Jazz West Coast - Various

 

Jazz West Coast

An Anthology Of California Music

Jazz West Coast

Pacific Jazz Records JWC-500

1955

Bockhanal - Chet Baker Ensemble

Composed and Arranged by Jack Montrose

Alternative Master

Personnel: Chet Baker, trumpet; Jack Montrose, tenor; Herby Geller, alto; Bob Gorden, baritone; Russ Freeman, piano; Joe Mondragon, bass; Shelly Manne, drums

Soft Shoe - Gerry Mulligan Quartet

Composed and Arranged by Gerry Mulligan

Previously Unreleased Master

Personnel: Gerry Mulligan, baritone; Jon Eardley, trumpet; Red Mitchell, bass; Chico Hamilton, drums

Tiny Capers - Clifford Brown Ensemble

Compositon - Clifford Brown. Arrangement - Jack Montrose

Alternative Master

Personnel: Clifford Brown, trumpet; Zoot Sims, tenor; Bob Gordon, bariton; Stu Williamson, valve trombone; Russ Freeman, piano; Carson Smith, bass, Shelly Manne, drums

I'll Remember April - Zoot Sims Quartet

By Gene DePaul, Don Raye, Patricia Johnson

Previously Unreleased Master

Personnel: Zoot Sims, tenor; Bob Brookmeyer, piano, Red Mitchell, bass; Larry Bunker, drums

Wailing Vessel - Bud Shank And 3 Trombones

Composed and Arranged by Bob Cooper

Alternative Master

Personnel: Bub Shank, alto; Bod Enevoldsen, valve trombone (solo); Maynard Ferguson, valve trombone, Stu Williamson, valve trombone, Claude Williamson, piano, Joe Mondragon, bass; Shelly Manne, drums

Happy Little Sunbeam - Chet Baker Quartet

Composed and Arranged by Russ Freeman

Alternative Master

Personnel: Chet Baker, trumpet; Russ Freeman, piano; Carson Smith, bass, Larry Bunker, drums

It Had To Be You - Bill Perkins and Bud Shank

By Isham Jones and Gus Kahn

Arrangement by Bill Perkins

Previously Unreleased

Personnel: Bill Perkins, tenor, Bud Shank, tenor, Hampton Hawes, piano; Red Mitchell, bass Mel Lewis, drums

Low Life - Bud Shank and Bob Brookmeyer

Composed and Arranged by Johnny Mandel

Alternative Master

Personnel: Bud Shank, alto; Bob Brookmeyer, valve trombone; Claude Williamson, piano; Buddy Clarke, bass; Larry Bunker, drums (strings)

There Will Never Be Another You - Chet Baker Quintet with Jimmy Giuffre

By Harry Warren-Mack Gordon

Arrangement by Russ Freeman

Unreleased

Personnel: Chet Baker, trumpet; Jimmy Giuffre, clarinet; Russ Freeman, piano; Carson Smith, bass; Bob Neel, drums

Lotus Bud - Bud Shank and Shorty Rogers

Composed and Arranged by Shorty Rogers

Original Master

Personnel: Bud Shank, flute; Shorty Rogers, flugle horn; Jimmy Rowles, piano; Harry Babasin, bass; Roy Harte, drums

Darn That Dream - Gerry Mulligan Quartet

By James Van Heusen and Eddie De Large

Arrangement by Gerry Mulligan

Alternati Master

Personnel: Gerry Mulligan, baritone; Chet Baker, trumpet; Carson Smith, bass, Larry Bunker, drums

Speak Low - Laurindo Almeida Quartet

By Orden Nash and Kurt Weill

Arrangement by Laurindo Almeida 

Alternative Master

Personnel: Laurindo Almedia, concert guitar; Bud Shank, alto; Harry Babasin, bass; Roy Harte, drums

Two Can Play - Bob Gordon & Jack Montrose

Composed and Arranged  by Jack Montrose

Alternative Master

Personnel: Bob Gordon, baritone; Jack Montrose, tenor, Paul Moer, piano; Joe Mondragon, bass; Billy Schneider, drums

Oh, Lady Be Good - Lee Konitz Plays With The Gerry Mulligan Quartet

By George and Ira Gershwin

Arrangement by Gerry Mulligan

Alternative Master

Personnel: Gerry Mulligan, baritone; Chet Baker, trumpet; Lee Konitz, alto; Joe Mondragon, bass, Larry Bunker, drums

From the back cover: The music enclosed here gathers together a sampling of the cream of the West Coast crop, presenting them in selections that typify their finest efforts, and offering the jazz follower – dedicated or casual – a varied program of current jazz at its best. This anthology of West Coast Jazz was complied both as a companion piece for the book of photographs called Jazz West Coast and as a progress report on California jazz activity as it stands in 1955.

Jazz on the West Coast in the first half of the 'fifties has enjoyed a status it has seldom experienced in many time or any city. It's probably unnecessary to enlighten most non-coastal residents as to this boom, but for those few still foggy about what has been happening on the wester front, reference is made to the introduction of the picture book Jazz West Coast which outlines at greater lenght the causes and  characteristics of this internationally recognize movement. (Portions of that introduction were adapted for use here.)

Very nearly every key figure in West Coast jazz (and Jazz West Coast, the book) is represented here. While it is interesting to speculate as to whether these musicians can be grouped into a musical school of  thought, that is not one of the limitations laced on selection. The chances are, history will reveal that there is a aWest Coast school; a group of musicians playing calmer, gentler jazz, placing at least as much emphasis on writing as on slowing. But the task of definitive summation is left to later years or less biased observers. It is hoed that by disclaiming any restrictions of School we may by-pass much of the clamor about presumptuous inclusion of musicians comply associated with other areas. Eastern will spot many of their old and-bys; the fact remains that this music was recorded in Lost Angeles by musicians in residence here, and to the extent the label "Jazz West Coast' is meaningful.

Wherever possible – happily, in every case but one – new performance were used to represent the group's. In many instance of course, the arrangements themselves have been offered bore, but as even the newest jazz listener knows, the essence of jazz in sin the soloing, and where material does overlap that simply adds a bonus opportunity for comparison of soloist approach.

The first to pooh-pooh the possibilities of a West Coast School in the making have been the musicians themselves; no one ducks a pigeon-hole like a creative artist. However, the better players needn't fear a blurring of their individuality. California music is built around powerfully individual voices: Chet Baker is a laureate whose poetic phrased and pastoral tone have worked which mosaics of recorded music. Gerry Mulligan, through his composed, friendly soloing and superb writing, has been an inspiration  and pace-maker of the first order.  Shorty Rogers is a paragon of consistent good taste in writing and trumpeting. Lost in a shuffle of altoists scant years ago, Bud Shank has shot up at the prodigious rate and now, with Bird gone, looms as one of the top contenders for the crown. Hardly a California settler, compared to the others, Clifford Brown nonetheless recorded heavily here and his breezy, twinkling style flourished under the Pacific sun. Another fleeting colonist, Lee Konitz, is represented by a fresh gem that recalls his memorable brush with the Mulligan quartet. Bob Brookmeyer has became a confirmed Coaster; he continues to come a hair-raising during-do with an official aplomb. As a Hollywood citizen, Zoot Sims waxes Zootier than ever; he needs no greater praise. Russ Freeman is one of the formulators of that modish style of piano playing which mixes a lusty revivalism with a new worldliness; with its delicate balance. The roster of praiseworthy names goes on and on: Shelly Manne, the omnipresent and seemingly omnipotent Einstein of the drums... Jim Guiffre, a paradox of rustic, romping horn and intricate, far-sighted writing... Brazilian virtuoso Laurindo Almedia, a successful welder of new form out of disparate parts... Bob Gordon of the surging, powerful baritone... Jack Montrose, sauce writer-arranger, considered supreme by many of his contemporaries. There are new faces as well as old: Kenton-Hermanite tenors Bill Perkins for instance, whose work here indicated why his star is in the ascendancy.

Many of the rest of the men represented here are legitimate stars in their own right and of equal importance to the scene with those already mentioned. But the names have been touted in no particular order and failure to include other names certainly isn't intended as a qualitative comment; space limitation dictate an arbitrary halt. The idea has been to indicate the wide range of West Coast figures included.

This wide range was possible because a significant portion of the important musicians are apart of the Pacific Jazz fold, and because contractual barriers to the inclusion of other jazzmen were bridged by an understanding on the part of companion companies as to the importance of a validly representative collection of the local output. The one exception, thorough no fault of the performers is the work of the Dave Brubeck Quartet and a few related San Francisco artists. Fortunately Brubeck has had ample coverage, both musical and verbal, and in any case the music generally spoken of as "West Coast Jazz" is Los Angeles-centered. The San Francisco people are covered in the book of course, where everyone pertinent to the Coastal picture – include here or otherwise – is covered in a brief sketch that accompanies his photograph.

Published some months prior to the issuance of this album, Jess West Coast: A Portfolio Of Pictures has already garnered a respectable sheaf of critical acclaim for the photofraer, William Clayton. The acceptance comes as no surprise. Especially, Claxton's work is praiseworthy for the purity of its composition. Equally impressive is his functional a reporter. Probably more than any other factor except the music itself, Laxton's photography has been responsible for the wide acceptance of West Coast Jazz. If his approach to picture-taking seems particularly appropriate to the music identified with California, it is no accident; Clayton has consciously striven to capture the spirit of the scene. That he has succeeded is obvious; yet far from being merely adjust to the music, his work has attained a following it its own, earning praise as much from artistic sources as from the musical world.

Owners of one half of the Jazz West Coast Report – either the book or the album – will find it rewarding to acquire the other half. The compilers of the two – Linear Publications for the book, Pacific Jazz for this album – suggest that together these companion pieces form a double window, opening onto a jazz vista as charming as any locale has thus far been able to offer. – Will Mac Farland