Chubby's Back! - Chubby Jackson

 

Raffles

Chubby's Back

Chubby Jackson's Big Band

Supervision: Phil Chess

Cover: Don Bronstein

Recorded at Universal Studios, March 31, 1957

Argo LP 614-S

Trumpets - Don Jacoby, Johnny Howell, Don Geraci, Joe Silvia

Trombones - Bill Harris, Tommy Shepard

Bass Trumpet - Cy Toff

Reeds - Howard Davis, Sandy Mosse, Vito Price, Bill Calkins (baritone)

Rhythm - Marty Rubenstein, 

Piano - Chubby Jackson

Bass - Remo Biondi

Rhythm Guitar - Jim Gourley

Drums - Don Lamond

From the back cover: "Chubby's back," it says here.

To some people, he never was gone.

The ebullient spirit that he helped to instill in a coupe or more of the various Woody Herman Herds, plus the various small groups he worked with after leaving Woody, remains a happy segment in the memories of those who recall the awesome sweep and charge of some of them.

A couple of years ago, however (this being written in the spring of 1957), Chub decided he'd pretty well had it, what with the jazz world being in a state where work was scarce even for the bright lights of the moment.

So he utilized his laws-he's-had-it talent for being able to entertain people, and he used an opening into the TV field. Not musically. He conducted a kids' show in Chicago called Chubby's Rascals. And not badly, either. The show was named by TV Guide as the most popular children's show of the year.

But the itch always remained. And the knowledge. The knowledge that he is best qualified to say his piece via jazz.

So, to make a long story short, as the saying goes, this album resulted.

You are the customer. You happen to have the final say as to whether the product is worthy or not. I happen to think it is.

Maybe it's because I was there throughout the long evening that produced these tracks. I was there when the last musician arrived – 15 minutes ahead of time – and got dirty looks from the rest of the men assembled because they were on hand to prove that the only good big band dates do not come from New York or Los Angeles, and they wanted nothing to go wrong.

I was there while the men pleaded, "Let's do one more take' we can do to better."

I was there while everyone involved hung around for more than an hour after the date to hear the playbacks instead of going home to families, or out for a drink.

I was there when the entire group broke into applause at the finish of Bill Harris' solo on Let's Talk.

I was there when Don Jacoby looked at the rest of the band and exulted, "You know, this is the first time I've hit a high F in years. And it came easy."

I was there. And I'm happy, because seldom have a I seen as pleased and satisfied group of musicians. This many not be the greatest big band ever recorded, but you'd have a difficult time telling that to the guys who played on it.

It was a trial date, and they came through with flying colors.

To those who have watched the jazz scene with interest for some years, it is needless to say that Chubby Jackson has long been noted as a talent scout extraordinary. He brought into the Herman band, among others, the brothers Candoli, Sonny Herman, Shorty Rogers, Ralph Burns, and many, many more.

In this album, he keeps the record up to date. You many not previously have heard of Sandy Mosse, Jim Gourley, or Vito Price. Maybe even of Cy Touff. But you will. Along with Bill Harris, they provide some drivingly vital solo moments.

When this date was being set up, no other drummer than Don Lamond was ever considered. He was a section-mate in the Herman Herd with Jackson, and they find more than considerable mutual satisfaction working together. Their camaraderie is readily apparent from the first bars of Tiny's blues, which kicks off the first side. It's probably the best-known of the late Tiny Kahn's compositions, and gets a roaring sound. Solos are by Gourley, Mosse, Price and Harris.

Raffles was written by guitarist Remo Biondi and features the saxes, lead by Howard Davis' alto, plus solos from Mosse and Touff.

Let's Talk is all Harris', and it is a credit to his musicianship that only two takes were needed, despite the fact that he saw the music for the first time at the date.

Mother Knckerbopper, which used to be played at a fantastic tempo by Chubby's 1949 big band, when it was a Father, is slowed down considerably here, with Gourley easing in as first soloist, followed buy Mosse and Price again on tenors. Harris winds it up wailingly, refusing to quit.

Keester Parade is the Johnny Mandel composition played originally by an octet Cy Touff led on a Pacific Jazz Recording date. Expanded to big band size, it still fits beautifully as Cy and Sandy sate the theme before taking solos, abetted in that department by Harris, Price and Jacoby. 

Flyin' The Coop is all Gourley and band. "He sounds like a reincarnated Charlie Christian," insists Chubby.

Plymouth Rock is the most uninhibited and powerfully raw side on the date, yet it is a pleasing rawness, one composed of sheer eagerness to play. Adapted by Frank Wess from the Neal Hefti arrangement that' splayed buy Count Basie, it contains an ensemble recreation of Joe Jewman's recorded solo before Gourley wiggles in. Succeeding slow are by Mosse, Price, Harris and Touff. The bands closing statements verge on the orgiastic. 

Marty Rubenstein's three notes at the end are neat tribute to Count Basie. Fitting, too, because that's the sort of band this is.

See if you don't agree. – Jack Tracy - Editor, Down Beat Magazine

From Billboard - October 28, 1957: Excellent big band disk made in Chicago by several Herman vets, plus talented natives. Soloists include Bill Harris, Cy Touff, talented tenor-man Vito Price and highly-touted Sandy Mosse. Style is Woody Herman tempered by Cassie – modern, but swinging and accessible. Will interest collectors.

Tiny's Blues

Raffles

Let's Talk

Mother Knickerbopper

Keester Parade

Flyin' The Coop

Plymouth Rock