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Reviews from Jazz Journal International

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Steve Voce

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Jul 8, 1996, 3:00:00 AM7/8/96

The following are CD reviews written for Jazz Journal International, 1-5
Clerkenwell Road, London EC1M 5PA, U.K.
(annual subscription to U.S.: Airmail 88 dollars, airrfreight 66
dollars, US dollar checks accepted).
Williams 1
COOTIE WILLIAMS
ECHOES OF HARLEM
(1) Stompy Jones; (2) I Can’t Believe That You’re In Love With Me; Diga
Diga Doo; Blue Reverie; (3) My Honey’s Loving Arms; Alabamy Home; (4)
Stompology; (5) Watchin’; (6) Ring Dem Bells; (7) Echoes Of Harlem; (8)
Chasin’ Chippies; Sharpie; The Boys From Harlem; Gal-Avantin’; (9)
She’s Gone; (10) Black Beauty; (11) Toasted Pickles; (12) Concerto For
Cootie; (13) Royal Garden Blues; (14) You Talk A Little Trash; (15)
Sweet Lorraine; (16) Round Midnight; Blue Garden Blues (68.53)
(1) Barney Bigard and His Jazzopaters: Cootie Williams (t); Juan Tizol
(vtb); Barney Bigard (cl); Harry Carney (bs); Duke Ellington (p); Billy
Taylor (b); Sonny Greer (d). Hollywood, December 19, 1936.
(2) Cootie Williams And His Rug Cutters: Cootie Williams (t); Joe Nanton
(tb); Johnny Hodges (ss/as); Harry Carney (bs); Duke Ellington (p);
Hayes Alvis (b); Sonny Greer (d). March 8, 1937.
(3) The Gotham Stompers: Cootie Williams (t); Sandy Williams (tb);
Johnny Hodges (ss/as); Harry Carney (bs); Tommy Fulford (p); Bernard
Addison (g); Billy Taylor (b); Chick Webb (d). March 25, 1937.
(4) Lionel Hampton And His Orchestra: Lionel Hampton (vbs); Cootie
Williams (t); Lawrence Brown (tb); Mezz Mezzrow (cl); Johnny Hodges
(as); Jess Stacy (p); Allen Reuss (g); John Kirby (b); Cozy Cole (d).
April 14, 1937.
(5) Cootie Williams And His Rug Cutters: Cootie Williams (t); Juan Tizol
(vtb); Barney Bigard (cl/ts); Otto Hardwicke (as); Harry Carney (bs);
Duke Ellington (p); Billy Taylor (b); Sonny Greer (d). October 26, 1937.
(6) Lionel Hampton And His Orchestra: Lionel Hampton (vbs/v January 18,
1938.); Cootie Williams (t); Johnny Hodges (as); Edgar Sampson (bs);
Jess Stacy (p); Allen Reuss (g); Billy Taylor (b); Sonny Greer (d).
Williams 2

(7) Cootie Williams And His Rug Cutters: Cootie Williams (t); Joe Nanton
(tb); Barney Bigard (cl/ts);Johnny Hodges (ss/as); Otto Hardwicke (as);
Harry Carney (bs); Duke Ellington (p); Fred Guy (g); Billy Taylor (b);
Sonny Greer (d). January 19, 1938.
(8) Cootie Williams And His Rug Cutters: Cootie Williams (t); Joe Nanton
(tb); Barney Bigard (cl/ts);Johnny Hodges (ss/as); Otto Hardwicke
(as/bss); Harry Carney (bs); Duke Ellington (p); Billy Taylor (b); Sonny
Greer (d); Scat Powell (v). July 2, 1938.
(9) Cootie Williams And His Rug Cutters: Cootie Williams (t); Joe Nanton
(tb); Barney BBigard (cl/ts);Johnny Hodges (ss/as); Harry Carney (bs);
Duke Ellington (p); Billy Taylor (b); Sonny Greer (d); Scat Powell (v).
February 28, 1939.
(10) Cootie Williams And His Rug Cutters: Cootie Williams (t); Joe
Nanton (tb); Barney BBigard (cl/ts);Johnny Hodges (ss/as); Harry Carney
(bs); Duke Ellington (p); Billy Taylor (b); Sonny Greer (d). June 22,
1939.
(11) Cootie Williams And His Rug Cutters: Cootie Williams (t); Joe
Nanton (tb); Barney BBigard (cl/ts);Johnny Hodges (ss/as); Harry Carney
(bs); Duke Ellington (p); Jimmy Blanton (b); Sonny Greer (d). February
15, 1940.
(12) Duke Ellington And His orchestra. March 15m 1940.
(13) Benny Goodman Sextet: Cootie Williams (t); Benny Goodman (cl);
George Auld (ts); Count Basie (p); Charlie Christian (g); Artie
Bernstein (b); Harry Jaeger (d). July 11, 1940.
(14) Cootie Williams Sextet: Cootie Williams (t); Eddie ‘Cleanhead’
Vinson (as); Eddie ‘Lockjaw’ Davis (ts); Bud Powell (p); Norman Keenan
(b); Vess Payne (d). January 4, 1944.
(15) as (14), January 6, 1944.
Williams 3

(16) Cootie Williams Orchestra: Cootie Williams, Perry Treadwell, Lamar
Wright, Tommy Stevenson (t); Ed Burke, Bob Horton, Ed Glover (tb); Eddie
‘Cleanhead’ Vinson, Frank Powell (as); Sam ‘The Man’ Taylor, Lee Pope
(ts); Eddie de Verteuill (bs); Bud Powell (p); LeRoy Kirkland (g); Car
Pruitt (b); Vess Payne (d). August 22, 1944.
(Topaz TPZ 1042)
It’s interesting to compare how the different companies go about
cleaning up 78s. There can be no doubt that straightforward cleaning up
in mono of the original record is the best method. Pseudo stereo can, of
course, only give a subjective sound - i.e. the engineer’s guess at how
a group might have sounded. It is surely not possible, for example, to
guess how Ellington’s 1940 sax section should sound in stereo and the
original mono will, as far as one can see, always provide the most
faithful record.
Topaz rightly has a high reputation for its embellishing of the
original. I don’t think the company is quite in the John R. T. class,
but, it’s results are quite attractive. However, they do use echo, as
you can find on Stompy Jones and the Goodman track. I find this
acceptable.
The music here spans sophisticated mid-‘30s Ellingtonia to the
rugged and badly-recorded music of the Williams big band of the war
years. Cootie was the least sophisticated of the Ellington small group
leaders (Bigard, Stewart, Hodges) and his forceful style with the big
band is usually held in check here, enabling to rise to the greatest
heights he ever achieved. His music coarsened when he left Goodman and
worked under his own name, but there is nothing wrong with his fine
muted playing on the late-ish You Talk A Little Trash (by the time he
reached Capitol and House Of Joy he’d really gone over the top).

Williams 4

The small groups represent a well-chosen but small selection of his
output and, needless to say, they are all classics with lovely Bigard on
Chippies and delicate Hodges whenever he plays. At the other end, there
is fine Bud Powell to be found on Lorraine and his piano solo on Blue
Garden (Royal to you) should be studied for it shows him in full bop
flight but with unmistakable influences from Billy Kyle. One of the
trombones takes a good wa-wa solo here, too.
The Ellingtonians as always sound comfortable with each other and
dovetail perfectly, but there are astringent touches from Sandy Williams
and Bernard Ashby in the Gotham Stompers which should not be missed.
Scat Powell sings fetchingly on Sharpie and She’s Gone and it’s
therefore a shame that all mention of him is omitted from the notes and
personnels.
This, the Jazz Archive Bigard reviewed elsewhere and the recent ASV Rex
Stewart make up a fine adjunct to an Ellington collection on CD.
Consider the Ellington Kaz and MusicMaster collections and 1996 seems to
be turning into the best year for Ellingtonia on CD for some time.
Steve Voce
Bigard

BARNEY BIGARD
THE BARNEY BIGARD STORY
(1) Tiger Rag; (2) Saturday Night Function; 3) Wall Street Wail; (4)
Ring Dem Bells; Old Man Blues; (5) Lightnin’; (6) Slippery Horn; (7)
Stompy Jones; (8) Clarinet Lament (Barney’s Concerto); (9) Across The
Track Blues ; (10) Are You Sticking?; (11) Caravan; Stompy Jones; (12)
Pelican Drag; (13) Charlie The Chulo; (14) C Blues; (15) Smilin’ The
Blues Away; (16) I Know That You Know; (17) Solid Rock (Solid Old Man);
(18) Big Eight Blues; (19) Barney’s Bounce; (2) Conversing In Blue
(73.59)
(1) Duke Ellington Orchestra, New York City, January 8, 1929.
(2) same, January 16, 1929.
(3) same, December 12, 1929.
(4) same, Hollywood, August 26, 1930.
(5) same, New York City, September 21, 1932.
(6) same, February 17, 1933.
(7) same, January 9, 1934.
(8) same, February 27, 1936.
(9) same, Chicago, October 28, 1940.
(10) same, Hollywood, June 5, 1941.
(11) Barney Bigard and His Jazzopaters: Cootie Williams (t); Juan Tizol
(vtb); Barney Bigard (cl); Harry Carney (bs); Duke Ellington (p); Billy
Taylor (b); Sonny Greer (d). Hollywood, December 19, 1936.
(12) Rex Stewart (c); Juan Tizol (vtb); Barney Bigard (cl); Harry Carney
(bs); Billy Strayhorn (p); Jimmy Blanton (b); Sonny Greer (d). Chicago,
February 14, 1940.
(13) same, but Ray Nance (t) and Duke Ellington replace Stewart and
Ellington. Chicago, November 11, 1940.
(14) same, Hollywood, September 29, 1941.

Bigard 2

(15) Barney Bigard (cl); Jelly Roll Morton (p); Zutty Singleton (d).
December 17, 1929.
(16) Rex Stewart And His Feetwarmers: Rex Stewart (c); Barney Bigard
(cl); Django Reinhardt (g); Billy Taylor (b). Paris, April 5, 1939.
(17) Rex Stewart’s Big Seven: Rex Stewart (c); Lawrence brown (tb);
Barney Bigard (cl); Billy Kyle (p); Brick Fleagle (g); Wellman Braud
(b); Dave Tough (d). New York City, Barney Bigard (cl); Billy Kyle (p);
Brick Fleagle (g); Wellman Braud (b); Dave Tough (d). New York City,
July 23, 1940
(18) Jack Teagarden’s Big Eight: Rex Stewart (c); Jack Teagarden (tb);
Barney Bigard (cl); Ben Webster (ts) Barney Bigard (cl); Billy Kyle (p);
Brick Fleagle (g); Billy Taylor (b); Dave Tough (d). New York City,
December 15, 1940.
(19) Zutty Singleton’s Trio: Barney Bigard (cl); Freddie Washington (p);
Zutty Singleton (d). Los Angeles, June 30, 1944.
(20) Benny Morton’s All Stars: Benny Morton (tb); Barney Bigard (cl);
Ben Webster (ts); Sammy Benskin (p); Israel Crosby (b); Eddie Dougherty
(d). New York City, January 31, 1945.
(Jazz Archives No. 12)
There are almost a hundred albums in this series now and to my regret
this is the only one I have. The single instrumentalist theme is an
obvious but very good idea, and neither the listener nor the selector
can really lose. This is a wonderful collection with its only flaws
being (a) it is obviously impossible to include complete and desireable
sessions like, for example, the ones by Benny Morton, Stewart and
Teagarden, and (b) as usual the Stewart Big Seven is in lo-fo. However,
the music of the latter is so good that there is no questioning its
inclusion. Ellington’s mastery of getting the best out of a soloist
abounds - Saturday Night Function, Across The Track and Clarinet Lament
are big band masterworks.
Bigard 3

Cases can be made for both Bigard and Goodman as the greatest of the
jazz clarinet players and of course they are totally different stylists.
Barney, with his fat, woody Albert sound, bestrode the world of New
Orleans as well as that of Ellingtonia, and this is the cream of his
long and glittering career. There isn’t a poor track and there are
outstanding performances from others, for instance, Nance’s on C Blues
and Carney as the composer of the languid Pelican Drag. Reinhardt,
Morton, Webster and Teagarden also excel.
Bigard’s later years are not represented, which is appropriate for he
went into decline in the late 40s, perhaps from ill health. He certainly
became disillusioned about his music and lost the perfect sense of
judgement which had been a vital part of his best years. His work with
Louis’s All Stars showed his demoralisation, and he was easily
outclassed there by his fellow New Orleanean, Edmond Hall.
Steve Voce
Coe 1
TONY COE-BOB BROOKMEYER
CAPTAIN COE’S FAMOUS RACEAROUND
(a) Prelude/How Long Has This Been Going On?/Postlude; (b) Edmundo; Toy
Box; (c) Antonia; (d) Fools Rush In; (e) Nasty Dance; (a) My Lament;
Captain Coe’s Famous Racearound (59.30)
(a) The Danish Radio Orchestra: Bob Brookmeyer (cond, vtb); Tony Coe
(ts, ss, cl); January Kohlin, Benny Rosenfeld, Palle Bolvig, Lars
Togeby, Henrik Bolberg Pedersen (t,flh); Vincent Nilsson, Steen Hansen,
Kjeld Ipsen (tb); Giordano Bellincampi, Axel Windfeld (btb); January zum
Vohdre, Michael Hove (as); Uffe Markussen, Bob Rockwell (tsw); Flemming
Madsen (bs); Nikolaj Bentzon (p); Thomas Ovesen (b); Jonas Johansen
(d). Ethan Weisgard (perc). SAS Falconer Centre, Copenhagen, March 19,
1995.
(b) Henrik Bolberg Pederson (t); Bob Brookmeyer (vtb); Tony Coe (ss,
cl); David Hazeltine (p); Thomas Ovesen (b); Steve Argüelles (d). Tønder
Kulturhus, Tønder, Denmark, March 17, 1995. (c) as (b) minus Pederson.
Tønder Kulturhus, Tønder, Denmark, March 17, 1995.
(d) as (a) plus Anders Lindvall (g). The Playhouse Theatre, Whitley
Bay, March 6, 1995.
(e) as (a), Tønder Kulturhus, Tønder, Denmark, March 17, 1995.
(Storyville STCD 4206)

Coe 2
One is tempted to say that this is a work of genius. The combination of
Tony Coe, one of the greatest soloists in jazz to-day and on this
showing a remarkable composer/arranger, with an orchestra led by Bob
Brookmeyer, who, reluctantly at first, but now with enthusiasm, has
become surely one of the greatest bandleaders, has produced an album
which takes the breath away. I took Brookmeyer’s suggestion that this is
the greatest jazz orchestra in the world with a pinch of salt, but to
hear it in this Brookmeyered manifestation is to realise that, as
expected, Bob does not make vainglorious claims. If you want a
yardstick, align this one with the Getz-Sauter ‘Focus’ album.
The major work here is Captain Coe, a complex work completed for
performance at the Jazzpar awards concert (famously Coe took the award
last year) ‘in an atmosphere of white heat’. It is an awe-inspiring
composition which features a titanic display of hot jazz clarinet
delivered with a Hamilton cool and some accomplished soprano. Coe the
composer has inserted a prelude and postlude and revised an arrangement
of the opening tune which he wrote some years ago He also composed
Edmundo, a perky piece which he played to great effect at the recent
Jersey festival with Mark Nightingale. Here it has more sinous clarinet
and good solos from Pedersen and Brookmeyer.
Coe 3
As far as his is concerned, Brookmeyer’s writing is represented here by
the 12 minute Nasty Dance. He has been through a period of following
where his intuition led him. This was manifested in ‘Electricity’ (ACT
892 192) where the writing moved radically away from his earlier style.
Now he has returned to the mainstream of his work as it was for Thad and
Mel, but with some of the devices his intuitive period led him to
develop incorporated. These are evident in Nasty Dance, a revision of a
piece originally written for the Mel Lewis band. The writing for the
orchestra by the various arrangers is exhilarating and the freshness of
Coe’s stream of inventiveness matches it perfectly, with the combination
producing an exquisite version of Fools Rush In, arranged by Ole Kock
Hansen, which is so beautiful it almost hurts to listen to it. I have a
preference for Tony’s tenor, but, unusually, he is equally gifted on the
three horns, as his soprano work on Steve Argüelles’s lovely ballad
Antonia confirms. Brookmeyer solos trenchantly and with his usual élan.
If I were a practicing musician I would be tempted to give up in the
face of such perfection.
Steve Voce
Desmond

PAUL DESMOND
THE BEST OF PAUL DESMOND
(1) Song To A Seagull; ; (2) Take Ten; Romance De Amor; Was A Sunny Day;
(3) Summer Song/Summertime; (4) Squeeze Me; I’M Old Fashioned; Nuages;
(5) You’d Be So Nice To Come Home To; Autumn Leaves; (6) Skylark; (7)
Vocalise (71.03)
(1) Desmond (as); Don Sebesky (p); Ron Carter (b); Jack DeJohnette (d);
plus Don Sebesky Orchestra. 27 April 1974.
(2) Desmond (as); George Ricci (cello); Bob James (p); Gabor Szabo, Gene
Bertoncini (g); Carter (b); DeJohnette (d); Ralph McDonald (perc). 12
April, 1973.
(3) Desmond (as); John Frosk, Alan Rubin, Marvin Stamm (t); Wayne Andre,
Paul Faulise, Garnett Brown (tb); Jim Buffington, Peter Gordon (fr-h);
Jackie Cain, Roy Kral (v); Carter (b); Billy Cobham (d); Phil Kraus
(perc). June 7, 1992.
(4) Desmond (as); Ed Bickert (g); Ron Carter (b); Connie Kay (d).
September 24-26, 1974.
(5) Desmond (as); Chet Baker (t); Bob James (elp); Carter (b); Steve
Gadd (d).
(6) Desmond (as); Bob James (p); Gene Bertoncini (g); Carter (b);
DeJohnette (d). 12 April, 1973.
(7) Desmond (as); Bob James (p); Milt Jackson (vbs); Carter (b);
DeJohnette (d) plus Don Sebesky Orchestra.
(Columbia Legacy ZK 45484)
PURE DESMOND
Squeeze Me; I’m Old Fashioned; |Nuages; Why Shouldn’t I?; Everything I
Love; Warm Valley; Till The Clouds Roll By; Mean To Me; Suicide Is
Painless; Wave (46.07)
Desmond (as); Ed Bickert (g); Ron Carter (b); Connie Kay (d). September
24-26, 1974.
(CBS ZK 40806)

Desmond 2

The second album probably deserves the title of the first. No matter, in
comparison to his great stature, there is little Desmond on record and
none of it should be eschewed. But the recordings he made with Ed
Bickert probably represented the essence of his work, and one is
tempted to irritation by some of the glib devices used in backing the
soloist on the (generously timed) first album, but that is by no means
to rubbish all the comparative sophistication. But some of the tracks
would almost count as background music were not Desmond at the front of
them. This album, as the sharp-eyed will note, also duplicates three of
the tracks from the Bickert session.
The poise of Desmond’s work is amazing. There are many parallels
with Getz, but Desmond is more disciplined and reserved as against
Getz’s heart-on-sleeve emotion. Yet he is a warm player, especially when
compared with Konitz and communicates to the listener with great
clarity.
Brubeck has often been brushed aside in his own quartet by
critical acclaim for his alto player. This has been a mistake, and,
listening to some of the saccharine here makes one appreciate Brubeck
and particularly his intertwining improvisations with Desmond’s. There
were constant reactions in the quartet. Here, in the non-Bickert tracks,
Desmond treads a path which has been carefully crafted for him. Brubeck
is also right if he feels sore about being under-valued in the
comparison, for he is a great jazz pianist.
Jackie and Roy have a large but again saccharine part in the
Summer sequence. Vocalise turns out to be a composition of Sergei
Rachmaninoff’s, beautifully played and set in a large orchestra with
Milt Jackson in evening dress mode.
All very enjoyable and the wealthy amongst you will want both
albums. The poor should buy The Best Of on the basis of value per yard.
Steve Voce
Ellington 1.

DUKE ELLINGTON
THE PRIVATE COLLECTION VOL 1
March 19th Blues; Feet Bone; In A Sentimental Mood; Discontented; Jump
For Joy; Just Scratching The Surface; Prelude To A Kiss; Miss Lucy;
Uncontrived; Satin Doll; Do Not Disturb; Love You Madly; Short Street
Cluster; Moon Mist; Long Time Blues (54.41)’
Willie Cook, Clark Terry, Cat Anderson (t); Ray Nance (c); Britt
Woodman, Quentin Jackson, John Sanders (tb); Jimmy Hamilton (cl/ts);
Johnny Hodges (as), Russell Procope (as/cl); Paul Gonsalves (ts); Duke
Ellington (p); Jimmy Woode (b); Sam Woodyard (d). Chicago, 1956.
(Kaz CD 501)

THE PRIVATE COLLECTION VOL 2

(a) Things Ain’t What They Used To Be; Something Sexual; The Riff;
Bluer; Wailing ‘Bout; I Cover The Waterfront; Blues A La Willie Cook;
Slow Blues Ensemble; Circle Of Fourths; Perdido; Three Trumps; Deep
Blues; (b) Things Ain’t What They Used To Be; Paris Blues; I Got It Bad
And That Ain’t Good; Circle Blues; The Sky Fell Down; Perdido; Passion
Flower; Cottontail (69.28)

Willie Cook, Clark Terry, Roy Burrowes, Bill Berry, Cat Anderson (t);
Ray Nance (c); Britt Woodman, Lawrence Brown, Quentin Jackson, John
Sanders, Leon Cox, Chuck Connors (tb); Jimmy Hamilton (cl/ts); Johnny
Hodges (as), Russell Procope (as/cl); Paul Gonsalves (ts); Duke
Ellington (p); Jimmy Woode, Aaron Bell (b); Sam Woodyard, Sonny Greer
(d); Milt Grayson, unknown group (v). (a) Chicago, 1957, (b) New York,
1962.
(Kaz CD 502)

(
Ellington 2

THE PRIVATE COLLECTION VOL 3
ESP; Blue, Too - The Shepherd; Tune Up; Take It Slow; Telstar; To Know
You Is To Love You; Like Late; Major; Minor; G For Groove; The Lonely
Ones; Monk’s Dream; Frere Monk; Cordon Bleu; New Concerto For Cootie;
September 12th Blues (54.04)
Cootie Williams, Roy Burrowes, Bill Berry, Cat Anderson (t); Ray Nance
(c); Britt Woodman, Lawrence Brown, Buster Cooper, Chuck Connors (tb);
Jimmy Hamilton (cl/ts); Johnny Hodges (as), Russell Procope (as/cl);
Paul Gonsalves (ts); Duke Ellington, Billy Strayhorn (p); Aaron Bell
(b); Sam Woodyard (d); Milt Grayson (v). New York, 1962.

(Kaz CD 503)

THE PRIVATE COLLECTION VOL 4

Bad Woman; Jeep’s Blues; Stoona; Serenade To Sweden; Harmony In Harlem;
Action In Alexandria; Tajm; Isfahan; Killian’s Lick; Blousons Noir;
Elysee; Butter And Oleo; Got Nobody Now; M.G.; Blue Rose; July 18th
Blues (58.43)
Cootie Williams, Rolf Ericson, Eddie Preston, Cat anderson Britt
Woodman, Quentin Jackson, John Sanders (tb); n (t); Ray Nance (c);
Lawrence Brown, Buster Cooper, Chuck Connors (tb); Jimmy Hamilton
(cl/ts); Johnny Hodges (as), Russell Procope (as/cl); Paul Gonsalves
(ts); Duke Ellington, Billy Strayhorn (p); Ernie Shepard (b); Sam
Woodyard (d); Milt Grayson (v). New York, 1963.
(Kaz CD 504)
Ellington 3
THE PRIVATE COLLECTION VOL 5
Count Down; When I’m Feeling Kinda Blue; El Viti; Draggin’ Blues;
Cottontail; Now Ain’t It; The Last Go Round; Moon Mist; Skillipoop;
Banquet Scene From Timon Of Athens; Love Scene; Rod La Rocque; Rhythm
Section Blues; Lele; Ocht O’Clock Rock; Lady; Rondolet (63.58)
Allen Smith, Nat Adderley, Cootie Williams, Willie Cook, Clark Terry,
Herbie Jones, Mercer Ellington, Howard McGhee (t); Ray Nance (c); Britt
Woodman, Quentin Jackson, John Sanders, Lawrence Brown, Buster Cooper,
Chuck Connors (tb); Jimmy Hamilton (cl/ts); Johnny Hodges (as), Russell
Procope (as/cl); Paul Gonsalves (ts); Duke Ellington, Billy Strayhorn
(p); John Lamb, Jimmy Woode (b); Sam Woodyard, Louie Bellson, Chris
Columbus, Steve Little (d). New York, Chicago, San Francisco , 1957,
1965, 1966, 1967.
(Kaz CD 505)
THE PRIVATE COLLECTION VOL 6
I Can’t Get Started; Waiting For You; Knuf; Gigl; Meditation;
Sophisticated Lady; Just Squeeze Me; Mood Indigo; In A Sentimental Mood;
I Let A Song Go Out Of My Heart/Don’t Get Around Much Anymore; Reva;
Ortseam; Cool And Groovy; Elos; C Jam Blues (61.18)
Cat Anderson, Cootie Williams, Money Johnson, Willie Cook (t); Lawrence
Brown, Buster Cooper, Chuck Connors (tb); Johnny Hodges, Russ Procope
(as); Paul Gonsalves, Harold Ashby (ts); Harry Carney (bs); Duke
Ellington (p); Jeff Castleman (b); Rufus Jones (d); Trish Turner (v).
New York, 1968.
(Kaz CD 506)
Ellington 4

THE PRIVATE COLLECTION VOL 7
The Degas Suite: Introduction; Race; Racing; Piano Pastel; Improvisation
- Marcia Regina; Piano Pastel; Daily Double; Drawings; Promenade;
Sonnet; The River Suite: The Spring; The Run; The Meander; The Giggling
Rapids; The Lake; The Falls; The Whirlpool; The River; The Neo-Hip-Hot-
Kiddies Communities; The Village of The Virgins; Her Majesty The Sea;
The Spring (71.18)
Cat Anderson, Cootie Williams, Money Johnson, Mercer Ellington, Duke
Burns, Al Rubin, Fred Stone (t); Julian Priester, Booty Wood, Cliff
Heathers, Chuck Connors (tb); Russ Procope (as/cl); Norris Turner
(as/fl); Paul Gonsalves, Harold Ashby (ts); Harry Carney (bs); Duke
Ellington (p); Joe Benjamin (b); Rufus Jones (d); Elayne Jones (tymp);
Walter Rosenberg (glockenspiel); Trish Turner (xyl/marimba). New York,
1968, 1970.
(Kaz CD 507)
THE PRIVATE COLLECTION VOL 8
Black; Comes Sunday; Light; West Indian Dance; Emancipation Celebration;
The Blues; Cy Runs Rock Waltz; Beige; Sugar Hill Penthouse; Harlem; Ad
Lib On Nippon (65.56)
Cat Anderson, Cootie Williams, Money Johnson, Mercer Ellington, Paul
Serrano, Herbie Jones, Richard Williams, Eddie Preston (t); Ray Nance
(c); Lawrence Brown, Buster Cooper, Booty Wood, Malcolm Taylor, Chuck
Connors (tb); Jimmy Hamilton (cl/ts); Johnny Hodges (as); Russ Procope
(as/cl); Norris Turner (as/fl); Paul Gonsalves, Harold Ashby (ts); Harry
Carney (bs); Duke Ellington (p); Joe Benjamin, John Lamb (b); Rufus
Jones (d); Tony Watkins (v). New York, Chicago, 1965, 1966,1971.

(Kaz CD 508)
Ellington 5

THE PRIVATE COLLECTION VOL 9
Main Stem; Dancing In The Dark; Stompy Jones; Time On My Hands; Stompin’
At The Savoy; Sophisticated Lady; Take The A Train; All Heart; Just A-
Settin’ And A-Rockin’; Take The A Train; Where Or When; The Mooche; One
O’Clock Jump; Autumn Leaves; Lady Be Good; Things Ain’t What They Used
To Be (70.46)
Clark Terry, Harold Baker (t); Ray Nance (c/vln/v); Britt Woodman,
Quentin Jackson, John Sanders (tb); Jimmy Hamilton (cl/ts); Bill Graham
(as), Russell Procope (as/cl); Paul Gonsalves (ts); Duke Ellington (p);
Jimmy Woode (b); Sam Woodyard (d); Ozzie Bailey (v). Chicago, 1956.
(Kaz CD 509)
THE PRIVATE COLLECTION VOL 10
Clark Terry, Harold Baker (t); Ray Nance (c/vln); Britt Woodman, Quentin
Jackson, John Sanders (tb); Jimmy Hamilton (cl/ts); Bill Graham (as),
Russell Procope (as/cl); Paul Gonsalves (ts); Duke Ellington (p); Jimmy
Woode (b); Sam Woodyard (d); Ozzie Bailey (v). California, 1958.
Such Sweet Thunder; Blues To Be There; Juniflip; The Star-Crossed
Lovers; Together; Californio Mello; Suburban Beauty;C Jam Blues; Blues
In Orbit; Mood Indigo; Honeysuckle Rose; Willow Weep For Me; Caravan;
Wailing Interval (68.51)
(Kaz CD 510)
This is a completely wonderful collection, previously issued elsewhere
and now leased by Kaz, who are selling it at a remarkably generous price
(each CD is available separately). Some collectors have had all of this,
some (like me) some of it, for many years, but for it to burst upon the
general public like this is a major jazz event. It is incredible to me
that such a large body of the great man’s work should have laid dormant
for decades.
Ellington 6

THE PRIVATE COLLECTION VOL 2

(
Ellington 2

(Kaz CD 503)

THE PRIVATE COLLECTION VOL 4

(Kaz CD 508)
Ellington 5

The music adds considerably to our knowledge of Ellingtonia in
general. Nat Pierce sent me the California dance dates 20 years ago.
These were recorded by Wally Heider and have tremendous presence
(although, inevitably, they don’t quite match the perfect sound quality
of the studio sessions). The opening Such Sweet Thunder on Vol. 10 shows
a loosened-up band having fun and sounding relaxed. That’s the pattern
throughout with a myriad of attractive features - the beautifully
recorded sound of Carney in the section and Nance’s irresistible
response to the audience being just two of them.
The studio sessions seem often to be the result of spare time to
be used up at the end of sessions. There is an abundance of the long,
rolling blues which epitomize such occasions
This is but a short review and not an essay. The reader is urged
to find out for himself the delights within the magic cornucopia.
Something under £40 would buy the whole set and this is recommended. If
it is not possible, then a choice can be made between the suites and the
more formal music on the one hand and the more open Ellington music
typified by New Concerto For Cootie, Mood Indigo or C Jam Blues.
Vol. 8 is particularly breath-taking with the "Black, Brown And Beige
Suite" put together from various sessions and triumphantly trumping the
pastiche of it which CBS recorded with Mahalia Jackson. This disc also
has the "Harlem Suite" and, from "The Far East Suite", the beguiling Ad
Lib On Nippon, a 12 minute feature for the piano player, Hamilton’s
clarinet and John Lamb on bass. Elsewhere it has always surprised me
that so much of the "new" original work here, including "The River
Suite", was never brought forward for commercial issue before. It is a
wonderful artistic asset and the ten discs make an important addition to
the documentation of the history of our music.
Stanley Dance’s liner notes are predictably informative (with the
proviso that date identification could have been more specific) and au
fait with the music. All we need to know is if the ten count as one
choice in the ROTY poll!
Steve Voce
Jones-Lewis 1
THAD JONES-MEL LEWIS ORCHESTRA
BASLE, 1969
Second Race; Don't Ever Leave Me; The Waltz You Swang For Me; A-That's
Freedom; Come Sunday; Don't Get Sassy; Bible Story; Groove Merchant
(67.52)
Thad Jones (c); Snooky Young, Al Porcino, Richard Williams, Danny Moore
(t); Eddie Bert, Jimmy Knepper, Cliff Heather, Ashley Fannell (tb);
Jerome Richardson, Jerry Dodgion, Joe Henderson, Eddie Daniels, Pepper
Adams (reeds); Roland Hanna (p); Richard Davis (b); Mel Lewis (d).
Basle, September 11, 1969.
(TCB 02042)
On the only occasion on which I saw this band in Manchester, I found it
hard to believe the atmosphere. It felt casual and relaxed and yet at
the same time there was a feeling of something pent-up and waiting to
burst out. The result was a barely suppressed excitement which I can't
remember experiencing anywhere else. Until this album arrived. There is
no doubt that Jones-Lewis practiced a unique electricity on an audience.
You'll hear it at the beginning of the first track, when Roland Hanna's
solo builds with Richard Davis and the impeccable Lewis. This simply-
manned but sparse introduction goes on for almost three minutes before
Thad enters the conversation and it's a full five minutes before the
brass roars in to herald a passionate and eloquent tenor display from
Joe Henderson. Band and piano return as the piece reaches its gentle
coda and the satisfied grunts and whoops from Thad are very appropriate.
Jones-Lewis 2
Thad arranged all the music, and his special abilities in this
department make up one of the band's main characteristics. He makes
wonderful contrasts - the light and then explosive ensembles in Don't
Ever Leave Me, for instance, and also wrote highly original themes.
Pieces like The Waltz You Swang with Jerome Richardson's wheeling
soprano, and Don't Get Sassy are too good to have been let fall by the
wayside.
This version of the band was a late one - sans Brookmeyer plus Henderson
- but as always the soloists are totally consistent and inspired. This
is the fourth in TCB's Swiss Radio Days Jazz Series. The only other one
I have heard is the one by Quincy Jones and if the label's standards are
consistently this high, then I'd like to hear some more.
Everyone plays well, but note how superb Roland Hanna is!
Steve Voce

Herman 1
WOODY HERMAN
THE FIRST HERD PLUS BILL HARRIS SEPTET AND CHUBBY JACKSON ORCHESTRA
(1) Apple Honey; Laura; I Wonder; (2) Caldonia; Happiness Is Just A
Thing Called Joe; (3) Goosey Gander; A Kiss Goodnight; Northwest
Passage; I’ve Got The World On A String; (4) The Good Earth; Put That
Ring On My Finger; (5); Bijou; (6) Gee It’s Good To Hold You; Your
Father’s Moustache; (7) Wild Root; (8) Blowin’ Up A Storm; Let It Snow,
Let It Snow; (9) Northwest Passage; Cryin’ Sands; (10) Cross Country;
Characteristically B.H.; Mean To Me; She’s Funny That Way (74.01)
(1) Woody Herman Orchestra: Sonny Berman, Pete Candoli, Chuck
Frankhauser, Carl Warwick, Ray Wetzel (t); Bill Harris, Ed Kiefer, Ralph
Pfeffner (tb); Herman (cl/as/v); Sam Marowitz, John La Porta (as); Pete
Mondello, Flip Phillips (ts); Skippy de Sair (bs); Herman (cl/as/v); Sam
Marowitz, John La Porta (as); Pete Mondello, Flip Phillips (ts); Skippy
de Sair (bs); Ralph Burns (p); Margie Hyams (); Billy Bauer (g); Chubby
Jackson(b); Dave Tough (d). Frances Wayne (v). New York City, February
19, 1945.
(2) as (1), February 26, 1945.
(3) as (1), March 1, 1945.
(4) Conte Candoli, Neal Hefti, Irv Lewis (t) and Tony Aless (p) replace
Frankhauser, Warwick, Wetzel and Burns. New York City, August 10, 1945.
(5) as (4), August 20, 1945 .
(6) Berman, Pete and Conte Candoli, Hefti, Lewis, Ray Linn (t); Harris,
Ed Kiefer, Ralph Pfeffner (tb); Herman (cl/as/v); Marowitz, La Porta
(as); Mondello, Phillips (ts); de Sair (bs); Aless (p); Red Norvo (vb);
Bauer (g); Jackson (b); Buddy Rich (d); Frances Wayne (v). New York
City, September 5, 1945.
Herman 2.

(7) as (6) minus Linn and Norvo. Tough (d) replaces Rich. September 8,
1945.
(8) Berman, Pete and Conte Candoli, Hefti, Shorty Rogers (t); Harris, Ed
Kiefer, Ralph Pfeffner (tb); Herman (cl/as/v); Marowitz, La Porta
(as); Mickey Folus, Phillips (ts); Sam Rabinowitch (bs/f); Aless (p);
Red Norvo (vb); Bauer (g); Jackson (b); Don Lamond (d). New York City,
December 10, 1945.
(9) Chubby Jackson Orchestra: Howard McGhee (t); Harris (tb); Phillips
(ts); Burns (p); Bauer (g); Jackson (b); Alvin Burroughs (d). Chicago,
January 10, 1945.
(10) Bill Harris Septet: Pete Candoli (t); Harris (tb); Phillips (ts);
Burns (p); Bauer (g); Jackson (b); Burroughs (d). Chicago, April 5,
1945.
(Le Jazz CD 53)
We’ve been waiting a long time for a Herman First Herd collection as
good as this. The best of the other Herman collections of the period was
in a label from the same group, so Charly deserve our congratulations.
From the way the opening Apple Honey barks out it’s apparent that this
is something special, and indeed, considering how bad the original
recordings were, these must be regarded as unusually well transferred.
The roar of the band, the bite of Bill Harris and the poke of Jackson’s
bass are all well captured, and considering that brilliant solos come
leaking out of every track and that the ensembles were amongst the
hottest things ever recorded in jazz, this is a milestone in the jazz
catalogue. The well-known tracks are all well, well-known, but this
issue captures (as did the CBS Thundering Herd set) some of the more
obscure classics like Let It Snow, Put That Ring On My Finger and the
wonderful small group tracks.
If there were nothing here but the Bill Harris solos this would be a
major testament, and it’s interesting to hear his valve trombone clearly
enunciated. Bill was largely responsible for whipping up those burning
brass ensembles, never matched anywhere else, and his pal Flip Phillips
matches each of Bill’s solos on tenor.
Herman 3.

But don’t forget the old man, for there is an abundance of good
clarinet, alto and vocals. And the phenomenal rhythm sections with a
cornucopia of good drumming to complement Chubby’s bass.
The small group tracks, with Cryin’ Sands especially featuring classic
Harris, should delight those to whom they are unfamiliar .McGhee’s fiery
work for Jackson’s group is in the great Herman brass tradition, and
indeed the whole album is a reminder that the two Candolis remain
amongst the great and largely unsung jazz heroes.
An expert and loving sleeve note by Alun Morgan, written before his
transportation to the antipodes, rounds off the pleasures of a fine
album.
Steve Voce
Pierce

NAT PIERCE
THE BOSTON BUST-OUT
(1) What Can I Say?; What's New?; You Were Meant For Me; Paradise; (3)
King Edward The Flatted Fifth; Pat; (4) That's The Kinda Girl; (5)
Sheba; Babylon; (6) Indian Summer; King For A Day; Oh You Crazy Moon;
(2) Body And Soul; All The Things You Are; Boppin' In Boston; I Cover
The Waterfront; Is This The Thing? (6) Indian Summer; You May Not Love
Me; Lonesome Crowd (64.23)
(1) Ray Borden Big Band: probable personnel: Ray Borden, Gait Preddy,
Bill Adams, Buddy Harford (t); Mert Goodspeed, Joe Fine, Joe Laconi
(tb); Charlie Mariano, Sebastian Giacco (as); Chuck Stentz, George Green
(ts); Gordon Barrantine (bs); Nat Pierce (p); Steve Hester (g); Frank
Vacarro (b); Joe McDonald (d). Boston, December 1947.
(2) Mariano-Pierce Combo; possible personnel: Gait Preddy (t); Charlie
Mariano (as); Nat Pierce (p); Steve Hester (g); Frank Vaccaro (b); Joe
McDonald (d). Boston, December 1947.
(3) Serge Chaloff-Ralph Burns Septet: Gait Preddy (t); Mert Goodspeed
(tb); Charlie Mariano (as); Serge Chaloff (bs); Ralph Burns (p/arr);
Frank Vacarro (b); Pete DeRosa (d). Boston, April 16, 1949.
(4) Nat Pierce Orchestra: probably Bud Wilson, Nick Cappezuto, Lennie
Johnson (t); Gait Preddy (t/v); Ace Lane, Joe Fine (tb); Mert Goodspeed
(t/v); Dave Chapman, Charlie Mariano (as); George Green, Phil Viscuglia
(ts); Gordon Barrantine (bs); Nat Pierce (p); Steve Hester (g); Frank
Gallagher (b); Joe McDonald (d). Boston, April-May, 1947.
(5) Charlie Mariano Octet: Don Stratton (t); Mert Goodspeed (tb);
Charlie Mariano (as); Randy Henderson (ts); George Green (bs); Nat
Pierce (p); Frank Gallagher (b); Joe McDonald (d). Boston, May 25, 1949.
Pierce 2

(6) Nat Pierce orchestra: Joe Guiffreda, Dud Harvey, Don Stratton, Perry
Wilson (t); Bob Carr, Joe Borghetti, Sonny Truitt (tb); Dave Chapman,
Earl Griffiths (as); Art Pirie, Phil Visouglis (ts); George Myers (bs);
Nat Pierce (p/arr); Chet Kruley (g); Frank Gallagher (b); Sam Fedi (d);
Teddi King (v). Boston, November-December, 1947.
(7) Nat Pierce Combo: Sonny Truitt (tb); Charlie Mariano (as); Nat
Pierce with probably Chet Kruley (g); Frank Gallagher (b) Joe McDonald
(d). Boston, probably 1950.
(Hep CD 13)
The legend persists that New Orleans and Chicago were the great centres
of jazz creation, but many other cities, apart from Kansas City, had
strong and independent movements. Boston had an inordinately strong jazz
culture during the forties and fifties and this collection is probably
its most important documentation. The CD has been expanded from the
original LP version with the addition of six more tracks.
Nat Pierce was probably unique in being an advanced and
progressive be-bop musician who turned about to face the other direction
and become a leading mainstream figure. He was always a spirited and
inventive player, an unflagging inspiration to anyone who played with
him, and modest to the point of self-effacement. He loved the music more
than anything in his life and, had he been prepared to compromise,
could undoubtedly have enjoyed a more prosperous but less artistically
satisfying life.
Pierce 3.
But he is merely the figurehead here, although he is on most of
the tracks. Player like Mariano, Chaloff and Burns were amongst jazz's
finest, while there are unknown soloists like tenorist Stentz,
trombonist Goodspeed and trumpeter Preddy who were very much at
international standard. Sonny Truitt wasn't quite another Bill Harris,
but he's always well worth hearing and he and Mariano were well stoked
by Pierce on the Combo tracks. The two Chaloff tracks are both important
and rewarding .
The Borden band eventually became Nat's own. The tracks here
were mostly recorded for Boston's small Motif label and, whilst they
haven't the sophistication of some of the more famous name bands of the
time, the writing is always powerful and often moving. The poignant
vignette Lonesome Crowd, which Nat wrote for the exquisite voice of
Teddi King, is particularly effective.
Steve Voce

Rogers

SHORTY ROGERS
WHEREVER THE FIVE WINDS BLOW
Hurricane Carol; Breezin’ Along In The Trades; Marooned In A Monsoon;
The Chinook That Melted My Heart; Prevailing On The Westerlies (39.00)
Shorty Rogers (t/flh); Jimmy Giuffre (ts/bs/cl); Lou Levy (p); Ralph
Peña (b); Larry Bukner (d). Los Angeles, July 2, 1956
(Spanish RCA ND 74399)
This is a splendid example of the essence of West Coast jazz played by
the masters. Rogers was always good at swinging, but in this ideal
company he excels himself. These were the first sessions he made on his
return to RCA after his Atlantic recordings and were made a couple of
days before the famous At Home With Sweets/Pay The Piper big band
sessions.
The two horns, such close associates and friends, had developed
a wonderful anticipation of each other’s playing, and Shorty’s matching
of his trumpet dynamics with Jimmy’s chalumeau clarinet is an art in
itself. The Jekyll and Hyde tenor flies on Hurricane with Bob Cooper
overtones.
Since the soloists are all so fluent and inventive and Shorty’s
compositions so original, it is hard to find fault and the only one I
would suggest is the universal one of proliferating bass solos. Peña is
as good as they come, but Shorty’s gentlemanly and no doubt democratic
decision to give him solo parity sometimes seems misplaced. But that is
carping, for the album is a powerful adjunct to the brilliant Atlantic
quintets and only the short playing time mitigates against it. Rogers
enthusiasts will rightly overlook such parsimony. Prevailing turns out
to be a re-run of the big band Walk, Don’t Run from ‘Shorty Courts The
Count’.
Steve Voce

Woods

PHIL WOODS-GENE QUILL SEXTET
PHIL AND QUILL
Sax Fifth Avenue; Ready Rudy; Cabeza; Twin Funkies; Rib Roast; High
Stepping Bizzes; Four Flights Up; Dig Your P’s and Q;s; Dry Chops In The
Moonlight; Una Momento; Pottsville, U.S.A.; Frank The Barber (37.47)
Phil Woods, Gene Quill (as); Sol Schlinger (bs); Dave McKenna (p); Buddy
Jones (b); Shadow Wilson (d). New York City, March 15, 1956.
(Spanish RCA ND 74405)
It’s fascinating to hear so many of the great New York players at such
an early stage in their careers. Only Woods plays with anything like the
authority which he has today, and by contrast Quill sounds rather
tentative. But so would anyone, and Quill was a brilliant soloist whose
work is particularly to be savoured because it is unfortunately rare on
CD. Naturally the two men drew heavily on the influence of Charlie
Parker, a fact marked by the subsequent marriage of Woods and Parker’s
widow Chan when Quill was the best man.. The two men first met at the
apartment of pianist John Williams, and it was then that the idea of
this partnership took hold.With the addition of Cohn and sometimes Sims,
this front line became the New York sax section, and as you would
expect, the interpretations of these fine compositions (by Bill Potts,
Nat Pierce, Woods and Hefti) are immaculately done.
Woods 2.

These were early days for McKenna, not here at his most potent,
and although the music never ceases to swing and is technically
accomplished, one is conscious of the fact that 40 years have past since
the recordings - something one doesn’t feel in the context of Clayton
Jam Sessions or Ellington or Kenton works of the time.
The presence of Schlinger might on paper seem an oddity, but in fact he
gives momentous bottom to the ensembles. Woods is revealed by his three
originals as an imaginative composer and, while this album doesn’t have
the bite of some later ones, it is fascinating from an historic point of
view.
Steve Voce

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Steve Voce

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