Opus De Funk and Theme
Woody's Winners
Featuring The New "Northwest Passage"
Wood Herman
Recorded live at Basin Street West, San Francisco, on June 28, 29 and 30, 1965
Cover Photo: Columbia Records Photo Studio - Henry Parker
Columbia Records STEREO CS 9236
Clarinet, Alto Sax - Woody Herman
Tenor Sax - Gary Klein, Salvatore Nistico, Andy McGhee
Baritone Sax - Tom Anastasia
Trumpet - Gerald Lamy, Dusko Goykovich, Bob Shew, Don Rader, Bill Chase
Trombone - Henry Southall, Frank Tesinsky, Donald Doane
Piano - Nat Pierce
Bass - Anthony Leonardi
Drums - Ronnie Zito
From the back cover: Woody Herman himself has indeed been – and decidedly is – a winner. He has basked in the limelight of the winner's circle many times for more than a quarter of a century. He has ben honored by jazz polls for the high musical quality of his own performances and for his respective "Herds." His outstanding recordings, from the old 78's to albums of the 1960's, are collectors' items. He has even toured foreign lands for the State Department. Woody Herman, in short, has earned the rare respect, adulation and lasting enthusiasm of countless people from all over the world.
Woody's groups have been among the notably productive seedbeds for jazz musicians, who have been nurtured, trained and very often explosively introduced to the public. To cite specific cases would easily involve a long list of jazz musicians. Even in 1965 there were new talents in the Herman band whose brilliance, vigorous spirit and musicianship attracted and stirred crowds from San Francisco to the Jazz Festival in Juan les Pins, Antibes. This process, the subtle, complex evolution of the Herman bands under Woody's effectual leadership, has been occurring for a long time and cannot be explained by a single performance of relationship. The French have a word for it, I believe Р̩panouissement. Although it has no exact of literal English translation, it does convey the idea of "becoming," and encompasses such nuances as growth, development, unraveling, flowering and fulfillment.
This album, recorded live at Basin Street West in San Francisco, is the realization of a long-held hope of mine. Having Woody play for the first time in Basin Street West (a spacious, attractive club that John Hammond has called one of the finest jazz rooms in the country) was a three-day jazz joyride. Album Producer Teo Macero and other Columbia staffers were present during the engagement, and were rocked by this newest edition of Woody's wailing, free-swinging, smoking band. Woody's stand-up firing squad nearly blew the glasses and everything else off the patron's tables. No doubt about it, the band held its audiences spellbound.
The selections: 23 Red - Bill Chase wrote this blistering swinger several years ago. When I first heard it in December, 1963 in Las Vegas, I hoped that it would be recorded some day. The seemingly mystic title is very simply explained. The numeral 23 and the color red are a "lucky" combination that composer Chase used at roulette tables in Reno, Tahoe and Las Vegas when the band played there. Actually, "23" is the band's repertoire code name for the tune "Four Brothers" ("hot tunes" such as "Caledonia," identified as "24," and "Early Autumn," "21," are also "lucky" at the felt-lined tables).
This opening track is one of the album's many highlights. The trumpet-centered chart features Chase, Dusko Goykovich and Don Rader in a romping trumpet choir that opens with lightening excitement and explodes into Chase's shout to initiate a fascinating series of exchanges (on chorus each of two bars, two choruses of four bars and two choruses of two's).
My Funny Valentine – This version has been labeled by its arranger, Don Rader, as "My Funky Valentin." Dig Woody's low-register clarinet with its natural, warm, woody sound. Rader's open-horn work is followed by an Al Cohn-tinged tenor of Gary Klein. The trumpets screech as lead trumpeter Chase impressively penetrates the sound barrier. My Wailin' Valentine it is!
Northwest Passage – Woody's galloping warhorse get a redressing job by arranger-pianist Nat Pierce. Originally recorded on March 1, 1945, by the "First Herd," it now joins the ranks of "Apply Honey" and "Caledonia," head arrangements rendered in later, contemporary versions. All we need now is "Your Father' Mustache" and "Wild Root," and the twenty-year cycle of up-tune overhauling will be nearly complete.
Woody, Nistico and Rader on mute kick it off and then Sal lashes into his long solo, much like a voracious Cro-Magnon devouring a long-sought meal. Chase's trumpet slices in, rapier-like, to boost the scorching excursion to its conclusion. A real pressure-cooker.
Poor Butterfly – an oldie scored by Rader who, incidentally, contributed several nice arrangements during this latest tenure with Woody. Previous associations with the Maynard Ferguson and Basie bands helped pave the way for Don's current creative outpourings. Father Herman's richly beautiful alto and clarinet never dip into the commonplace. His lyrical statements can be serene and lovely, yet at the same time be buoyed up by intense sincerity and passion.
Woody's Whistle – This is an original blues by Dusko Goykovich, who wanted to "get the guys to relax and release tensions, to rid themselves of cobwebs with the hard-walking feeling of this number." The chart processes highly interesting thematic phrases. Nat Pierce's groovy pianists carry the line again while over it Woody sometimes sings the short commentary: "Your sister smokes... your sister smokes... smokes in bed." Nistico's wailing is followed by Dusko' crying re-entry.
To close the tune, Woody blows hi pocket whistle. It is not just a device for this tune; it has been a functional part of Woody's stage accouterment for some time. Woody blows it to signal to members of the band that intermission is over, and that it's time to regroup on the bandstand for the next set.
Red Roses For A Blue Lady – Another arrangement by the Yugoslavia trumpet star, Dusko Goykovich, this has a good Herman reed-section sound. Andy McGhee fashions a cruising, warmly attractive tenor solo.
Opus de Funk and Them (Blue Flame) – I am delighted that this Horace Silver vehicle is included! Back in June, 1955, Woody recorded Nat Pierce's arrangement of it, and here it is again a decade later – and what a swinging version it is! Nat's wonderful piano work (Woody makes a jocose reference to pianist Mary Lou Williams) forecasts the visceral swing of the performance. Gary Klein uncorks a Lester/Al Cohn-ish solo, and Chase reaches way upstairs to lift the elation even higher. Finally, Dusko pours fresh, flaming fuel into this steamer, while the band grooves with propulsive riffs.
This was the final tune the band played that last night at Basin Street West. It was obviously inspired by the very hip crowd gathered there. Their enthusiasm was so demonstrative that they stood up and shouted, demanding more. The band, however, segued into the Herman theme, Blue Flame. Woody's recorded comment, "We dug it the most," sums up what happened at Basin Street West. The Herman band, playing with unusual ̩lan, had provided some of its most arm-pumping, hand-clapping, finger-snapping, foot-tapping big-band jazz ever! РHerb Wong, KJAZ-FM, San Francisco
23 Red
My Funny Valentine (from "Babes In Arms")
Northwest Passage
Poor Butterfly
Greasy Sack Blues
Woody's Whistle
Red Roses From A Blue Lady
Opus de Funk and Theme (Blue Flame)
