BT 18 - answers disc 2

[mikeweil]

Many many, thanks for giving me so many hours of pleasure, my friends!!! I cannot think of anything giving an old blindfold test nut like me more fun than your wild or educated guesses, logical conclusions, shots in the blue etc. If I turned you (back) to some good music that I love, it was worth it.

All the music on disc 2 was recorded in the 1940's or 1950's - a limit I simply set myself to come to terms with selecting only so much music. I tried to sequence it like a radio show and keep things interesting by contrasting or aligning pieces that made sense when listened to in close proximity. All is music that I love or find important or very interesting, and some that I thought would make great BFT items, which they did ...

Track 1: James Moody and his Modernists: I'm Gone (Quincy Jones)

Dave Burns trumpet; William Shepherd trombone; James Moody tenor sax; Pee Wee Moore baritone sax; Sadik Hakim piano; John Latham bass; Joe Harris drums; Quincy Jones arranger. Recorded at RVG Hackensack, January 8, 1954. Originally on Prestige single 881; available on Original Jazz Classics OJCCD-1837-2 Moody's Mood For Blues (1994).

I've always dug Moody's groove, propelled here by the great Joe Harris. That band swung, Moody played great solos. A nice example of early Quincy Jones, too. The three OJC CDs do a nice job of completing sessions, this here collects the first four of them recorded between January 1954 and January 1955.

Track 2: Ray Charles & his Orchestra: The Ray (Quincy Jones)

Joseph Bridgewater & John Hunt trumpet; David Fathead Newman alto & tenor sax; Emmott Dennis baritone sax; Ray Charles piano & celeste; Roosevelt Sheffield bass; William Peeples drums; Quincy Jones arranger. Recorded in New York November 20, 1956. Originally on Atlantic LP 1259, taken from CD 81731-2 The Great Ray Charles (1987).

Quincy Jones recycled his riff here, which indeed might be a couisin of Bags' Groove or just a generic blues phrase. I found it interesting how much more elegant and subdued The Ray's band plays here, trying to be real jazzy and avoiding any hard R & B pounding, whereas Moody's band hits it real hard - like the roles were reversed. The many different pianists Ray was taken for are a testimony of his jazz chops.

There is a newer Atlantic CD replicating the LP, but I prefer this one which completes the sessions scattered over several LPs and thus plays much longer - and pretty often, I must admit. I bought this immediately back then, long before the R & B sessions. The recording level is very low as usual on Atlantic sessions, but the sound is beautiful and natural (courtesy Earle Brown and the late Tom Dowd).

Track 3: Sir Charles Thompson: Mr. Big Horn (Charles Thompson)

Joe Newman & Taft Jordan trumpet; H.B. Mitchell trombone; Bob Dorsey tenor sax; Tate Houston baritone sax; Sir Charles Thompson piano; Hank Morton guitar; John Simmons bass; Shadow Wilson drums. Recorded in New York December 29, 1947. Originally on Apollo 78, available on Delmark CD DD-450 Takin' Off.

I love a meaty baritone solo, and this was in fact believed to have been played by Leo Parker, but when consulted for the Delmark reissue, Sir Charles (did you it was Prez who called him so?) remembered the underrated/underrecorded Tate Houston played on that session. I wish there were more of this, because it has the honking power and musical substance. Anyone loving this type of music will find plenty to digest on this fine reissue. Considering how many players on this session were members of the Basie band at some time, it is no wonder that name - or other big ones - came up; there were so many great bands around that time.

Track 4: Lucky Thompson's All Stars: Phace (Freddie Greene)

Karl George trumpet; J.J. Johnson trombone; Rudy Rutherford clarinet; Lucky Thomspon tenor sax; Bill Doggett piano; Freddie Greene guitar; Rodney Richardson bass; Shadow Wilson drums. Recorded in Los Angeles, probably September 1945. Originally on Exclesior 78 TR 146; available on Chronogical Classics 1113 Lucky Thompson 1944 - 1947 (2000) or IAJRC CD-1001 The Beginning Years (1991).

This is a welcome opportunity to sneak in a track of my second favorite tenor, Lucky Thompson (after Prez, of course!), from his tenure in the Basie band, of which all except Bill Doggett were members at the time. Guitarist Greene (sic!) wrote this hip tune between swing and bop for Lucky's very first session as a leader. The two issues listed here overlap only in two tracks from this session here; the Classics CD has his sessions as a leader while the CD from the label of the International Association of Jazz Record Collectors has very rare sideman dates from California - he recorded dozens of dates there. The Indigo CD brownie mentioned is a bootleg with incomplete credits and should be avoided, everything on it is taken from these two CDs except for a Buck Clayton track taken from his Classics CD. The IAJRC CD is available at CD Connection or Cadence - the society sells it only to its members.

Track 5: The Earl Hines Sextet: Blues On My Weary Mind (Earl Hines)

Ray Nance trumpet; Johnny Hodges alto sax; Flip Phillips tenor sax; Earl Hines piano; Al Casey guitar; Oscar Pettiford bass; Sid Catlett drums; Betty Roché vocals. Recorded in New York April 26, 1944. Originally on Apollo 78, available on Delmark CD DD-470 Earl Hines & The Duke's Men (1994).

I have to admit I wanted to test the ears of the Ellingtonians here - in the discussion about Duke's singers Betty Roché faired very well, and this is a fine example of her earlier work. BTW, it was that discussion that led me to check her out, and she grows on me more and more - thanks for pointing out this singer to me. The CD title is a little misleading, as the Earl is only on 6 of the 15 tracks, the rest being fine sessions of Sonny Greer & his Rextet (!) and Cat Anderson & his orchestra for Apollo. Roché lovers will not want to miss her four tracks.

Track 6: Jay McShann & his Orchestra: Swingmatism (Jay McShann)

Harold Bruce, Orville Minor, Bernard Anderson trumpet; Joe Baird trombone; Charles Parker, John Jackson alto sax; Bob Mabane, Harry Ferguson tenor sax; Jay McShann piano; Gene Ramey bass; Gus Johnson jr. drums. Recorded in Dallas, Texas, April 30, 1941. Originally on Decca 78 8570; taken from Decca/GRP CD 1-614-2 (1992).

This rhythmically unpredictable track gives me thrills every time I listen to it - I wish McShann had written more stuff like this, and then he would have been a tough competitor for Basie and Lunceford. But so we have dozens of dull blues vocals by Walter Brown, the one-pitch singer ... Of course this was included - besides me digging it to death - to test how many would know Bird's first commercially recorded solo. I was surprised so few actually did. To these ears, the freshness and excitement of this track is still evident after more than 6o years. You will want to kill me for this, but I would rather keep this CD than Basie's ... Listening to this is like witnessing the birth of bebop. There is of course a Classics CD with this.

Track 7: Pupi Campo & su Orquesta: How High The Moon (Hamilton/Lewis)

Probable personnel recruited from the following: Paul Cohen, Chubby Kuesten, Al Porcino, Bobby Russo trumpet; Johnny Mandel trombone; Joe Herde, Sol Rabinowitz, Joe Madera, Nat Cappi, Frank Socolow, Irv Butler saxes; Joe Loco or Al Ecsobar piano; Amadito Vizoso bass; Tito Puente timbales, musical director, arranger; Alex Campo congas; Chino Pozo bongos; Pupi Campo leader, claves, marracas. Recorded in New York, December 27, 1948. Originally on Seeco 78 and 10" LP; available on Tumbao CD TCD-007 Rhumbas and Mambos.

One can say many bad things about Jordi Pujol and the folks at Fresh Sound in Barcelona, but without them, most of this rare Afro-Cuban music would be lost or be available only in third rate crappy editions. It must have been mind reading: Just when I thought there should be a label devoted to reissuing Cuban Classic and christened Tumbao (the Cuban term for basic rhythm patterns), Pujol did exactly that. The Tumbao series is indispensable for any serious lover of Afro-Cuban music. Tito Puente, born in New York into a Cuban family, was a first class studied musician with a serious love of jazz, and countless big band veterans did time in swing as well as Cuban bands, and their solo contributions show they had their ornithology down. As this arrangement is written cleverly around the timbales breaks, I suppose it is Puente's work. Mandel is the trombone soloist, José Madera probably the alto soloist (he also played with Machito, as did Socolow). Chino Pozo is Chano's cousin. The basic recipe was an inspired Cuban rhythm section with jazz experienced horns. The band of Pupi Campo was one of many excellent dance bands in New York bridging the gap between Cuban dance music and bop in the late 1940's. Campo was leading his band much like Cab Calloway, without playing an instrument or even singing; legend has it he collapsed in 1953 from a stroke while dancing with a beautiful girl in front of his orchestra. Puente, the musical director, decided to take over completely the band he had already used for his own recordings and started a singular career as a Cuban bandleader; his early hit Ran Kan Kan (recorded for RCA Victor in 1949) is similarly written around the timbales solos.

Edited October 19, 2004 by mikeweil

[mikeweil]

Track 8: Kenny Clarke & his 52nd-Street Stompers: Rue Chaptal (Kenny Clarke)

Fats Navarro & Kenny Dorham trumpets; Sonny Stitt alto sax; Ray Abrams tenor sax; Eddie de Verteuil baritone sax; Bud Powell piano; John Collins guitar; Al Hall bass; Kenny Clarke drums. Recorded in New York, April 9, 1946.

Originally on 78 Swing 244; taken from the CD Swing in America: The Charles Delaunay Sessions 1946 - French EMI/Pathé Jazztime 251273-2 (1989); available on Chronogical Classics CD 1171 Kenny Clarke 1946-1948 (2001).

I have always been a great fan of Kenny Clarke and find his importance in the development of modern jazz is still somewhat underestimated - I rank him up there with Monk, Dizzy and Bird. His move to Paris is largely responsible for this, and to this day many of his French recordings are not easy to get.

This session was organized by French producer Charles Delaunay for the Swing label - where else do you get so many bop pioneers all in one place? It was funny to read the guesses on Fats and Kenny, or Bud Powell- Teddy Wilson was the wildest guess ... Another underrecorded bop baritone, Eddie de Verteuil. Klook wrote some nice rhythmic tunes, I wish some younger would record a tribute album with all of them.

The Jazztime series by French EMI/Pathé was a short-lived forerunner of the Americans Swinging in Paris series, but concentrated more on rare older material.

Track 9: Kenny Clarke & his Orchestra: I Tell You In Any Minute (Kenny Clarke)

Dick Collins trumpet; Hubert Fol alto sax; Jean-Claude Fohrenbach tenor sax; Claude Laurence (= André Hodeir) violin; Jacques Denjean piano; Harry Montaggioni guitar; Alf Masslier bass; Kenny Clarke drums. Recorded in Paris, April 5, 1948. Originally recorded for Disques Swing, but rejected/unissued; taken from the CD Be-Bop in Paris Vol.1 - 1947-1950 - French EMI/Pathé Jazztime 251288-2 (1989); available on Chronogical Classics CD 1171 (pictured above).

Klook again, with one American in Paris (Dick Collins) and lots of French bebop devotees. That violin puzzles most of you, played by a young violinist Claude Laurence, who later established himself as an important jazz critic and composer under his real name André Hodeir! The exotic quality of the violin and the choice of chords show how close Klook's ideas were to Monk's.

Track 10: Oscar Pettiford & Harry Babasin: Monti Cello (Pettiford/Babasin)

Oscar Pettiford & Harry Babasin cellos; Arnold Ross piano; Joe Comfort bass; Alvin Stoller drums. Recorded in Los Angeles, June 1953. Originally issued on Imperial EP; available on the CD First Bass - IAJRC CD 1010 (1995).

Pettiford discographer Coover Gazdar, who compiled this CD of Pettiford rarities, writes that this session took on mythical proportions for him, as it took him endless years to locate a copy of the EP. This is some of the rarest jazz cello ever, recorded on Babasin's suggestion during Oscar's stay in California. The two got along very well and had a great time, it is impossible to tell them apart. This swings enough to attract anybody even if he doesn't care for cello pickers. I have a knack for "miscellaneous instruments", Oscar being a most prominent member of that club.

I could have taken any item from this CD, which accompanies the Pettiford discography Gazdar researched but is available separately.

Track 11: Max Roach Quartet: Cou-Manchi-Cou (Max Roach)

Hank Mobley tenor sax; Walter Davis II piano; Franklin Skeete bass; Max Roach drums. Recorded in New York, April 21, 1953. Originally on Debut single 109; reissued on Debut 10" LP 13 etc.; available on Original Jazz Classics OJCCD-202-2 The Max Roach Quartet featuring Hank Mobley.

This, along with the Jay McShann track, was the item I thought everybody would have and recognize, considering the number of Mobley fans on the board. This was Hank's jazz debut session after two with the R & B bands of Paul Gayten and Larry Darnell. The exotic quality of the melody and Hank's tone, lighter than that of Dexter Gordon or Teddy Edwards, but largely different from Wardell Gray's, makes this a desert island item for me. Hank's next step was joining Dizzy's band, and then it was the Jazz Messengers.

Track 12: Cal Tjader Trio - Vibra-Tharpe (Cal Tjader)

Cal Tjader vibraphone & drumset; Vince Guaraldi piano; Jack Weeks bass. Recorded in San Francisco, November 1951. Originally on Galaxy single 703, reissued on Fantasy 10" LP 3-9, available on Fantasy FCD-24764-2

Extremes.

An important early step in Tjader's career was playing with Dave Brubeck - after the experimental trio, in which Tjader played vibes as well as drums and bongos, was interrupted by Brubeck's serious swimming accient on a Hawaii beach, Tjader continued this on his own. The similarity of concept shows how close their ideas were. Ted Gioia is not quite correct in his otherwise thoroughly researched book West Coast Jazz when he says Tjader was turned to Afro-Cuban rhythms during his tenure in George Shearing's quintet: He joined that group early in 1953, after recording many a number on bongos with Cuban rhythmic inflections. Imagine playing the vibes on this track: It lies mavellously on the instrument, conceived from the rhythmic motion while playing. That trio had tremendous drive, and hadn't it been for Guaraldi's success as a Peanuts composer, they may have stayed partners all their lives. Jack Weeks, that big-toned bassist and fine composer, also went on to a career as a Hollywood film scorer.

This CD combines Tjader's first 10" LP as a leader with his last session for the Fantasy group before signing with Concord, not an ideal choice, but the music is very good nonetheless. Unfortunately, a few tracks not on the 10" LP are missing, but clearing dsicographical details on early Galaxy sessions is a difficult task. Anybody loving Brubeck's early trio will love this, too.

Tjader is a little underestimated IMHO - but perhaps I am biased as I am so fond of his music.

Track 13: The Ron Crotty Trio - Ginza (Vince Guaraldi)

Eddie Duran guitar; Vince Guaraldi piano; Ron Crotty bass. Recorded in San Francisco, August 1955. Originally on Fantasy LP 3-213 Modern Music From San Francisco; available on Fantasy FCD-24760-2 The Jazz Scene: San Francisco

Another underrated musician, because he never left California, is guitarist Eddie Duran, whom I liked from the very first solo I heard him play, on some Tjader jazz date. He did play a lot with Guaraldi - with Dean Reilly on bass this trio became Guaraldi's soon after - as well as with Tjader, and recorded a fine LP as a leader for Fantasy that never was on CD, only on Original Jazz Classics LP. Something in this guitarist's playing catches my attention more than Kessel, Ellis or whoever. I thought many of you would recognize that tune, as Guaraldi re-recorded it on the famous Tjader session with Stan Getz.

Visit Duran's website, he's still active.

Track 14: Johnny "Guitar" Watson: I'll Remember April (Rayden/DePaul/Johnson)

Johnny "Guitar" Watson piano; John Duke bass; Carl Lott drums. Recorded in Los Angeles, 1962. Originally on Chess LP 1490 I Cried For You; taken from the CD reissue Green Line/Chess 1020 Gettin' Down with Johnny Guitar Watson.

I fooled all of you with this one! Every blues freak buying this album is in for a big surprise: Despite the notorious cover girl holding a guitar (the original cover design was probably changed to this when the album didn't sell among blues fans) this is all piano, standard tunes, and vocals on 6 of the 8 tracks that you would have banned me from the board for, had I chosen one of these ... He's not the greatest pianist, and the sound is less than engaging, as this was most likely dubbed from a second-generation LP, but you have to admit it is a great blindfold test item, and it shows Johnny was a much more versatile and deep musician than one might expect after his late career dance hits. What I like is that he always makes serious fun of himself, on the verge of parody, no matter what he plays or sings.

Track 15: Cal Tjader Quartet - Triplet Blues, 6th movement of the San Francisco Suite (Cal Tjader)

Eddie Duran guitar; Cal Tjader piano; John Mosher bass; John Markham drums. Recorded in San Francisco, probably 1959. Originally on Fantasy LP 3-271 and 8017, reissued on Original Jazz Classics LP OJC-277, all titled San Francisco Moods; available on Fantasy FDC-24742-2 Sentimental Moods.

Yes, Tjader is one of the musicians appearing three times on this CD, but here he plays piano, and in a much more accomplished fashion than mallet-style hammerers Hamp or Bags. This is the only LP I know where he plays piano, in a lovely suite describing the city he loved so much. One track with Guaraldi from a different session was inserted into the suite - that was what mislead you. Duran contributes many fine solos here. This Suite is my favorite Tjader this side of Cuban Jazz, and I wish the CD would have added another jazz session and not the Latin For Lovers LP, which was recorded and issued in close proximity but is stylistically from different world. I was damn close to include a vibes track from this suite as well, but time restrictions wouldn't let me .... I know this was a trick, but .... it was fun!

Edited October 19, 2004 by mikeweil

[mikeweil]

Track 16: Louis Jordan & his Tympani Five - Louis' Blues (Louis Jordan)

Bob Mitchell trumpet; Louis Jordan alto sax; Count Hastings tenor sax; Chester Lane piano; Bert Payne guitar; Sammy Guy electric bass; Johnny Kirkwood drums. Recorded in New York City, January 1954. Originally on Aladdin LP. Taken from the CD EMI Aladdin CDP 7965672 The Complete Aladdin Sessions (1991).

A friend that I don't see anymore - we used to have very long listening sessions - hipped me to Louis Jordan. There is more to him than the jive king. His band swung, and was pure entertainment in the best sense. But his career had reached its highest point before Aladdin recorded him, and it is understandable: There was no musical development at all compared to his many Decca sides. But the history of R & B would be different without him.

I wondered if anybody would tell Jordan the alto sax stylist from Earl Bostic or the swing veterans that inspired him. Of course I couldn't fool our board sax doctor. Jon Hendricks was in turn inspired by Jordan and even wrote some tunes and lyrics for him. That band, BTW, was the first to regularly use a Fender bass! Listen closely and you will notice. (The cover is that of the US issue.)

Track 17: Martial Solal - Sadi Quartet - I Cover the Waterfront (Green/Heyman)

Sadi Lallemand vibes; Martial Solal piano; Benoit Quersin bass; Jean-Louis Viale drums. Recorded in Paris, January 16, 1956. Originally on Swing 12" LP LDM 330046 Sadi-Solal Quartette; taken from Vogue CD 74321409332 The Complete Vogue Recordings Vol. 2.

I was surprised none of the Jazz in Paris collectors recognized this one. Solal's greatness is undisputed, Sadi was a perfect match, and this echoes the early Modern Jazz Quartet recordings released on Vogue in France, well John Lewis must have been quite an influence even after his stay there a few years earlier. I love vibes, and collect quartet recordings with this exact instrumentation - I could have made half a BT disc with this!

This honors Sadi as the only musician to appear on both discs! The CD used here has the complete session, unfortunately it is out of print.

Track 18: The Harry Lookofsky Strings: Leaky Faucet (Casamenti/Lookofsky)

Harry Lookofsky 3 violins & 2 violas recorded by overdub; Oscar Pettiford cello & bass recorded by overdub; Billy Taylor piano; Charlie Smith drums, Quincy Jones arranger. Recorded in New York January 17, 1955. Originally released on EPIC EP EG 7081. Taken from French Columbia Jazz Originals CD COL 477455-2 Herb Ellis & Stuff Smith - Together! / The Harry Lookofsky Strings - Miracle In Strings (1994)

Another rare Pettiford session! French producer Henri Renaud saved this from oblivion by adding it to the CD reissue of the fine and madly swinging Ellis/Smith session. This one again shows Oscar's openness to experiments of all types. Lookofsky with his classical tone and technique but a unique jazz feeling of his own, all arco on five(!) tracks, and jazz giant Pettiford all pizzicato. I love this, it gives me as much fun as they must have had recording this. Another Quincy Jones arrangement. A tip o' the hat to brownie for recognizing this!

Track 19: Big Al Sears - Huffin' and Puffin' (Al Sears)

Harold "Shorty" Baker trumpet; Tyree Glenn trombone; Al Sears & Budd Johnson tenor sax; Eddie Barefield baritone sax; John Acea piano; Joe Benjamin bass; Kalil Mahdi drums. Recorded at RCA Studio 2, New York, December 5, 1952 (6.00 - 9.00 pm). Originally on RCA single 20-5131; taken from Bear Family CD BCD 15668 Sear-Iously (1992). Available on Ocium OCMN CD 0030 The Big Raw Tone (2002).

From elegant swing with classical overtones to a raunchy backbeat with all church harmonies and melodies. This is the type of groove to wake up the dead, and shows absurd the borderline between secular and sacred music can be. Plenty of "Amen" and "Yes Lord" here, and at the same time they rock your pants off! Only Sangrey got Sears - I thought more of you would have this. Not for the hardcore jazz nuts though, not to be taken too se(a)riuosly. It's like Ellingtonia going Louis Jordan, somehow. The Bear Family CD collects his rare sessions for Coral, RCA Victor, Herald, and Groove, has great liner notes and is highly recommended but it was deleted. The recently released Ocium CD has ten tracks recorded for International and King not on the Bear Family CD but stops earlier in chronology, which suggests a Vol. 2 will appear some day.

Click here for a short biography.

Track 20: Otis Rush & his Band: All Your Love (I Miss Loving) (Otis Rush)

Otis Rush vocals & guitar; Harold Ashby tenor sax; Jackie Brenston baritone sax; Little Brother Montgomery piano; Ike Turner rhythm guitar; Willie Dixon bass; Billy Gayles drums. Originally on Cobra single 5032; taken from the 2-CD box set The Cobra Records Story (Capricorn 9362-42012-2, 1993); available on Varèse Sarabande CD 061077 The Essential Otis Rush (2000).

There are only few blues artists I really enjoy - Otis Rush is one of them, as he never fails to give me the goosebumps with this track. Back in the late 1970's, when I learned about him, these recordings were almost mythical and hard to find, so I jumped at the Cobra box when it came out. Rush is a somewhat tragical figure as he never had the success his muscial qualities would have deserved him. John Mayall's Bluesbreakers copied that track note for note - this was quite a shock to some blues fan who didn't know the original, but this version still seems to be more widely known than the original, which I find much deeper. Fascinating to hear later Ellingtonian Harold Ashby in this context, and the rhythm pattern the drummer plays is pure Afro-Cuban (a tóque used in Santería rituals to evoke the orichá). A cornerstone of Chicago blues. The Varèse Sarabande CD is a good way to get these indispensable classics.

Track 21: Cal Tjader - Mambo at the "M" (Luis Kant)

Cal Tjader vibes; Vince Guaraldi piano; Eugene Wright bass; Luis Kant congas; Bayardo Velarde timbales; probably Armando Peraza bongos. Recorded in San Francisco, September 1957. Originally on 12" LP Fantasy 3-289 and Fantasy 8030 Tjader Goes Latin; available on Fantasy FCD-24730-2 Black Orchid.

Another type of groove music. This was relatively easy to guess, as my love for Tjader is well known on the board. But this is from a lesser known LP which was compiled from four different sessions lessening its impact; one of the four tracks recorded at this session never made it to LP or CD after the initial single release. This was the band Tjader had immediately before he hired Mongo Santamaría and Willie Bobo; Luis Kant is an equally great Cuban conguéro who wrote this nice rhythmic tune and plays fascinating variations cleverly intgrated into the arrangement, Bayardo Velarde was one of L.A.'s busiest rhythm men for thirty years.

The CD reissue combines two complete LPs; contrary to the AMG entry the other LP was recorded at one session, with the great Luis Miranda playing congas - a highly recommended starter for those willing to become Tjader aficionádos.

p.s. personnel edited: Duncan Reid interviewed drummer Al Torre, who is listed in discographies and album credits for playing on this session, and he denied having participated. He also suggested September as the band was on tour in November. Since it is impossible to play this track by switching instruments (vibes, timbales, bongos, and congas are all heard simultaneously), there must have been a bongocero at the session; stylistically etc. Peraza is the most logical choice.

Track 22: Quincy Jones & his Orchestra - You're Cryin' (Quincy Jones/Leonard Feather)

J.J. Johnson & Kai Winding trombones; Lucky Thompson tenor sax; Danny Bank baritone saxophone; Jimmy Jones piano; Paul Chambers bass; Joe Harris drums; Quincy Jones arranger. Recorded at RVG Hackensack, December 7, 1954. Originally on Prestige single 908; available on Original Jazz Classics OJC-217-2 King Pleasure Sings / Annie Ross Sings.

This was the birthdate of the Quincy Jones Orchestra, assembled to back King Pleasure on two tracks and record two instrumentals for the B-sides of the single releases. These made it to LP only in the 1970's, first on a Prestige Historical Series reissue, and then on the twofer LP with the singer's complete Prestige and HifiJazz sides (with very hip liner notes by Jon Hendricks!), and that is the reason they are not as widely known as they deserve. It is a beautiful ballad with my man Lucky and the velvet trombone sounds of Jay & Kai used to great effect, Jimmy Jones tinkling along nicely. This was Paul Chambers' recording debut, AFAIK. What full sound Jones achieves with only four horns!

Are you willing to buy a classic vocalese album only for two great instrumentals (the other is a nice mid-tempo jump tune)?

Track 23: King Pleasure - I'm Gone (Quincy Jones/Clarence Beeks)

King Pleasure, Jon Hendricks, Eddie Jefferson, The Three Riffs vocals; instrumenalists as on previous track, same recording studio and date, same issues.

The disc closes like it began: the same tune, now with lyrics written by King Pleasure to James Moody's solo on the original, and with two Jones arrangements each. The vocal group is The Three Riffs, listed in addition to the singers Hendricks and Jefferson, but it does not sound like more than three or fours voices in all, so I presume King Pleasure, Jon Hnedricks and Eddie Jefferson are The Three Riffs - three great vocalese pioneers on one place! Who knows, maybe even Dave Lambert was there, but not credited for contractual reasons - one should ask Hendricks before it is too late. The Prestige twofer was the first jazz vocal LP I ever bought - I still love it. I had to open and close the cycle like this. Mr. Bassman did not know either version, and when we listened to the test burn said, "oh, this sounds familiar" without remembering that it was the first track he was reminded of. Perhaps this will encourage some of you to explore the world of vocalese.

I'm gone for now - but I will return in two years or so for my next Blindfold Test. Thank you very much for listening, it was GREAT FUN !!!!!!

Edited June 26, 2006 by mikeweil

[king ubu]

Track 3: Sir Charles Thompson: Mr. Big Horn (Charles Thompson)

Joe Newman & Taft Jordan trumpet; H.B. Mitchell trombone; Bob Dorsey tenor sax; Tate Houston baritone sax; Sir Charles Thompson piano; Hank Morton guitar; John Simmons bass; Shadow Wilson drums. Recorded in New York December 29, 1947. Originally on Apollo 78, available on Delmark CD DD-450 Takin' Off.

I love a meaty baritone solo, and this was in fact believed to have been played by Leo Parker, but when consulted for the Delmark reissue, Sir Charles (did you it was Prez who called him so?) remembered the underrated/underrecorded Tate Houston played on that session. I wish there were more of this, because it has the honking power and musical substance. Anyone loving this type of music will find plenty to digest on this fine reissue. Considering how many players on this session were members of the Basie band at some time, it is no wonder that name - or other big ones - came up; there were so many great bands around that time.

This one's a real nice one, Mike! Of course I have that CD, and of course I didn't recognize it (but I get consolation from the fact that I'm not alone, supposing many of you do have that CD, otherwise, GO AND BUY!)

Tate Houston I only know from the BN album he made with Curtis Fuller ("Bone & Bari"), besides these few tracks. He's indeed a very nice and meaty player!

ubu

[EKE BBB]

Track 5: The Earl Hines Sextet: Blues On My Weary Mind (Earl Hines)

Ray Nance trumpet; Johnny Hodges alto sax; Flip Phillips tenor sax; Earl Hines piano; Al Casey guitar; Oscar Pettiford bass; Sid Catlett drums; Betty Roché vocals. Recorded in New York April 26, 1944. Originally on Apollo 78, available on Delmark CD DD-470 Earl Hines & The Duke's Men (1994).

I have to admit I wanted to test the ears of the Ellingtonians here - in the discussion about Duke's singers Betty Roché faired very well, and this is a fine example of her earlier work. BTW, it was that discussion that led me to check her out, and she grows on me more and more - thanks for pointing out this singer to me. The CD title is a little misleading, as the Earl is only on 6 of the 15 tracks, the rest being fine sessions of Sonny Greer & his Rextet (!) and Cat Anderson & his orchestra for Apollo. Roché lovers will not want to miss her four tracks.

This Ellington fan (not Ellingtonian, eh? ) hit Betty Roché, Earl Hines and Johnny Hodges, but mistook Cat Anderson for Ray Nance...

[king ubu]

Track 5: The Earl Hines Sextet: Blues On My Weary Mind (Earl Hines)

Ray Nance trumpet; Johnny Hodges alto sax; Flip Phillips tenor sax; Earl Hines piano; Al Casey guitar; Oscar Pettiford bass; Sid Catlett drums; Betty Roché vocals. Recorded in New York April 26, 1944. Originally on Apollo 78, available on Delmark CD DD-470 Earl Hines & The Duke's Men (1994).

I have to admit I wanted to test the ears of the Ellingtonians here - in the discussion about Duke's singers Betty Roché faired very well, and this is a fine example of her earlier work. BTW, it was that discussion that led me to check her out, and she grows on me more and more - thanks for pointing out this singer to me. The CD title is a little misleading, as the Earl is only on 6 of the 15 tracks, the rest being fine sessions of Sonny Greer & his Rextet (!) and Cat Anderson & his orchestra for Apollo. Roché lovers will not want to miss her four tracks.

This Ellington fan (not Ellingtonian, eh? ) hit Betty Roché, Earl Hines and Johnny Hodges, but mistook Cat Anderson for Ray Nance...

That may be because one thinks of Cat usually as a highnote man, but he could play excellent full-bodied mid-register trumpet...

ubu

[EKE BBB]

Track 5: The Earl Hines Sextet: Blues On My Weary Mind (Earl Hines)

Ray Nance trumpet; Johnny Hodges alto sax; Flip Phillips tenor sax; Earl Hines piano; Al Casey guitar; Oscar Pettiford bass; Sid Catlett drums; Betty Roché vocals. Recorded in New York April 26, 1944. Originally on Apollo 78, available on Delmark CD DD-470 Earl Hines & The Duke's Men (1994).

I have to admit I wanted to test the ears of the Ellingtonians here - in the discussion about Duke's singers Betty Roché faired very well, and this is a fine example of her earlier work. BTW, it was that discussion that led me to check her out, and she grows on me more and more - thanks for pointing out this singer to me. The CD title is a little misleading, as the Earl is only on 6 of the 15 tracks, the rest being fine sessions of Sonny Greer & his Rextet (!) and Cat Anderson & his orchestra for Apollo. Roché lovers will not want to miss her four tracks.

This Ellington fan (not Ellingtonian, eh? ) hit Betty Roché, Earl Hines and Johnny Hodges, but mistook Cat Anderson for Ray Nance...

That may be because one thinks of Cat usually as a highnote man, but he could play excellent full-bodied mid-register trumpet...

ubu

Yeah! He was much more than a simple high-note showman!

I remember reading "The world of Duke Ellington" by Stanley Dance where Cat commented he started with the high-note thing because his colleagues in his early days bands, did it and that was good for picking up girls.

[mikeweil]

This Ellington fan (not Ellingtonian, eh?    ) hit Betty Roché, Earl Hines and Johnny Hodges, but mistook Cat Anderson for Ray Nance...  

I never disputed this!

Perhaps I should have said "Ellingtonianites"?

Edited October 19, 2004 by mikeweil

[EKE BBB]

This Ellington fan (not Ellingtonian, eh?    ) hit Betty Roché, Earl Hines and Johnny Hodges, but mistook Cat Anderson for Ray Nance... 

I never disputed this!

Perhaps I should have said "Ellingtonianites"?

[brownie]

Track 8: Kenny Clarke & his 52nd-Street Stompers: Rue Chaptal (Kenny Clarke)

Fats Navarro & Kenny Dorham trumpets; Sonny Stitt alto sax; Ray Abrams tenor sax; Eddie de Verteuil baritone sax; Bud Powell piano; John Collins guitar; Al Hall bass; Kenny Clarke drums. Recorded in New York, April 9, 1946.

Originally on 78 Swing 244; taken from the CD Swing in America: The Charles Delaunay Sessions 1946 - French EMI/Pathé Jazztime 251273-2 (1989); available on Chronogical Classics CD 1171 Kenny Clarke 1946-1948 (2001).

I have always been a great fan of Kenny Clarke and find his importance in the development of modern jazz is still somewhat underestimated - I rank him up there with Monk, Dizzy and Bird. His move to Paris is largely responsible for this, and to this day many of his French recordings are not easy to get.

This session was organized by French producer Charles Delaunay for the Swing label - where else do you get so many bop pioneers all in one place?

Charles Delauney who produced the session named the tune in honour of the street where 'Jazz Hot', the jazz review he created, was located at the time.

Rue Chaptal is just south of Place Pigalle. The area was a meeting place for musicians.

Jazz Hot has moved elsewhere and the building that housed the review is now Le Musee de la Vie Romantique' (the Romantic Life museum.

http://www.theflews.com/Paris/Week13Pictur...e%20Chaptal.JPG

[Man with the Golden Arm]

Track 14: Johnny "Guitar" Watson: I'll Remember April (Rayden/DePaul/Johnson)

Johnny "Guitar" Watson piano; John Duke bass; Carl Lott drums. Recorded in Los Angeles, 1962. Originally on Chess LP 1490 I Cried For You; taken from the CD reissue Green Line/Chess 1020 Gettin' Down with Johnny Guitar Watson.

Dang Mike, that thing is quite the ringer. This would not be out of place in JimR's 'Hard Bossa' thread or a snip from Marcoliv's BFT. Tossed this one back and forth for a while and figured it was a standard cut by an early sixties bossa trio of some sort. And why play the guitar when you can give it to yer friend on the cover and take the bench instead?

He sounds so much more "latinized" than Tjader who comes up again on the next tune.

As nice a juxtapomozition as cuts 1 & 2.

Good one!

[Jim R]

Never knew Johnny Guitar Watson (saw him in person a couple of times) played piano. Never knew Cal Tjader played piano. Never knew Eddie Duran had so many personalities! I've heard Duran mostly as a sideman with Guaraldi over the years, and always thought he was pleasant, but not very distinctive. Now I see that he could play like Tal (and a bit of Jimmy Raney in there too) and Barney Kessel. I'm more than a little shocked, but I have to admit that I never really dug deep to see what he was capable of.

I'll say it again (as others have said as well)- this was one hell of a disc, Mike. Great fun. Thanks for putting up with all the bad humor (I'm talking about Big Al, of course ).

[Big Al]

Tjader is a little underestimated IMHO - but perhaps I am biased as I am so fond of his music.

You got that right! I’m just glad that Fantasy is making a bunch of his stuff available!

[mikeweil]

Thanks for putting up with all the bad humor (I'm talking about Big Al, of course ).

I was only in it for the dirty words you threw at me ...

..... which leads me to ask one serious question: From the remarks of several members in their signup e-mails, I must have some kind of "reputation" on this board. Now I thought after this Blindfold Test I would know some more about that, but do I?

[Noj]

I would say your reputation is in the "highly respected and knowledgeable" range, Mike.

[mikeweil]

He sounds so much more "latinized" than Tjader who comes up again on the next tune.

This is the only latinized track on the album - you should hear him sing "Polka Dots and Moonbeams" - happy as a lark .....

But he had the groove down, fer sure. He was a serious musician. Remember Zappa used him on "Andy"? And that he played all guitars and keyboards on "A Real Mother For Ya", everything but the horns and drums?

OTOH Tjader was a much more serious jazz musicians than most will believe. Check out the many jazz dates on Fantasy - and remember he was Charles Mingus' favorite drummer before he met Dannie Richmond!

[JSngry]

Always loved Guitar, knew that he had jazz chops, but never knew him to be a pianist (although given the environment he grew up in, he probably had exposure to piano before guitar). What interests me about this cut, like I said earlier, is the rhythmic variety in the playing, how non-metronomic it is. That's what blues (or more accurately, the blues "environment") can do for jazz - get you to thinking in more "natural" rhythms instead of running eigth notes forever and ever, choruses without end, amen.

Excellent choice, Mike!

[Big Al]

I'll say it again (as others have said as well)- this was one hell of a disc, Mike. Great fun. Thanks for putting up with all the bad humor (I'm talking about Big Al, of course ).

What he said! (I'm talking about me, TOO!!! Is there any other kind of humor? )

Seriously, I have GOT to start looking into those Chronological Classics discs. If these tracks are any indication, I am missing out on some wonderful music! Where's the best place to get 'em?

[mikeweil]

What interests me about this cut, like I said earlier, is the rhythmic variety in the playing, how non-metronomic it is. That's what blues (or more accurately, the blues "environment") can do for jazz - get you to thinking in more "natural" rhythms instead of running eigth notes forever and ever, choruses without end, amen.

If "natural" means "African derived" I will go with you here, Jim. My thesis is that African-Americans never lost their special feeling (innate or educated) for rhythmic structuring.

According to Prof Gerhard Kubik's research, to whom I owe a lot in my understanding of this matter, Africans have a "metronomic sense", i.e. an inner perception of strict time, allowing them to place sounds relative to the beat without losing their reference to the beat - they can play endlessly with it. All these phenomenons of playing behind the beat, on the beat, or driving the beat without accelerating can be explained with this and underline my experience that any true understanding of rhythm always has to develop the ability to perceive two rhythms simultaneously. In the simplest case, this is the beat and some pattern played on top of it. Just like harmonic thinking only makes sense if you have your basic chord in mind.

This conscious playing with the beat is what fascinates me about the music, and if you want the music to groove you - there is no other way to achieve this.

Since much of the blues is closer to its African roots than jazz, it is clear to me that blues-educted players might have that more than others. (See Kubik's excellent book "Africa and the Blues" on this matter.)

[JSngry]

Well, yeah, although the rhythmic sense of somebody like Warne Marsh leads me to believe that although this flexibility is most prominent in African-based cultures and musics, it's not necessarily exclusive to them.

To me, the question is whether or not a lot of societies/cultures have lost what they once had in a land and time long ago and far away, as well as whether or not that something still lingers inside, waiting to be rediscovered and redeveloped, whether or not what is commonly refered to as "whiteness" in matters such as this is a result of something not being there in the first place, or a result of that something never really being gotten in touch with, maybe even being "supressed" over centuries.

I honestly don't know.

[mikeweil]

Well, yeah, although the rhythmic sense of somebody like Warne Marsh leads me to believe that although this flexibility is most prominent in African-based cultures and musics, it's not necessarily exclusive to them.

Of course I didn't mean to imply this. But basically I think each of the cultural zones in the world has a slightly different feel for musical time: European, African-American, Oriental, Indian, East Asian are only the most important.

If you pay attention and grow up in the right environment, you cross borders, and that's what a lot of "white" jazz musicians did.

I agree that a standardized training system tends to overshadow this "ancient knowledge" of rhythm - it is one important factor why jazz soloists of even second or third grade sounded so remarkably individual.

[JSngry]

Yeah, give me the ancient knowledge first. Definitely.

[couw]

basically I think each of the cultural zones in the world has a slightly different feel for musical time

[...]

I agree that a standardized training system tends to overshadow this "ancient knowledge" of rhythm

culture itself is a standardized training system

[mikeweil]

Of course you're right, John.

Perhaps I should say it changed to more strictly standardized system with mechanical sounding implications narrowing individual approches - we all complain many younger musicians sound alike, don't we?

BTW, the answers are complete now. Much work to search out these f)(/&$%=)§ pics!

poooh!

[couw]

Of course you're right, John.

Perhaps I should say it changed to more strictly standardized system with mechanical sounding implications narrowing individual approches - we all complain many younger musicians sound alike, don't we?

yes we do, one might view it as an outcome of a "jazz=art" + "art can be taught" culture.