George Wallington - Live At The Cafe Bohemia

[Tom 1960]

Any thoughts on this release? I couldn't locate any relevent threads although I've read some positive thoughts on this release here in the past. Thanks.

[mikelz777]

The second I saw the line-up on the disc I couldn't pass it up. (It didn't hurt that I was going through a Donald Byrd and a Jackie McLean thing at the time.) Prior to finding this I had been listening to the Wallington sessions with Donald Byrd and Phil Woods. (The New York Scene and Jazz For The Carriage Trade) I picked up a different version of the disc, a 2-CD set which includes alternate takes for the Cafe Bohemia session as well as a 2nd release, "George Wallington Showcase". (see below) I really dug it and think it is well worth checking out.

Complete Live at the Café Bohemia

AMG review:

The people behind the Lone Hill Jazz label deserve some kind of humanitarian award for reissuing two of George Wallington's very best albums: Live! At Cafe Bohemia (recorded on September 9, 1955, and subsequently issued on both the Progressive and Prestige labels) and George Wallington Showcase (recorded in a studio for Blue Note on May 12, 1954). The band heard at the Bohemia — trumpeter Donald Byrd and alto saxophonist Jackie McLean in front of Wallington, Paul Chambers, and Art Taylor — had the power and depth of ensembles led by Charles Mingus and Art Blakey during the mid- to late '50s. The Showcase session, using Quincy Jones arrangements, resulted in music that was equally inspired and exhilarating, if at times a bit more reined in. A magnificent front line of trumpeter Dave Burns, trombonist Jimmy Cleveland, and saxophonists Frank Foster and Danny Banks was securely backed by Wallington, Oscar Pettiford, and Kenny Clarke. Banks, a capable baritone saxophonist, doubled at times on the flute, intensifying the James Moody-like aspect already suggested by the presence of Burns and Pettiford. This marvelous session acts as an organic counterweight to the sizzling live date. The inclusion of alternate takes from both albums adds ballast and excitement to a superb and satisfying stash of vintage hard bop.

[AllenLowe]

I will add the same comment I always add, sorry, but I think Art Taylor was a terrible drummer - listen to him rush the time after various solos - I don't have the cd in front of me, but anytime there is a solo that entails the rhythm section dropping down, he comes in post-solo at much higher speed - a real amateur's trait that drives me up the wall.

[mjzee]

The second I saw the line-up on the disc I couldn't pass it up. (It didn't hurt that I was going through a Donald Byrd and a Jackie McLean thing at the time.) Prior to finding this I had been listening to the Wallington sessions with Donald Byrd and Phil Woods. (The New York Scene and Jazz For The Carriage Trade) I picked up a different version of the disc, a 2-CD set which includes alternate takes for the Cafe Bohemia session as well as a 2nd release, "George Wallington Showcase". (see below) I really dug it and think it is well worth checking out.

Complete Live at the Café Bohemia

AMG review:

The people behind the Lone Hill Jazz label deserve some kind of humanitarian award for reissuing two of George Wallington's very best albums: Live! At Cafe Bohemia (recorded on September 9, 1955, and subsequently issued on both the Progressive and Prestige labels) and George Wallington Showcase (recorded in a studio for Blue Note on May 12, 1954). The band heard at the Bohemia — trumpeter Donald Byrd and alto saxophonist Jackie McLean in front of Wallington, Paul Chambers, and Art Taylor — had the power and depth of ensembles led by Charles Mingus and Art Blakey during the mid- to late '50s. The Showcase session, using Quincy Jones arrangements, resulted in music that was equally inspired and exhilarating, if at times a bit more reined in. A magnificent front line of trumpeter Dave Burns, trombonist Jimmy Cleveland, and saxophonists Frank Foster and Danny Banks was securely backed by Wallington, Oscar Pettiford, and Kenny Clarke. Banks, a capable baritone saxophonist, doubled at times on the flute, intensifying the James Moody-like aspect already suggested by the presence of Burns and Pettiford. This marvelous session acts as an organic counterweight to the sizzling live date. The inclusion of alternate takes from both albums adds ballast and excitement to a superb and satisfying stash of vintage hard bop.

The problem, of course, is that the Lone Hill is a boot. The alternate takes appeared on Progressive, but were withdrawn after a lawsuit. "George Wallington Showcase" was a 10" for Blue Note, later released on CD paired with a Frank Foster 10" session. This is currently available from Amazon as a legit CD-R.

[Cliff Englewood]

The second I saw the line-up on the disc I couldn't pass it up. (It didn't hurt that I was going through a Donald Byrd and a Jackie McLean thing at the time.) Prior to finding this I had been listening to the Wallington sessions with Donald Byrd and Phil Woods. (The New York Scene and Jazz For The Carriage Trade) I picked up a different version of the disc, a 2-CD set which includes alternate takes for the Cafe Bohemia session as well as a 2nd release, "George Wallington Showcase". (see below) I really dug it and think it is well worth checking out.

Complete Live at the Café Bohemia

AMG review:

The people behind the Lone Hill Jazz label deserve some kind of humanitarian award for reissuing two of George Wallington's very best albums: Live! At Cafe Bohemia (recorded on September 9, 1955, and subsequently issued on both the Progressive and Prestige labels) and George Wallington Showcase (recorded in a studio for Blue Note on May 12, 1954). The band heard at the Bohemia — trumpeter Donald Byrd and alto saxophonist Jackie McLean in front of Wallington, Paul Chambers, and Art Taylor — had the power and depth of ensembles led by Charles Mingus and Art Blakey during the mid- to late '50s. The Showcase session, using Quincy Jones arrangements, resulted in music that was equally inspired and exhilarating, if at times a bit more reined in. A magnificent front line of trumpeter Dave Burns, trombonist Jimmy Cleveland, and saxophonists Frank Foster and Danny Banks was securely backed by Wallington, Oscar Pettiford, and Kenny Clarke. Banks, a capable baritone saxophonist, doubled at times on the flute, intensifying the James Moody-like aspect already suggested by the presence of Burns and Pettiford. This marvelous session acts as an organic counterweight to the sizzling live date. The inclusion of alternate takes from both albums adds ballast and excitement to a superb and satisfying stash of vintage hard bop.

I have the Lone Hill set, I don't know why but it never really did that much for me, IMHO it's enjoyable but not really essential, common or garden Hard Bop. :D

[mikelz777]

There's nothing wrong with settling for "enjoyable". I'd agree, I don't think it's essential listening but if you enjoy George Wallington, Donald Byrd, Jackie McLean or some combination of the three, (not even taking into account Frank Foster or Jimmy Cleveland on the 2nd session) it's definitely worth checking out.

[JohnS]

More than enjoyable. I love Wallington and I love the Bohemia session. And I like Art Taylor, he swings for me, rushing tempos or not. One comment though, the alternates ( I have the Progessive vinyl) don't add that much imo.

[Joe]

Wallington is a fascinating pianist IMO. Fleet, with that Powell-esque intensity (and not so much of Al Haig's precision) but -- then again -- leavened by what sounds to me like a rather light touch. Sometimes in listening to his recordings I've felt like they've lacked a certain "body"... but closer listening has tended to reveal a pianist with a unique sense of the lyrical. He gets lost a bit in mix on this recording (1955 and location recording = many vagaries).

McLean and Byrd play well here, doing their "pecking" thing to probably its bet results on record. Yet I like this date primarily for the extended view it provides of Wallington's work.

[AllenLowe]

I'm a major admirer of Wallington, too, and I think he was the equal of Haig, in his prime. The trio things for Savoy are excellent.

Art Taylor, as you may have figured, I can do without - I was just listening to Trane's Slow Blues, with Coltrane of course, and after the bass solo the tempo almost doubles. You just can't consider somebody like that (and I know from musicians who gigged with him that this was a regular problem) a first rate drummer.

[Larry Kart]

I'm a major admirer of Wallington, too, and I think he was the equal of Haig, in his prime. The trio things for Savoy are excellent.

Weren't most (all?) of Wallington's vintage trio recordings done for Prestige? The solo albums he did for a Japanese label late in his career are marvelous.

[BruceH]

There's nothing wrong with settling for "enjoyable". I'd agree, I don't think it's essential listening but if you enjoy George Wallington, Donald Byrd, Jackie McLean or some combination of the three, (not even taking into account Frank Foster or Jimmy Cleveland on the 2nd session) it's definitely worth checking out.

I really love George Wallington. :tup

[Chuck Nessa]

I'm a major admirer of Wallington, too, and I think he was the equal of Haig, in his prime. The trio things for Savoy are excellent.

Weren't most (all?) of Wallington's vintage trio recordings done for Prestige? The solo albums he did for a Japanese label late in his career are marvelous.

The 8 trio sides (with Curley Russell and Max) on Savoy are my favorite Wallington. The other trio sides on Savoy with Russell and Charlie Perry are not far behind.

Edited August 30, 2009 by Chuck Nessa

[Larry Kart]

I stand corrected -- Savoy AND Prestige. The two later solo albums are "Virtuoso" (Interface) from 1984 and "The Symphony of a Jazz Piano" (Denon) from 1986.

[J.A.W.]

Don't forget his 1956 trio recordings for Atlantic, with Teddy Kotick and Nick Stabulas, released in 1957 on Knight Music. This album was reissued on CD by Koch.

[Chuck Nessa]

or the Verve sessions including the strings. Rare but nice. Still, nothing for me beats the Savoys.

[Joe]

I really wonder what he sounded like in person.

[mjzee]

I'm a major admirer of Wallington, too, and I think he was the equal of Haig, in his prime. The trio things for Savoy are excellent.

Weren't most (all?) of Wallington's vintage trio recordings done for Prestige? The solo albums he did for a Japanese label late in his career are marvelous.

The 8 trio sides (with Curley Russell and Max) on Savoy are my favorite Wallington. The other trio sides on Savoy with Russell and Charlie Perry are not far behind.

I have the trio sides (with Curley and Max) on this compilation:

The Modern Jazz Piano Album

[Larry Kart]

I really wonder what he sounded like in person.

Why would you wonder that about him, in particular?

On the other hand (perhaps), Wallington's approach, especially in terms of touch and attack, changed a good deal from his early trio days (brilliant and attractively brittle) to the more rounded, mellow, almost Hank Jones-like approach of '56 and the next few years (perhaps a bit "dumpy" rhythmically, even a tad cocktail-ish at times, if you don't dig that kind of thing), and then, after a long gap (I believe) away from recording, on those late solo albums his approach is very rich and full and two-handed strong -- absolutely gorgeous from a pianistic point of view IIRC.

[jlhoots]

I like The Prestidigitator.

[JohnS]

I like The Prestidigitator.

Yes, another fine album. All the early Wallington albums are excellent, and he wrote some interesting pieces. I can't say I was very fond of the late solo recordings. Ive not heard them for a while but I recall that his touch was nice but to me they seemed overly romantic.

[Big Beat Steve]

One comment though, the alternates ( I have the Progessive vinyl) don't add that much imo.

Which would that be, I wonder? I have the Bohemia recordings on Progressive PRO-7001 (vinyl), and except for one VERY brief "The Peck" (which come up twice but which I cannot really consider a real tune) I cannot see any alternates.

Otherwise, another George Wallington fan here. The Prestige recordings (as reissued on that twofer in the early 80s) are my favorites but everything else from that period comes very closely behind.

Edited August 31, 2009 by Big Beat Steve

[Niko]

I like The Prestidigitator.

me, too. had the at the bohemia and gave it away, don't really no why anymore, i do regret it but somehow i must have been thinking just another hard bop session and not one of the great ones...

[JohnS]

One comment though, the alternates ( I have the Progessive vinyl) don't add that much imo.

Which would that be, I wonder? I have the Bohemia recordings on Progressive PRO-7001 (vinyl), and except for one VERY brief "The Peck" (which come up twice but which I cannot really consider a real tune) I cannot see any alternates.

Otherwise, another George Wallington fan here. The Prestige recordings (as reissued on that twofer in the early 80s) are my favorites but everything else from that period comes very closely behind.

The Progessive lp is supposed to contain alternatives to the Prestige Bohemia issue. Both are included on the Lonehill 2cd at the head of this topic.

[Cliff Englewood]

had the at the bohemia and gave it away, don't really no why anymore, i do regret it but somehow i must have been thinking just another hard bop session and not one of the great ones...

Great minds think a like and all that, only I didn't give mine away. :lol:

[AllenLowe]

just as an historical aside, Haig used to walk his landlady's dog in the 1960s and 1970s on E. 37 st, I think it was, and Wallington, who was in the air conditioning business, used to live around there, and they regularly passed each other on the street. Wish I had a picture.