Arnold Ross

[AllenLowe]

but I'm listening to his 1945 version of I Cover the Waterfront and I'm saying, this guy is a GREAT pianist -

[JSngry]

Apparently an "interesting" life too, as he ended up at Synanon & appeared on that album w/Joe Pass...

[fasstrack]

Apparently an "interesting" life too, as he ended up at Synanon & appeared on that album w/Joe Pass...

Was he on the video w/Joe around '60 or so? There was a TV show and they played "The Song is You" and "Sonnymoon For Two". It turned up on a video called The Genius of Joe Pass, also including a lot of solo performances, something with Ella, and duos with NHOP. But those first two tunes are scary. On a little toy Fender someone gave him just so he could play. Burning, and no wonder he scared even Wes, who declined sitting in back then. He was that good.

Sounds of Syananon is a jazz guitar classic IMO. It really doesn't get better---unless it's Django or CC. Every solo he plays is so joyful and swinging and his articulation and chops with the pick are on the highest level. Good band, too.

[Jaffa]

but I'm listening to his 1945 version of I Cover the Waterfront and I'm saying, this guy is a GREAT pianist -

... you're not living in the past - but you're listening to some truly fine pianists that deserve to be better known !

There are lots of GREAT Arnold Ross solos - just try his session with Benny Carter for Keynote to mention ONE of my favorites !

[ghost of miles]

Didn't he do a brief stint stateside with Glenn Miller's AAF?

[ghost of miles]

Apparently an "interesting" life too, as he ended up at Synanon & appeared on that album w/Joe Pass...

Was he on the video w/Joe around '60 or so? There was a TV show and they played "The Song is You" and "Sonnymoon For Two". It turned up on a video called The Genius of Joe Pass, also including a lot of solo performances, something with Ella, and duos with NHOP. But those first two tunes are scary. On a little toy Fender someone gave him just so he could play. Burning, and no wonder he scared even Wes, who declined sitting in back then. He was that good.

Sounds of Syananon is a jazz guitar classic IMO. It really doesn't get better---unless it's Django or CC. Every solo he plays is so joyful and swinging and his articulation and chops with the pick are on the highest level. Good band, too.

fasstrack, check out the video posted on the Night Lights Resolution: Jazz From Rehab program page... Is this the one you're talking about?

Edited April 2, 2009 by ghost of miles

[ValerieB]

i actually got to see quite a bit of him in the '70s when we were both practicing Nichiren Buddhism in Santa Monica. i'm ashamed to admit though that i never really knew what a great musician he was until after he passed away!

[AllenLowe]

you knew Arnold Ross? I am in awe......

actually there a picture on the net of him late in life with a revival band - looks like an accountant -

Edited April 2, 2009 by AllenLowe

[JSngry]

http://www.jazzhouse.org/gone/lastpost2.php3?edit=964599162

Arnold Ross

Piano, organ, arranger

Born: January 29, 1921 in Boston, Massachusetts

Died: June 2000 in California

A Versatile and Imaginative Pianist

Copyright © 2000

The Scotsman, 2000

Arnold Ross was an inventive and versatile jazz pianist who will be remembered above all for his contribution to a famous live recording in the Jazz at the Philharmonic series with Charlie Parker and Lester Young. Ross recorded that session in 1946, and went on to a lengthy if often interrupted career in jazz.

He was born Arnold Rosenberg. He learned several instruments as a child, but settled on piano, and became a professional musician at the age of 16. He worked on cruise ships, then played Hammond organ with Frank Dailey during 1938-39, and piano with band leaders Jack Jenney in 1939, and Vaughan Monroe in 1940-42.

He was drafted in 1942, and played trumpet in an army band under the leadership of Glenn Miller, but his unruly sense of humour ensured he would not be invited to join Miller’s Army Air Force Band when the trombonist departed on his ill-fated tour of duty in Europe in 1944.

Ross moved to Los Angeles and joined trumpeter Harry James’s swing band, but was also a regular participant in the after hours jam sessions which helped develop bebop on the west coast. His style fitted particularly well in the interstices between swing and bop, where his subtle harmonic prompting and fertile invention were given free rein.

It was during this period that he took part in the JATP session with Charlie Parker, during which he delivers a fine solo chorus on Lady, Be Good, just before Bird takes his own even more famous outing He appeared with James in the screen musical Do You Love Me? (1946), in which he also dubbed the piano playing for Maureen O’Hara.

He became addicted to heroin in 1947, but continued to work in a variety of settings throughout the 1950s, including prolonged periods as pianist and musical director for singer Lena Horne. He led his own trio, and worked as pianist and arranger for a number of eminent leaders, notably singer Billy Eckstine and arranger Nelson Riddle (including sessions with Frank Sinatra), and on television shows with Bob Crosby (1954-56) and Spike Jones (1957-58).

He checked into the drug rehabilitation centre at Synanon in Southern California, a self-help community which numbered many musicians among its clients. He maintained his connection with the centre after his cure, and took part in a film about its activities, Synanon - Get Off My Back!, in 1965.

He worked mainly in the studios, usually with Nelson Riddle, until the mid-1970s, then led his own trio in California, and performed in the Beverly Hills Unlisted Jazz Band, a Dixieland group led by trombonist Conrad Janis. One of his last performances was in a Millennium Eve concert with a reformed version of the Harry James Band at the end of 1999.

He recorded very little under his own name, but he appeared on numerous recordings with artists like Benny Carter, Charlie Ventura, Howard McGhee, Dizzy Gillespie, Harry ‘Sweets’ Edison, Barney Kessel, Joe Pass, and singers Doris Day, Ella Fitzgerald, and Anita O'Day.

READERS' COMMENTS:

john granito December 31, 04

he was a good and inspiring man .

My Uncle Arnold Ross 2 of 3

Andy Rosenberg and Jill Rosenberg Schireson and Candace Rosenberg Tate April 03, 05

Thank you for the article on our uncle Arnold Ross. He was not only a talented musician but he was a great babysitter. Being high kept him beyond the constraints of disciplining young children. He always played the piano for us and encouraged us, the three children of his deceased brother Herbert, to sing accompanied by his piano. Unfortunately, none of us had any musical talent. We know there was a semi-scandalous marriage to a Las Vegas performer, but we cannot find her name anywhere. The marriage was annulled afer a few months. His most popular appearance was on Nelson Riddle's arrangement of Lisbon Antigua. We also still have a few private tape recordings of his performances and his vocal coaching which is amazing. We remember him fondly and look forward to learning more about him.

Arnold Ross 3 of 3

Joe Adams July 15, 06

I think his best recorded piano playing occurred in 1946 when he was featured with the Harry James orchestra in the six-minute arrangement of "Moten Swing" The arrangement by Ray Coniff was his best.

[AllenLowe]

an early jazz player of the Hammond Organ! how appropriate -

[fasstrack]

Apparently an "interesting" life too, as he ended up at Synanon & appeared on that album w/Joe Pass...

Was he on the video w/Joe around '60 or so? There was a TV show and they played "The Song is You" and "Sonnymoon For Two". It turned up on a video called The Genius of Joe Pass, also including a lot of solo performances, something with Ella, and duos with NHOP. But those first two tunes are scary. On a little toy Fender someone gave him just so he could play. Burning, and no wonder he scared even Wes, who declined sitting in back then. He was that good.

Sounds of Syananon is a jazz guitar classic IMO. It really doesn't get better---unless it's Django or CC. Every solo he plays is so joyful and swinging and his articulation and chops with the pick are on the highest level. Good band, too.

fasstrack, check out the video posted on the Night Lights Resolution: Jazz From Rehab program page... Is this the one you're talking about?

Couldn't open it. Shitty, pirated wifi connection and a slow computer. I'd like to see it eventually though. Thanks, buddy.

[AllenLowe]

just looked at that video - I don't think that's Ross on piano -

and I wouldn't call that Fender a "toy" - I believe it's a Jazzmaster, an excellent guitar -

Edited April 3, 2009 by AllenLowe

[fasstrack]

just looked at that video - I don't think that's Ross on piano -

and I wouldn't call that Fender a "toy" - I believe it's a Jazzmaster, an excellent guitar -

That wasn't my point. I'm a guitar player. That's not an instrument worthy of a player like Joe Pass. Doesn't have the warmth of a good archtop. Thin sound, no bottom, no depth. Can't be heard without an amp. It's not a guitar for a jazz player. But he made it sound good, and adjusted his touch b/c you can't play heavy or 'plink' with the pick on those solid bodies. It sounds horrible.

Anyway, his playing on that cheap, shit guitar is actually my favorite of all of his. Just amazing control, great ideas, great energy and swing, and he made that thin sound with the light strings sound like a million bucks by adjusting his touch.

[ValerieB]

you knew Arnold Ross? I am in awe......

actually there a picture on the net of him late in life with a revival band - looks like an accountant -

i didn't really "know" him. as i said, i used to see him quite frequently at meetings and Buddhist activities. so, now you can be not so in awe!!

[sidewinder]

Noticed the other day that he's on the 'June Christie and the Kentones' tracks that are part of the Mosaic Peggy Lee/June Christie Capitol Transcriptions box set,

[fasstrack]

fasstrack, check out the video posted on the Night Lights Resolution: Jazz From Rehab program page... Is this the one you're talking about?

Yeah, that's the video. Sound is awful but Joe sounds great. I hope that isn't Arnold Ross. Sounds kind of mediocre whoever it is. Not terrible, just boilerplate. Bass and drums are good, though. Good bass solo on the blues.

They have a comments feature and I asked who the personnel are. It's either Arnold Stinson or Gary Peacock on bass, I believe.

[Big Beat Steve]

Are there any accessible reissues of Arnold Ross' 10in LP recorded for Vogue in 1952 available these days?

Can't recall having ever seen it in that black cardboard cover Vogue/BMG CD reissue series of French jazz that was around in the 90s.

Edited April 3, 2009 by Big Beat Steve

[Niko]

Are there any accessible reissues of Arnold Ross' 10in LP recorded for Vogue in 1952 available these days?

Can't recall having ever seen it in that black cardboard cover Vogue/BMG CD reissue series of French jazz that was around in the 90s.

then you probably haven't seen this one...

saw one used a few weeks ago for 7 euro, kicking myself for not getting it, cheapest copy on amazon.de is 75 euro...

[Big Beat Steve]

Indeed!

Must have been released after I bought a whole batch of that series.

[AllenLowe]

"cheap, shit guitar"

ahhh, fasstrack, we could start a whole new topic here - but Jimmie Bryant played a Telecaster, as does that guy up in Canada, can't think of his name (Terry Clarke?). And that's kinda my point - those solid bodies have a sound of their own, more "electric" and "real" than the hollow body, which is just an acoustic in disguise, lacks the courage of its convictions - Al Hendrickson, I think, used to play a Goldtop with p90s - fuller sound, darker, harder - I like it, you may not, but I think you shouldn't characterize it as less than jazz-authentic -

[brownie]

Are there any accessible reissues of Arnold Ross' 10in LP recorded for Vogue in 1952 available these days?

Can't recall having ever seen it in that black cardboard cover Vogue/BMG CD reissue series of French jazz that was around in the 90s.

then you probably haven't seen this one...

saw one used a few weeks ago for 7 euro, kicking myself for not getting it, cheapest copy on amazon.de is 75 euro...

That Arnold Ross date for French Vogue was also reissued in Japan:

Got a copy of this 25m36s CD reissue for €3 at one of the regular biannual sales here!

Arnold Ross was a familiar name for me since he was the piano player in one of the first album I ever bought, a 10incher from a JATP concert with a David Stone Martin cover

Ross also recorded with Gillespie for Vogue when he was in Paris back in 1952 playing piano for Lena Horne. That's the trio playing for Lena Horne that recorded the Ross album for Vogue!

[fasstrack]

"cheap, shit guitar"

ahhh, fasstrack, we could start a whole new topic here - but Jimmie Bryant played a Telecaster, as does that guy up in Canada, can't think of his name (Terry Clarke?). And that's kinda my point - those solid bodies have a sound of their own, more "electric" and "real" than the hollow body, which is just an acoustic in disguise, lacks the courage of its convictions - Al Hendrickson, I think, used to play a Goldtop with p90s - fuller sound, darker, harder - I like it, you may not, but I think you shouldn't characterize it as less than jazz-authentic -

Ed Bickert.

I speak from experience as a guitarist, do you? It doesn't invalidate your opinion if you don't play guitar but I can't in good conscience take it as seriously as my own or another guitarist that has to solve these problems. Others may disagree according to taste, but it's quantifiable that solid bodies are in a different league than hollow, no sound w/o amp, require a different touch, offer not as much depth sonically, especially in the bottom. They play well, sustain better (they are better for louder situations, like, say an organ trio where the amp becomes more important. I find they don't blend as well w/elec. pianos and the two instruments become less distinguishable) and have the advantage of no feedback but you miss a lot of warmth and, more critically, the simulation of an air column most true jazz guitarists desire, since, when soloing, we basically take our phrasing and vocabulary from horn players---the really good ones anyway--from Charlie Christian on. (Of course I include myself as an example in approach, not achievement, as it is for others to judge my merits---but I absolutely want to play/extend that tradition)This is much harder to pull off without the fatness of an archtop. This next statement is especially subjective, but IMO players that settle for a flatter, less live sound I find are also usually are hung up in guitar licks and not trying to deal with the level of the greatest players like Jimmy Raney. Listen to Jimmy play, you can almost hear him 'breathe'. I don't deal with less than the warmest I can sound myself, though I enjoy solid bodies for what they are. Had several, and semi-hollows too.

Telecasters are not Jazzmasters. Much better instrument. I had a George Harrison model for many years---and loved it. Ed Bickert sounds great on it, but also has a light touch and plays in situations where blasting is not required, and therefore can keep the volume down and get a great sound. The sustain is also very suitable to his chordal approach. Joe Pass made the Jazzmaster sound good b/c he was...........Joe Pass.

Edited April 3, 2009 by fasstrack

[AllenLowe]

I actually do play guitar, been obsessed with the instrument since about 2001 - I prefer a darker, more primitive approach, all tubes (only NOS), older tweed circuits, alnico magnet speakers based on the old Q's or Rola - little sustain, if possible, as less of it makes you work harder, but also the kind of "breathing" and compression that you can only get from tubes - I actually believe a shorter decay time is more interesting and more "natural" and voice-like; I just feel like guys like Rainey (and you) have done the other thing so well that it does not interest me. I'm also less interested in a horn approach than one closer to the human voice on, say, 1920s country/blues/hilllbilly/gospel recordings. I look more to the older country and blues players for inspiration (Memphis Minnie, Bill Broonzy, Pat Hare, Willie Johnson - the one who played with Howlin Wolf - and Pete Lewis) but I use that style in service of a kind of free improv, though usually based on standard forms of one kind or another - (I play an old repro 5D3 - the circuit Fender used just before the 5E3 Tweed Deluxe, and play various guitars with either P90s or PAF-style humbuckers; nothing with an output of more than 7.5 or 8 k, alnico magnets only. Also an old 6 string banjo guitar. I also have a Tweed Champ repro, a Silvertone 1482, and an early 1950s Gibsonette. And though no one asked, they were all worked on by the greatest amp guy I know, Dan Lurie in South Burlington, Vermont).

Edited April 3, 2009 by AllenLowe

[fasstrack]

I actually do play guitar, been obsessed with the instrument since about 2001 - I prefer a darker, more primitive approach, all tubes (only NOS), older tweed circuits, alnico magnet speakers based on the old Q's or Rola - little sustain, if possible, but the kind of "breathing" and compression that you can only get from tubes - I actually believe a shorter decay time is more interesting and more "natural" and voice-like; I just feel like guys like Rainey (and you) have done the other thing so well that it does not interest me. I'm also less interested in a horn approach than one closer to the human voice on, say, 1920s country/blues/hilllbilly/gospel recordings. I look more to the older country and blues players for inspiration (Memphis Minnie, Bill Broonzy, Pat Hare, Willie Johnson - the one who played with Howlin Wolf - and Pete Lewis) -

Don't forget the horn players also emulate human voices, e.g.: Johnny Hodges, Ben Webster. John Coltrane sounds like a blues singer to me. I think we're all trying to 'sing' in our ways.

BTW: nice compliment, but I'll never approach the quality of Jimmy in this lifetime.The only player I've hung with that is in the drawer behind Jimmy IMO is Eddie Diehl, who I played with, as well as playing with Jimmy as student and admirer, for years and can vouch that he's that good to be almost as good as Jimmy---and there's still quite a gap. Doesn't stop me from trying to 'catch' Jimmy in one way, though: Not that I would copy, I've absorbed him years ago as a major influence and have a style made up of many things/influences including many of my own thoughts----but he generally set the bar so high that we have a gold standard to work towards. He's a great study and great artist IMO.

I started out as a teenage blues player, BTW. By the time I worked with Big Joe Turner, though he dug me I was too 'jazz' for Doc Pomus----who was running the show---and he canned me. That's Show Biz........

Edited April 3, 2009 by fasstrack

[AllenLowe]

funny 'cause I once sat in with Joe at the West End - Percy France was playing and Joe sat in a side booth with his microphone - everything was in C - I played tenor. Bob Neloms was playing piano, as I recall -

it was fun but I mainly did it so I could say I'd played with the greatest blues singer alive -