1962 Jazz Mission To Moscow

 

The Sochi Boatman

Jazz Mission To Moscow

Featuring Top Jazz Artists On Their Return From Tour Of Soviet Union 1962

Produced by Jack Lewis

Recording Engineer: Ed Begley

Recorded at Webster Hall, New York, July 12, 1962

Coolpix SCP 433

Personnel:

Tenor Sax - Zoot Sims

Alto Sax & Clarinet - Phil Woods

Alto Sax & Flute - Jerry Douglas

Baritone Sax - Gene Allen

Jimmy Maxwell & Markie Markowitz - Trumpet

Trombone - Willie Dennis

Piano - Eddie Costa

Bass - Bill Crow

Drums - Mel Lewis

From the back cover: The Men by Dom Cerulli - Co-Editor, The Jazz Word (Ballantine)

First of all, before anyone runs off to the FCC or the Better Business Bureau, let it be noted that there are two "ringers" in this group of swingers. Markie Markowitz and Eddie Costa did not make the trip. But they substitute for trumpeters Joe Newman and pianist John Bunch who did make the trip, but who stayed abroad to visit. Markie and Eddie are such kindred musical spirits that their presence on the date enhances the jazz feeling of the album.

Leader and arranger Al Cohn didn't make the trip. He remained at home to write music and blow tenor sax in leading clubs in the east. At 36, Cohn is one of the record world's most sought-after arrangers. His tours of duty include stellar service with the bands of Georgie Auld, Woody Herman, and Artie Shaw, among others. He currently is co-leader of the swinging Al & Zoot quintet. Zoot Sims was the tenor jazz soloist on the Goodman tour band, a chair he held back in 1944 and again in 1946. He is 36, and has played professionally with name bands since the age of 16. He was one of Woody Herman's original "Four Brothers," and his swinging tenor is in constant demand for jazz record dates. Phil Woods, 30, has brought his alto in scores of modern jazz groups, among them George Wallington, Thelonious Monk's big band, and Quincy Jones. With altoist Gene Quill hi co-leads the Phil & Quill Quintet, and writes charts for jazz records sessions.

Jerry Dodgion, 29, is a Californian who has played with Gerald Wilson, Benny Carter, Red Norvo, Benny Goodman (in 1959) and Gerry Mulligan's big band. He is a versatile and imaginative musician, an asset to any reed section. Gene Allen is 33, and a master of the baritone and other low reeds, including the bass clarinet. His solid sound has been in the groups of Charlie Thornhill, Sauter-Finegan, Tommy Dorsey, Benny Goodman (in 1959) and the big band of Gerry Mulligan.

The brass team is headed by Jimmy Maxwell, who joined Goodman's trumpet section in August, 1939, and stayed three years. Now a top-notch studio man, Jimmy is among the most recorded trumpet men in popular music. Marky Markowitz, 38, has a glorious open horn sound. His background includes stints with Woody Herman's 1946 Herd, Boyd Raeburn's band, Jimmy Dorsey, and Buddy Rich, among others. Trombonist Willie Dennis, 36, played with Goodman's band at the Brussels World Fair. An excellent modern jazz man, his experience includes work with Elliot Lawrence, Claude Thornhill, Woody Herman, and scores of small groups.

The rhythm section is sparked by the drums of Mel Lewis, a superb big band drummer. Mel, just 33, has swung such big bands as Boyd Raeburn, Stan Kenton, Terry Gibbs, and Gerry Mullingan. Bassist Bill Crow, 35, has had a variety of jazz experience ranging form big bands like Claude Thornhill and society dance bands to small group work with Stan Getz and Gerry Mulligan. Pianist Eddie Coata, 31, also plays driving vibes. His background included work with Woody Herman, Hal Farlow, and Kai Winding, among others.

The Mission by Leonard Feather - Author of The Exncylopedia Of Jazz (Horizon)

There have been few events in the history of twentieth-century music more auspicious than the Benny Goodman band's tour of the Soviet Union. Its meaning, of course, extend far beyond music. One fact stood out inescapably and rewardingly: the visit served to destroy once and for all the illusion that jazz is taboo in the Soviet Union.

Everywhere I went in Moscow and Leningrad the truth stood out in sharp relief: the USSR, like every other country whose inhabitants have ever listened to jazz, has a solid cadre of devotees to whom this music is a symbol – not of freedom, as so many have wishfully claimed, but rather of a simple musical ideal towards which they have long, been inclined.

The youngsters in the Central Sports Arena Palace in Moscow who called out the names of Zoot Sims and Phil Woods as the solos began; the alto saxophonist whose apartment I visited in Leningrad, and on whose living room wall were placed side by side photographs of Lenin and Cannonball; the Intourist guide who pleaded with me for tickets to the concert because they had all been sold out weeks in advance; the arguments among Moscow Jazz Club members as to who would be the logical choice for the next visit, Miles Davis or John Coltrane; these and a thousand other incidents reflected the long-latent enthusiasm that the Goodman visit had brought into focus, an enthusiasm that had been mounting rapidly (and with official Soviet Government sanction) for at least two years and had already been expressed through the staging of Soviet jazz festivals in Tartu, Tallinn and Leningrad.

There can be no doubt that the reception accorded to Zoot, Phil, Willie Dennis, Mel Lewis and the rest during those memorable six weeks was the most convincing expression to date of a fact of which we in the jazz world have long been proud: our music brings a little more love into the world.

Mission To Moscow

The Sochi Boatman

Midnight In Moscow

Let's Dance

Russian Lullaby

Red, White And Blue Eyes