Don Overberg, the guitar soloist, is a promising newcomer who has worked around Los Angeles with Ronnie Ball, Warne Marsh, and other resident combo musicians. Don Payne, the bassist, is another fast-rising figure new to the jazz recording field.

Of the several original compositions introduced on these sides, two were written by Bob Harrington; the gently rhythmic R. H. Factor and the melodically simple but highly attractive When You Love Someone. Easy Pickin's, Rap-Scallion, Monti-Cello and Influtration are all from the pen of Babasin. 

– Leonard Feather
Author, The Book Of Jazz

Bebe
When You Love Someone
Influtration
I'll Remember April
I Married An Angel
Yardbird Suite
R. H. Factor
Easy Pickin's
Rap-Scallion
Don't Worry About Me
Monti-Cello
Clap Hands, Here Comes Charlie