Session At Midnight - Jazz Reunion At Melrose

 

Blue Lou

Session At Midnight

Jazz Reunion At Melrose

Capitol Records T707

1956

Note from back cover: Shortly before this recording was released, Capitol Records consolidated its studios and many offices in the Los Angeles area into new headquarters, the Capitol Tower in Hollywood. Session At Midnight turned out to be one of the last jazz sessions held at the old Melrose Studios, and so, in its way, commemorates the end of one era and the beginning of another.

From the back cover: Most of the best things in jazz come the free, easy and informal way. So it was with Session At Midnight, which virtually "just happened". It all started late one night in December, 1955, at Nickodell's on Melrose Avenue. This is a restaurant whose clientele consists largely of musicians taking a lunch or dinner break from one of the numerous studios in the vicinity. (The RKO, Paramount, Decca-Coral, and Capitol Melrose studios are all well within easy walking distance.) If not actually recording, musicians often drop in to see what's happening, inquire about record session coming up, and in general keep a finger on the musical pulse of Hollywood.

On this particular night, a group of prominent jazz stars and sidemen who had received their basic training in the 1930s and early '40s were talking about the exciting music of the Swing Era – the opportunities they had at that time to play the way they wanted to, and the few chances today to blow in a free, swinging session. Suddenly someone came up with the observation that just about everyone needed for a top-flight swing band was right there in Nickodell's.

Dave Cavanaugh, Capitol artist-and-repertoire man, had been sitting quietly in a corner, taking in the discussion. He knew that memorable record dates are often made out of such situations. Cavanaugh told the musicians to hang on  while he arranged quick clearance on the use of the studio. Things rolled fast from that point on. Soon twelve of the country's top jazz musicians were putting together their instruments in Capitol's Studio A on Melrose. Thus was Session At Midnight born.

All of the arrangements in this album are "head" or impromptu. The manner in which they evolved was simple and quick. The musicians would agree on a tune, then arrange the order of solo and ensemble choruses, and work out sections in figures or riffs. From that point on, it was simply "Go!" – and go they did, as the riffs and rhythm section formed a dynamic setting for some of the most skilled and inventive jazz solos ever blown into the microphones of Studio A.

Individually and collectively the men on this date had participated in some of Capitol's most outstanding recording sessions, and had worked together many times outside the studios. But this was the first time that this particular group with this particular instrumentation ever recorded together.

It is to the musician's credit that almost from the first, the band had a rapport and cohesion that usually comes only after months of rehearsing and playing engagements and, very often, not even that. The men tremendously enjoyed working with each other, and their happy feeling run through the fresh and vigorous jazz in this album.

Gus Bivona - clarinet: Born in New London, Conn. Started with Bunny Berigan; subsequently worked with Benny Goodman, Tommy Dorsey, Bob Crosby, Jan Savitt; has fronted his own band. Member of the MGM studio orchestra for past eight years.

Benny Carter - alto sax, trumpet: Born in New York, N.Y. One of jazz's most versatile musicians; worked with Fletcher Henderson, Chick Webb, McKinney's Cotton Pickers; has led several bands of his own. Winner of the 1955 Down Beat Award as the Best Solo Artist.

Irv Cotter - drums: Born in New York, N.Y. Started with Red Norvo's big band, then went on to Claude Thronhill, Les Brown, Tommy Dorsey. Has been on both the CBS-New York and NBC Los Angeles staff orchestras, and has made records with Andre Previn, Paul Smith, and Barney Kessel. Musician on the Dinah Shore television show for past five years.

Harry "Sweets" Edison - trumpet: Born in Columbus, Ohio. Key man with Count Basie for almost fifteen years. Toured with "Jazz At The Philharmonic," and has led outstanding combos of his own. Winner of both Metronome and Down Beat awards.

Al Hendrickson - guitar: Born in Eastland, Texas. Started with Artie Shaw and then went into the famous Coast Guard Band during World War II. Joined Benny Goodman as featured vocalist as well as instrumentalist. Has also worked with Billy May, Freddie Slack, Woody Herman, and Boyd Raeburn. Now a member of Bob Crosby's television band.

Plas Johnson - tenor sax: Born in New Orleans, La. Young in years (twenty-four), but not in concept and technique. Plus is one of the country's most promising tenor men. Background to date consists primarily of recording dates for Capitol's television band.

Murray McEachern - trombone, alto sax: Born in Toronto, Canada. Started with Benny Goodman, then joined Glen Gray's Casa Loma band; later worked with Paul Whiteman, Bob Crosby, Harry James. Murray McEachern appears in this album through courtesy of KEY Records.

Jimmy Rowles - piano: Born in Spokane, Wash. Started with Lester Young, then joined Benny Goodman; has also played with Woody Herman, Les Brown, Tommy Dorsey, Bob Crosby. Has worked in combos with Stan Getz and Zoot Sims. Noted for his exceptional accompanying ability, and has backed Peggy Lee, Billie Holiday, and other singers.

Mike Rubin - bass: Born in Harford, Conn. Started in Greenwich Village, working with Bud Freeman and Joe Marsala in clubs and on recordings, then went with Raymond Scott. Since moving to the West Coast, has been with 20th Century-Fox studio orchestra.

Babe Russin - tenor sax: Born in Pittsburgh, Pa. Started with Ben Pollack; primarily association has been with Benny Goodman. Has also worked with Tommy Dorsey, Jimmy Dorsey, and the Armed Forces Radio Orchestra.

Shorty Sherlock - trumpet: Born in Minneapolis, Minn. Started with Ben Pollack, and subsequently played with Tommy Dorsey, Bob Crosby, Gene Krupa, Tommy Dorsey, and Raymond Scott. Fronted his own band for six years, and has been doing television work for the past several years.

Willie Smith - alto sax: Born in Charleston, S. C. Started with Jimmy Lunceford, and then worked with Charlie Slovak, Benny Goodman, Duke Ellington, and Billy May. His longest association has been with Harry James. Has won a number of Esquire Awards, and is ranked with Johnny Hodges and Benny Carter as an alto star.

Moten Swing

Making The Scene

Sweet Georgia

Blue Lou

Stompin' At The Savoy

Session At Midnight