Tuesday, February 13, 2018

Monday, July 27, 2015

Clark Terry

Aside from a three-song session for V-Disc during the late 1940s, this CD contains Clark Terry's first recordings as a leader. Already an alumni of both Charlie Barnet's and Count Basie's bands, and a then-current member of Duke Ellington's orchestra, Terry is more focused on bop in these dates, with a terrific band including trombonist Jimmy Cleveland, baritone saxophonist Cecil Payne, pianist Horace Silver, cellist/bassist Oscar Pettiford, bassist Wendell Marshall, and drummer Art Blakey, with charts by Quincy Jones. The infectious opener, "Swahili," was credited to Jones, though in Carl Woideck's liner notes, Terry remarks that he had a hand in its creation at the date. The loping "Double Play" features both bassists and a fine muted chorus by the leader. The easygoing bopper "Co-Op" was penned by Terry and fellow Ellington sideman Rick Henderson, with pungent statements by the trumpeter and Payne. The brisk blues "Chuckles" is a dazzling finale to his first LP, showcasing Payne and Cleveland before Terry takes over and plays a chorus in each of the 12 keys to wrap things up with a flourish. There may be a bit of confusion for anyone who owns a copy of the original LP, as many of the songs were mislabeled on it. The last four tracks came from a 1954 10" album, Cats Vs. Chicks' players include Silver and Pettiford (Percy Heath takes his place on two numbers), trombonist Urbie Green, tenor saxophonist Lucky Thompson, guitarist Tal Farlow, and drummer Kenny Clarke. Terry's vocal-like muted horn is heard in "Cat Meets Chicks," while his distinctive style on open horn is prominent in his "Mamblues," which also has a tasty chorus by Farlow and a bit of Latin percussion behind the ensemble passage. "Anything You Can Do (I Can Do Better)" is a mock battle between instrumentalists, with Mary Osborne challenging Farlow, trumpeter Norma Carson putting Terry to the test, while Terry Pollard takes on Horace Silver. There are no losers in this swinging meeting.
Ken Dryden

Source : http://www.allmusic.com/album/clark-terry-polygram-mw0000595668

Clark Terry
[Verve Elite Ed.]


1 Swahili (Jones)  6:07
2 Double Play (Jones)  3:33
3 Slow Boat (Terry)  4:28
4 Co-Op (Terry)  3:45
5 Kitten (Terry)  5:35
6 The Countless (Green, Terry)  6:42
7 Tuma (Jones)  3:06
8 Chuckles (Terry)  4:19
9 Cat Meets Chick (Feather)  3:32
10 Mamblues (Terry)  2:31
11 The Man I Love (Gershwin, Gershwin)  3:15
12 Anything You Can Do (Berlin)  4:52


[# 1-8] Orignal LP issue : Clark Terry EmArcy MG 36007
Clark Terry - tp
Jimmy Cleveland - tb
Cecil Payne - bs
Horace Silver - p
Oscar Pettiford - cel & b [# 2, 4, 5, 7 & 8]
Wendell Marshall - b [# 1, 3 & 6]
Art Blakey - dr
Quincy Jones - arr.
Recorded at Fine Studio Recording, New York City ; January 3 [# 1-4] & January 4 [# 5-8], 1955
[# 9-12] Original 10"-LP issue: "Cats vs. Chicks" MGM E255
Clark Terry - tp
Norma Carson - tp [# 12 added]
Urbie Green - tb
Lucky Thompson - ts
Horace Silver - p
Terry Pollard - p [# 12 added]
Tal Farlow - g
Mary Osborne - g [# 12 added]
Percy Heath - b [# 11 & 12]
Oscar Pettiford - b
Kenny Clarke - dr
Recorded in New York City ; June 2, 1954

Clifford Brown with Strings

Recordings setting soloists alongside string ensembles were not a staple of the bop years, but, when trumpeter Clifford Brown recorded With Strings, he had two illustrious predecessors. In 1946, trumpeter Dizzy Gillespie recorded four Jerome Kern standards with an ensemble arranged by Johnny Richards. Kern's estate, horrified at the "desecration," blocked their release (they were finally issued in 1980 on Phoenix Records). In 1949, saxophonist Charlie Parker recorded with strings arranged by Jimmy Carroll, returning to the idea a year later, this time with arranger Joe Lipman. In 1955, Brown's string ensemble was arranged by Neal Hefti, on a session which also employed Brown's regular touring band — Richie Powell, George Morrow, Max Roach — augmented by guitarist Barry Galbraith.
Brown's With Strings may not have been the first album in the field, but it is surely among the most beautiful of jazz discs ever to be made with strings—or, come to that, without them. It benefits, too, from the advances in studio technology made in the 1950s, after the Gillespie and Parker recordings : the sound is deep and lush, and the six violins, two violas and a cello sound like an ensemble larger than its actual size.
Brown's sunny, lyrical style was as well suited to a strings setting as that of tenor saxophonist Stan Getz, whose Eddie Sauter-arranged masterpiece, Focus (Verve), was recorded in 1961. Unlike Getz, Brown's approach was not improvisation-focused ; the 12 tracks on With Strings are all around three minutes long and Brown's solos are restricted, in the main, to theme embellishments during the second half of each performance. Hefti's gorgeous arrangements aside, the magic comes from the way Brown reads the tunes.
What great tunes they are. Three composed by Jerome Kern, two by Richard Rodgers, and others by George Gershwin, Eubie Blake, Bob Haggart, David Raksin, Ann Ronell and Joseph Russel Robinson. The disc closes with Hoagy Carmichael's "Stardust."
Every one of the tracks is a gem, but "Stardust," by a neck, is the most lustrous, a reading to set alongside Carmichael's own privately made, intensely poignant solo piano recording of 1944.
If any criticism can be leveled at With Strings, it is a small one. Had the number of tracks been limited to ten, allowing a chorus or so of full-on trumpet improvisation, with the album still coming in at the then-maximum 40 minutes' playing time, we would, perhaps, have perfection. But that is to cavil. With Strings is as close to perfection as makes no difference.
A year after the album was made, Brown (along with Richie Powell) was killed in an auto crash, aged 26.
Chris May

Source : http://www.allaboutjazz.com/php/article.php?id=41035

 Clifford Brown
with Strings


1 Yesterdays (Harbach, Kern)  2:59
2 Laura (Mercer, Raksin)  3:26
3 What's New ? (Burke, Haggart)  3:23
4 Blue Moon (Hart, Rodgers)  3:13
5 Can't Help Lovin' Dat Man (Hammerstein, Kern)  3:43
6 Embraceable You (Gershwin, Gershwin)  3:00
7 Willow Weep for Me (Ronell)  3:24
8 Memories of You (Blake, Razaf)  3:31
9 Smoke Gets in Your Eyes (Harbach, Kern)  3:14
10 Portrait of Jenny (Burgie, Robinson)  3:24
11 Where or When (Hart, Rodgers)  3:26
12 Stardust (Carmichael, Parish)  3:23


Clifford Brown - tp
Richie Powell - p
Barry Galbraith - g
George Morrow - b
Max Roach - dr
Unknow - str
Neal Hefti - arr & cond

Recorded at Fine Sound, New York City ; January 1955 .

Sunday, July 26, 2015

Stan Getz Quintet at Carnegie Hall '52

Getz was born in Philadelphia 1927, and like many other saxophone players of his time, began his professional career with big bands. He was briefly with Jack Tiegarden, a year with Stan Kenton, then with Benny Goodman, before moving to Woody Herman's band where he made his first real impact on the jazz scene with two justly celebrated solos — "Early Autumn" and the equally historic "Four Brothers". Along with fellow Lester Young disciples Al Cohn, Zoot Sims, Brew Moore and Allen Eager, Getz brought a cool approach to his music, and he became a seminal figure of the Bebop Era. His playing was at once melodic, flowing and uncluttered, while an air of relaxation pervaded his recordings. However, the three-minute limitations of the 78 r.p.m. record which had prevailed since he 1920's had come to an end, and it therefore came as an enormous surprise (and a source of great pleasure, a shock even) when, with the advent of long-play records one could hear a major jazz soloist stretching out at a concert or during a "normal" working engagement. Such is the case in the enclosed album where we are fortunate to have Getz caught in full flight at a Carnegie Hall concert in November 1952 — almost exactly a year to the day when a live recording of a Stan Getz quintet had been made at Storyville Club in Boston. This latter album caused quite a stir in that it clearly demonstrated tha Getz wasn't the quiet cool player we'd been led to believe, and our first awareness of his development as an attacking rhythmic player, most of the tracks being up-tempo.Getz was actually changing his style an at this period, to a more extrovert and muscular approach, at times "hot", but guitarist Jimmy Raney had no problem in adjusting to this new approach ; in fact he'd been moving in the same direction himself. Duke Jordan, for his part, had been associated with Charlie Parker for a considerable time, so was quite used to breaking new musical ground — while bassist Bil Crow and drummer Frank Isola were to become virtually Getz's "regular" rhythm section over a long period still to come [...].
Moreover, between Getz and guitarist Jimmy Raney there existed an excellent rapport, and the two men and their instruments blended well together when interweaving their contrapuntal variations. It is not surprising therefore that Raney, with his own quiet and unhurried approach, was the longest-serving member of the Stan Getz combos of this period, and an integral part of any Getz quintet at the beginning of the 50's. The piano bass and drums may have changed from time to time, but whenever there was a guitar it was always Raney. He had a subtle, low-keyed approach, and like Getz, always seemed relaxed even at very fast tempos...
Mike Baillie (from the booklet)

Stan Getz
At Carnegie Hall


1 There Will Never Be Another You (Warren, Gordon)  6:38
2 Stike Up the Band (Gershwin, Gershwin)  6:40
3 Sweetie Pie (Getz, Loeb)  6:20
4 Moonlight in Vermont (Suessdorf, Blackburn)  2:59
5 Stella By Starlight (Young, Washington)  5:25
6 Cherokee (Noble)  7:05
7 Always (Berlin)  3:50
8 Sweet Miss (Winding)  4:15
9 Long Island Sound (Getz)  2:42


[# 1-6]
Stan Getz - ts
Duke Jordan - p
Jimmy Raney - g
Bill Crow - b
Frank Isola - dr
Recorded live at Carnegie Hall, New York City ; November 14, 1952.
[# 7-9]
Stan Getz - ts
Kai Winding - tb
Al Haig - p
Tommy Potter - b
Roy Haynes - dr
Recorded live at Carnegie Hall, New York City ; December 24, 1949.

Gerald Wiggins - Wiggin' with Wig

Gerald Wiggins, a quintessential sideman figure on the West Coast jazz scene, played piano with a dexterity and facile skill that easily rivaled the witty speed of Oscar Peterson and the soulful playfulness of Erroll Garner. This was readily acknowledged by his peers in California, but not heard by the jazz world at large until this, his debut U.S. recording, originally for the Dig label owned by the legendary Johnny Otis. With former Nat King Cole bassist Joe Comfort and then emerging jazz drummer Bill Douglas, Wiggins did this session in 1956, and it is a straight reissue of those tracks, with no extra material, at the LP length of just under 40 minutes. Wiggins generally goes back and forth from upbeat post-bop to mellow and sweet easy swingers -- there's little middle ground. The tunes that fly by very quickly include standards "Love for Sale," "Surrey with the Fringe on Top," the quick, popping "Three Little Words" and the Wiggins original "DeSilva Wig" for jazz DJ Walt DeSilva. On these, the trio is, well, wiggin' out! The slower numbers are also done with a taste and refinement exclusive of much older players, but Wiggins has selected some numbers off the beaten path. Duke Ellington's lovable "I Don't Know What Kind of Blues I Got," is somewhat obscure, a delicate read of "The Man That Got Away" is not the best known Harold Arlen tune, and the warhorse "Dinah" is taken at an unusually slow pace, with Wiggins inserting stride references astutely reminiscent of Garner. "Laura" is nice and elegant, but shows the lounge side of Wiggins in a less typical or rote fashion. Comfort and Douglas sound great together, as their finely crafted and in-tune collaboration supporting Wiggins cannot be overlooked. The shortness of this program might be an issue for bargain hunters, but this is an historical document marking the emergence of one of the true unsung heroes in modern mainstream small group piano jazz, and is an item all should find easy to love.
Michael G. Nastos

Source : http://www.allmusic.com/album/wiggin-with-wig-mw0000413381

Gerald Wiggins
Wiggin' with Wig


1 Love for Sale (Porter)  4:01
2 I Don't Know What Kind of Blues I Got (Ellington)  6:31
3 De Silva Wig (Wiggins)  4:31
4 Laura (Mercer, Raksin)  3:29
5 Surrey with the Fringe on Top (Hammerstein II, Rodgers)  2:41
6 Dinah (Akst, Lewis, Young)  3:30
7 All That's Good (Wiggins)  5:40
8 The Man That Got Away (Arlen, Gershwin)  5:48
9 Three Little Words (Kalmar, Ruby)  3:27


Gerald Wiggins - p
Joe Comfort - b
Bill Douglass - dr

Recorded in Los Angeles ; 1956

Henryk Szeryng Plays Bach (1955)

Polish-born violinist Henryk Szeryng was probably the finest product of Carl Flesch's legendary teaching career. Possessing an iron technique and a musical intellect of rare insight, Szeryng established himself as one of the pre-eminent concert violinists of the post-World War II decades. Szeryng was born in 1918 to a wealthy Polish industrialist whose wife had a great love of music. Studies on the piano were abandoned for the violin, though Szeryng remained skilled at the keyboard for the rest of his life. Szeryng progressed quickly on his new instrument and by age nine was sufficiently proficient to perform the Mendelssohn concerto for famed violinist Bronislaw Hubermann, a friend of the family. On Hubermann's advice Szeryng was sent to Berlin to study with Carl Flesch; Szeryng would later declare that his technical prowess was solely due to that masterful teacher's influence. Two years later in 1933, Szeryng made his debut performance in Warsaw with the Beethoven concerto under Bruno Walter. That same year he embarked on a minor concert tour, soloing with orchestras in Bucharest, Vienna, and Paris. Szeryng immediately took to the city of Paris and settled there for a period of further study and growth as a performer. There he came under the influence of legendary violinists Enescu and Thibaud, though he did not formally study with either. Szeryng also thought about pursuing composition as a career, and for six years took lessons from Nadia Boulanger. At the outbreak of war in 1939 Szeryng enlisted with the Polish army. Being fluent in seven languages, he was assigned to General Sikorski as a translator, with whom Szeryng helped to relocate hundreds of Polish refugees in Mexico. During the war Szeryng gave hundreds of concerts for Allied troops around the globe, and in 1943, during a concert series in Mexico City, was invited to take over the string department at the University of Mexico. Szeryng accepted the offer, and assumed his duties in 1946. He spent the next ten years in Mexico, and eventually took citizenship there. Performing infrequently, Szeryng was largely forgotten in the musical centers of Europe. A chance encounter with fellow Pole Artur Rubinstein in Mexico City convinced Szeryng to re-enter the musical scene. A New York debut in 1956 immediately established Szeryng as a leading violinist of the day, and for the next 30 years Szeryng divided his time between a globe-trotting concert schedule and his teaching duties in Mexico. As a violinist Szeryng was unique; sometimes criticized for being too restrained, he was nevertheless capable of playing with warmth and fire when he felt compelled to do so (as in his magnificent performances of the Sibelius concerto). His excellent recordings include two full sets of the Bach Sonatas and Partitas, as well as the major violin concertos in the repertory (he has also championed and recorded the work of many composers from his adopted country of Mexico). Recordings of the Beethoven and Brahms sonatas with Artur Rubinstein are particularly rewarding. Of note also is Szeryng's world-premiere recording of Paganini's E major Violin Concerto n° 3, which Szeryng himself reconstructed from parts held in the archives of the legendary Italian violinist's heirs. Szeryng could at times be somewhat inconsistent. In live performances his calculated precision might turn cold, and in later years it is rumored that troubles with alcohol led to a somewhat deteriorated technical ability. Until his death in 1988 he traveled with a Mexican diplomatic passport, and was involved in various humanitarian projects through the United Nations ; Szeryng never ceased believing in music as a unifying, healing power.
Blair Johnston

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=41:55801~T1

Henryk Szeryng
Johann Sebastian Bach

Sonatas & Partitas
solo Violin


Cd. 1

Sonata n° 1 in G Minor, BWV 1001
1 I. Adagio  4:19
2 II. Fuga. Allegro  5:42
3 III. Siciliano  3:26
4 IV. Presto  2:40

Partita n° 1 in B Minor, BWV 1002
5 I. Allemande  4:54
6 II. Double  2:09
7 III. Courante  2:17
8 IV. Double. Presto  2:54
9 V. Sarabande  2:32
10 VI. Double  1:28
11 VII. Tempo di Bourrée  2:25
12 VIII. Double  2:06

Sonata n° 2 in A Minor, BWV 1003
13 I. Grave  4:19
14 II. Fuga  8:10
15 III. Andante  5:12
16 IV. Allegro  4:27


Cd. 2

Partita n° 2 in D Minor, BWV 1004
1 I. Allemande  3:32
2 II. Courante  2:14
3 III. Sarabande  4:02
4 IV. Gigue  3:18
5 V. Chaconne  14:00

Sonata n° 3 in C Major, BWV 1005
6 I. Adagio  4:41
7 II. Fuga. Alla breve  11:55
8 III. Largo  4:08
9 IV. Allegro assai  3:57

Partita n° 3 in E Major, BWV 1006
10 I. Preludio  3:46
11 II. Loure  3:03
12 III. Gavotte en rondeau  3:05
13 IV. Menuett I  1:13
14 V. Menuett II  1:18
15 VI. Bourrée  1:07
16 VII. Gigue  1:30


Henryk Szeryng - vl

Recorded 1954

By December 1954 th[is] complete set of Henryk Szeryng was issued in France on Odéon ODX-122/123/124. The set became available in other European countries in the spring of 1955, however not in Great Britain. Initially this set was available in Europe only until it was made available in the USA as Schwann Artist Listings of 1960 mentions. The Odeon Set introduced Henryk Szeryng to the American record collector and the availability most certainly must have resulted in Szeryng's contract with RCA a few years later and his subsequent liaison with Mercury (and Philips).
In 1962, Columbia Records (CBS) bought labels in various European countries in order to cover European soil by themselves and no longer by licensing to European record labels. In the Netherlands Columbia bought Artone, in France Odéon. Now the original Odeon recordings were issued in France and other European countries (except Great Britain) as CBS 51068/69/70. American record collectors had to wait until the fall of 1968 for the French CBS LPs to be issued in the USA on Columbia's Odyssee label as a 3 LP set with reference 32 36 0013. The reissue was opportune because of the release in October 1968 of Szeryng's new recordings made in stereo for Deutsche Grammophon, reference SLPM 139/1/2.
Rudolf A. Bruil

Source : http://www.soundfountain.org/rem/remenes.html 

See also

Sonny Stitt Plays Johnny Richards & Quincy Jones

This CD set contains two of Sonny Stitt’s earliest, most important albums. Backing his superb work on alto and tenor are bands conducted by two of the finest jazz arrangers: Johnny Richards, and Quincy Jones in one of his first — and best — efforts in the field.
On the two sessions from 1953, Richards provides interestingly harmonized ensemble colours, and though Stitt gets most of the solo space, Kai Winding, Don Elliott, and the rhythm section also deliver some of the set’s most memorable moments. The 1955 sessions are, if anything, even better. Quincy Jones’s writing is crystal clear ; clean, swinging, and beautifully constructed. Stitt is again the main soloist, playing alto — his best instrument — but there are significant contributions from Hank Jones, Oscar Pettiford, and Jimmy Nottingham throughout.
With the power of his playing, the irresistible impact of his emotion, and the implacable certainty of his beat, Stitt proved to be the best of all those who blew directly in the Parker idiom.

Source : http://www.freshsoundrecords.com/plays_arrangements_from_the_pen_of_johnny_richards_&_quincy_jones_2_lps_on_1_cd-cd-5505.html

Sonny Stitt
Plays Arrangements From The Pen
Johnny Richards & Quincy Jones
(2 Lps On 1 Cd)


1 Sancho Panza (Richards)  2 :57
2 Sweet and Lovely (Amheim, Daniels, obias)  2:58
3 If I Could Be with You (Johnson, Creamer)  2:21
4 Hooke’s Tours (Richards, Stitt)  2:50
5 Loose Walk (Stitt)  2:52
6 Pink Satin (Richards, Stitt)  2:57
7 Shine On Harvest Moon (Bayes, Norworth)  2:33
8 Opus 202 (Richards, Stitt)  2:46
9 My Funny Valentine (Rodgers, Hart)  3:27
10 Lover (Rodgers, Hart)  3:26
11 Sonny’s Bunny (Stitt)  3:59
12 Love Walked In (Gershwin)  4:04
13 If You Could See Me Now (Dameron, Sigman)  4:30
14 Quince (Stitt)  6:59
15 Come Rain or Come Shine (Arlen, Mercer)  4:20
16 Stardust (Carmichael, Parish)  3:10


[# 1-4] from the original Roost 10" LP "Sonny Stitt Playing Arrangements From The Pen Of Johnny Richards" (RLP 415)
Sonny Stitt - ts
Don Elliott - melph
Kai Winding - tb
Sid Cooper - ts & pic
George Berg - bs
Horace Silver - p
Charles Mingus - b
Don Lamond dr
Johnny Richards - cond & arr
Recorded at Coastal Recording, New York City ; March 18, 1953.
[# 5-8] from the original Roost 10" LP "Sonny Stitt Playing Arrangements From The Pen Of Johnny Richards" (RLP 415)
Sonny Stitt - as
Don Elliott - melph
Kai Winding - tb
Jerry Sanfino - ts & piccolo
George Berg - bs
Al Williams - p
Charles Mingus - b
Jo Jones - d
Santos Miranda - cng
Johnny Richards - cond & arr
Recorded at Fulton Studios, New York City ; November 16, 1953.
[# 9-12] from the original Roost 12" LP "Sonny Stitt Plays Arrangements From The Pen Of Quincy Jones" (LP 2204)
Sonny Stitt - as
Jimmy Nottingham, Ernie Royal - tp
J.J. Johnson - tb
Anthony Ortega- fl & as
Seldon Powell - ts
Cecil Payne - bs
Hank Jones - p
Freddie Green - g
Oscar Pettiford - b
Jo Jones - d
Quincy Jones - cond & arr
Recorded in New York City ; September 30, 1955.
[# 13-16] from the original Roost 12" LP "Sonny Stitt Plays Arrangements From The Pen Of Quincy Jones" (LP 2204)
Sonny Stitt - as
Thad Jones, Joe Newman -tp
Jimmy Cleveland - tb
Anthony Ortega - fl & as
Seldon Powell - ts
Cecil Payne - bs)
Hank Jones - p
Freddie Green - g
Oscar Pettiford - b
Jo Jones - d
Quincy Jones - cond & arr
Recorded in New York City ; October 9, 1955

Quiet Kenny Dorham

In the liner notes of Quiet Kenny, former Downbeat magazine publisher Jack Maher states that trumpeter Kenny Dorham's music is not necessarily the demure, balladic, rapturous jazz one might associate as romantic or tranquil. Cool and understated might be better watchwords for what the ultra-melodic Dorham achieves on this undeniably well crafted set of standards and originals that is close to containing his best work overall during a far too brief career. Surrounded by an excellent rhythm team of the equally sensitive pianist Tommy Flanagan, emerging bassist Paul Chambers, and the always-beneficial drummer Art Taylor, Dorham and his mates are not prone to missteps or overt exaggerations. One of Dorham's all-time best tunes "Lotus Blossom" kicks off the set with its bop to Latin hummable melody, fluid dynamics, and Dorham's immaculate, unpretentious tone. "Old Folks," a classic ballad, is done mid-tempo, while the true "quiet" factor comes into play on interesting version of "My Ideal" where Dorham gingerly squeezes out the slippery wet notes, and on the sad ballad "Alone Together." The rest of the material is done in easygoing, unforced fashion, especially the originals "Blue Friday" and the simple swinger "Blue Spring Shuffle" which is not really a shuffle. Never known as a boisterous or brash player, but also not a troubadour of romanticism — until he started singing — Dorham's music is also far from complacent, and this recording established him as a Top Five performer in jazz on his instrument. It comes recommended to all.
Michael G. Nastos

Source : http://www.allmusic.com/album/quiet-kenny-mw0000649483

Kenny Dorham
Quiet Kenny


1 Lotus Blossom (Coslow, Dorham, Johnston)  4:38
2 My Ideal (Chase, Robin, Whiting)  5:04
3 Blue Friday (Dorham)  8:43
4 Alone Together (Dietz, Schwartz)  3:11
5 Blue Spring Shuffle (Dorham)  7:35
6 I Had the Craziest Dream (Gordon, Warren)  4:37
7 Old Folks (Hill, Robison)  5:12
8 Mack the Knife (Blitzstein, Brecht, Weill)  3:02


Kenny Dorham - tp
Tommy Flanagan - p
Paul Chambers - b
Art Taylor - dr

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey ; November 13, 1959.

Storyville Presents Jackie & Roy

One singularly creepy "critical" philosophy attests that female musicians, especially singers, only get breaks because of their attractive looks. The career of Jackie Cain refutes this during its very first important scene. Cain was blonde, 18, and apparently extremely attractive. She had only recently graduated from high school in Milwaukee. The year was 1946, and the pretty lass wanted to be a jazz singer. A friend took her to the big town of Chicago and introduced her to Roy Kral, a pianist and arranger who was going places. He took a good look at her, but according to legend wasn't the least bit interested until he heard her sing.
Cynics can sneer ; career history can be rewritten and distorted, sure, especially when there are details concerning what might or might not have been going on inside someone's mind. At any rate, Cain and Kral liked something about each other, looks and/or music. The duo of Jackie & Roy became one of the most enduring combinations in jazz, beginning in the late '40s when the team began interacting as fellow members of intriguing saxophonist Charlie Ventura's band. The two continued working together, off and on, until Kral's death from congestive heart failure at the age of 80 in 2002. The following year Cain was still going strong, performing at an 85th birthday event for jazz pianist Marian McPartland that also featured greenhorn hitmaker Norah Jones.
The appeal of Jackie & Roy was about voices, but more accurately about voicings. The two vocalists, who became husband and wife in 1949, sang like twin songbirds but with ranges an octave apart. This blend would be effective in any singing style, but was uniquely suited to the style of jazz vocalese. Along with goofy singer Eddie Jefferson, Jackie & Roy were innovators in a type of jazz singing that is distinct from scat singing. While the latter uses nonsense syllables or sheer vocal sounds, jazz vocalese involves writing an actual text of lyrics that can be sung in what hopefully is an exact approximation of a famous jazz instrumental solo. A sense of humor helps a great deal in the creation of enjoyable performances in this style; Cain helped come up with some of the duo's funniest material, such as the pleasantly scented "You Smell Good," a direct contrast to Eddie Jefferson's lyrics to "Filthy McNasty." In the '60s, Cain and hubbie got around to recording material by Paul Simon and Donovan as well as a commercial for Plymouth. By 1990 Cain had appeared on more than 50 recordings. In addition to her singing she has also studied both flute and cello.
Eugene Chadbourne

Source : http://www.allmusic.com/artist/jackie-cain-p23879/biography

Jackie Cain
Roy Kral
Jackie & Roy
Storyville Presents


1 Say My Heart (Loesser, Lane)  2:27
2 Let's Take a Walk Around the Block (Arlen, Gershwin, Harburg)  2:36
3 Spring Can Really Hang You Up the Most (Wolf)  4:15
4 Mine (Gershwin, Gershwin)  1:54
5 Bill's Bit (Holman)  2:42
6 Lover (Rodgers, Hart)  3:20
7 Tiny Told Me (Kral)  4:08
8 You Smell So Good (Stone, Wolfe)  3:09
9 Lazy Afternoon (Latouche, Moross)  3:18
10 Dahuud [Daahoud] (Brown)  2:25
11 Listen Little Girl (Landesman, Wolfe)  3:30
12 I Wish I Were in Love Again (Rodgers, Hart)  2:49


Jackie Cain - voc
Roy Kral - voc & p
Barney Kessel - g
Red Mitchell - b
Shelly Manne or Frankie Capp - dr

Recorded May 1955

Alfred Ferdinando Viola - Guitars # 1 & 2

Of all the adjectives that might be applied to Alfred Ferdinando Viola (1919-2007), perhaps the most all-embracingly apt would be resourceful.
A Brooklyn native who developed most of his career as a guitarist in Hollywood, he became known in the mid 40s as an integral part of the popular Page Cavanaugh Trio. Later, in the Fifties, when he joined Bobby Troup’s trio, he worked and recorded with Julie London, Jimmy Witherspoon, June Christy and many other great singers—most memorably Frank Sinatra—in addition to holding the guitar chair with the diverse big bands and styles of Harry James, Nelson Riddle, Ray Anthony and Buddy Collette’s modern jazz quintet.
That hard-earned versatility is reflected in these late-50s recordings, in which he is a one-man guitar orchestra, performing and arranging all the parts himself. He recorded the rhythm and bass guitars separately on one tape for the basic rhythmic pattern.
On another, the amplified or gut-stringed guitars were used for fills (in which the guitars were the equivalent of a brass, string or reed section). The first two tapes were then combined and the single-fingered solos were added on a third tape. Viola put them all together with judicious balancing, and gave each of the twelve standards its own individual treatment, with varied instruments used to provide the special effects.
The fruit of his hard work and unquestioned ability is stunningly revealed in “The Guitars.”


Al Viola
(vol. 1 & 2)


1 When You’re Smiling (Shay, Fisher, Goodwin)  2:42
2 Moonlight in Vermont (Blackburn, Suessdorf)  2:28
3 I’ll Always Be In Love with You (Stept, Green, Ruby)  2:42
4 And the Angels Sing (Elman, Mercer)  2:35
5 You and the Night and the Music (Schwartz, Mercer)  2:11
6 Blue Skies (Berlin)  2:12
7 Route 66 (Troup)  1:58
8 Take Me in Your Arms (Holland, Dozier, Holland)  2:57
9 Sophisticated Lady (Ellington, Mills)  2:01
10 Always (Berlin)  2:01
11 The One I Love (Belongs to Somebody Else) (Johns, Kahn)  1:54
12 Lover (Rodgers, Hart)  2:33
13 Lonesome Road (Shilkret, Austin)  2:12
14 Angel Eyes (Dennis, Brent)  2:56
15 It Could Happen to You (Burke, VanHeusen)  2:48
16 I’ll Remember April (DePaul, Johnston, Raye)  2:36
17 All Star (Viola)  2:03
18 I Cover the Waterfront (Green, Heyman)  2:22
19 Makin’ Whoopee (Donaldson, Kahn)  2:32
20 Sometimes I’m Happy (Youmans, Caesar)  2:21
21 Wait Till You See Her (Rodgers, Hart)  1:58
22 Lemon Twist (Troup)  3:20
23 It’s Easy to Remember (Rodgers, Hart)  2:17
24 I’ll Take Romance (Oakland, Hammerstein II)  2:45


Al Viola - g & b

Recorded in Hollywood, California ; February 10, 12 & 13 [# 1-12] & June 30, July 1 & 2 [# 13-24], 1959

L'Avis du Patron
Al Viola, c'est pas n'importe qui. Ce type fut, entre autre, le guitariste de Sinatra. Un autre italo américain... Et comme on n'est jamais mieux servi, sinon par un ''pays'', que par soi-même ; eh bien, notre homme fait tout sur ces deux disques (Guitars 1 & 2) réunis en un seul cd. Au four et au moulin ! Les notes du lp original, que j'ai la bonne fortune d'avoir sous les yeux (Liberty 7112), avait été rédigées par un pote à Al : Bobby Troup. Celui-ci l'atteste : tout, ici, est fait maison... Et Al est un artisan. La basse et la guitare rythmique ont été enregistrées à part. Et puis Al a improvisé sur cet accompagnement qu'il avait préalablement enregistré... Guitariste et improvisateur hors pair, Al dispense un jazz du meilleur aloi : simple, direct, content d'être là et de jouer pour nous. Une petite merveille méconnue pour les amateurs de guitare jazz.

Saturday, July 25, 2015

Kevin Eubanks - Guitarist

This album, issued in the wake of the stir caused by the Young Lions compilation album on Elektra Musician, is a first-rate mix of originals and standards beautifully executed by a group of studio players who include brothers Robin Eubanks on trombone, Charles on acoustic piano, and David on bass along with tenor saxophonist Ralph Moore and drummer Ronnie Burrage. Eubanks' choice of covers is brave; from Thelonious Monk's "Evidence" and Miles Davis' "Blue in Green" to Wes Montgomery's "The Thumb" and Jerome Kern's "Yesterdays," he offers not only chops, but a keen ear for nuance and subtlety. The treatment of Monk's "Evidence" is particularly satisfying for retaining the pianist/composer's angles without sacrificing the swing quotient. Likewise, his solo reading of "The Thumb" is played with great taste, offering no show-off pyrotechnics, yet he interprets the tune for the present day. Eubanks' own tunes, such as "Inner-Vision" with Moore, Burrage, and David, are shaped and informed by not only jazz but soul and blues without falling into crossover cliché. This is a fine first effort. [After being out of print for a decade on CD, Guitarist was reissued by Wounded Bird in 2004.]
Thom Jurek

Source : http://www.allmusic.com/album/guitarist-mw0000620794

Kevin Eubanks


1 The Novice Bounce (Eubanks)  4:03
2 Inner-Vision (Eubanks)  4:34
3 Yesterdays (Harbach, Kern)  6:31
4 Evidence (Monk)  6:08
5 Urban Heat (Eubanks)  8:08
6 The Thumb/Blues for Wes (Johnson, Montgomery)  4:22
7 Untitled Shapes (Eubanks)  7:46
8 Blue in Green (Davis, Evans)  3:15


[# 1]
Kevin Eubanks - g
[# 2]
Kevin Eubanks - g
Ralph Moore - ts
David Eubanks - b
Ronnie Burrage - dr
[# 3]
Same as above except
Moore is out
Robin Eubanks - tb
[# 4]
Same as above, except
Roy Haynes - dr, replaces Burrage
[# 5]
Same as [# 1], except
Tommy Campbell - dr, replaces Haynes
[# 6]
Kevin Eubanks - g
David Eubanks - b
[# 7]
Same as [# 1], except
Moore is out
Charles Eubanks - p
[# 8]
Kevin Eubanks - g

Recorded at CBS Studios, New York ; May & August 1982

Heinrich Neuhaus plays Frédéric Chopin

Neuhaus’s true path to fame as a perfor­mer and teacher dates from after the October Revolution when he was appointed Piano Professor at the Kiev Conservatory (1918–22). He also frequently appeared on the concert platform both as recitalist – he introduced all ten Scriabin sonatas to the city – and as duo partner to, among others, Blumenfeld and Vladimir Horowitz. It was thence to Moscow where he remained, an indelible part of the capital’s musical life, for the next four decades. Soon after his arrival he repeated the Scriabin sonata cycle and introduced Muscovites to the music of Alexandrov, Myaskovsky, Szymanow­ski and fellow pianist Samuil Feinberg. Always an erratic, nervous performer in public, teaching gradually took precedence over his concert activities and he gave his Farewell Recital in Moscow in 1949. He was the leading piano professor at the Moscow Conservatoire from 1922 to 1964, and Director there between 1935 and 1937. It is almost certain that he relinquished the directorship in order to extricate himself from the lethal political intrigues that were an integral part of everyday life in Stalin’s Soviet Union. Despite this, Neuhaus was arrested and imprisoned by the KGB in November 1941 and it was due largely to the intervention of Emil Gilels that he was released many months later. His home and property confiscated, Neuhaus was exiled to Sverdlovsk, teaching at the Conservatory there until he was readmitted to Moscow in 1944. Neuhaus’s remarkable roll-call of pupils include Emil Gilels, Sviatoslav Richter and Yakov Zak (all three of whom will be featured in this series), his son Stanislav, as well as Ryszard Bakst, Leonid Brumberg, Victor Erebsko, Tatiana Goldfarb, Tamara Gusyeva, Zdenek Hnat, Vladimir Krainev, Maria Kruscelnycka, Radoslav Kvapil, Radu Lupu, Yevgeny Malinin, Lev Naumov, Alexei Nasedkin, Alexander Slobodyanik, Anatol Vedernikov, Eliso Virsaladze, Maria Vlad and Igor Zhukov.


Neuhaus was a ‘philosopher-pianist’. His deep thinking allied to his all-embracing appreciation of the arts in general, plus his skills as a linguist, made him an ideal tutor, stimulating the imagination and nurturing the thinking of his receptive pupils. As with all great teachers he never attempted to impose his personality upon his pupils – rather he encouraged their individuality. His personal motto, ‘You can’t produce talent but you can create a culture in which it thrives’, was born out of his respect for his ‘incomparable teacher’ Godowsky who, Neuhaus claimed, was ‘not a teacher of piano, but first and foremost, a teacher of music’. Not surprisingly, Neuhaus was much loved and deeply admired by his students. Vladimir Krainev, one of his last and most favoured pupils, described him as ‘a truly great phenomenon both in performance and pedagogics’, while Eliso Virsaladze spoke glowingly of ‘a man of rare artistry’. He held most of his classes in concert conditions, with a small gathering of pupils who were encour­aged to play for the student audience rather than the tutor. These lessons were usually held twice a week, with only those wishing to perform doing so. His home was also an ever-open house for his students.

Source : http://www.hyperion-records.co.uk/dc.asp?dc=D_APR5660

Heinrich Neuhaus
Frédéric Chopin


1 N° 51 in F Minor, Op. 68 n° 4 1:41
2 N° 37 in C Minor, Op. 52 n° 2  2:36
3 N° 27 in E Minor, Op. 41 n° 2  1:55
4 N° 32 in C-Sharp Minor, Op. 50 n° 3  4:32
5 N° 33 in B Major, Op. 56 n° 1  3:52
6 N° 35 in C Minor, Op. 56 n° 3  5:02
7 N° 36 in A Minor, Op. 59 n° 1  3:02
8 N° 40 in F Minor, Op. 63 n° 2  1:29
9 N° 41 in C-Sharp Minor, Op. 63 n° 3  1:50
10 N° 6 in C-Sharp Minor, Op. 7 n° 2  2:39
11 N° 4 in E-Flat Minor, Op. 6 n° 4  1:13
12 N° 39 in B Major, Op. 63 n° 1  1:55
13 N° 36 in A Minor, Op. 59 n° 1  3:13
14 N° 26 in C-Sharp Minor, Op. 41 n° 1  3:02

15 N° 5 in F-Sharp Major, Op. 15 n° 2  3:36
16 N° 3 in B Major, Op. 9 n° 3  6:15
17 N° 18 in E Major, Op. 62 n° 2
18 N° 15 in F Major, Op. 55 n° 1  4:22
19 N° 16 in E-Flat Major, Op. 55 n° 2  4:38

20 Polonaise-Fantasie in A-Flat Major, Op. 61  11:16


Heinrich Neuhaus - p

Recorded  1946 [# 6] ; March 5, 1949 [# 1, 2, 11 & 13] ;  ? [# 10, 14 & 15] ; 1949 [# 3, 7, 18 & 19] ; October 11, 1951 [# 12] ; 1951 [# 16 & 17] ; 1953 [# 5, 8 & 9] ; & April 23, 1958 ([# 20] or October 11, 1949 ?) [# 4, 20]

Friday, July 24, 2015

The Distinctive Style of Bobby Troup

Bobby's second album, and his first for Bethlehem Records, was a tribute to the songwritring skills of Johnny Mercer (See — and hear ! — WESA 854). For his follow-up, Bobby homed in mainly on the array of melodic gold dust assembled by Richard Rodgers and Lorenz 'Larry' Hart, two of the most innovative writers of the late '20s and '30s. A lyricist of considerable ability himself, Troup must have loved getting to grips with Hart's often- ingenious chunks of worplay. If Rodgers and Hart had only penned their material for their two editions of the Garrick Gaieties in 1925 and 1926, then that alone would surely have been enough to ensure god-like status. Bobby Troup could hardly have disagreed with such a statement. For he elected to include two songs from those poductions, Manhattan and Mountain Greenery, on this recording. Manhattan, a kind of aural map of New York that lirically traverses such places as Mott Street, Delancey Street and even Yonkers (beyond the city limits, but Hart needed a rhyme to it first surfaced as early as 1921, fashioned for a musical titled Winkle Town that never made it to any theatre, major or otherwise. Mountain Greenery, a more rural creation, has long since achieved distinction due to Hart's predilection for interior rhymes — "Beans could get no kener re-/Ception in a beanery" etc. Troup predictably has fun with his interpretation, beginning a la rumbato before depressing the high-speed button. Little Girl Blue, performed here in wistful mode, stems from the Billy Rose-produced show Jumbo. One of Rodgers and Hart's most delicate creations, for a lengthy period it remained unheard outside of the show because Rose refused to allow any of Jumbo's songs to be played on radio. You are too Beautiful, another dispended in relaxed four-in-the-morning manner, first emerged in an Al Jolson film ; Hallelujah I'm a Bum, a unique production boasting dialogue written entierly in rhyming couplets and one which Richard Rodgers once hailed as "the first and probably the last musical ever made in Hollywood that concerned itself almost entirely with the problem of the Depression."
Fred Dellar, "Mojo" magazine, May 2000 (booklet)

Bobby Troup
The Distinctive Style of Bobby Troup


1 Mountain Greenery (Hart, Rodgers)  2:20
2 I Still Suits Me (Hammerstein II, Kern)  2:32
3 Little Girl Blue (Hart, Rodgers)  4:03
4 Manhattan (Hart, Rodgers)  2:45
5 You Are Too Beautiful (Hart, Rodgers)  3:16
6 They Can't Take That Away from Me (Gershwin, Gershwin)  3:06
7 I've Got My Love to Keep Me Warm (Berlin)  2:42
8 Gypsy in My Soul (Boland, Jaffe)  2:43
9 The Boy Next Door (Blane, Martin)  3:34
10 Love Is Here to Stay (Gershwin, Gershwin)  2:28
11 Have You Met Miss Jones (Hart, Rodgers)  2:30
12 The Lady Is a Tramp (Hart, Rodgers)  3:46


Bobby Troup - p & voc
Howard Roberts - g
Bob Enevoldsen - b
Don Heath - dr

Recorded in Los Angeles, California ; August, 1955

See also

Nat King Cole after Midnight

After several years of hearing criticism from the jazz press about his decision to break up his trio and become a pop singer, Nat "King" Cole was persuaded to record this jazz set. Joined by a strong rhythm section (including guitarist John Collins), Cole welcomed four guests for several selections apiece : altoist Willie Smith, trumpeter Harry "Sweets" Edison, violinist Stuff Smith, and valve trombonist Juan Tizol. The performances on this CD (which include five selections released for the first time) are quite enjoyable, highlighted by "Just You, Just Me," "Sweet Lorraine," "It's Only a Paper Moon," and "Route 66." Cole did hedge his bet a bit by not recording any instrumentals or having any performances feature his trio without a guest. Despite that, this is a great set, and the last time that Nat "King" Cole would perform an album's worth of jazz material.
Scott Yanow

Source : http://www.allmusic.com/album/after-midnight-r24099 

Nat "King" Cole
After Midnight


1 Just You, Just Me (Greer, Klages)  3:00
2 Sweet Lorraine (Burwell, Parish)  4:34
3 Sometimes I'm Happy (Caesar, Youmans)  4:08
4 Caravan (Ellington, Mills, Tizol)  2:44
5 It's Only a Paper Moon (Arlen, Harburg, Rose)  3:05
6 You're Looking at Me (Troup)  4:13
7 The Lonely One (Hambro, Heller)  3:46
8 Don't Let It Go to Your Head (Hadamik, LaVere, Nast, Nast)  3:10
9 I Know That You Know (Caldwell, Youmans)  2:28
10 Blame It on My Youth (Heyman, Levant)  4:09
11 When I Grow Too Old to Dream (Hammerstein, Romberg)  3:32
12 Route 66 (Troup)  3:40
13 I Was a Little Too Lonely (And You Were a Little Too Late) (Evans, Livingston)  2:59
14 You Can Depend on Me (Carpenter, Carpenter, Dunlap, Hines)  3:52
15 What Is There to Say ? (Duke, Harburg)  3:34
16 Two Loves Have I (Murray, Murray, Scotto, Trivers)  2:44
17 Candy (David, Kramer, Whitney)  3:52
18 You're Looking at Me (Troup)  4:12


Nat "King" Cole - p & voc
John Collins - g
Charlie Harris - b
Lee Young - dr
Jack Costanzo - cg & bg [# 7 & 8]
Guest artists
Harry "Sweets" Edison - tp [# 2, 5, 12, 14 & 17]
Willie Smith - as [# 6, 8, 13 & 18]
Juan Tizol - tb [# 4, 7, 10 & 15]
Stuff Smith - vl [# 3, 9, 11 & 16]

Recorded at Capitol Studios, Los Angeles ; August 15 (Edison) ; September 14 (Willie Smith) ; September 21 (Tizol) ; & September 24 (Stuff Smith), 1956

The Gellers

Herb Geller is a survivor of the Los Angeles jazz scene of the 1950s who played better than ever in the mid-'90s. Geller played in 1946 with Joe Venuti's Orchestra and in 1949, he traveled to New York to play with Claude Thornhill. In 1951, he moved back to L.A. and married the excellent bop pianist Lorraine Walsh. Geller was a fixture in L.A., playing with Billy May (1952), Maynard Ferguson, Shorty Rogers, Bill Holman, and Chet Baker, among others ; jamming with Clifford Brown and Max Roach (1954) ; and leading a quartet that included his wife (1954-1955). Lorraine Geller's sudden death in 1958 eventually resulted in the altoist deciding to leave the country to escape his grief. He played with Benny Goodman off and on between 1958-1961, spent time in Brazil, and in 1962, moved to Berlin. Geller worked in German radio orchestras for 30 years, played in European big bands, and continued to grow as a musician, although he was pretty much forgotten in the U.S. From the early '90s on, Herb Geller returned to the States on a more regular basis and he recorded a tribute to Al Cohn for Hep. Geller also recorded as a leader in the 1950s for EmArcy, Jubilee, and Atco, and in the 1980s and '90s for Enja, Fresh Sound, and V.S.O.P.
Scott Yanow

Source : http://www.allmusic.com/artist/herb-geller-p6564/biography

Herb Geller Quartet
The Gellers


1 Araphoe (Geller)  4:03
2 Come Rain or Come Shine (Arlen, Mercer)  5:03
3 If I Were a Bell (Loesser)  3:05
4 The Answer Man (Geller)  3:50
5 Love Your Magic Spell Is Everywhere (Blaine, Martin)  3:09
6 Two of a Kind (Geller)  2:53
7 Blues in the Night (Arlen, Mercer)  5:18
8 I've Got a Feeling I'm Falling (Link, Rose, Waller)  3:18
9 Patterns (Geller)  2:51
10 The Heather on the Hill (Lerner, Loewe)  5:20
11 Bewitched, Bothered and Bewildered (Hart, Rodgers)  4:56
12 Supper Time (Berlin)  5:31


[# 1-4, 7, 10-12] 
Herb Geller - as
Lorraine Geller - p
Red Mitchell - b
Mel Lewis - dr
Recorded in Los Angeles, California ; April 20, 1955
[# 5, 6, 8, 9]
Same as above
Recorded in Los Angeles, California ; April 21, 1955

Bob Enevoldsen - Smorgasbord

A longtime giant of the West Coast jazz landscape, Bob Enevoldsen trailed only Bob Brookmeyer as his generation's foremost practictioner of the valve trombone. Enevoldsen was born September 11, 1920, in Billings, MT. His Danish-born father was a professional violinist who conducted the orchestra at their local silent movie theater, and at age five Bob took up the instrument as well before moving to trombone several years later. Recurring lip troubles forced him to switch to clarinet and tenor saxophone while a student at the University of Montana, and he also adopted the double bass prior to joining the U.S. Air Force in 1942. Stationed in Utah, Enevoldsen settled in Salt Lake City following his 1946 military discharge, working as a tenor saxophonist until a colleague lent him a valve trombone. He found the fingering remarkably similar to the trumpet, but the instrument remained on the periphery of his vision after he joined the Utah Symphony as a clarinetist. On the advice of arranger Gene Roland, Enevoldsen relocated to Los Angeles in 1951, and began sitting in at local jazz clubs. As a skilled multi-instrumentalist, his fellow musicians embraced him with open arms and he soon signed on as the regular bassist with pianist Marty Paich's trio. Stints supporting Art Pepper and Shorty Rogers followed, and over time Enevoldsen made the valve trombone his instrument of choice, alternating between tenor sax during a lengthy run behind Shelly Manne at the legendary L.A. nightclub the Lighthouse. In 1954 Enevoldsen cut his first session as a bandleader for a self-titled LP on the Nocturne label. He later headlined dates for Tampa and Liberty as well, and even appeared in a pair of feature films, 1958's The Form of Jazz and the much-maligned 1960 adaptation of the Jack Kerouac novel The Subterraneans. By the time of the latter's release Enevoldsen was living in Las Vegas, working in nightclubs there. He returned to L.A. in 1962 as a staff arranger and studio musician for television star Steve Allen, and spent the remainder of the decade focused almost exclusively on session work. During the 1970s he finally returned to live performance, replacing Brookmeyer in Gerry Mulligan's band before rejoining Paich in support of singer Mel Tormé. He also played in big bands led by Bill Holman and Roger Neumann, and continued performing in small-group settings until just weeks prior to his death from circulation problems on November 19, 2005.
Jason Ankeny

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:difixqu5ld0e

Bob Enevoldsen


1. Iron Works (Enevoldsen)  3:55
2. Loaded with Bass (Enevoldsen)  5:01
3. Topsy (Berlin)  5:25
4. Blues & Rhythm (Enevoldsen)  8:28
5. Don't Be That Way (Goodman, Sampson, Parrish)  5:36
6. Ding Dong, The Witch Is Dead (Arlen, Harburg)  2:38
7. Swingin' on a Star (Van Heusen, Burke)  2:16
8. Swinger's Dream (Mc Dougald)  3:20
9. My Ideal (Robin, Whiting, Chase)  2:47
10. How Low the Tune (Troup, Enevoldsen)  2:28
11. John's Jumble (Enevoldsen)  2:40
12. You're in Love (Troup)  2:1
13. Yhinking of You (Kalmar, Ruby)  2:50
14. No Time for Love (Davidson)  2:19
15. Mr. Know-it-All (Troup)  2:35
16. Oh, Look at Me Now (Bushkin, DeVries)  2:51
17. Bob's Boy (Gordon)  3:01

Personnel [# 1-5]
Bob Enevoldsen - ts & tb
Marty Paich - ac & p
Larry Bunker - vb & dr
Red Mitchell - b & p
Don Heath - dr
Recorded in Hollywood, California ; August 8, 1955
[# 6-17]
Bob Enevoldsen - ts, tb & b
Marty Paich - piano, acc & org
Howard Roberts - g
Red Mitchell - b & p
Don Heath - dr
Recorded in Hollywood, California ; November 25 & 29, 1955

Al Cohn, Richie Kamuca & Bill Perkins - The Brothers !

Lester Young's influence on younger tenor players was at its height in the early-to-mid-'50s. This enjoyable session matches together the three tenors of Al Cohn, Bill Perkins and Richie Kamuca but good luck telling them apart! Backed by pianist Hank Jones, either Barry Galbraith or Jimmy Raney (who used the pseudonym on this date of Sam Beethoven) on guitar, bassist John Beal and drummer Chuck Flores, the tenors play concise versions of originals by Cohn, Perkins, Nat Pierce, Bill Potts and Bob Brookmeyer in addition to the lone standard "Blue Skies." The music is fun and swinging if not all that original or distinctive. [The disc was issued by Mosaic in 2006 with the addition of four bonus tracks.]
Scott Yanow

Source : http://www.allmusic.com/album/the-brothers!-mw0000699291

Al Cohn
Bill Perkins
Richie Kamuca
The Brothers !


1 Blixed* (Potts)  3:48
2 Kim's Kaper (Perkins)  3:13
3 Rolling Stone (Brookmeyer)  3:08
4 Sioux Zan* (Pierce)  3:08
5 The Walrus* (Cohn)  2:48
6 Blue Skies (Berlin)  3:12
7 Gay Blade (Brookmeyer)  3:17
8 Three of a Kind (Pierce)  3:13
9 Hags !* (Potts)  3:19
10 Pro-Ex (Perkins)  3:04
11 Strange Again* (Potts)  3:19
12 Cap Snapper (Cohn)  3:39
13 Memories of You (Blake, Razaf)  3:02
14 Saw Buck* (Pierce)  3:22
15 Chorus for Morris* (Pierce)  3:22
16 Slightly Salty (Kamuca)  3:15


Al Cohn, Richie Kamuca & Bill Perkins - ts
Hank Jones - p
Barry Galbraith - g
Jimmy Raney* - g
John Beal - b
Chuck Flores - dr

Recorded at Webster Hall, New York City ; June 24 [Galbraith tracks] & June 25 [Raney tracks], 1955