Lover Man
The Australian Jazz Quintet
Illustration by Burt Goldblatt
Recorded July, 1956 in Hollywood, California
Bethlehem Records BCP-6012
Dick Healey - Alto, Flute
Errol Buddle - Tenor, Bassoon
Jack Brokensha - Vibes
Bryce Rohde - Piano
Jimmy Gannon - Bass
Frankie Capp - Drums
From the back cover: The title of this album, besides being the name of one of the tunes, is in honor of the success of the group with the younger, college set. Even though the costumes of the collegian crowd isn't as depicted on the cover, the spirit is still with us in their appreciation and support of jazz of all kinds. The Australian Jazz Quintet's success is naturally partly due to this kind of youthful support of their appearances in clubs, at "Varsity Drags" and on records.
This is the Quintet's first complete twelve inch record. The others in the Bethlehem catalog are all or partly by the earlier quartet.
The group is heard here in a well rounded sampling of their current product: jazz, within the framework of swinging arrangements, interpreted on their many instruments.
The Quintet, with the addition of an extra man for this recording, here has a full rhythm section of piano, bass and drums (not including vibes). Perhaps because of the added rhythm, on the out-and-out "swingers" like That Old Feeling, New South Wail or Koala, the group swings harder than on their earlier records.
ALONE TOGETHER - The Schwartz-Dietz evergreen is here given a middle of the road reading. As a featured part of the arrangement are contrapuntal lines giving the impression of a Modern Jazz Quartet type of sound.
KOALA - This Bill Holman original honors the Australian animal that the dictionary calls "an arboreal marsupial, about two feet long, with large hairy ears, gray fur, sharp claws, and feeding upon eucalyptus leaves." The arrangement calls for "mainstream" blowing by Broken- sha on vibes, Buddle on tenor and Healey on alto.
THAT OLD FEELING - First there's a quiet impressionistic introduction and then the "swinging" begins; there are sax choruses by Buddle, Healey and Frankie Kapp on drums sandwiched in between arranged sections; the whole thing ends almost as quietly as it began.
AFFAIRE d'AMOUR - Bill Holman has here written a lovely original which features the softer side of the quintet, with vibes, the flute of Healey and Buddle's bassoon to be heard.
THE LADY IS A TRAMP - Flute and bassoon are here to be heard playing arranged lines that could bring sprightly classical music of the baroque period to mind; they also take choruses as does Rohde on piano. For the "blowing" finale Healey and Buddle switch to saxes.
LOVER MAN This track features the flute of Dick Healey on the "chorus" and the bassoon of Errol Buddle on the "release." The mood is a pretty one and the alternating between flute and bassoon provides a pleasant contrast in musical colors.
THE THRILL IS GONE - One of Brown and Henderson's all-time favorites is here given a typically interesting A.J.Q. arrangement.
NEW SOUTH WAIL - Another "mainstream-of-jazz" number; it's a Med Flory original and the A.J.Q. gets a chance to blow freely. The pun in the title is too obvious to point out.
FEW GET IT - Kloman Schmidt's original with the intriguing title (interpret as you will) is here played by the A.J.Q. as if it were "one of those good ole good ones," to quote one of the immortals.
SO NICE On this original by Bill Holman, as well as on the others in the album, the A.J.Q. makes itself very much at home. Quite possibly this comfortableness comes from playing the material on the job. Of course the fact that they work together steadily also lends a fine group feeling to their work.
VARSITY DRAG - The title tune, so to speak, is given a bright flute, bassoon and vibes treatment in the state- ment of the theme that opens and closes the track. In between there are tasty choruses by bassoon, piano and flute.
IT MIGHT AS WELL BE SPRING - Another pretty, flute and bassoon arrangement that contrasts very much with the "jazzier" numbers in the album. – Joseph P. Muranyl
From Billboard - December 22, 1956: The title emphasizes the great appeal that this group has for the college set and for young people, generally. The AJQ strives for a sound and musical approach that lies somewhere between the Modern Jazz Quartet and that of the Shearing combos. Typically, it's soft, "cool," impressionistic – and accessible. Rather commercial, perhaps, but certainly not devoid of serious musical interest. Jack Brokensha's work on vibes is particularly worthy of note. Dick Healy contributes a fine flute solo in "Lover Man." To show off the swingy, extrovert side of the AJQ, demonstrate "The Lady Is A Tramp."
Alone Together
Koala
That Old Feeling
Affaire d'Amour
The Lady Is A Tramp
Lover Man
The Thrill Is Gone
New South Wail
Few Get It
So Nice
Varsity Drag
It Might As Well Be Spring
AFFAIRE d'AMOUR - Bill Holman has here written a lovely original which features the softer side of the quintet, with vibes, the flute of Healey and Buddle's bassoon to be heard.
THE LADY IS A TRAMP - Flute and bassoon are here to be heard playing arranged lines that could bring sprightly classical music of the baroque period to mind; they also take choruses as does Rohde on piano. For the "blowing" finale Healey and Buddle switch to saxes.
LOVER MAN This track features the flute of Dick Healey on the "chorus" and the bassoon of Errol Buddle on the "release." The mood is a pretty one and the alternating between flute and bassoon provides a pleasant contrast in musical colors.
THE THRILL IS GONE - One of Brown and Henderson's all-time favorites is here given a typically interesting A.J.Q. arrangement.
NEW SOUTH WAIL - Another "mainstream-of-jazz" number; it's a Med Flory original and the A.J.Q. gets a chance to blow freely. The pun in the title is too obvious to point out.
FEW GET IT - Kloman Schmidt's original with the intriguing title (interpret as you will) is here played by the A.J.Q. as if it were "one of those good ole good ones," to quote one of the immortals.
SO NICE On this original by Bill Holman, as well as on the others in the album, the A.J.Q. makes itself very much at home. Quite possibly this comfortableness comes from playing the material on the job. Of course the fact that they work together steadily also lends a fine group feeling to their work.
VARSITY DRAG - The title tune, so to speak, is given a bright flute, bassoon and vibes treatment in the state- ment of the theme that opens and closes the track. In between there are tasty choruses by bassoon, piano and flute.
IT MIGHT AS WELL BE SPRING - Another pretty, flute and bassoon arrangement that contrasts very much with the "jazzier" numbers in the album. – Joseph P. Muranyl
From Billboard - December 22, 1956: The title emphasizes the great appeal that this group has for the college set and for young people, generally. The AJQ strives for a sound and musical approach that lies somewhere between the Modern Jazz Quartet and that of the Shearing combos. Typically, it's soft, "cool," impressionistic – and accessible. Rather commercial, perhaps, but certainly not devoid of serious musical interest. Jack Brokensha's work on vibes is particularly worthy of note. Dick Healy contributes a fine flute solo in "Lover Man." To show off the swingy, extrovert side of the AJQ, demonstrate "The Lady Is A Tramp."
Alone Together
Koala
That Old Feeling
Affaire d'Amour
The Lady Is A Tramp
Lover Man
The Thrill Is Gone
New South Wail
Few Get It
So Nice
Varsity Drag
It Might As Well Be Spring
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