Gone For The Day - June Christy

Interlude

Gone For The Day
June Christy
Capitol Records T902
1957

From Billboard - November 11, 1957: This could be the third best seller in a row for the swingin' thrush. Her latest effort, "Fair and Warmer," was a big one and this package of themes built around "a lazy day in the country" can go just as well. Excellent backing by Pete Rugolo. Choice items include "Lazy Afternoon," "Give Me The Simple Life" and "It's A Most Unusual Day." Attractive cover.

It's So Peaceful In The Country
When The Sun Comes Out
It's A Most Unusual Day
Interlude
Love Turns Winter To Spring
When You Awake
Lazy Afternoon
When The World Was Young
Gone For The Day
Lost In A Summer Night
Give Me The Simple Life
Lazy Mood

The Last Time I Saw Paris - Jane Morgan

C'est Si Bon

The Last Time I Saw Paris
Jane Morgan
Arranged and Conducted by Nick Perito
Produced by Jack Lewis
Recording Engineer: Frank Laico
Coolpix Records SCP 469
1964

From Billboard - August 1, 1964: When it comes to the music of romance, (word obscured) and it's music cannot be equaled. Perhaps the foremost vocal delegate to (word obscured) from America and France is Jane Morgan who sounds well in both languages. (word obscured) we hear: "The Poor People In Paris," "Autumn Leaves," "If You Love Me, Really Love Me," "Domino," "C'est Si Bon" and others.

The Time Is Now
C'est Si Bon
Under The Paris Skies
Autumn Leaves
La Vie En Rose
The Poor People Of Paris
Once Upon A Summertime
Dominique
If You Love Me Really Love Me
Domino
The Last Time I Saw Paris
Petites Chansons

Workin' On A Groovy Thing - Richard Groove Holmes

Dreams Of Everyday Housewife

Workin' On A Groovy Thing
Richard Groove Holmes
Producer: Richard Bock
Arranger and Conductor: Gerald Wilson
Engineer: Bert Agudelo
Art Direction and Photography: Woody Woodward
Design: Ron Wolin
Inside Collage: Balazs Szabo
World Pacific Jazz Records
Liberty Records Inc.
ST-20153
1969

Personnel:
Paul Humphrey: Drums
Ernest Watts & Anthony Ortega - Alto Sax
Richard Strong & Thurman Green: Trombone
Mike Wimberly: Bass Trombone
Jerome Rusch, Larry McGuire, Herbert Anderson & Paul Hubinon: Trumpet
William Peterson: Electronic Trumpet
Dennis Budimir: Guitar
Wilton Felder: Fender Bass

From the inside cover: In 1961 Gerald Wilson recorded his first big band album for Pacific Jazz; it was called "You Better Believe It." The West Coast jazz milestone featured a newcomer on organ, Richard "Groove" Holmes. Groove had only recorded twice before, one LP featuring Ben Webster and Les McCann and the other with the great Gene Ammons. The high spot of their collaboration on the "You Better Believe It" album was Gerald Wilson's composition "Blues Fo Yna Yna," which became a jazz standard.

It's wonderful to hear the rich Groove Holmes sound reunited with the unique Gerald Wilson touch – the wait was well worthwhile. This brilliant combination should definitely be an annual jazz experience.

Groove is supported by some first-rate musicians on this sensational album, including: Dennis Budimir on guitar; Ernie Watts on alto, fresh from a year on the road with the Buddy Rich band; Tony Ortega, a mainstay of the Gerald Wilson orchestra; a newcomer, Bill Peterson on electric trumpet and Paul Humphrey, a great swinging drummer to keep everything in the right groove.

Isole Natale
Do You Know The Way To San Jose
Workin' On A Groovy Thing
Oklahoma Toad
Hig Blues Pressure
Listen Here
In And Out
Dreams Of Everyday Housewife
Rhythm & Groove
I Can't Stop Dancing

Chubby Checker For 'Teen Twisters Only

Shout

Chubby Checker For 'Teen Twisters Only
Adult Twist At Your Own Risk!
Orchestration by Dave Appell
Produced by Kai Mann
Cover Design by Miller, Boded & Rich
Parkway P-7009
Cameo-Parkway Records Inc.
1962

The Lose Your Inhibitions Twist
Peppermint Twist
Your Lips And Mine
Slow Twistin'
The Fly
Shout
Twist-A-Long
Love Is Like A Twist
Runaround Sue
Twistin' The Blues
Dear Lady Twist
Twistin' Bones

Jazz Meets The Bossa Nova - The Paul Winter Sextet

Song Of The Sad Eyes

Jazz Meets the Bossa Nova
The Exciting New South American Rhythm
The Paul Winter Sextet
Cover Photo: Gene Lees
Recorded in Rio De Janeiro and New York
Rio de Janeiro recording session by Antonio da Silva
Columbia Special Archives Series
STERE CS 8725
1962

From the back cover: The Paul Winter Sextet, formed of students in universities of the Chicago area, won the Georgetown Intercollegiate Jazz Festival in 1961, and its pianist, Warren Bernhardt, was chosen the best musician in that festival. Shortly before that, its baritone saxophonist, Les Rout, was chosen the best musician on his instrument at the Collegiate Jazz Festival, held at Notre Dame University. A few months later, they were selected to make a tour of Latin America – twenty-three countries and 27,000 miles – for President Kennedy's Cultural Exchange Program. After a discussion with the group's members, I decided to take a sabbatical to go with them as tour manager. The night before we left, I played them a record by Joao Gilberto, a brilliant young Brazilian singer and guitarist whose work utterly fascinated my (as, in fact, it had begun to fascinate many jazz musicians throughout the United States).

We left New York City February 4, bound for Haiti. When we entered Brazil through the south (at the city of Porto Alegre) on May 25, the social unit – if we must use that term – had been formed. We'd been through a great deal together: Communist objections to jazz; the folly of a few U.S. government officers; appalling plane flights in, around, through, and over the Andes in planes that should have been retired long ago; dysentery; ugliness, and a great deal of beauty, both topographical and that which you find in the human spirit. We had come to feel the same way about many things, including the somber reality of the Communist threat.

And then Brazil, a nation of breathtaking scenery, vast scope (it is bigger than the continental United States), beautiful women and so much music. Brazil has, I believe, the richest natural musical culture of any country in the world. And out of it has lately grown the music known as bossa nova.

This is what Joao Giberto has been doing on the disc. In fact, he is known in Brazil as "the pope of bossa nova." We heard this music everywhere, and the members of the sextet began the effort of digesting its rhythmic and melodic principles.

The group played thirteen Brazilian cities during a long and gorgeous month in that country. In one of men, the Communists staged a near-riot (they're very afraid of jazz, which is the embodiment of free expression) until the audience and police enforced silence upon them.

Meanwhile, the group was becoming tighter and tighter as a musical, as well as a human, unit. The rhythm section was striking remarkable grooves, and the horns were achieving lovely blends. Everyone's solo capacity has grown, particularly Paul's trumpeter Dick Whitsell's and pianist Warren Bernhardt's. I became convinced that Warren is the best pianist to come into jazz since Bill Evans.

We went from Brazil to British Guiana, then to Venezuela, then home. We were all homesick and glad to reach Idelwild. But the seeds of nostalgia for Brazil were already growing.

The group was off for a month after that and during that time Paul, Warren and Richard did a great deal of writing. In early September they returned to New York to record.

As I sat in the control booth with John Hammond, I was proud of them. It was hard to believe that they had been a college amateur group a year ago (albeit a very good one). And most to the point; of all the U.S. attempts to play bossa nova I'd heard since we got home, this was the only one that really captured its essence – its sensitivity, its subtlety. And Whitsell was capturing its fundamentally vocal character, particularly on flugelhorn. – Gene Lees

Journey To Recife
Con Alma
The Spell Of The Samba (Samba Da Minha Terra)
Maria Nobody (Maria Ninguem)
The Anguish Of Longing (Chega De Saudade)
Foolish One (Insensatez)
Little Boat (O Barquinho)
Longing For Bahia (Saudade Da Bahia)
Don't Play Games With Me (Bolinha De Papel)
Song Of The Sad Eyes (Cancao Dos Olhos Tristes)
Adeus, Passaro Preto (Bye Bye Blackbird)
Only You And I (Voce E Eu)

Drums! Drums! Drums! - Olatunji

Me Nu Di Aye (Batakota)

Drums! Drums! Drums!
Olatunji
Produced by Teddy Reig and Olatunji
Arranged by Olatunji
Design by Moscof-Morrison, Inc.
Roulette SR 25274
1964

Personnel:
Chief Bey: African Drums, Shekere
Ladji Camara: African Drums
Ralph Dorsey: Traps, Conga Drums
Stacy Edwards: Conga Drums
Obafemi Humphreys: Cowbell, Ashiko Drums
Sonny Morgan: Cowbells, Conga Drums
Pat Patrick: Alto Sax, Flute
Marshall Allen: Alto Sax, Flute
Babatunde Olatunji: African Drums

Singers:
Aquasiba Derby: Soloist
Segiola KirkPatrick: Soloist
Aduke Hodges Zebede Collins
Charles Alakuku Davies
Gordon Watkins

Aiye Mi Re
Dakun – Dide Kia
Sahara Samba
Me Nu Di Aye (Batakota)
Ljoye
Eyanu
Mojuba

Versatile Guitar Of Vicente Gomez

Preludio #2

Versatile Guitar Of Vicente Gomez
Produced by Bud Dant
Arranged by Vicente Gomez
Decca Records DL 74992
1968

From the back cover: Vicente Gomez is well known to all of us a composer and performer of the classical guitar. Why then, you may ask, is he recording popular American songs? An explanation is not too simple and will perhaps best be found in listening to the album itself.

Maestro Gomez, of course, is also a fine arranger and has been very successful in adapting classical works originally written for the keyboard or orchestra to the classical guitar. In this album, however, he shows yet another facet of his talent, as he adapts for the guitar the works of our foremost popular American composers and, with the exception of the two great country songs, he faithfully adheres to the composer's original form and extends a new dimension to the classical guitar repertoire. His arrangements could easily be played in concert along with works by Bach, Handel, Villa-Lobos and others.

When you listen to Preludio #2, you will hear Gershwin in new perspective. Though this work has never been as popular as the Rhapsody in Blue, it is true Gershwin, reflecting the American musical scene in the late 1920s.

Senor Gomez continues his recital with his adaptations of pieces by Cole Porter, Edward MacDowell, Leroy Anderson, Morton Gould and Richard Rodgers. He himself composed Chanson D' Amour and Caprichoso. He has also turned to our country composers like Hand Williams and Jimmie Davis, making a solo guitar adaptation of Your Cheatin' Heart and You Are My Sunshine. These two arrangements are probably the most interesting of all, since here his remarkable versatility as a musician shines forth most brilliantly. In Your Cheatin' Heart he utilizes the rhythm of the Argentine tango as well as some traditionally classical passages. And in You Are My Sunshine, he treats the melody to three variations: a Cuban bolero, classical figurations and pure American country rhythms. – Charles Bud Dant

Preludio #2
Your Cheatin' Heart
Night And Day
To A Wild Rose
Serenata
Pavanne (Second Movement of American Symphonette No. 2)
Caprichoso (Caprice)
You Are My Sunshine
Chanson D'Amour
The Sound Of Music

All Strung Out - Chad Evertt

Ain't No Sunshine

All Strung Out
Chad Everett
Arranged by Nino Tempo except selections marked *
Hey Girl sax solo by Nino Tempo
Front Cover Photography: Gabor (Gabi) Rona
Back Cover Photography: Harry Langdon
Marina Records MRA-2501
Manufactured by MGM Record Corporation
1971

Chad Everett stars as Dr. Joe Gannon in MGM-TVs top rated show "Medical Center" on the CBS Television Network.

From December 11, 1971: The "Medical Center" TV star turns singer and an impressive debut it is. With strong commercial possibilities for play. Top 40 and MOR, and at the dealer level, Everett comes on strong with "today" material. Top programming cuts include "You're My Soul And Inspiration," "Ain't No Sunshine" and a Nino Tempo original "Can't Kick The Habit Of Lovin' You." Everett's new single "All Strung Out" is also included.

You're My Soul And Inspiration
Ain't No Sunshine
All Strung Out
I Can't Go On Livin' Baby Without You
Bayou*
Can't Kick The Habit Of Lovin' You
Jesus Hammer*
Hey Girl
Speak Of Love*
Man From Nazareth*

Mambo Moves - Erroll Garner

Mambo Garner

Mambo Moves Garner
Featuring Erroll Garner
Mercury Records MG20055
1955

Erroll Garner: Piano
Wyatt Ruther: Bass
Eugene Heard: Drums
Candido: Conga Drum

From the back cover: For some time, Erroll Garner has been regarded as a legendary fixture in the recording industry. After our first Mercury session with him (July 1954), we can only say, firsthand, that the pixie-like pianist served to embellish the legend, with his fantastic output.

Accompanied by bassist What Ruther and drummer Eugene Heard, Erroll came to the studios to cut some mambo sides, or anything else he might be in the mood to play. We were hardly prepared for the spectacular results. He waxed more than 125 minuets of music, including the selections in this album.

In this volume Erroll, for the first time in his profuse recording career, waxed in the Latin idiom. Though his work is called Mambo Moves, the title is broadly applied. In addition to several mambo improvisations, Garner plays some beguines. The entire collection swings, whether the numbers be frenetic, or slow. Throughout the album, Garner sounds like two pianos, and sometimes, like three. He is a veritable one man orchestra, most successfully welding jazz and mambo influences. Although we were at the date, we can't adequately describe the Garner magic. One has but to listen for himself.

Prior to this session, Erroll had been experimenting with mambo ideas for over a year. In planning this date, we asked Erroll whether he would consider cutting an entire album of mambo arrangements. Erroll said he'd try it, particularly if we could include Candido, the great South American bongo star, which we happily did. The resultant combination of Erroll and his own accompanists, plus Candido, resulted in what we consider to be one of the most exciting mambo-jazz collections ever issued. So often, we've had the feeling that when jazzmen played so-called Latin arrangements, they merely set forth their usual treatments and ideas, only against a mambo beat. With Erroll, we feel that he adapted his ideas and distinctive style and phrasing to the Latin conception, interplaying throughout with the bongo patterns of Candido. Indeed, the date was something to witness as well as to hear. Erroll and Candido watched each other closely, almost as if they were stalking one another, and obviously "fractured" each other many times with their inter-merging ideas. Candido tended to be restrained for the first few minutes of play, so Garner urged him to cut loose – and that he did, as is especially evidenced in Mambo Garner.

From Billboard: January 12, 1955: Altho Erroll Garner has made over a score of albums for various labels during the past decade he has rarely touched the Latin idiom. Therefore, the multitude of Garner fans will have an extra special interest in this new set. It features the irrepressible pianist and his trio in a collection of standards and three originals in the mambo mood, with a beguine or two thrown in for good measure. On three originals, "Mambo Garner," "Mambo Blues" and "Mambo Nights," the pianist shows that he can play a mambo with the same excitement and musicianship that he hands modern jazz rhythms. He is aided and inspired here, too, by bongo star Candido on conga drums, thus adding an authentic Latin touch to the disk. Some of the sides are on-the-spot improvisations, others are usually done by Garner in his club dates. Good-wax here for Garner fans.

Mambo Garner
Night And Day
Mambo Blues
Old Black Magic
Cherokee
Russian Lullaby
Begin The Beguine
Mambo Nights
Sweet Sue

Here Come The Stanley Steamer Mighty Dixieland Jazz Band

Downtown Strutter's Ball

Here Comes The Stanley Steamer
Mighty Dixieland Jazz Band
Produced by Ken Squier
Directed by "T-Bone" Curley
Cover: Dale Anderson
Engineer: Bill Ferruzzi
Recorded at Ace Studios - Boston, Massachusetts on May 17, 1968

Personnel

Dick Baars - Cornet
Charles W. Cameron - Drums
J. Don Jones - Trombone and Banjo
Joe Lynch - Clarinet
Norm Hoad - Tuba and String Bass
Morton "Smokey" Carey - Banjo and Guitar
Stu Lanning - Piano

From the back cover: Down on the World's Most Famous Beach, a sound was born in a place called "T-Bone's"... and they called it Stanley Steamer. The main purpose was to create some music that would make the good times roll; that would stand up and say Life Is Good! – a difficult statement to make these days, but one that needs saying. So, down in Daytona, right on the same beach where, in 1906, the original Stanley Steamer amazed the world, whistling along about about 130 mph, this new Steamer took off with all the enthusiasm of its predecessor (and hopefully won't bust its boiler as befell that illustrious forerunner). – Ken Squier - WDEV

Sittin' Here Lovin' You
Cabaret
Golden Slippers
Step To The Rear
Downtown Strutter's Ball
Theme - Didn't He Ramble
South Rampart Street Parade
Daydream
Down Home Rag
Stephan Foster Medley
Panama Rag

Didn't He Ramble

Music To Back-Up By - Jeff Newman & Bob Browning

I Don't Believe I'll Fall In Love Today

Music To Back Up By
Jeff Newman & Bob Browning
Jeffran Music Co. - Hermitage, Tennessee
PRP 35241 / JF 400

From the back cover: This album was recorded to help you learn to play the background fills behind a vocalist. Mr. Bob Browning is doing the vocals for each song on the one channel along with the band accompaniment. The steel guitar is on a channel all to itself. You may listen to either channel individually, or you may listen to both channels in the normal stereo balance control on your player, you may choose which channel you want to listen to.

"E" Tuning Notes
Just Out Of Reach Of My Two Empty Arms (D)
Time Changes Everything (West Coast Style) (G)
Another Bridge To Burn (E)
Healing Hands Of Time (G)
I Don't Believe I'll Fall In Love Today (West Coast Style) (C)
Time Changes Everything (G)
It Should Be Easier Now (Bb)
I'll Catch You When You Fall (West Coast) (E)
For The Good Times (D)
Another Bridge To Burn (West Coast) (E)

Sax Gone Latin - Georgie Auld

Dream A Little Dream Of Me

Sax Gone Latin
Georgie Auld
Capitol Records T1045
1958

From the back cover: Georgie Auld is an old hand at creating a happy dancing sound, this time takes off on a walloping junket to bongo-land, and the Jud Conlin Rhythmaires happily go along for the ride. Together, they hit a new high in imagination and romantic interpretations of the dozen favorite songs which make up this rhythmic romp.

Tenor man Auld and the Conlin group, while proving themselves simpatico to the Afro-Cuban motif, nevertheless retain inherently individual styles... Georgie's sharp punctuations, robust tone, and driving beat... the Rhythmaires' smooth intros, cleverly restyled lyrics' and modern vocal gymnastics.

If I Could Be With You (One Hour Tonight)
You Do Something To Me
As You Desire Me
Dream A Little Dream Of Me
Take Me
You're My Thrill
Love Me Or Leave Me
Give Me Something To Remember You By
All Or Nothing At All
Take Me In Your Arms
The Nearness Of You
Baby Won't You Please Come Home

Man Of Many Parts - Buddy Collette

Jungle Pipe

Buddy Collette
Man Of Many Parts
Cover Photos and Design: William Claxton
Produced by Lester Koening
Recorded at Contemporary's studio in Los Angeles
Engineer and Technical Supervisor: Roy DuNann
Contemporary C3522
1956

Cycle, Santa Monica, Ruby & Slappy's Tune were recorded February 13, 1956 with Buddy Collette, alto and tenor saxes, clarinet and flute; Gerald Wilson, trumpet; David Wells, bass trumpet and trombone; William E. Green, alto sax; Jewell Grant, baritone sax; Ernie Freeman, piano; Red Callender, bass and Max Albright, drums.

Frenesi, Jazz City Blues, Makin' Whoopee and Sunset Drive were recorded February 24, 1956 with Collette and Gerald Wiggins, piano; Gene Wright, bass and Bill Richmond, drums.

Zan, Cheryl Ann, St. Andrews Place Blues and Jungle Pipe were recorded April 17, 1956 with Collette and Barney Kessel, guitar; Ernie Freeman, piano; Joe Comfort, bass and Larry Bunker, drums.

From the back cover: He (Collette) was born in Los Angeles August 6, 1921, and attended Jordan High School. The climate at Jordan must be conductive to the growth of self-expression and individuality in music and also its related enterprises. Buddy's classmates include bassists Charlie Mingus and Joe Comfort, Ellington trombonist Britt Woodman, and in the disc-jockey field a coupe of guy named Joe: Joe Adams in Los Angeles and Joe Perry in San Francisco.

In the triple-threat department of composing-arranging-orchestraion, Buddy's writing has clarity, sonority and above all, he writes with what symphonic composers call economy of means. In plain language, he puts into his scores only what is necessary to the presentation of his ideas, and consequently is never guilty of over-arranging.

Buddy can be heard with Jack Meakin on the Groucho Marx radio and TV show, and on various recordings with Benny Carter, Jerry Fielding, Red Norvo, and presently with the Chico Hamilton Quintet. And – oh, yes – I almost forgot. He can also be heard on all Lyle Murphy albums – past, present and future. As I stated at the outset, Buddy Collette is a good man to have around. – Lyle Murphy - June 1, 1956

From Billboard - August 8, 1956: Collette, talent multi-instrument member of the Chico Hamilton Quintet, demonstrates his versatility by performing numbers on alto and tenor saxes, flute and clarinet (on which he was voted New Star this year). As usual with this type of act, nothing memorable is produced, altho he plays every instrument with tone and taste. The pretty tenor work on Collette's own "Cheryl Ann" is especially spinworthy. Jazz jocks will like that one. Sales should be just moderate.

Cycle
Makin' Whoopee
Ruby
St. Andrews Place Blues
Cheryl Ann
Sunset Drive
Jazz City Blues
Slappy's Tune
Frenesi
Santa Monica
Jungle Pipe
Zan

Everybody Loves To! - Bill Ramal

Pretty Eyed Baby

Everybody Loves To!
Bill Ramal and His Combo
Twist To - Leeds Combo Series (Volume Two)
Leeds Music Corporation L 203

From the back cover: He (Ramal) is a graduate of the Julliard Music School and Columbia University. Bill's first assignment for Leeds was "The Twistin' Sound Of The Smash Hit Combos – Vol. 1, " twist arrangements based on some treasured all-American evergreens, as "My Darling Clementine" (Clemmy) and "Blue Tail Fly" (Beatnik Fly). He performance of this former series is available on Columbia Records.

Everybody Loves To!
It's A Pity To Say Goodnight
Baby Please Don't Go
For Dancers Only
Amen Twist
Pretty Eyed Baby
Play The Thing
Someday
Heartaches
Hey! Ba-Ba-Re-Bop
You'll Always Hurt The One You Love
I Found A New Baby

Cannonball's Sharpshooters - Julian "Cannonball" Adderley

If I Love Again

Cannonball's Sharpshooters
Julian "Cannonball" Adderley
Tracks 1, 2, 4, and 7 recorded March 4, 1958, in New York. Remainder recorded March 6, 1958.
Mercury Records SR 80018
1959

Personnel:
Julian (Cannonball) Adderley - Alto Saxophone
Nat Adderley - Trumpet
Julian Mance - Piano
Sam Jones - Bass
Jimmy Cobb - Drums

From the back cover: The Tampa-born altoist was in high school in Tallahassee when the drummer of a band they had – seeing what a noble trencherman the maestro was and having no acquaintance with bonafide cannibals but a fine ear for phonetics – dubbed Julian "Can-E-ball." This mispronunciation, like a strange word introduced into a foreign tongue, was promptly twisted into what it should have been all along. In effect, it describes one of the most forceful saxophone styles in jazz today.

Cannonball perfected his style by listening to tenor saxophone players. He cited as examples, Hawk Webster, Pres, Chu Berry and Don Byas and then said, "I guess it was altered a bit with the realization that there was a Charlie Parker – as a kid I used to copy his solos – but not in deliberate simulation of him." And in fact the best approach to the Adderley alto is to listen without prejudice, for its own uniqueness of sound and style.

Like Hawk and other mainstreamers he has a way of blowing and phrasing that combines definition (attack) with fluidity; these passages are contrasted to slower, more legato ones. But there are many other facets to his style. For example, he'll purposely smear runs of notes and the effect is like tone clusters. Or take the lovely tone of his alto on What's New, where he creates an ornate, even baroque, structure. Beautifully played, and very ballad, with the swing strongly felt, though not in the forefront.

The two brothers Adderley come of a musical family – their father was a jazz cornetist – and during high school years Julian studied brass and reed instruments with Leander Kirksey, who taught music at Florida A&M. Kirksey had worked with such Florida bands as those of Eagle-eye Shields and Alonzo Ross – in both of which Cootie Williams and Edmond Hall played at various times – and he could play almost all instruments, including double reeds. "A very accomplished man," said Julian – "the only man I know who played that many instruments and all of them well."

Recalling that his early jazz interest was stimulated both by records and live performances, he said, "Bands – Henderson, Kirk, Lunceford, and others – used to come through on tour and there were some pretty good Florida bands – the Sunset Royal Entertainers – Dad played with them – Smiling Billy Stewart and C.S. Belton's Syncopators."

Julian became band director at Dillard high school, Fort Lauderdale in 1948 and was there until 1950 and again for a time after he got out of the service. While with the 36th Army Band from 1950 to 1953 he led the dance band. During this period both he and Nat studied at the U.S. Naval Academy of Music, Washington D.C., where just about every phase of band music was taught and taught well. Off-duty, Julian played with local groups. On assignment at Fort Know where he taught in the ban training unit, he also played with a combo. (As well as being a composer and arranger, Julian plays several instruments.)

He led his own group, off and on, from 1953 to '57. Recognition – the kind that counts for jazzmen – came his way when he sat in with Oscar Pettiford at the Cafe Bohemia (NYC) in the summer of 1956. Following that, the group that made this album won increasing attention, especially as it was noted that both Julian and Nat had something going.

Speaking of his brother Nat – who was sitting right next to him – Julian grinned and said, "I think he's one of the great trumpet players – certainly one of the most underrated. However, I'll say this, all the good trumpet players know where it is, they know him well!"

Asked how his music related to modern jazz stemming from bop, Julian replied with a touch of humor, "There's kinship – let's say it's an orderly chronological evolution." From this the talk got to the state of jazz in general, about which he remarked, "I think we're going to have a recapitulation. There are some jazz performers who are trying to lead it to the concert hall and a common ground with classical music. However – the best way I know how to say how I feel about it – I don't think Buddy Bolden would dig that too much."

Having consumed a light snack consisting of two huge corn-beef sandwiches, the trencherman from Tampa took a swig of coke and added thoughtfully, "I don't consider myself a reactionary as far as jazz is concerned – I'm a mainstream man, that's all. – Charles Edward Smith.

From Billboard - May 11, 1959: Cannonball Adderly, with his brother Nat take off on a group of standards and originals here to good, driving results. The music is modern in the hard bop vein, featuring the old, pulsating style in contrast to his quieter playing of today. (Set was waxed in February 1958.) Tunes include "What's New," "If I Love Again" and "Fuller Bop Man" and "Jubilation."

Our Delight
What's New
Fuller Bop Man
Jubilation
Stay On It
If I Love Again
Straight, No Chaser

Sweet Sax - Freddy Gardner & Alvy West

Moonlight And Roses

Sweet Sax
Freddy Gardner & Alvy West
Saxophone Solos with Instrumental Accompaniment
Decca Records DL 74317
1962

From the back cover: The late Freddy Gardner – a versatile, sensitive musician whose colorful career included a close association with the famous Duke Ellington, and who gained great success with his own orchestra – took the saxophone from its traditional status as a part of the dance orchestra, and transformed it into a solo concert instrument. Here, in his performance of such great songs as "Mighty Lak' A Rose," "None But The Lonely Heart," "Love's Old Sweet Song," and others, we find some of the best examples of the wonderfully dynamic quality of Freddy Gardner's saxophone – accompanied and enhanced by the rich sonority of the pipe organ, in the skillful hands of Malcolm Lockyer.

Saxophonist-arranger Alvy West – famous for his association with Paul Whiteman's orchestra (as featured saxophonist soloist) and his own "Little Band" – is widely known and respected not only by the vast audiences he has appeared before, but by fellow musicians as well. This album provides a marvelous showcase for the fluent technique and dulcet tones that have made him a favorite in his field.

Freddy Gardner

Mighty Lak' A Rose
Trees
Songs My Mother Taught Me
None But The Lonely Heart
Love's Old Sweet Song
The Song Of Songs

Alvy West

Ah! Sweet Mystery Of Love
Moonlight And Roses (Bring Mem'ries Of You)
Will You Remember (Sweetheart)
Because
Oh, Promise Me
Believe Me If All Those Endearing Young Charms