John Graas • Jazz Studio 1-2 Complete Sessions

 

Biography
by Scott Yanow
Along with Julius Watkins, John Graas was one of the first jazz French horn soloists. After playing some classical music, in 1942 he became a member of the Claude Thornhill Orchestra. A period in the Army (1942-1945) and stints with the Cleveland Orchestra and Tex Beneke's big band preceded Graas' first high-profile gig, playing with Stan Kenton's Innovations Orchestra (1950-1951). After leaving Kenton, he settled in Los Angeles and worked as a studio musician in addition to being used on West Coast jazz dates by Shorty Rogers and others. Graas, an excellent composer who sought to combine together jazz and classical music (predating the third stream movement), recorded fairly regularly as a leader during 1953-1958, sessions that (with the exception of one V.S.O.P. release) have not been reissued. He died of a heart attack at the age of 45.
https://www.allmusic.com/artist/john-graas-mn0000219637/biography

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Biografía
por Scott Yanow
Junto con Julius Watkins, John Graas fue uno de los primeros solistas de trompa de jazz. Tras tocar algo de música clásica, en 1942 pasó a formar parte de la Orquesta de Claude Thornhill. Tras un periodo en el ejército (1942-1945) y una serie de colaboraciones con la Orquesta de Cleveland y la big band de Tex Beneke, Graas tuvo su primera actuación destacada en la Innovations Orchestra de Stan Kenton (1950-1951). Tras dejar a Kenton, se instaló en Los Ángeles y trabajó como músico de estudio, además de ser utilizado en fechas de jazz de la Costa Oeste por Shorty Rogers y otros. Graas, un excelente compositor que buscaba combinar el jazz y la música clásica (antes del movimiento de la tercera corriente), grabó con bastante regularidad como líder durante 1953-1958, sesiones que (con la excepción de un lanzamiento de V.S.O.P.) no han sido reeditadas. Murió de un ataque al corazón a la edad de 45 años.
https://www.allmusic.com/artist/john-graas-mn0000219637/biography

Hank Jones Trio • The Trio

 

Frank Wess • Jazz for Playboys

 

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

https://musicians.allaboutjazz.com/frankwess

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Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

https://musicians.allaboutjazz.com/frankwess

Al Cohn, Joe Newman & Freddie Green • Mosaic Select

 

Jimmy Cleveland • Cleveland Style

 

Review
by Scott Yanow
Although trombonist Jimmy Cleveland is the main star of this album, arranger Ernie Wilkins comes in a close second. Wilkins' charts for the septet make inventive use of either Jay McAllister or Don Butterfield on tuba and he also brought in two excellent originals (including one called "Goodbye Ebbets Field"). With trumpeter Art Farmer, tenor saxophonist Benny Golson, pianist Wynton Kelly, bassist Eddie Jones and drummer Charlie Persip also featured with the septet, it is not surprising that the result is high-quality straightahead jazz. Worth searching for.
https://www.allmusic.com/album/cleveland-style-mw0000910790

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Reseña
por Scott Yanow
Aunque el trombonista Jimmy Cleveland es la estrella principal de este álbum, el arreglista Ernie Wilkins le sigue de cerca. Los arreglos de Wilkins para el septeto hacen un uso inventivo de Jay McAllister o Don Butterfield en la tuba y también aportó dos excelentes originales (incluyendo uno llamado "Goodbye Ebbets Field"). Con el trompetista Art Farmer, el saxofonista tenor Benny Golson, el pianista Wynton Kelly, el bajista Eddie Jones y el batería Charlie Persip también en el septeto, no es sorprendente que el resultado sea un jazz directo de alta calidad. Merece la pena buscarlo.
https://www.allmusic.com/album/cleveland-style-mw0000910790

Joe Newman • Good 'N' Groovy

 

Review:
by Bob Rusch
This was the second of Joe Newman's three dates he led under the Swingville banner. For this session he was in the very fine company of Frank Foster (tenor sax), Tommy Flanagan (piano), Eddie Jones (bass) and Bill English (drums).
https://www.allmusic.com/album/good-n-groovy-mw0000110218

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Reseña:
por Bob Rusch
Esta fue la segunda de las tres fechas de Joe Newman que dirigió bajo la bandera de Swingville. En esta sesión estuvo acompañado por Frank Foster (saxo tenor), Tommy Flanagan (piano), Eddie Jones (bajo) y Bill English (batería).
https://www.allmusic.com/album/good-n-groovy-mw0000110218

Frank Foster • No count

No Freddie Green either, but that's okay; the four horns carved out from the Count Basie band for this Frank Foster-led date get along just fine with drummer Kenny Clarke, bassist Eddie Jones, and guitarist Kenny Burrell. The set is a companion to Frank Wess' North, South, East...Wess, recorded by the same players at the same sessions. No Count, however, stays closer to Kansas City swing than the Wess release, which attempted, not altogether successfully, to update the sound with some nods to hard bop. Foster's charts provide for lots of interplay and counterpoint between the two trombones and two tenors. This gets around the potential for the similar ranges of the horns to bog down in tonal homogeneity. The natural, yet sophisticated, blues-based swing players spin out long, masterful lines. Trombonists Henry Coker and Bennie Powell are most effective in supporting roles. The rhythm section is what makes this date, though. The poised Clarke balances the blues feeling of the arrangements with a cool bopping, cymbal-driven pulse. Jones, too, is effective, even if he is a bit far down in the mix. Then there's Burrell, who pretty much steals the show, covering for the absent Count and Basie guitarist Freddie Green with some of the finest rhythm work to be heard anywhere. À la the Count, he also takes the occasional brief but impressive solo.

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Tampoco hay Freddie Green, pero está bien; los cuatro trompas que se han tallado en la banda de Count Basie para esta cita liderada por Frank Foster se llevan muy bien con el baterista Kenny Clarke, el bajista Eddie Jones y el guitarrista Kenny Burrell. El set es un compañero de Frank Wess' North, South, East... Wess, grabado por los mismos músicos en las mismas sesiones. Sin embargo, No Count se mantiene más cerca del swing de Kansas City que el lanzamiento de Wess, que intentó, sin éxito, actualizar el sonido con algunos guiños al hard bop. Los gráficos de Foster proporcionan mucha interacción y contrapunto entre los dos trombones y los dos tenores. Esto evita la posibilidad de que los rangos similares de las bocinas se empantanen en la homogeneidad tonal. Los naturales, aunque sofisticados, jugadores de swing basados en el blues hacen girar largas y magistrales líneas. Los trombonistas Henry Coker y Bennie Powell son más efectivos en los papeles secundarios. Sin embargo, la sección rítmica es lo que hace esta cita. El equilibrado Clarke equilibra la sensación de blues de los arreglos con un pulso fresco y címbalo. Jones también es efectivo, aunque esté un poco más abajo en la mezcla. Luego está Burrell, que se roba el show, cubriendo al ausente Conde y Guitarrista Basie Freddie Green con algunos de los mejores trabajos rítmicos que se puedan escuchar en cualquier lugar. Al Conde, también hace un breve pero impresionante solo.

The Joe Newman Octet • I'm Still Swinging

 

Joe Newman • Joe Newman With Woodwinds

 

Biography by Ron Wynn
Joe Newman was a superb, exciting trumpeter whose style echoed the best of Harry Edison, Dizzy Gillespie, and Thad Jones, seasoned with his own flavoring. He was among a select corps who not only enjoyed playing, but communicated that joy and exuberance in every solo. He provided high-note and upper-register antics, but functioned best doing soft, enticing melodies or engaging in mildly combative jam sessions. He was also an accomplished player in the traditional New Orleans style. Newman began his professional career with Lionel Hampton in 1942 and 1943, joining him after touring with the Alabama State Teachers College band. Newman became a member of the Count Basie orchestra in 1943, remaining until 1947. He co-led groups with Illinois Jacquet and J.C. Heard, before returning to the Basie band for a great run from 1952 to 1961. During that time, there were periodic outside recording sessions. Newman did sessions for Savoy, Vanguard, and RCA in the '50s, most of them small-combo and tasteful, enjoyable outings. The 1956 album Salute to Satch was with a big band. The Happy Cats was a sextet date. There was a quintet session with Zoot Sims on Roulette and another Roulette recording with an 11-piece band. Newman toured Europe with the Basie band in 1954. During the early '60s, he continued recording and touring with Basie and making other sides on his own. These included sessions with Tommy Flanagan for Prestige and a quartet set for Stash. There was a 1962 Russian tour with Benny Goodman. Newman became involved with Jazz Interaction, an organization promoting awareness and jazz education in the early '60s, and soon became a tireless advocate. He assumed the organization's presidency in 1967. Newman also wrote compositions for their organization. He began playing with the New York Repertory Orchestra in 1974, and toured Europe and the Soviet Union with them in 1975. During the '70s, '80s, and '90s, Newman juggled educating, recording, and doing an infrequent reunion with the Basie orchestra. He made nice sessions with Ruby Braff and Jimmy Rowles in the '70s and Joe Wilder and Hank Jones in the '80s.
https://www.allmusic.com/artist/joe-newman-mn0000208035#biography

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Biografía de Ron Wynn
Joe Newman fue un trompetista magnífico y emocionante cuyo estilo se hacía eco de lo mejor de Harry Edison, Dizzy Gillespie y Thad Jones, aderezado con su propio sabor. Formaba parte de un cuerpo selecto que no sólo disfrutaba tocando, sino que transmitía esa alegría y exuberancia en cada solo. Tocaba notas agudas y registros altos, pero se desenvolvía mejor con melodías suaves y atractivas o participando en jam sessions ligeramente combativas. También era un consumado intérprete del estilo tradicional de Nueva Orleans. Newman comenzó su carrera profesional con Lionel Hampton en 1942 y 1943, uniéndose a él tras una gira con la banda del Alabama State Teachers College. Newman pasó a formar parte de la orquesta de Count Basie en 1943, donde permaneció hasta 1947. Codirigió grupos con Illinois Jacquet y J.C. Heard, antes de volver a la banda de Basie para una gran carrera de 1952 a 1961. Durante ese tiempo, hubo periódicas sesiones de grabación externas. Newman realizó sesiones para Savoy, Vanguard y RCA en los años 50, la mayoría de ellas de pequeño formato y buen gusto. El álbum de 1956 Salute to Satch fue con una big band. The Happy Cats fue una cita con un sexteto. Hubo una sesión de quinteto con Zoot Sims en Roulette y otra grabación en Roulette con una banda de 11 músicos. Newman realizó una gira por Europa con la banda de Basie en 1954. A principios de los 60, continuó grabando y haciendo giras con Basie y grabando otros temas por su cuenta. Entre ellas, sesiones con Tommy Flanagan para Prestige y un cuarteto para Stash. En 1962 realizó una gira rusa con Benny Goodman. Newman se unió a Jazz Interaction, una organización que promovía la concienciación y la educación sobre el jazz a principios de los 60, y pronto se convirtió en un defensor incansable. Asumió la presidencia de la organización en 1967. Newman también escribió composiciones para su organización. Comenzó a tocar con la New York Repertory Orchestra en 1974, con la que realizó una gira por Europa y la Unión Soviética en 1975. Durante los años 70, 80 y 90, Newman hizo malabarismos para educar, grabar y hacer alguna reunión poco frecuente con la orquesta de Basie. Realizó bonitas sesiones con Ruby Braff y Jimmy Rowles en los 70 y con Joe Wilder y Hank Jones en los 80.
https://www.allmusic.com/artist/joe-newman-mn0000208035#biography

Joe Newman • The Complete Swingville Sessions

 

These Joe Newman Swingville sessions, an object lesson in relaxed and intelligent blowing, are among the happiest recorded by the trumpeter. All the elements fit compatible musicians, familiar material, congenial atmosphere dovetailed into a deceptively simple and always swinging whole.

The potential of a two-horn front line has rarely been exploited as brilliantly as it is here by Newman with Wess or Foster. The three Basie-ites are in top form, playing with more imagination and vitality than in most similar dates. Tommy Flanagan, present in all tracks, is a constant delight, sensitive, forceful when necessary, always sympathetic to the soloist, an essential part of the ideal rhythm sections employed. And the quartet session is a model of complete relaxation and how to assimilate individual expression into a collective wholein itself an ideal summation of what Joe Newman achieved on these dates.
https://www.freshsoundrecords.com/joe-newman-albums/5644-the-complete-swingville-sessions-3-lps-on-2-cds.html

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Estas sesiones de Joe Newman Swingville, una lección de soplido relajado e inteligente, se encuentran entre las más felices grabadas por el trompetista. Todos los elementos encajan: músicos compatibles, material familiar, ambiente agradable, todo encaja en un conjunto engañosamente sencillo y siempre lleno de swing.

El potencial de una primera línea de dos trompas rara vez ha sido explotado tan brillantemente como aquí por Newman con Wess o Foster. Los tres Basie-ites están en plena forma, tocando con más imaginación y vitalidad que en la mayoría de fechas similares. Tommy Flanagan, presente en todos los temas, es una delicia constante, sensible, contundente cuando es necesario, siempre comprensivo con el solista, parte esencial de las ideales secciones rítmicas empleadas. Y la sesión de cuarteto es un modelo de relajación total y de cómo asimilar la expresión individual en un todo colectivo, en sí misma un resumen ideal de lo que Joe Newman consiguió en estas fechas.
https://www.freshsoundrecords.com/joe-newman-albums/5644-the-complete-swingville-sessions-3-lps-on-2-cds.html

Thad Jones • Mad Thad

 

Review by Jim Todd
Though still a member of the Count Basie band, Thad Jones began to make his mark as a forward-thinking bop trumpeter and writer with recordings such as these from 1956 and 1957. Like its companion release, The Jones Boys, the performances are from a gathering of the leader's namesakes and members of the Basie band. The Detroit connection is also represented by pianist Tommy Flanagan and bassist Doug Watkins, along with Thad and his brother Elvin (on drums for four tracks). The music is cool, swinging bop that has affinities with the transitional sounds of Jones' contemporaries Miles Davis and Clifford Brown. The Basie influence is evident in the insistent, economic pulse of the rhythm section. The young leader's tart, inviting sound finds good company in the energetic, swinging, imaginative work of saxophonists Frank Foster and Frank Wess (who switches to flute for a track). Trombonist Henry Coker sets up some closely voiced Gil Evans-like harmonies on three tracks. The performances are from a December 1956 quintet date that includes two tracks arranged and conducted by Quincy Jones, and from a January 1957 sextet session. The CD includes a ballad medley from the 1957 session that was originally put out on a release shared with Sonny Rollins. With the exception of the medley, the performances have the energy and impact of early bop informed by the harmonic innovations that were evolving in the latter half of the 1950s. The medley ("Flamingo," "If You Were Mine," "I'm Through With Love," "Love Walked In"), on the other hand, has a traditional swing conception that doesn't mesh well with the progressive tendencies of the other tracks.
https://www.allmusic.com/album/mad-thad-mw0000671734

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Reseña de Jim Todd
Aunque todavía era miembro de la banda de Count Basie, Thad Jones comenzó a dejar su huella como trompetista y compositor de bop de vanguardia con grabaciones como éstas de 1956 y 1957. Al igual que el disco que lo acompaña, The Jones Boys, las interpretaciones proceden de una reunión de homónimos del líder y miembros de la banda de Basie. La conexión con Detroit también está representada por el pianista Tommy Flanagan y el bajista Doug Watkins, junto con Thad y su hermano Elvin (a la batería en cuatro temas). La música es fresco, swinging bop que tiene afinidades con los sonidos de transición de los contemporáneos de Jones, Miles Davis y Clifford Brown. La influencia de Basie es evidente en el pulso insistente y económico de la sección rítmica. El sonido ácido y atractivo del joven líder encuentra buena compañía en el trabajo enérgico, oscilante e imaginativo de los saxofonistas Frank Foster y Frank Wess (que cambia a la flauta en un tema). El trombonista Henry Coker establece algunas armonías cercanas a Gil Evans en tres temas. Las interpretaciones pertenecen a un quinteto de diciembre de 1956 que incluye dos temas arreglados y dirigidos por Quincy Jones, y a una sesión de sexteto de enero de 1957. El CD incluye un popurrí de baladas de la sesión de 1957 que se publicó originalmente en una edición compartida con Sonny Rollins. Con la excepción del popurrí, las interpretaciones tienen la energía y el impacto del bop temprano informado por las innovaciones armónicas que estaban evolucionando en la segunda mitad de la década de 1950. El popurrí («Flamingo», «If You Were Mine», «I'm Through With Love», «Love Walked In»), por otra parte, tiene una concepción de swing tradicional que no encaja bien con las tendencias progresivas de los otros temas.
https://www.allmusic.com/album/mad-thad-mw0000671734

Frank Wess • Jazz Is Busting Out All Over

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.
https://musicians.allaboutjazz.com/frankwess

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Frank Wess es un maestro del jazz del NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz estadounidense, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Comenzó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al trasladarse a Washington, D. C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se vería interrumpida durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese periodo. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Modern School Of Music de la ciudad. A partir de 1953 se unió a la banda de Count Basie, tocando la flauta y el saxo tenor. Volvió a tocar el saxo alto a finales de los 50, y dejó la banda de Basie en 1964. Entre 1959 y 1964 ganó la encuesta de la crítica de Down Beat para la flauta. Desde entonces, ha participado en diversos programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007, Wess fue nombrado "NEA Jazz Master" por el Fondo Nacional de las Artes de Estados Unidos.
https://musicians.allaboutjazz.com/frankwess

The Jones Boys • The Jones Boys

Review by Ken Dryden

The Jones Boys was a session conceived by Leonard Feather featuring a number of musicians named "Jones," though none of them are related. This session, originally recorded for Period and reissued as a part of Fantasy's Original Jazz Classics limited-edition series, has a rhythm section consisting of pianist Jimmy Jones, bassist Eddie Jones, and drummer Jo Jones. Thad Jones' muted trumpet carries a swinging version of Rodgers & Hammerstein's "No Other Love," followed by a lush interpretation of "You Leave Me Breathless" and the trumpeter's tasty original "Blues for the Joneses." The somewhat obscure trumpeter Reunald Jones (best known for his section work in the bands of Count Basie, Chick Webb, and Don Redman) and Quincy Jones (heard on flügelhorn) join Thad Jones on several selections, including Quincy's fireworks-filled "The Jones Bash" and the funky blues "Jones Beach." This very desirable CD should be snapped up before it becomes a collector's item once more.

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Revisión por Ken Dryden

The Jones Boys fue una sesión concebida por Leonard Feather con varios músicos llamados "Jones", aunque ninguno de ellos está relacionado. Esta sesión, grabada originalmente para Period y reeditada como parte de la serie de edición limitada Fantasy's Original Jazz Classics, tiene una sección rítmica compuesta por el pianista Jimmy Jones, el bajista Eddie Jones y el baterista Jo Jones. La silenciosa trompeta de Thad Jones contiene una versión oscilante de "No Other Love" de Rodgers & Hammerstein, seguida de una interpretación exuberante de "You Leave Me Breathless" y el sabroso "Blues for the Joneses" original del trompetista. El trompetista un tanto oscuro Reunald Jones (mejor conocido por su trabajo de sección en las bandas de Count Basie, Chick Webb y Don Redman) y Quincy Jones (escuchado en flügelhorn) se unen a Thad Jones en varias selecciones, incluido el fuego de Quincy "The Jones Bash "y el funky blues" Jones Beach ". Este muy deseable CD se debe agregar antes de que se convierta en un objeto de colección una vez más.