Joltin' Joe Roland

 

Spice

Joltin' Joe Roland

Recording Engineer: Rudy Van Gelder

Supervision: Ozzie Cadena

Savoy Hi-Fi Recording

MG-12039

1954

From the back cover: Meet Joe Roland, gently swinging master vibes star and some of his groups! There's been much fuss and bother made over this modern star and some of his ideas, but no one yet has failed to note his originality of expression and ever-increasing fund of fine ideas expressed. Here is more testimony to hie outstanding abilities. By way of background, Joe was born some 35 years ago in New York, son of the Hotel Savoy's chiropodist. His musical training ground was Julliard from 1937 to 1939, where he majored in clarinet and a little piano. The "stick" was his only instrument up until induction into the Army. A relative had stored a set of vibes in his home. He fooled with them, later acquiring a set while on a long tour of duty in the Aleutian Islands off Alaska where he worked out both vibes and xylophone between duties as a radio operator. In 1946, he was discharged out into civilian life and took up his musical life with such other modern luminaries as Terry Gibbs, Tiny Kahn, George Wallinton, Eddy Bert, Red Rodney and Don Elliot. His first recorded effort was with a string quartet (the last 4 sides on this LP) and with members of the growing school around Tristano. Since that time, Joe has played with groups led by Oscar Pettiford in 1951, replaced Don Elliot with the George Shearing quintet from 1951 -53, worked with Howard McGhee in their own group, played with Artie Shaw from 1953 to 1954, then returned to his freelancing in and around New York City. Outside of a few solo bits in records made with Shaw and Shearing, this album, part new and partly re-issued, contains his best recorded work to-date! Your reaction to this set should correct this oversight in the very near future. As a performer, Joe lies between two schools. His personal preferences range from Lionel Hampton to Terry Gibbs, by way of Milt Jackson. This is to say the that Joe "digs" not only fabulous technique and speed (as in Terry's work), but also the basic, drive and emotional intensity of Hamp's efforts, combined with harmonic invention of "Bags". The result, a careful culling of the best in all 3 influences into a remarkable, new, stylization on the vibes. Listening to the sides in this album, one feels a continuous level throughout in his performances. He doesn't strive for high emotional peaks, but rather, is content with a constant flow of pleasing inventions, utilizing his excellent technique to add and not over-power the expression. His tone is even, avoiding the "clunk" and "clang" tom-tom technique others use.

Let's take a look at the tunes backwards, to set them chronologically! The last 4 tracks, Half Nelson, Love, Sally and Dee Dee were recorded earlier, as an experiment with strings. The string quartet is treated here much in the same way as a sax section could be used. They state the riff, in unison and with amazing cleanliness, (no "sawing") and then serve as a voiced back-tap medium behind a vibes, guitar sequence of solos. In listening, note the excellent phrasing of the string quartet. Although strings have become a much used orchestral Jazz voice, it is very rare indeed when they have been used on uo-tempo things and come off successfully in a jazz rhythm feeling. Listen to some of the old Krupa-with-strings band, or Tommy Dorsey-with-strings band recordings from the late 1940's to see what I mean. Harold Granowsky, one of Tristano's first drummers, lays down a heavy rat-tat background with cymbals dominant, Je Puma, a professional guitarist since only 1948, and self-taught at that, plays interesting lines over the background. His background is primarily small groups, having played with Cy Coleman, Don Elliot, Lou Bellson, Artie Shaw's Gramercy 5 and also serving as accompanist to Peggy Lee in 1954. He is currently with the Les Elgart band. Paula Castle contributes a warm vocal on Love. I just loved the switch on "I Wonder What's Become Of" to Sally Is Gone, as a title. In the first 4 tracks, pianist Wade Legge is credited as composer. Very neat lines, and excellent vibe and piano work besides. This is Wade's first solo effort on records. Altho' he has recored more, it has been only for European distribution. He's a 22 year – old modernist who was brought from Buffalo to N. Y. by Milt Jackson. Played with Dizzy in 1952, and displays a warm, moving single-noted modern style of piano. The 1st, 2nd and 4th tracks are up-tempos, and Spice is a slow, then double-time, bit that is very pretty, and reminiscent of Thelonius Monk's Midnight. Check Ron Jefferson's fine drumming on tracks 1 thur 8. Excellent off-beat "chunk" and nice sustained-level solo work on the 4 bar splits in House and Choice. Upcoming Modernist Freddie Redd is heard at the key-board on tracks 5 thur 8. He wrote the frantic Stephanie's and plays up a storm on all 4. There's been much talk about this youngster, and more acclaim is due his way. Another all-time highlight of this second set is the playing of the great Oscar Pettiford. What a swinging beat that man lays down! Check your old Jimmy Blanton records at the door as you listen to his short solo efforts on Indian Summer and String.

Needless to say, Oscar's credits are far too long to list here. Garrity's is dedicated to hip NY Disc Jockey Bob Garrity of the Birdland Show.

All in all, a delightful set of 3 groups, ably supported and complementing the outstanding musicianship and creative efforts of Joe Roland, one of today's top modern vibe stars. – H. Aland Stein

Gene's Stew - Wade Legge

Spice - Wade Legge

Music House - Wade Legge

Joyce's Choice - Wade Legge

Joe Roland - Vibes

Danti - Martucci - Bass

Wade Legge - Piano 

Ron Jefferson - Drums

Garrity's Flight - Joe Roland

Indian Sumer - Herbert

I've Got The World On A String - Arlen-Koehler

Stephanie's Dance - Freddie Redd

Joe Roland - Vibes

Oscar Pettiford - Bass

Freddie Redd - Piano

Ron Jefferson - Drums

Half Nelson - Miles Davis

Love Is Just A Plaything - Lert & Jaffe

Sally Is Gone - Joe Roland

Dee Dee's Dance - Denzil Best

Joe Roland - Vibes

Paula Castle - Vocal

Joe Puma - Guitar

Ish Ugarte - Bass

Harold Granowsky - Drums

Sid Kassimir - Cello

Mike Bartun - Viola

Gus Oberstein, Jules Modlin - Violins