Richie Kamuca Quartet

When jazz scholars make a thumbnail appraisal of musical talent, they invariably begin with influences. This fact of analysis is at times readily apparent; at other times quite obscure. It's purpose, basically, is to trace the thread of originality back to a known source, and then to compare what the younger man has done with the thought schemes developed by his forerunners.

In Richie Kamuca, the young tenor player featured on this LP, we find a clearcut example of present-day tenor techniques firmly rooted in the accepted traditions of jazz playing for that instrument. Throughout his performance, Richie demonstrates the shifting patterns of contemporary music woven over the firmly established departure lines.

Programming for an LP is always a challenge to the artist, and Richie took particular pains and delight in assembling the tunes heard here.

Once around the turntable, and the listener will find convincing proof that in Richie Kamuca, we have a strong link between the schools in the art form he represents. This quartet recording — his first for any label — is a noteworthy equation to the high standards of that art.

*Joe Quinn (liner notes)*

Considering his talent, it is very surprising that tenor saxophonist Richie Kamuca led so few record dates throughout his career — just three during 1956-58 and three for Concord in 1977. This quartet set (a MOD LP reissued by V.S.O.P. on CD) features the excellent cool-toned tenor in a quartet with pianist Carl Perkins, bassist Leroy Vinnegar and drummer Stan Levey. Only the brief playing time (just over 30 minutes) keeps this set from getting a higher rating, for Kamuca is in prime form. Highlights include "Just Friends", "What's New" and "Cherokee". *Scott Yanow*

Pure genius from tenor saxophonist Richie Kamuca — a magical exercise in tone and balance, played by Richie with that warm and raspy style that we love so much in his work! Kamuca's probably best known for his bigger group work of the 50s, but on a session like this he steps out as a marvelously creative soloist — working at a good bop-inspired clip, but also taking the time to explore deeper, more personal ideas through his well-voiced solos on the set. Even on more familiar numbers, Richie steps out with a sense of personality that transforms the tunes to his own way of thinking — and he's very well aided in this work by a crack rhythm section that includes Carl Perkins on piano, Leroy Vinnegar on bass, and Stan Levey on drums. *dustygroove.com*

1 - Just Friends

(Klenner, Lewis)

2 - Rain Drain

(Richie Kamuca)

3 - What's New

(Haggart, Burke)

4 - Early Bird

(Carl Perkins)

5 - Nevertheless

(Kalmar, Ruby)

6 - My One and Only Love

(Wood, Mellin)

7 - Fire One

(Carl Perkins)

8 - Cherokee

(Ray Noble)

Richie Kamuca (tenor sax), Carl Perkins (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded at Radio Recorders, Hollywood, California, June 1957.

Conte Candoli Quartet

For his first MODE release, Conte chose a standard  rhythm foundation to support his creative trumpet designs. Piano is under the capable hands of young Vince Guaraldi whose two-fisted attack has earned for him the immediate respect of  music men. Bassist Monty Budwig is a thoroughly dependable player with a sharp rhythm sense and an acute ensemble feeling. Drummer Stan Levey worked the Kenton band with Conte and has a keen perception of the leader's particular style and attack. His support is invaluable. 

Another feature of MODE's Conte Candoli release is the elaboration on arrangements for the date by "Count" and his brother Pete. Pete's power-packed trumpet playing was a highlight of Woody Herman's first herd on which he and Conte sat together. With a deep respect for Pete's diverse talents, Conte was pleased to find him available to puzzle out the interesting originals heard here.

Keeping in mind that exploration is an important part of the jazz picture, Conte Candoli is always a welcome record study. His keen jazz sense and his interest in adapting unlikely melodies to that art have established him in the forefront of major influences. In the house of jazz royalty, the "Count" is a permanent fixture. *Joe Quinn (liner notes)* 

This session features the excellent bop trumpeter Conte Candoli in a quartet with pianist Vince Guaraldi, bassist Monty Budwig, and drummer Stan Levey. In addition to the joy of hearing Candoli so well-showcased, this set is recommended because of the interesting repertoire. In addition to "Flamingo", "Diane", and "No Moon at All", one gets to hear rare selections penned by the likes of Al Cohn, Osie Johnson, Conte's brother Pete Candoli, and the leader himself. *Scott Yanow*

Arguably one of the best records cut for the short-lived Mode label in the late 50s – and easily one of the best from trumpeter Conte Candoli too! For the session, Conte front a quartet with Vince Guaraldi on piano, Monty Budwig on bass, and Stan Levey on drums – and Guaraldi's piano style's got a heck of a lot more soul than you'd expect, a detail that brings a nice depth to a session that might have been otherwise lightweight – and which comes off with the same strength overall as the pair's outing from the same time for the Crown label. Candoli seems to play about half the tracks with a mute, but still in a style that's more open and fluid than much of his other work from the time. *dustygroove.com*

Side 1

1 - Something For Liza

(Al Cohn)

2 - Walkie Talkie

(Pete Candoli)

3 - Flamingo

(Grouya, Anderson)

4 - Mediolistic

(Osie Johnson)

Side 2

5 - Tara Ferma

(Pete Candoli)

6 - Diane

(Rapee, Pollack)

7 - No Moon At All

(Mann, Evans)

8 - Mambo Blues

(Conte Candoli)

Conte Candoli (trumpet), Vince Guaraldi (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded at Radio Recorders, Hollywood, California, June 1957.

Frank Rosolino Quintet

There's a legend abroad in the music business, and his name is Frank  Rosolino.

The legend that has grown up around Frank is not so much for his music skill, which has been firmly established for many years, but for his inexhaustible energy  and disarming wit which is in motion twenty-four hours a day.

Wherever musicians gather to swap stories of the rigors of the road when traveling with big bands, the fable of Frank is certain to come up and be discussed time and again. To a man, the musicians who worked with  him on the Stan  Kenton band and other travelling units agree that Frank's presence on the stand or in the bus made a difficult condition almost bearable.

We mention this legend to acquaint you with the magnificent philosophy by which Frank Rosolino lives, and which is projected into his music. As a young trombone student in  Detroit some years ago, Frank learned the paradoxical lesson that ragged nerves produce bad music, yet the music business produces ragged nerves. His love for music refused to admit any seamy side, and he resolved to lean on his own good nature when the trips were long and the income rather limited. This novel approach radiated to every musician he worked with who, although unable to match his energy, felt a psycolgical lift from his ceasless jocularity. They felt better and played better because of Frank Rosolino  — and thus the legend was born.

Recording sessions are no exception to Frank's rule of thumb, as his initial MODE release will show. He sagaciously picks tunes and personnel to compliment his unmistakeable trombone style, and remains ever-watchful that the mood of the session is happy and relaxed. This, coupled with his intense sincerity to produce grade A jazz, gives an added bonus to any Frank Rosolino release.

The jazz history of the trombone is a long and distinguished one, and the new departures outlined by Frank Rosolino marks a milestone for that instrument. Not content with aping other styles, Frank has introduced a technical facility which few can match. His impressive jazz sense completes a perfect mold. *Joe Quinn (liner notes)*

This session for the short-lived Mode label remains the zenith of Frank Rosolino's recorded output. Paired with a stellar support unit featuring pianist Vince Guaraldi, tenorist Richie Kamuca, bassist Monty Budwig, and drummer Stan Levey, the trombonist not only delivers some of the most dazzling solos of his career, but also proves himself a gifted composer, contributing a handful of original tunes that fit comfortably alongside standards like Gershwin's "How Long Has This Been Going On?" Largely eschewing more uptempo fare, Rosolino instead favors a simmering, soulful bop approach that champions feeling as much as technique. This is music with genuine emotional heft and intellectual edge. *Jason Ankeny*

One of the best albums on the rare Mode label – and a great quintet side by trombonist Frank Rosolino! The group here features Vince Guaraldi on piano, Richie Kamuca on tenor, Monty Budwig on bass, and Stan Levy on drums – and the sound's a lot harder than you'd expect from the combo. Guraldi's especially rough-edged – with a soulful sound that's quite different than his 60s recordings, one that sounds great next to Rosolino's horn. Titles include "Tuffy", "Fine Shape", "Cherry", "Let's Make It", "Fallout", "Thou Swell", "How Long Has This Been Going On" and "They Say". *dustygroove.com*

Side 1

1 - Cherry

(Daniels, Gillespie)

2 - Let's Make It

(Frank Rosolino)

3 - How Long Has This Been Going On?

(G. and I. Gershwin)

4 - They Say

(Weiss, Mann, Heyman)

Side 2

5 - Fine Shape

(Frank Rosolino)

6 - Fallout

(Bill Holman)

7 - Thou Swell

(Rodgers, Hart)

8 - Tuffy

(Frank Rosolino)

Frank Rosolino (trombone), Richie Kamuca (tenor sax), Vince Guaraldi (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded Radio Recorders, Hollywood, California, June 1957.

No Strings Sextet And Mannie Klein's Sextet - Rare And Obscure Jazz Albums

 

Peter Matz (1928–2002) was an American musician, composer, arranger, and conductor. His illustrious musical career in film, theater, television, and studio recording spanned five decades, during which he collaborated with several renowned artists, including Marlene Dietrich, Anita Ellis, Noël Coward, and Barbra Streisand. In 1962, he conducted the orchestra for the Broadway show "No Strings" and led the sextet from the production in this jazz-oriented rendition of the musical's songs. The combo performs the songs in a light and breezy style, enhancing the Richard Rodgers tunes with finesse. Matz's fresh and imaginative arrangements of Rodgers' superb "No Strings" score are brought to life by six exceptionally talented wind players and two of the best rhythm musicians in the business. Qualities, which fully highlight the essentially lyrical nature of these songs.

Emmanuel Klein (1908–1994) was an American jazz trumpeter closely associated with the Swing Era. He was active throughout the 1930s, working as a studio musician and performing with bands such as Jimmy and Tommy Dorsey, Benny Goodman and others. In 1937, he moved to California and joined Frank Trumbauer's orchestra, quickly becoming one of the most sought-after trumpet players in Hollywood studios. In this album, he and a group of West Coast jazz musicians perform selections from the highly successful Rodgers and Hammerstein II musical "The Sound of Music" with taste and imagination, resulting in an outstanding recording. The arrangements were crafted by Henry Beau and Bobby Hammack. For this session, Klein assembled a stellar line-up of musicians, including Bobby Hammack on piano, Ronnie Lang on saxophone, Al Hendrickson on guitar (alternating with Bobby Gibbons), Morty Corb on bass, and Frank Flynn (alternating with Irving Cottler) on drums and percussion. *Jordi Pujol*

If you are a fan of the "Cool School" of jazz from the 50s and 60s, you're in for a treat on this disc of some real obscurities. The first album on this single disc is a 1962 session arranged by Peter Matz, who put together a team of oboe, flute, bass clarinet, alto sax, baritone sax, bassoon as well as trumpet and trombone for the pianoless rhythm team of Joe Benjamin/b and Ronnie Bedford/dr-bong. The result is a lithe a floating collection of concise readings of material from the Richard Rogers Broadway production No Strings. There are some richly swinging moments such as on "Eager Beaver" and velvety reed work on "The Sweetest Sounds" and "Be My Host" with solos weaving in and out to n ever overstay their welcome. Amber moods.

Music from The Sound Of Music  is arranged by Heinie Beau and Bobby Hammack as its performed by trumpeter Mannie Klein and his team of Hammack/p, Ronny Lang/as-fl, Al Hendrickson-Bobby Gibbons/g, Morty Corb/b, Irv Cottler/dr and Frank Flynn/vib-perc. The charts here are quite clever, having lives of their own, as on a tropical take of "Climb Every Mountain", a bopping "Sixteen Going On Seventeen" and a deep dig on "Do-Re-Mi". The hills are alive! *George W. Harris*

1 - The Sweetest Sounds

2 - Loads Of Love

3 - The Man Who Has Everything

4 - Be My Host

5 - La-La-La

6 - Love Makes The World Go

7 - An Orthodox Fool

8 - Look No Further

9 - "Maine"

10 - Nobody Told Me

11 - Eager Beaver

12 - No Strings

13 - How Can Our Love Survive

14 - Maria

15 - An Ordinary Couple

16 - Do-Re-Mi

17 - The Lonely Goatherd

18 - My Favorite Things

19 - The Sound Of Music

20 - No Way To Stop It

21 - Climb Every Mountain

22 - Sixteen Going On Seventeen

(All compositions by Richard Rodgers)

#1 to #12, from the album "No Strings" by the No Strings Sextet (Columbia CS-8617)

Music by Richard Rodgers from the Broadway Production "No Strings". Arranged & Conducted by Peter Matz.

Wally Wegner (flute, piccolo, clarinet, bass clarinet, baritone sax), Aaron Sachs (clarinet, alto sax solos), Ernie Mauro (oboe, English horn, clarinet, bass clarinet, saxophone), Wally Kane (bassoon, flute, bass clarinet, baritone sax solos), Jimmy Sedlar (trumpet), Jimmy Dahl (trombone), Joe Benjamin (bass), Ronnie Bedford (drums, bongos).

Recorded in New York City, May 1962.

#13 to #22 from the album "The Sound of Music" by Mannie Klein and His Sextet (Imperial LP 12038)

Music by Richard Rodgers from the Broadway Production "The Sound of Music". Arrangements by Heinie Beau and Bobby Hammack.

Mannie Klein (trumpet); Ronny Lang (alto sax, flute); Bobby Hammack (piano); Al Hendrickson [#13, #15, #19, #21, #22], Bobby Gibbons [#14, #16, #17, #18, #20] (guitars); Morty Corb (bass); Frank Flynn (vibes, percussion, drums); Irv Cottler (drums, bongos). 

Recorded at United Recorders, Hollywood, October 22 (#13, #15, #19, #21, #22) and 23 (#14, #16, #17, #18, #20), 1959.

Enrique Villegas - An Argentinian in New York

Enrique "Mono" Villegas born in Buenos Aires (August 3, 1913) into an aristocratic family. He studied piano under the guidance of the composer Alberto Williams. Trained in classical music, he soon abandoned this genre to embrace jazz. He held his first concert at the Teatro Odeón at 19 years old, and performed his first composition, "Jazzeta", in 1941. After forming some ensambles (notably the Santa Anita Sextet and Los Punteros) and collaborating to several recordings, he recorded the first album under his name in 1952.

In the mid-1950s he was put under contract by Columbia Records and moved to New York City; after two albums he decided to terminate the contract due to artistic disagreements with the label. He then toured extensively in Europe, United States and Latin America for eight years, before coming back in Buenos Aires where he formed two trio ensambles, first with Jorge López Ruiz and Eduardo Casalla, and then with Alfredo Remus and Néstor Astarita, and recorded several albums.

Enrique Villegas was the first jazz pianist to perform at famed Teatro Colón.

He died in Buenos Aires (July 11, 1986), from complications due to a hip broken in a car accident.

Enrique Villegas

Complete New York Sessions

1955-1957

The playing of Argentinian pianist Enrique Villegas (1913-1986) was unique, exciting and continuously interesting, with a special character of its own founded on his classical training and jazz inclinations. He moved to the United States in 1955, when he was already well-known in his country, with the intention of establishing himself in North America as a Jazz pianist. His nightclub debut at the Cafe Bohemia was an instant success, and his performances were acclaimed by both critics and public.

His career was already on its way, but two years after his arrival in New York, he drastically decided, due to artistic discrepancies with his record label, to return to Buenos Aires. This CD contains the two historic trio albums Villegas recorded during his stint in New York City. *Jordi Pujol*

Argentinian pianist Enrique "El mono" Villegas (1913-1986) was one of Argentina's biggest jazz exports, along with Gato Barbieri. He spent his exemplary career living and working in Buenos Aires, where he made his debut recording in 1944 and his last in 1977. To mark the 20th anniversay since his death in 1986, Fresh Sound Records has published this 2 LPs-on-1 CD compilation with the two terrific albums he recorded for the Columbia label in New York.

Villegas moved to the United States in 1955, when he was already well-known in his country, with the intention of establishing himself in North America as a professional jazz pianist. Although he didn't stay in USA that long, his nightclub debut at the Café Bohemia was an instant success, and his performances were acclaimed by both critics and public alike. This CD contains the only two historic trio albums Villegas recorded in studio during his stint in New York. *jazzmessengers.com*

1 - Ain't Misbehavin'

(Razaf, Waller, Brooks)

2 - Yesterdays

(Harbach, Kern)

3 - What Is This Thing Called Love

(Cole Porter)

4 - Chopin Prelude

(Frédéric Chopin)

5 - Lazy Bones

(Mercer, Carmichael)

6 - Where Or When

(Rodgers, Hart)

7 - Sometimes I'm Happy

(Caesar, Youmans)

8 - Embraceable You

(G. and I. Gershwin)

9 - Poor Butterfly

(Garner, Hubbell)

10 - Jelly Roll Blues

(Jelly Roll Morton)

11 - I Ain't Got Nobody

(Graham, Williams)

12 - Black Beauty

(Duke Ellington)

13 - Honeysuckle Rose

(Waller, Razaf)

14 - Rosetta

(Hines, Woods)

15 - Jumpin' At The Woodside

(Count Basie)

16 - Night In Tunisia

(Gillespie, Paparelli)

17 - Django

(John Lewis)

18 - Scruby

(Friedrich Gulda)

19 - Western Reunion

(Gerry Mulligan)

#1 to #9: from the album Introducing Villegas (Columbia CL 787)

Enrique Villegas (piano), Milt Hinton (bass), Cozy Cole (drums).

Recorded in New York City, September 8 and 9, 1955.

#10 to #19, from the album Very, Very Villegas (Columbia CL 877)

Enrique Villegas (piano), Milt Hinton (bass), Cozy Cole (drums).

Recorded in New York City, March 13, April 10 and May 2, 1957.

The Amazing Sound Of Toots Thielemans

Jean Toots Thielemans arrived in the U.S. from his native Belgium in 1951. His first works in jazz were as a guitarist, instrument on which he achieved recognition as soon as he joined the George Shearing Quintet in late 1952. However, he was also a skilful harmonica player.

The present selection was intended to introduce the several facets of the instrument as exposed by Toots Thielemans thorough musicianship, his swing, and his unique achievements in versatility. For him, the ingredients of jazz are the beat (the motor) and sound, melody, and harmony (the intelligence). In this collection you will find Toots playing harmonica on every track, and even overdubbing guitar solos on four of them. With feats like this, not only he proved that jazz is a music of many moods, but he also brought a new perspective to the use of the harmonica in the jazz field; because one thing is certain: he can make it swing! *Jordi Pujol*

Jean "Toots" Thielemans

The Amazing Sound Of "Toots" Thielemans

This CD contains the music from two old long-playing records by Toots Thielemans. This concerns The Sound and Time out for Toots from 1955 and 1958 respectively.

Our man was initially mainly active as a guitarist in the United States. I think everyone will be familiar with his role in the George Shearing Quintet of the 1950s. Gradually the harmonica came into more and more action, often in unison with the guitar. That is also the case here. Guitar and harmonica are often heard together. However, the guitar part here was played later. The harmonica is definitely the center of attention.

Thanks to Toots, the small instrument gained a serious place in jazz. When listening to this material it immediately becomes clear what appealed to people about this music at the time. Everything testifies to an unmistakable swing and an indomitable zest for life. The choice of repertoire may lead some people to suspect that it is easy listening pop music from the old days. Nothing is less true. What we hear is jazz of the highest order from the time when jazz was still a mainstream music direction and not a somewhat obscure niche for connoisseurs. It is pleasantly listenable, accessible, modern jazz with a touch of bop here and there. Fans of good guitar playing, refined harmonica playing and Toots in general will find much to enjoy here. He explained the success of his way of playing the harmonica in an interview in Down Beat in 1953 as follows: "The basic thing is that I play the harmonica as an instrument, not a toy". *Jo Beckers*

If this collection proves that jazz is music of many moods, it also proves that jazz is a music which knows no boundaries... of nations of instruments.

It brings a new perspective to that mush-maligned instrument, the harmonica. And adds a new dimension to Thielemans, who can cerrainly make it swing. *Dom Cerulli*

1 - On The Alamo

(Kahn, Jones)

2 - Don't Be That Way

(Goodman, Sampson, Parish)

3 - I Put All The Eggs In One Basket

(Berlin)

4 - Sophisticated Lady

(Ellington, Parish, Mills)

5 - Scotch On The Rocks

(Thielemans)

6 - I Let A Song Go Out Of My Heart

(Ellington, Nemo, Redmond, Mills)

7 - Stars Fell Of Alabama

(Parish, Perkins)

8 - Diga Diga Doo

(McHugh, Fields)

9 - So Rare

(Sharpe, Herst)

10 - Skylark

(Carmichael, Mercer)

11 - Sonny Boy

(Brown, Henderson, DeSylva, Jolson)

12 - Cocktails For Two

(Coslow, Johnston)

13 - The Nearness Of You

(Carmichael, Washington)

14 - In A Sentimental Mood

(Ellington, Kustz, Mills)

15 - You Took Advantage Of Me

(Rodgers, Hart)

16 - Cool And Easy

(Thielemans)

17 - Body And Soul

(Green, Sour, Heyman, Eaton)

18 - The Cuckoo In The Clock

(Donaldson, Mercer)

19 - Tangerine

(Mercer, Schertzinger)

20 - Early Autumn

(Burns, Herman, Mercer)

21 - Them There Eyes

(Pinkard, Tracey, Tauber)

22 - A Handful Of Stars

(Shapiro, Lawrence)

23 - Can't Lovin' Dat Man

(Kern, Hammerstein II)

24 - Clap Yo' Hands

(G. and I. Gershwin)

#1 to #12 from the 12" album The Sound (Columbia CL658)

Toots Thielemans (harmonica) with:

#3, #6, #10, #12:

Lou McGarity, Al Godlis, Billy Rauch, Jack Satterfield (trombones); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#1, #4, #7, #9:

Toots Mondello, Artie Beck (alto sax, clarinet); Carl Prager (baritone sax, clarinet); George Berg (tenor sax, clarinet); Tony Mottola (guitar), Oscar Pettiford (bass); Cliff Leeman (drums).

Recorded in New York City, April 1955.

#2, #5, #8, #11

Ray Bryant (piano), Wendell Marshall (bass), Bill Clark (drums).

Recorded in New York City, April 1955.

#13 to #24 from the 12" album Time Out For Toots (Decca DL9204)

Toots Thielemans (harmonica, guitar [#18, #20, #21, #22]) with:

#14, #16, #19, #23: 

Hank Jones (piano), Doug Watkins (bass), Art Taylor (drums).

Recorded in New York City, January 22, 1958.

#13, #17, #18, #22:

Urbie Green, Billy Byers, Chauncey Welsch, Santos Russo (trombones); Hank Jones (piano); Bucky Pizzarelli (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

#15, #20, #21, #24:

Al Cohn, Zoot Sims (tenor saxes); Al Epstein, Danny Bank (baritone saxes); Hank Jones (piano); Barry Galbraith (guitar); Doug Watkins (bass); Art Taylor (drums); Ralph Burns (arranger).

Recorded in New York City, January 24, 1958.

Benny Golson - Stockholm Sojourn

The International Jazz Orchestra

Under The Direction Of Benny Golson

Stockholm Sojourn

In recent years Benny Golson has been known — aside from his excellent tenor playing — for his small group writing. It should not be forgotten that he first attracted attention as an arranger through his work for Dizzy Gillespie's big band. The years since then have seen a constant accretion of his skills. In this album, a return to a big band format (23 men in all), we can see, or rather hear, how much his talent has grown. 

It is an album of tightly-woven textures. He uses an instrumentation of four trumpets, three trombones, four French horns, flutes, clarinets, alto flutes, oboes, English horns, a bass clarinet, a baritone saxophone, bass and drums. The voicings are often unusual. "A lot of times", he said, "I wanted a blanket effect-like a crazy quilt".

Listening to the tape, he added, "You'll notice I had the bass recorded a little heavy. That's because there's no piano, and the two rhythm have 21 men sitting on top of them". Fortunately, the bassist is Roman Dylag, the young Pole whose work was gaining repute even before he slipped out under the Iron Curtain and took up residence in Sweden.

Sweden has proved a haven for many jazzmen, including some Americans. One of these is the brilliant trumpeter Benny Bailey, who plays lead and a number of the solos in this recording. The majority of the musicians, however, are Swedish, residents of Stockholm, where this LP was recorded.

Though Benny Golson is one of the most gifted of the younger composers to come out of jazz, his writing exceeds the scope of what current cant considers to be jazz, which has become too often a term of narrowing, of cramping, of littleness. It is to be hoped that the context in which he writes can continue to grow broader apace with his talent. *Gene Lees, February 1965 (liner notes)* 

Although the International Jazz Orchestra (which was arranged and conducted by Benny Golson) recorded their parts for this album on July 14, 1964, some of the soloists were dubbed in later that year. Golson, who does not play at all on this set, seemed inspired by the large instrumentation — a full orchestra with trumpets, trombones, French horns, several English horns doubling on oboes, five reeds, up to six additional flutes and a pianoless rhythm section — and his charts (six of his originals and three standards) are both inventive and full of subtle surprises. Among the many highlights are Golson's reworkings of "Are You Real", "Waltz for Debby" and "I Remember Clifford". This underrated set is recommended. *Scott Yanow*

Side 1

01 - Stockholm Sojourn

02 - Tryst

03 - Are You Real

04 - Goodbye

Side 2

05 - Waltz For Debby

06 - My Foolish Heart

07 - A Swedish Villa

08 - I Remembered Clifford

(All compositions by Benny Golson)

[Note: On the 1997 CD edition, a bonus track is added ("The Call") that does not appear on the original LP]

The International Jazz Orchestra:

Benny Bailey, Bengt-Arne Wallin, Bosso Broberg, Bertil Lövgren, Maffy Falay (trumpets); Åke Persson, Georg Vernon, Jörgen Johansson, Eje Thelin, Grachan Moncur III (trombones); Bengt Olsson, Carl Nyström, Elis Kårvall, William Foch (French horns); Rune Ericksson (euphonium); Alf Nilsson, Ingvar Holst, Lars Skoglund, Erik Björkhager (English horns, oboes); Bengt Christiansson, Nils Wahrby, Börje Marelius, Yngve Sandström, Gösta Ströberg, Ulf Bergström (flutes); Arne Domnérus (clarinet, alto sax); Cecil Payne (baritone sax); Rune Falk (clarinet baritone sax); Torsten Wennberg, Claes Rosendahl (clarinet, saxes); Bjarne Nerem (tenr sax); Rune Falk (baritone sax, clarinet); Jan Johansson (piano); Roman Dylag (bass); Egil Johansen (drums).

Recorded in Stockholm, Sweden, July 14, 1964.

Arranged and conducted by Benny Golson with solos by Benny Bailey, Cecil Payne, Grachan Moncur III, Bengt-Arne Wallin, Eje Thelin, Rune Falk, Bo Broberg and Roman Dylong.

[The parts of Grachan Moncur III and Cecil Payne were dubbed in New York during autumn 1964. Same was done with the solo parts of Persson, Thelin, Domnérus and Nerem who were dubbed in on August 1964 in Stockholm].

Lars Gullin Quartet, Quintet, Sextet, Octet and Orchestra

Lars Gullin

Baritone Sax

Lars Gullin, the Swedish saxman, was reckoned as one of the greatest baritone saxophone soloists of his time. His personal playing, composing and arranging style was somewhat reminiscent of Gerry Mulligan's, but he was also heavily influenced by Lee Konitz' alto playing. He played with all the greats when they visited Scandinavia, and was ranked high in Down Beat's polls during the fifties.

This man and his music, 1950's bebop oriented, well crafted and arranged jazz with a tinge of Swedish folklore, deserves a lot of attention! This album is a great first look into his work, heart-and-ear-pleasing music by a true romantic! Check this one out! *amazon.com*

An amazing American release from this legendary baritone saxophonist – one of a few Swedish sessions that Lars issued here in the US at the time! The album's a perfect introduction to Gullin's groundbreaking work – that blend of soul, swing, and modernism that easily made him one of the best talents on his instrument in the postwar years – an overseas player to rival gians like Pepper Adams or Serge Chaloff here in the US! The work is some of Lars' best from the decade – and the tracks feature his modernist baritone in different groupings with top Swedish jazzmen of the time – including Rune Ofwerman on piano, Arne Domnerus on alto, Rolf Blomquist on tenor, Ake Persson on trombone, and George Riedel on bass. The tracks are all longish (most are over 5 minutes), with a strong swing, and introspective solos by Gulling that are some of his strongest of the time – and titles include "Perntz", "Fedja", "All Of Me", and "So What".  *dustygroove.com*

1 - Summertime

(George Gershwin, DuBose Heyward)

2 - Fedja

(Lars Gullin)

3 - A Foggy Day

(George and Ira Gershwin)

4 - Perntz

(Lars Gullin)

5 - All Of Me

(Seymour Simons, Gerald Marks)

6 - Mean To Me

(Roy Turk, Fred E. Ahlert)

7 - So What

(Gerry Mulligan)

#2 and #4: Lars Gullin Octet

Georg Vernon (trombone); Arne Domnérus (alto sax, clarinet); Carl-Henrik Norin (tenor sax); Lars Gullin, Rune Falk (baritone saxes) ; Rune Ofwerman (piano); George Riedel (bass); Bert Dahlander (drums).

Stockholm, Sweden, April 23, 1956.

#5: Lars Gullin Quartet

Lars Gullin (baritone sax), Rune Ofwerman (piano), Bengt Carlsson (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 24, 1956.

#7: Lars Gullin Quintet

Lars Gullin (baritone sax), Åke Persson (trombone), Rune Ofwerman (piano), George Riedel (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 25, 1956.

#1 and #3: Lars Gullin With Gösta Theselius And His Orchestra

Jan Allan, Weine Renliden, Nisse Skoog, Bengt-Arne Wallin (trumpets); Gordon Ohlsson, Åke Persson, Georg Vernon (trombones); Arne Domnérus (alto sax); Rolf Blomquist, Carl-Henrik Norin (tenor saxes); Rune Falk, Lars Gullin (baritone saxes); Rune Ofwerman (piano); George Riedel (bass); Bert Dahlander (drums). Gösta Theselius (arranger).

Stockholm, Sweden, April 25, 1956.

#6: Lars Gullin Sextet

Lars Gullin (baritone sax), Åke Persson (trombone); Arne Domnérus (alto sax), Rune Ofwerman (piano), George Riedel (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 26, 1956.

Lars Gullin Quartet

One of the top baritone saxophonists of all time and a giant of European jazz, Lars Gullin would be better known today if he had visited the U.S. often and if excessive drug use had not cut short his career. Early on he learned to play bugle, clarinet, and piano, and was actually a professional altoist until switching to baritone when he was 21. Sounding somewhere between Gerry Mulligan and Serge Chaloff, Gullin played in local big bands in the late '40s and was in Arne Domnerus' sextet (1951-1953), but is best known for his own small-group recordings. He played with such touring Americans as Lee Konitz (a major influence), James Moody, Clifford Brown, Zoot Sims, and Chet Baker, and recorded frequently during 1951-1960, with "Danny's Dream" being his most famous composition.  *Scott Yanow*

Lars Gullin was one of the most famous baritone saxophonists from Sweden - actually he was elected the new star of the year (1954) by a board of critics, on baritone saxophone in the Down Beat Critics' Poll. Also, before the Critics' Poll, many US Jazz players who toured to North Europe noticed Lars Gullin's artistry - such musicians as Chet Baker, James Moody and Stan Getz played with Lars Gullin.

Like Gerry Mulligan, he doubles on baritone sax and piano. But of course his primary instrument is baritone sax. His tone is heart-warming as well as swingy - as Chet Baker recalled Lars in his late days: "... Lars played with a lot more fire and a lot more authority in some ways than Gerry did". *microgroove.jp*

Lars Gullin is one of the very few European jazz musicians who consistently appear on American all star polls. One of the reasons for this is that many European musicians imitate American styles and sounds rather than creating for themselves. 

Gullin is certainly an exception to this general rule. Now in his middle twenties, he has been playing baritone for a number of years, still keeping his hand in on the tenor which was his first instrument. Speaking as a musician, as well as a composer and arranger, Lars has long felt that the efforts during recent years to produce "new sounds" in jazz have resulted in many rather strained and unmusical recordings. 

He feels that this is so because arrangers and musicians have tried too hard to be original in their manner of writing and playing, instead of concentrating on what they are creating. As he says, what really has had any importance in "new sounds" has evolved from minds less concerned about the originality as such than about musical sincerity in exploring new tone colors in the jazz idiom. 

This is not to say, of course, that there is anything wrong with experimenting with different combinations of instruments. These sides, for example, feature an instrumentation which has probably never before been used on records — that is, the combination of guitar, baritone, bass nd drums. 

But what is most striking about this album is more than just the smooth and delicate sound that this unusual blend produces. It is most particularly the feeling of cohesion and continuity which is present in the inventive. writing, the closely integrated team work and the warm and intelligent solo work. This is jazz chamber music at its best.

It is with considerable pride, then, that EmArcy presents these examples of modern jazz, jazz without a foreign accent, but still freshly and beautifully Made in Sweden. *(Liner notes)*

Side 1

1 - Danny's Dream

2 - Be Careful

Side 2

3 - Igloo

4 - Circus

(All compositions by Lars Gullin)

Lars Gullin (baritone sax), Rolf Berg (guitar), George Riedel (bass), Robert Edman (drums).

Recorded at Europa-Film Studio, Stockholm, Sweden, May 25, 1954.

Max Brüel - Cool architect and jazz aesthete

Danish architect Max Brüel (born July 14, 1927 in Hillerød, Denmark and died March 31, 1995 in Algarve, Portugal) was a versatile artistic talent who, in addition to his career in architecture, also worked as a designer, ceramicist and jazz musician. He studied architecture at the Royal Danish Academy of Arts in the 1940s and won his first architectural competition already during his studies. Around the same time, he also began his career as a musician – Brüel later gained a reputation as an internationally acclaimed jazz pianist and saxophonist. Brüel's best-known building is perhaps the Herlev Hospital in Copenhagen.

Brüel is unique among Danish, if not Euopean musicians in that he was brought up with and even encouraged to play jazz during his childhood. He started playing the piano, then took up alto saxophone. The alto was dismissed in favour of baritone in 1951 after Lars Gullin's playing had opened his ears to the possibilities of that virile sounding instrument.

Brüel was a friend and fervent admirer of Lee Konitz. Among modern baritones he preferred Lars Gullin, but considered Harry Carney the greatest exponent of the instrument.

Max Brüel Quartette

Cool Bruel

During the last four or five years Danish jazz has been dominated by the outstanding work of two young and talented soloists, baritone saxophonist Max Brüel and trumpeter Jørgen Ryg.

Born July 14, 1927, Max Brüel was playing jazz on a set of his father's homemade drums back in the early thirties, and as a child used to sit and listen to jazz dates when his parents played with other professional musicians. Brüel played a variety of instruments including the piano, a special instrument constructed by his father named the "bambaphone" and the alto sax before he decided, five years ago, to make the baritone sax his main musical instrument.

In direct contrast, Jørgen Ryg was seventeen years old before he started paracticing on his first instrument, the trumpet. Ryg has been playing trumpet ever since he became interested in music.

Since 1951 Brüel has been considered the leading Danish jazz soloist, and while living in Stockholm during the winter of 1952-53 he attracted the attention of Swedish musicians and critics. He became known in even wider circles when in June 1954 he played with a quintet at the "Salon du Jazz", the international jazz festival in Paris. Jørgen Ryg also represented Denmark at this festival.

Max Brüel cut his first records in 1950 and since then has been recorded in both Denmark and Sweden. Even though he has had considerable success as a jazz musician he does not devote his entire time to playing jazz. He is an architect by trade and this still remains his vocation. Brüel's preferences in musicians go to Lennie Tristano, Lee Konitz and Lars Gullin.

*Erik Wiedemann (liner notes)*

Max Brüel (1927-1995), spelled as "Bruel" on this LP, was one of the famous Danish baritone sax players, although there were few in the country. On this LP (originally recorded by Swedish Metronome label), Max Brüel plays his baritone in soft, moody and relaxed moods while at the same time the sound is rather swingy. B-1, B-2, B-3 (#5, #6, #7) features Jørgen Ryg on trumpet, who plays refreshing solos. *microgroove.jp*

One of Emarcy's excellent American releases of work by Swedish modernists of the 50s – in this case the quartet of Max Brüel, featuring Brüel on baritone, Bent Axen on piano, Jørgen Ryg on trumpet, Leif Sjöberg on bass, and William Schiöpffe on drums. Bruel's got a tone that recalls a lot of Lars Gullin's playing at the time – and titles include "Garlic Wafer", "Mao Tse Tsonga", "Fine & Dandy", "Maxisme", and "Non Descript".  *dustygroove.com*

Side 1

1 - These Foolish Things

(Marvell, Link, Strachey)

2 - Maxisme

(Brüel)

3 - Non Descript

(Brüel, Axen)

4 - Lover Man

(Davis, Ramirez, Sherman)

Side 2

5 - Indiana

(McDonald, Hanley)

6 - Fine And Dandy

(Swift, James)

7 - Coop De Graas

 (Shorty Rogers)

8 - Garlic Wafer

(Brüel, Axen)

9 - Mao-Tse-Tsonga

(Brüel, Axen)

Max Brüel (baritone sax); Jørgen Ryg (trumpet #5, #6, #7); Bent Axen (piano [#1 to #4, #8, #9]); Erik Moseholm [#1 to #4, #8, #9], Leif Sjöberg [#5, #6, #7] (basses), William Schiöpffe (drums).

Recorded in Copenhagen, Denmark , March 15 (#1, #3, #4, #8), March 20 (#2, #9) and April 12 (#5, #6, #7), 1955.