The Australian Jazz Quartet

 

Little Girl Blue

The Australian Jazz Quartet

Design and Art Direction: Paula Bisacca

All starred tunes recorded January, 1956; others recorded February, 1954; all made in New York City

Bethlehem BCP-6002

1976

Dick Healy - Flute Alto, Clarinet, Bass

Errol Buddle - Tenor, Bassoon

Bryce Rohde - Piano

Jack Brokensha - Vibes, Drums

Jimmy Gannon - Bass (Quintet)

Also heard in this recording: Nick Stabulas - Drums and John Fawcett - Bass

From the back cover (from the original liner notes): By now the Australian Jazz Quartet (expanded to a regular Quintet with the addition of Jimmy Gannon on bass) is a known commodity to jazz fans the world over.

Their success would seem to be a combination of these factors amongst others: the versatility they demonstrate in playing many instruments, and the great variety of moods and sounds that gives them; they can play "swinging" jazz; they work as a unit, and, individually every man of the group can hold his own as a jazz-man with something original to say. By now the novelty of the fact that a good part of the group is from Australia has worn off. But after the surprise wears off we have the music left; with the A.J.Q. this is quite enough.

A Foggy Day: This is one of those George & Ira Gershwin standards that leads a double life; one as a moody ballad and the other as an up-tempo vehicle for improvising. The quartet treats it here in the latter fashion. Bryce Rohde's cleanly styled piano happily dances its way through the familiar melody, while Errol Buddle's bassoon is occasionally heard as astring, organ-like bass voice. The versatile Dick Healey and Jack Borkensha are respectively heard on bass and rums.

Broadway: The Quintet is here heard in a straight-forward, mainstream-of-jazz mood. Healey on alto and Buddle on tenor effectively state the theme and go on for solos in that same order; Bryce Rohde is heard from and then alto and tenor exchange fours; Jimmy Gannon takes the release on bass and then "out" with the last part of the theme.

Little Girl Blue: The Rodgers and Hart tune that once-upon-a-time nobody knew is here given a rich and varied going over by the A.J.Q. Here, Little Girl Blue leads a double life in front of our very eyes; first as a leisurely melody and then a short finger snappin' interlude. The different sound of the chorus is here well demonstrated in the flute work for Healey, and Buddle's bassoon; their blend in unison work, the groups' fine choruses and the clever arrangement make this track a fine sample of the A.J.Q.'s work. Bass is by John Fawcett.

September Song: The poignancy of Walter Houston's famous version of the Kurt Weill melody is somehow brought to mind in this exquisite slo version by Jack Brokensha. His effective accompaniment is Jimmy Gannon's bass and Bryce Rohde's piano.

Loose Walk: This A.J.Q. arrangement features free and extended blowing on flute and bassoon by Healey and Buddle; definitely for foot tapping, finger snapping, shoulder shaking and head rocking (all at once if you like). Brokensha, Ford and Fawcett contribute to the merriment.

The Girl With The Flaxen Hair: Jack Brokensha's vibraphone is here to be heard in a free adaptation of one of Clyde Debussy's most popular piano pieces. Pleasant though not exactly jazz.

You Are Too Beautiful: A colorfully arranged vehicle with effective use of Brokensha's vibes as a voice along with the flute and bassoon. Note the way the music stops and starts in terms of the rhythm section playing a continuous jazz beat; there is always a pulse, yet it's stated in subtle ways or just implied; also note the changes in  tempo. Such devices while not "wailing jazz" tend to give a flavor of verity to the work of the A.J.Q. Bass is by Fawcett, Stabulas - drums.

Music For Walking': A Jimmy Gannon original that lives up to its title. The theme is played in unison by Healy's clarinet and Buddle's tenor (note the Lester Young-like entry on his solo). After Rohde's piano, Healey is heard on clarinet and Nick Stabulas own drums.

Lullaby Of The Leaves: An A.J.Q. version of a tune that lends itself beautifully to their style of easy walking; flat, bassoon and piano choruses are to the beard; Brokensha on drums and Fawcett on bass.

The Things We Did Last Summer: Brokensha, Rohde, Healey and Fawcett quietly playing vibes, piano, bass and drums in a relaxed mood. A try like this gives one a good idea of the variety of the sounds of which the group is capable; small wonder that the groups works steadily.

Fascinating Fathom: The A.J.Q. closed the record with a bang in this fine version of the George Gershwin tune that seems to wear as well as A Rolls Royce.

We're really in the mainstream with Buddle's fine tenor work. Healey provides the swinging bass and Brokensha does his share on drums. - Joseph P. Murray

A Foggy Day

*Broadway

Little Girl Blue

*September Song 

Loose Walk

The Girl With The Flaxen Hair

You Are Too Beautiful 

* Music For Walkin'

Lullaby Of The Leaves

*Like Someone In Love

The Things We Did Last Summer

Fascinating Rhythm

Brookmeyer - Bobby Brookmeyer

 

Big City Life

Brookmeyer

Conducted by Bobby Brookmeyer

Produced and directed by Jack Lewis

Recorded in Webster Hall, New York City, September 19, October 9 and 15, 1956

Recording Engineer: Ray Hall

VIK LX-1071

1957

From the back cover: 

"Been down to Kansas City and everything is all right.

Things swing in Kansas City till the early light..."

As the earth if fertile for the growing of crops, the environment around Kansas City continues to be equally fertile for the fostering of jazz musicians. Although not the perpetual jam session it was in its heyday (the Thirties), KC still has that certain something, and once again, the area has produced another individual jazz voice.. Born six days before Christmas, in 1929, and five miles from the heart of town (across the viaduct on the Kansas side), Bobby Brookmeyer is a product of the city's musical tradition, its well developed concern for emotion and feeling and the musical language and procedures of today... He received this training at the Kansas City Conservatory where he studied and played trombone, clarinet and piano... The next step was into the army. After his stint was completed, the parade of bands started: Beneke, McKinley, Prima, Thornhill, Jerry Wald and Woody Herman.

It was not until 1953 when Bob joined the Stan Getz group on valve trombone that the jazz population became aware of his vast talent. He brought to the jazz scene a highly sensitized perception, the deep masculine sound of his horn, as well as a capacity to be individual in the way he put his feelings into the jazz language. Critical recognition followed swiftly... The words were glowing and many, the impression deep. The most tangible rewards were the admiration of his fellow musicians and the Down Beat critics' "New Star" award for trombone. But this time, he had switched almost full-time to valve trombone, and has since devoted the greatest portion of his playing and recording time to this instrument. However, his occasional forays at the piano are memorable for the probing intelligence of his solo work (Big City Life and Nature Boy in this album), and the excitement set up by his capacity to comp in an ever so insinuating fashion.

Getting to the core could well be the Brookmeyer credo. As a jazz soloist and writer, Bob wastes little energy on unnecessary curlicues and affected sounds for the sake of an artificial eloquence... This is a signpost of back musical honestly, at the same time, Bob is dedicated to emotion and the investigation of every nuance beneath the surface of a section. The result of this approach is a forceful personalized transmission of the emotional content of the musical material to the listening audience... The Brookmeyer playing style, however, is more than merely indicative of a directness and deftness in interpreting and transmuting emotion; it seems an attempt toward creating a synthesis of tradition and modernity. This musical platform is a most secure one, and enlarges the musician's scope. In truth, this is the stand of the major jazz musician.  

In planning this album, VIK executive Jack Lewis thought it best to record Brookmeyer in three separate contexts in order to showcase him fully... each individual backdrop having its own particular flavor. First, a big band with an interesting instrumentation: four trumpets (Bernie Glow, Joe Ferrante, Al DeRisi and Lou Oles); one calve trombone (Bob Brookmeyer); four saxes ( Al Cohn, Ed Wasserman, tenors; Al Epstein and Sol Schlinger, baritones); Osie Johnson, drums; Buddy Jones, bass; Hank Jones, piano. The tunes – Oh, Jane Snavely, Open Country and Just You, Just Me – were arranged by Brookmeyer and are identified by a functional awareness that proves a provocative framework for the soloist. The construction of the arrangements hint at Basie, but are drawn with lilting lightness and economy that is Brokkmeyer. The solo sections are integral to the music's appeal and are excitingly handled. The flowing solo statements of Brookmeyer and Al Cohn on Oh, Jane Snavely are most outstanding.

Second, a comparatively standard medium size jazz gourd; three saxes (Gene Quill, alto; Al Cohn, tenor; and Sol Schlinger, baritone); Valve trombone, Brookmeyer; trumpet, Nick Travis; and three rhythm (Milt Hinton, bass; Osie Johnson, drums; Hank Jones, piano). The material: a modern blues – Confusion Blues, an excursion into Latin jazz; Gone Latin, which has some fine solo moments by Bob, Gene Quill and Al Cohn, over cooking Latin rhythm; finally, a standard tune with interesting chord changes, Zing Went The Strings Of My Heart... Again the scores pay their respects to Basie. I think you will find Al Cohn's arrangement of Zing the most delightful in this grouping, because everything seems to "sit" right. There is a wonderful opening solo by Brookmeyer, and an exciting barrage of four-bar interchanges among the horns that makes this tune even more exciting.

The last session is more serious in nature, for the material and handling of instrumentation tends to make it so. Once again there are eight men: two trumpets, Nick Travis and Bernie Glow; French horn, Joe Singer; tuba, don Butterfield; trombone and solo piano, Brookmeyer; reeds – Al Cohn, tenor and Milt Hinton, bass. The tunes: Big City Life by Bob Brookmeyer, is a nicely developed musing on just that. It features Bob on piano, Al Epstein on English horn and interesting utilization of the instrumentation in creation of sound of Nature Boy is a study in reflective sadness that plays up the lower portion of the sound spectrum and features Bob on trombone and piano, Al Cohn on clarinet, Joe Singer, French horn, and the depth that is Don Butterfield, on tuba. Finally, in the happier and more obviously jazz-like texture, is Al Cohn's arrangement of I'm Old Fashioned. It is typically rhythmically sound, and Al makes excellent use of the breadth of the lower register instruments for punctuation.

As Jack Lewis said as we here having coffee at the session, "The may not be the most experimental music in the world, but if Brookmeyer imprints  his name and personality on it, it has that ever so rare thing – soul." – Burt Korall

Oh, Jane Snavely

Nature Boy

Just You, Just Me

I'm Old Fashioned

Gone Latin

Zing Went The Strings Of My Heart

Big City Life

Confusion Blues

Open Country

Bijou - Ralph Burns

 

Spring In Naples

Bijou

Ralph Burns and His Ensemble

Recorded in New York City

Bethlehem Records BCP-68

1957

Ralph Burns - Piano (Multitrack on Side A, Band 5; Side B, Band 5)

Jimmy Raney - Guitar

Clyde Lombardi - Bass

Osie Johnson - Drums

From the back cover: It is not often, in the jazz world, that a musician is blessed with two different talents, one of which obscures the other even though both are highly developed. Such has been the case, nevertheless, with Ralph Burns.

Internationally, down as the arranger with Woody Herman for the past decade, Ralph won many awards on the strength of his brilliant, swinging orchestration: the Esquire New Star award in 1946, the Down Beat poll in 1952 and '53, the Metronome poll in '53. Yet he remains almost unrecognized as a pianist.

As anybody with an extensive knowledge of Ralph's keyboard exploration will attest, this represents a great injustice. The fault is partly Ralph's, or perhaps we should say Woody's for he has been so busy writing that there has been very little opportunity to worry about the question of how, when and where to present him as a pianist.

Actually Ralph was playing piano long before he began arranging, starting at the age of seven in his native Newton, Mass. After studying at New England Conservatory in 1938-9 he was heard with local bands, then came to New York in 1940 with a combo led by clarinetist Nick Jerret, a brother of singer France Wayne. Following a year with Charlie Barnet and six months with Red Norvo, he joined Woddy Herman early in 1944 as pianist and arranger, but the first year of so convinced him that arranging was a full-time occupation. He settled in New York, and from that time on his sparkling and original solo style was heard only occasionally – notably with Charlie Ventura sextet along 52nd Street in 1947; with Mildred Bailey, for whom he acted as accompanist and musical director on her final tour in 1951, and its Fran Warren in a similar capacity in 1943-4.

Early in 1954 Woody persuaded Ralph to go along with the Herman Herd's first European tour – not as pianist in the band, but as an "extra added attraction" to perform some of his original works on the continental concert appearances.

Europe liked Ralph and Ralph liked Europe – most of all Italy, where he stayed on for several months after the band had bone home. He worked at Bricktop's in Rome and began to feel like a pianist again.

By the time he got back to New York he was ready, with a little coercion, to be convinced that it was about time somebody put him on records as pianist in his own LP.

Ralph chose the fine bassist Clyde Lombardi, an old friend from Norvo and Ventura bands, to work with him on this session. On drums he brogue in Osie Johnson who has propelled the bands of Earl Hines and Illinois Jacquet with his fabulous beat and who won the Down Beat award as New Star of the year in the 1954 critics' poll. The guitarist was Jimmy Raney.

Here is the first extended argument in favor of more piano by Ralph Burns. A few hearing will convince you that his style is as original and attractive as the more famous Burns arranging personality.

Bijou, the title number of this album, was originally written and arranged by Ralph to feature the trombone of Bill Harris, who recorded it with the First Herman Herd in August 1945. In its new guise as a piano vehicle, it acquires a new and more emphatically Latin luster.

Spring In Naples bring back memories for Ralph of the pleasant months he spent in Italy (even though to be honest, he did not live the title).

Lover come back to Me has long been one of Ralph's preferred vehicles for extemporaneous swinging.

Gina is a Burns original, dedicated to a young lady whose last name is Lollobrigida and who similarly inspired Oscar Peterson not long ago ( but he used her last name for the title).

Perpetual Motion could also have been named Dual Motion, for Ralph dubbed in a second piano track to play an ingenious duet with himself on this one.

Spring Sequence calls to mind, both musically and in the similarity of names. Ralph's beautiful, pensive Summer Sequence, played in the mid-forties by the Herman band.

Echo Of Spring offers the delicate melodic lines of Willie "The Lion" Smith, still active as a jazz pianist around New York. Willie composed this delightful melody almost two decades ago and Ralph is the first  modern jazzman to bring it to the breath of a new spring.

Spring Is Here was selected by Ralph as one of the best of the dozens of great spring-titled standards that were considered for inclusion in this set.

Autobahn Blues is a jumping opus Ralph wrote in 1954 for Woody Herman to record, not long after they had gained a first hand view of many an Autobahn highway during the band's European tour.

Sprang is something that sprang out of Ralph's mind to lend variety of mood and tempo to the set. Here again Ralph has dubbed in a contrapuntal second piano line for a duet with himself. – Leonard Feather

Bijou

Spring In Naples

Lover Come Back To Me

Gina

Perpetual Motion

Spring Sequence 

Echo Of Spring

Spring Is Here

Autobahn Blues

Sprang

Christmas With Gisele - Gisele MacKenzie

 

I'm Dreaming Of A White Chirstmas

Christmas With Gisele

Gisele MacKenzie

Produced by Herman Diaz, Jr.

Cover: Jasmine White Mink styled by S. J. Glaser - a Master Furrier's Guild creation

Recorded in New York City

RCA Victor LPM-2006

1959

From Billboard - November 9, 1959: The thrush offers pleasant readings of standard Christmas songs and carols, and the set also contains three French carols. It's a nicely balanced and programmable item that should please her fans and collect coin during the coming holiday season.

God Rest Ye Merry, Gentlemen / The Coventry Carol

Have Yourself A Merry Little Christmas

Dans cette étable (In This Stable) / Les Anges dans nos compagnes (The Angels In Our Fields) / La Marche des rois (The March Of The Kings)

White Christmas

We Three Kings Of Orient Are / Good King Wenceslas / Gesu Bambio

The Christmas Song

Santa Claus Is Comin' To Town

Parade Of The Wooden Soldiers

The Night Before Christmas Song

Rudolf The Red-Nosed Reindeer

To Fat For The Chimney

Jingle Bells

Schubert Trout Quintet - Helmut Roloff

 

Trout Quintet

Schubert 

Trout Quintet

Helmut Roloff - Piano

With The Chamber Music String Ensemble of The Bayreuth Festival

Max Kalki, Violin; Emil Kessinger, Viola; Fritz Sommer, Violencello; Hermann Schumacher, Contra Bass

Telefunken STEREO

TCS 18023

Piano Quintet ("The Trout") In A Major, Op. 114

   3rd Mov.: Scherzo (Presto)

   4th Mov.: Theme and Variations (Andantino)

   5th Mov.: Allegro giusto

Contemporary Creations For Spanish Guitar - Laurindo Almeida

 

Night And The Sea

Contemporary Creations For Spanish Guitar

Laurindo Almeida

Capitol Records P8447

1958

From the back cover: The musical literature for the Spanish classical guitar has been, until recently, relatively restricted both in quantity and scope. In the Twentieth Century, primarily as the result of encouragement given to composers by skilled performers of the instrument, the expressive range of the guitar has been enormously increased by new compositions which reflect the musical language alf our time. This album is a reflection of Laurindo Almeida's devotion to and interest in new areas of musical expression for his instrument.

Some of the compositions in this album were commissioned by Mr. Almeida; others were first published in any one of the several current publications devoted to increasing the public interest in the classical guitar. Two of the compositions were composed originally for other media, and were arranged for this recording because Mr. Almeida believed their musical content was particularly suited for expression by the Spanish classical guitar.

All the composers represented are American, a fact Mr. Almeida beliefs to be significant, for to him it suggest that in the mot too distant future his instrument will not be associated primarily with one particular culture.

Alex North first came to the public attention through the score he composed for the motion picture "A Streetcar Named Desire." Later, this score was adapted for use in the ballet setting of the same story. Mr. North is a t present one of the film industry's most sought-after composers. His most recent honor was being chosen to compose two ballet scores for presentation at the Brussels Fair in the summer of 1958. The selection recorded in this album, Ballad for a Westerner, was not written for any particular motion picture. Although its lyle is ironical, and although the melody is faintly reminiscent of many western songs, Ballad For A Westerner is a composition of unusual charm and distinction.

David Raskin has composed music for more than one hundred motion pictures. His creative activities, however, have not been restricted to the motion picture industry; he has composed incidental music to such plays as Robert Sherwood's "The Road To Rome" and Anouilh's "Eurydice," as well as the scores for the ballets "Inspiration," "Mother Goose step" and "Feather In Your Hat." Nine of Mr. Raksin's motion picture scores are in the national archives of the Library of Congress. In this album, the Theme from "The Bad And The Beautiful" has been arranged by Mr. Almeida for guitar solo.

Franklyn Marks is represented by two compositions, Night And The Sea and Dialogue. At present a composer and arranger at the Walt Disney Studios, Mr. Marks had never previously composed for the guitar. Night And The Sea, which he describes as "introspective and impressionistic," is the type of music Mr. Marks feels is best suited for the instrument. Dialogue is programmatic in content. According to the composer, it represents the internal conflict between man and woman – and, as usual, the feminine voice has the last word.

George M. Smith has been associated with the guitar as a composer, teacher, and as a performer. His compositions in this album, The Merry Makers and La Coquette, both fanciful in style and structure, display an intimate knowledge of those particular areas of musical expression where the guitar is most colorful and effective.

Lewis Raymond has engaged in musical activities that have ranged from being an organist in a silent motion picture theater to composing music performed by the New York Philharmonic and Philadelphia Symphony Orchestras. The composition Danza, of all the selection in this album, most clearly suggests the Spanish idiom with which the guitar is identified.

The Prelude by Henry Mancini was commissioned by the soloist in this album; the full title of the composition is Prelude For Laurindo. Mr. Mancini studied at the Juilliard School Of Music in New York, and in addition took private lessons in composition from Ernest Krenek and Mario Castelnuovo-Tedesco. His most recent activities have been primarily in the field of motion pictures, where he has scored such films as "The Glenn Miller Story," "Touch Of Evil" and "Voice In The Mirror."

Toccata by Jerrald K. Goldsmith is perhaps the most modern and yet the most severely classical composition in this album. The composer seems to have borne in mind the standard definition of a toccata, namely 'a composition in the style of an improvisation intended to exhibit the player's technique." The technical demands made upon the performer in Toccata are enormous, and yet there is nothing that is not suited for the guitar. The composer is presently closely associated with the television industry; among the many show for which he has composed original scores are "Studio One," "Climax" and "Playhouse 90."

Jack W. Marshall is another man closely identified with the guitar both as a performer and as a composer. He is represented in this album by two selections, Children's Album and Three Romantic Waltzes. Children's Album consists of four pieces called "A Tango For Saturday Morning Dancing Classes," "A Song For Sleigh Rides" "A Waltz For Broken Dolls" and "A Lullaby For Tired Cowboys."

Fantasy by Martin Paich is another work commissioned by Mr. Almeida. The composer's purpose was to write something that would be reminiscent of Mr. Almeida's native land, Brazil. Fantasy is divided into two sections. The first section contains a rhythmical pattern, stated in the introduction, which is the focal point of the musical interest. The second section follows without pause and is marked by a lyrical melody set against a tremolo counterpoint.

Laurindo Almeida has achieved fame by creating serious compositions for guitar, by performing brilliantly with some of the nation's most distinguish jazz bands, and by playing with equal brilliance on the concert stage. Hi appearances at such places as Carnegie Hall, Chicago's and San Francisco's Civic Opera Houses, and the Hollywood Bowl have been marked by enthusiastic acclaim.

Toccata

Prelude

Children's Album

Fantasy

Ballad For A Westerner

The Merry Makers

Danza

The Bad And The Beautiful

La Coquette

Night And The Sea

Three Romantic Waltzes

Dialogue

The Joe Daley Trio At Newport '63

 

Ballad

The Joe Daley Trio At Newport '63

Produced by George Avakian and Angie Blume

Recorded at The Newport Jazz Festival, Newport, Rhode Island, on July 5, 1963

Recording Engineer: John Janus

RCA Victor LPM-2763

1963

Joe Daley - Tenor Saxophone

Russel Thorne - Bass

Hal Russell - Drums

From the back cover: One of the original ideals of the Newport Jazz Festival has been to bring to oplubic attention unknown but deserving talent. Producer George Wein has made it possible each year for such performers to appear alongside better-known "names," and, as Father Norman o'Connor (a long-tie friend of jazz who often doubles as a master of ceremonies at the Festival) observes at the beginning of this album, it often happens that the afternoon programs are more interesting and are closer to the heart of jazz than the bigger evening presentations.

Such was certainly the case when the Joe Daley Trio played at Newport on the afternoon of July 5, 1963. It had been –and, after this Chicago threesome performed, it baden again – a relatively conservative program. But while Joe was on-stage, it was like a fresh, cool breeze. (Incidentally, the paying audience didn't hear everything that' on this recording, as programing limitation did not permit the Trio to stay on-stage long enough; knowing this, we taped a rehearsal half for the purpose of balancing the sound, and this gave us material enough for a full album.)

The Joe Daley Trio walked on-stage at Newport unknown, but was quickly established as a fresh, venturesome unit of three imaginative virtuosos who worked as one. They proved that they could "blow" when they chose to, and could also go about as "far out" as anyone ever has at the Festival. But even so Abstract a piece as bassist Russell Thorne's Knell drew respectful and rapt attention from the audience; not even a passing plane (which you can hear on this recording) could break the spell.

Improvisation in the Joe Daley Trio means long-line development of a theme (or fragments of a theme), often without regard to tonality or meter in the conventional sense. The group, while it frequently plays an even more adventurous program than is heard in this album –its repertoire includes numbers that make Knell seem conservative – does not go so far as many "red-style" advocates in accepting "anything that comes out of the horn, goofs an all," in the name of artistic and philosophical freedom.

Daley, a throughly-grounded musician, points out that linear development which ignores key and bar-line restrictions can be extraordinarily free and, at the same time, quite within the framework of accepted musical practice. "Like many modern jazz musicians," he says, "we improvise developments. There is alma no limit to what you can do in this kind of form, so we don't feel restricted buy the imposition of standards of musicality." (This kind of working toward an over-all shape of the music has some pretty old advocates as well as recent ones: Beethoven and Bartok, for example, could build a development out of just one bar of music.) "But the thread of jazz must never be forgotten," Daley adds, "or else you end up with sort of chamber musics with improvising overtones."

Daley's views can be heard throughout this recording – in his original compositions, his own playing, and in the work of the Trio as a whole. Ode To Blackie (as original by Joe, dedicated to an old friend) is an easy, relaxed 3/4 piece in a modal vein, alternating between G and F harmonies, but cadencing on a D sound. His Ballad, influenced by a classical work which deserves to be better known, was composed to project a "free" blowing approach in a ballad style; a deliberately extreme breathy sound is part of the projection.

Dexterity, a Charlie Parker composition based on the harmonies of a familiar standard of the Twenties, is one of the Trio's more orthodox numbers, in which Joe's solo at the beginning does observe tonality and meter. "We play it to show that we enjoy mainstream music, too, and don't intend to discard it," says Joe. ("Mainstream" to Joe is pretty advance to most people!)

One Note is almost a reductio ad absurd demonstration of the complete simplification of thematic material for a fast-tempo tour-de-force improvisation. (Having run out of italicizable descriptions, we'll let Joe and the boys show you how it's done; it's good listening fun as well as good music!) The high-tension Knell is not written as a theme or melody with a form, but as a series of sounds (at one point, Joe sings into the mouthpiece as he blows) designed to convey a sad, mournful feeling, with a touch of blues. Ornate Coleman's Ramblin' does to the blue what Dexterity did to an earlier pop form. The breaks in the melody project a country roots feeling without disturbing the solid groove this piece generates.

The members of the Trio are representative of the jazz musician today who is a skilled technician with more than a touch of classical training and experience. Drummer Hal Russell holds a master's degree from the University of Illinois; his background ranges from playing with Miles Davis to playing with the Chicago Civic Symphony as a timpanist. He has an unusually varied kit of percussion instruments and makes full use of them; his sense of sound is a vital factor in the Trio's work. Russell Thorne is one of the most sound-conscious bassists around. His strong classical background – he is a former symphony musician who was drawn to the work of the most advanced contemporary composers as well as to jazz – is clearly discernible. His extraordinary technique is couple with a daring condition which resulted in accompaniments and solos which are often nothing less than breath-taking. At Newport, he electrified the crowd with some starling, but highly musical, effects by playing below the bridge as well as flying about the stings in more accepted fashion – only, it seemed, about twice as fast as anybody else you'd heard in a long, long time.

Joe Daley, himself, has been on the Chicago scene for many years, working with various bands (including Woody Herman's and a band that Joe Williams sang with – the two Joes had quite a happy reunion backstage at Newport). He has recorded in Chicago studios with innumerable pop artists, and has composed "serious" music as well as jazz. He, too, holds a music degree and continues to teach in Chicago although the Trio, happy to relate, is finding itself increasingly in demand on the night club and concert scene.

Something really new in jazz, with roots that are real – that's the Joe Daley Trio. – George Avakian

From Billboard - December 28, 1963: This is the avant-garde kind of music with a bit more swing and a bit more melody than has been available to the public at large previously. The Daley group is new on the jazz scene. He plays tenor and is accompanied by bass and drums. Set was recorded at Newport, 1963.

Ode To Blackie

Ballad

Dexterity

One Note

Knell

Ramblin'

The Horn's Full - Jack Montrose

 

Headline

The Horn's Full

Jack Montrose And All-Stars

Red Norvo

Supervision: Shorty Rogers

Photo by Ben Rose

RCA Victor LPM-1572

1958

Rosanne

Polka Dots And Moonbeams

The Little House

Solid Citizen

Do Nothing Till You Hear From Me

True Blue

The Horn's Full

Goody Goody

Jack Montrose - Saxophone

Red Norvo - Vibes

Barney Kessel - Guitar (Courtesy of Contemporary Records)

Lawrence Wooten - Bass

Mel Lewis - Drums

Dark Angel

Crazy She Calls Me

Headline

Jack Montrose - Saxophone

Red Norvo - Vibes

Jim Hall - Guitar

Max Bennett - Bass

Bill Dolney - Drums

From the back cover: First off, I'd tell you – and it is kind of important – that whenever a song appeals to me enough to make me want to write an arrangement of it, then I figure it is an appealing enough melody to remain in its original form. In other words, I don't eve change the melody. I do, however, elaborate on and add color to melodies by adding contrapuntal lines and counter melodies to them – sometimes one, sometimes tow, and in some cases even three when the spirit so demands. 

Second off, there's an important feature in the way my arrangement its turn out. I do not enjoy listening to plays on the harmony parts, and consequently do not like to write them either. That is work, and to my way of thinking, any time a body has to work to write music, it usually cones out sounding that way.

I reckon that these were the two main precepts that were running around in my head when I began working on the music for this album. If the music in general betrays a consistency and uniformity of approach, and I surely hope it does, then these two factors are mainly the reason why.

There is one other thing I would like to mention. When you get a bunch of guys together and there is a lot of sympathy and understanding and good feeling between them, and everyone digs each other, and all are eager and happy and want to play, then you have a definite feeling that some of these goodness is going to come through on a record. That is just what we all wanted to happen, and I believe that is just what did happen here.

Herbie Mann Live At Newport

 

Desafinado

Herbie Mann Live At Newport
Cover Photo: Jim Marshall
Back Liner Photo: Harry J. Gittes
Cover Design: Loring Eutemey
Supervision: Nesuhi Ertegun
Recording Co-ordinator: George Avakian

Recording Engineers: Mickey Crofford & Tom Dowd

Assistant Recording Engineer: Harry Mearns

This album was recorded in its entirety at the Newport Jazz Festival on July 7, 1963

The Newport Jazz Festival is produced by George Wein 

Atlantic 1413 

1963

Personnel

On Desafinado & Garota de Ipanema: Herbie Mann, flute; Diave Pike, vibraharp; Don Friedman, piano; Attila Zoller, guitar; Ben Tucker, bass; Bob Thomas, drums

On Soft Winds, Samba de Orfeu & Don't You Know: Percussionists Willie Bobo & Carlos "Patato" Valdez are added

Soft Winds

Desafinado

Samba de Orfeu

Don't You Know 

Gartoa de Ipanema

Yamaha Suite - Eugene Rousseau

 

Yamaha Suite

Yamaha Suite

Eugene Rousseau Saxophone Quartet

Golden Crest Records CRS 4224

1982

From the back cover: The Musicians 

One of the world's great saxophonist, Eugene Rousseau, has had an extensive background in classical and jazz music. Since his highly successful solo debut in New York's Carnegie Hall he has had engagements throughout the world. His great knowledge of woodwind instruments has been used thoroughly during his professional playing and teaching career. He earned his Ph. D. from the University of Iowa in 1962, and has been Professor of Music at Indiana University since 1964.

Rousseau has recorded numerous solo works for saxophone, including an album of concertos for Deutsche Gramophone. Among his publications are a two-volume Method For Saxophone (Kjos), and a work on the above-normal range of the saxophone, Saxophone High Tones (Etonile), plus numerous solos and arrangements.

As Chief Consultant to Yamaha for saxophone research and development, he has devoted his creative abilities to the artistic and acoustical development of saxophones and saxophone mouthpieces.

Born in Albuquerque, Bobby Shew began trumpet at age ten. He played with the Tommy Dorsey Band (with Dam Donahue), and the bands of Woody Herman and Buddy Rich. As a lead player he travelled with Robert Goulet, Paul Anka, Della Reese and Steve Allen and then to Las Vegas for nine years. He moved to LA in 1973 to return to jazz, playing in the combos of Bud Shank, Art Pepper, Frank Strazzeri, Barry Zweig and Chuck Flores. In big bands he has played lead for Don Menza, Neal Hefti, Frank Capp-Nat Pierce, Bill Berry and Oliver Nelson, in addition to the Akiyoski / Tabackin and Louis Bellson Bands.

Stephen Goacher is a member of the music faculty of Kentucky State University. One of this country's foremost woodwind doublers, he performers regularly on flute, obey, clarinet, bassoon, and saxophone.

Jean Lansing has distinguished herself as a prefer of the first rank in both classical and jazz music. A faculty member of Wichita State University, she continues to perform and travel extensively.

Dennis Bamber teaches at Notre Dame University and has his own music studio in South Bend, Indiana. A medal winner in the Geneva International Saxophone Competition, he is active as a soloist and has a number of recordings to his credit.

George Gaber has distinguished himself in the musical world as a percussionist, teacher, soloist, lecturer, and composer. His diversified background has brought a wealth of knowledge in the art of percussion to the School Of Music, Indiana University, which Professor Gaber established, is one of the world' most outstanding educational institutions in percussion. Pittsburgh Symphony Orchestra, New York Philharmonic, NBC Symphony of The Air, and the ABC Symphony. He has played premiere performances under the direction of Paul Hindemith, Darius Milhaud, Igor Stravinsky, Bela Bartok, and Gian Carlo Menotti.

Milton John Hinton is considered by many to  be the Dean of American Jazz Bassists. He is fondly called "The Judge" by musicians and fans. The list of artist whom he has accompanied reads like a Who's Who in show biz, Gleason, Erroll Garner, Artie Shaw, Red Norvo, Barbra Streisand, Lena Horne, Sarah Vaughn, Ella Fitzgerald, Quincy Jones. Milt has received an Esquire Sky, the Downbeat Awards, and the Duke Ellington Fellowship. In 1975 he was elected to the first Newport Jazz Festival Hall Of Fame.

Yamaha Suite - John Carisi

   Fantasia And Gospel Jazz

   Ballade

   Chase

Toccata In F - Marty Paich

Quartet For Saxophones - Robert Linn

   Allegro Con Brio

   Poco Adagio

   Vivo

Four Movements For Saxophone, Quartet And Timpani - Bernhard Heiden

   Moderato

   Allegro Molto

   Lento

   Allegretto All Marcia