Pardon My Doo-Wah - Neal Hefti

After Supper

Pardon My Doo-Wah
Neal Hefti and His Orchestra
Featuring the Neal Hefti Singers
Cover Photo of Neal Hefti and his family in Central Park
EPIC STEREORAMA BN 504
1958

From the back cover: Neal can pick talent. He always works with the best, it seems, and this time is no exception.

There's Phil Woods, 26-year-old native of Springfield, Mass., one of the top alto sax man. He has worked with Barrent, Lennie Tristano, Richard Hayman, the Jimmy Raney quintet, and Dizzy Gillespie. That's Phil on "Ready Rudy," "Cherry Point,""Kiss Me First" and "Chug-a-lug."

Seldon Powell, heard here on "Splanky," is rapidly winning new fans with his tenor sax. (He also plays a mean flute and piccolo.) Hefti helps give this young New Yorker a boost when he added him to the big band he formed in 1952.

Jerome Richardson, another versatile jazzman, put his flute aside and stayed with his alto horn for this date. A Lionel Hampton alumnus, Jerome now spends most of his time in New York freelancing. You'll hear his big sound on "After Supper" and "Oh, What A Night For Love."

Sonny Russo on trombone in another lad who traveled with the Hefti-Finnegan era. Now in a Broadway musical's pit band, Sonny is always called upon for record sessions such as this.

Frankie Rehak is another solid trombonist who credentials list Dizzy (for the Pakistan and Far East safari) and Charlie Barnet. A sample of his horn is included in "After Supper."

Ernie Royal, whose trumpet is herein heated on "Splanky," "Chug-a-lug" and "After Supper," came out of Los Angeles to play with Hampton, then with the Phil Moore Four and after three years in the Navy during World War II, with Herman and Ellington. Ernie helped the Stan Kenton crew blast off on many a date and started free-lancing five years ago.

Al Cohn, another busy-as-he-wants-to-be-because-he's-so-good tenor man. Only 32, Al is a Brooklnite who saw the world with Joe Marsala, Georgie Auld, Buddy Rich and the fabulous Herman Herd, vintgage '48 and '49. Neal, hip to Cohn's horn work, always includes him in his plans.

Joe Wilder, the fabulous Philadelphian who saw action not only with the Marines in our last Time of Peril, but with Hamp, Lunceford and, of course, the Count. That's Wilder on "Coral Reef," with a muted trumpet.

Milt Hinton, the granddaddy of this ensemble, was born in Vicksburg, Miss., in 1910. Milt grew up in Chicago, playing his beloved bass fiddle in high school, later with Eddie South, Zutty Singleton and Cab Calloway. His service record also includes honors with Basie, Satchmo, Benny Goodman and scads of top-flight albums (of which this is one more).

Joseph Galbraith and his impeccable guitaristry, out of Pittsburgh, has been free-lancing around New York, doing studio work after traveling with Red Norvo, Teddy Powell, Claude Thornhill and Hal McIntyre. You'll find one sample of his touch on Li'l Darlin'."

Lou Stein, pianist, another Philadelphian who started out as a saxophone player. His past associates include Buddy DeFranco, Ray McKinley and the Glenn Miller band of U.S. Air Force days. Be it traditional or modern style, Stein delivers.

Billy Byers, Los Angeles trombonist, did studio work in Hollywood before moving eastward with Georgie Auld, Buddy Rich and Benny Goodman. Now quite busy, thank you, as a free lance.

Mel Davis, a relative newcomer for the front ranks, recently cut an album of his own for Epic called "Trumpet With A Soul," which is as apt a description of his sound as you can find.

Charlie Persip, another Gillespie alumnus, is free-lancing at present and helping to make jazz albums that much more popular with his tasteful and pulsating stick work.

Sol Gubin, drummer for all but four of the 12 numbers included here (Pesip sat in on "Li'l Darlin'," "Cool Blue," "Kiss Me First" and "Oh, What A Night For Love") has down mostly studio and TV work around New York. He has, nevertheless, impressed more and more of the older jazzmen with his drive and style

George Duvivier, a Conservatory of Music and Art alumnus in New York, has built the rhythm with his bass for such as Nellie Lutcher, Lena Horne, Pearl Bailey and Mr. B, Billy Eckstine. George is a composer and arranger in his own right. He's there on "Coral Reef," "Buttercup," "Two For The Blues" and "Ready Rudy." – Fred Danzig

From Billboard - June 30, 1958: A swinging selection of Heftiana, with a good driving band sound, this time augmented by a mixed chorus, employing lyrics plus instrumental type vocal sounds. The "Doo-Wah" title sets the tone. Titles are such as "After Super," "Cool Blue," "Coral Reef," etc. with added lyrics by Steve Allen and Jon Hendricks. Smart arrangements provide good upbeat background stuff.

Kiss Me First
Chug-a-lug
Oh, What A Night For Love
Cheery Point
Two For The Blues
Li'l Darlin'
Ready Rudy
Buttercup
After Supper
Coral Reef
Splanky
Cool Blue