Jazz Studio 2 From Hollywood

 

Jazz Studio 2 From Hollywood

Jazz Studio 2 

From Hollywood

Decca Records DL 8079

1954

Herb Geller - Alto Sax

Milt Bernhart - Trombone

John Graas - French Horn

Don Fagerquist - Trumpet

Marty Paich - Piano

Curtis Counce - Bass

Howard Roberts - Guitar

Larry Bunker - Drums

From the back cover: IF THERE is one word that epitomizes the kind of jazz which has been developing on the West Coast during the past few years, probably that word is "organization." For although the swinging beat, once minimized by purists as a distraction, has happily returned to the scene, with the result that jazz on the Coast now swings with complete freedom, it has done so within the framework of individual patterns which have become organized to a considerable degree.

A typical modern jazz group in Hollywood seems to follow nature's principle of tension-and-release, which in music is at least as old as the earliest symphonies, yet, being basic, seems fresh whenever applied to new forms and subjected to new interpretations. Usually the first chorus takes the formidable talents of the performers and constrains them lightly within the bounds of an arrangement which is actually a jumping-off place for what is to follow. During these initial choruses, which are characterized by an interdependence and mutual awareness of the performers, a tension builds to a point where a soloist derives a powerful send-off into his own improvisation. Often contrapuntal, harmonically interesting, these jumping-off ensembles have come to replace almost entirely the unison riff of the early days of jazz. It is not considered bad form for one or more musicians (other than the rhythm section) to chime in with improvised backgrounds to another's solo, thus often giving unusual contrapuntal effects to the soloist's performance.

The word "modern," applied to any kind of music, sometimes makes people expect a preponderance of dissonances, atonality, and harsh sounds. Paradoxically enough, modern West Coast jazz is very melodic, possibly because the arrangers and composers in this medium are more apt to lean upon Bach than Schoenberg. The paradox extends to the basic sound, which is generally a quiet sound, seldom resorting to screaming high notes to achieve the excitement that is jazz, Excitement is generated by a swinging beat, good melodic form, and imaginative writing.

In JAZZ STUDIO 2 we are attempting to offer a representative picture of the kind of jazz which is pretty much indigenous to the West Coast, played by some of the musicians who have contributed notably to this development. It is not intended to set it apart from jazz everywhere, and of course the listener will find a great deal which is not regional. But the accent remains on organization, hence a few words about the composers and arrangers.

In "GRAAS POINT," the noted French horn virtuoso, JOHN GRAAS, indulges in the contrapuntal writing for which he has such a flair. In developing his themes, he has employed such devices as using his original melody backwards, and inverted. His approach shows the influence of Bach, yet his swinging, ebullient solos on the French Horn place him among the most exciting of modern performers. John also contributed "HERE COME THE LIONS," and the arrangement of "DO IT AGAIN."

One of the leading lights of Coast Jazz, MARTY PAICH, who also plays some wonderful piano herein, has contributed the delightful original, "PAICHECK," and the arrangements of "DARN THAT DREAM" and "LAURA."

Complementing the writing talents are the great performances of HERB GELLER, alto sax, alumnus of the Claude Thornhill, Billy May and Lucky Millinder bands (notice his beautiful tone and shower of ideas on "DARN THAT DREAM"); MILT BERNHART, famed ex-Kenton trombonist; DON FAGERQUIST, whose delicate trumpet is usually framed by the Les Brown band; HOWARD ROBERTS, imaginative guitarist now featured with the Bobby Troup Trio; CURTIS COUNCE, who provides the swinging foundation for Shorty Rogers' group; LARRY BUNKER, veteran of the Lighthouse, and formerly with Gerry Mulligan and Georgie Auld; and JIMMY GIUFFRE, whose tenor and baritone have been featured with Shorty Rogers, and whose name has always been linked with the vanguard of modern Jazz. – By Tom Mack

Laura

Here Come The Lions

Paicheck

Graas Point

Darn That Dream

Do It Again