JazzWax

Billy May: Bill's Bag

At the dawn of the 1950s, Billy May was the first arranger to update swing for Hollywood studio orchestras in the LP era. May's scores in 1951 were refreshingly free of classical overtones or a reliance on the blues. Instead, his brassy arrangements were jaunty, imaginative and witty. Gerry Mulligan and Neal Hefti were two other modernist swingers during this nascent period, but they were a lot less prolific than May. In all, May led more than 100 career jazz sessions and probably triple that number on the pop side.

With volume comes junk. Too many of May's albums in the post-1955, 12-inch era fall short and are cringe-worthy today. But when May was freed from the cheesy themes demanded by lousy producers, he had his way with spectacular results. One of these albums, Bill's Bag (Is of a Cool and Groovy Nature!), was recorded for Capitol in January, February and March of 1963.

Three different band configurations were used for this album over the three sessions. Which tells you how superb the musicians were, since the ones who played on the first date had other obligations for second or both follow-ups. This also tells you about the seemingly endless supply of crack players in Hollywood at the time, since those who stepped in were equally superb. Here are the recording sessions, the songs and the band personnel:

January 15—The Preacher, Dat Dere, My Little Suede Shoes and Shiny Stockings. The band included Conrad Gozzo, Uan Rasey, Frank Beach, Ray Triscari and Don Fagerquist (tp); Dave Wells (b-tp); Ed Kusby, Milt Bernhart, Tom Shepard and George Roberts (tb); Paul Horn (as); Justin Gordon (ts); Chuck Gentry (bar); Jimmy Rowles (p); Joe Gibbons (g); Max Bennett (b); Irv Cottler (d) and Billy May (ldr,arr).

Note: An extraordinary trumpet section above. Gozzo was a powerhouse, high-note power player; Rasey would go on to solo on many movie soundtracks, including Chinatown; Beach and Triscari were solid session players and Fagerquist as a soloist had one of the prettiest trumpet tones in the business.

February 11—Filet of Soul, Uh Oh! (Nutty Squirrels), Miles Behind and Children of the Night. The band featured Uan Rasey, Bud Brisbois, John Audino and Don Fagerquist (tp); Lew McCreary (b-tp); Ed Kusby, Milt Bernhart, Tom Shepard and William Schaefer (tb); Paul Horn (as); Justin Gordon (ts); Chuck Gentry (bar); Ray Sherman (p); Joe Gibbons (g); Ralph Pena (b); Alvin Stoller (d) and Billy May (arr,cond).

Note: The trumpet hitting stratospheric notes on the session above belonged to Bud Brisbois (above), who was considered one of the most accurate and consistent high-note studio trumpeters in the business.

March 19—Playboy's Theme, Whisper Not, Moanin' and The Late Late Show. The band swaps were George Roberts (above) and Tommy Pederson (tb); Jimmy Rowles (p) and Irving Cottler (d) replaced Tom Shepard, William Schaefer, Ray Sherman and Alvin Stoller.

Note: Roberts and Pederson, again, were among the most prolific trombonists in the Hollywood studios in the late 1950s and '60s.

All of the tracks on this album show off May's sexy arranging skills and swinging imagination. When released from the clammy clutches of Capitol's pop producers, May could give swing a smart spin and was never dull. His choice of songs also is interesting. Dat Dere and Moanin' are by hard-bop pianist composer Bobby Timmons. Children of the Night is by Wayne Shorter, and Whisper Not is by Benny Golson. The Preacher is by Horace Silver. My Little Suede Shoes is by Charlie Parker and Shiny Stockings is by Frank Foster. For one, these seven songs were by African-American composers. For another, a good number were Art Blakey and the Jazz Messengers alumni.

As for the remaining five, Uh Oh! is by Don Elliot, Playboy's Theme is by Cy Coleman, The Late Late Show is by Murray Berlin, and Fillet of Soul and Miles Behind are by Billy May. The album not only shows that May was in tune with what was going on in the jazz space, but he also brought sophistication to each song. I have to believe that each artist was flattered and impressed with May's interpretation. For example, listen how hip the chords are voiced on Shiny Stockings!

As the 1950s progressed, the surging demand for 12-inch pop albums overwhelmed even the fleet pen of May, making room for Nelson Riddle, Frank Comstock, Skip Martin, Frank DeVol and so many others to pick up the slack. But in the beginning, there was May. And he was good.

Billy May died in 2004.

JazzWax tracks: You'll find Billy May's Bill's Bag here.

And the album is available for a free listen at Spotify.

JazzWax clips: Here's the entire album, starting with the first track, Children of the Night...

A special thanks to Kurt Kolstad.

Stan Kenton: Back to Balboa

Back in the early 1980s, I headed out to Los Angeles to visit a friend in Huntington Beach for a few days. For the summer trip—my first to the L.A. area—I packed my Sony Walkman and a bunch of West Coast jazz cassettes. The tapes weren't to entertain. My motive was more anthropological. [Photo above of Balboa Island and pier]

I wanted to listen to the music in its natural habitat while walking on the beaches of Hermosa, Balboa and Santa Monica. In other words, I wanted to feel the music while looking out at the curling waves and expanse of ocean, and feel the same salty air the musicians did. Not that much different from packing opera tapes for a Venice or Milan trip, or accordion music for Paris. Music's flavor is richer, somehow, when heard where it was influenced and recorded. Of course, my friend thought I was nuts. [Photo above of a sunset on Balboa Beach]

The album I listened to on my Walkman in Balboa was Stan Kenton's Back to Balboa. Recorded in January 1958 at Balboa's Rendezvous Ballroom, the album was scored by three magnificent arrangers:

Marty Paich arranged The Big Chase and My Old Flame. [Photo above of Balboa Beach]

Johnny Richards arranged Rendezvous at Sunset, Speak Low, Out of This World, Begin the Beguine, Get Out of Town, I Concentrate on You, Beyond the Blue Horizon, Two Shades Of Autumn, Love Letters, Desiderata and Artistry In Blues.

And Bill Holman arranged Royal Blue.

Essentially, Back to Balboa belongs to Richards, whose arrangements provided wide-bodied heft with Latin touches, slam-bang moments and dramatic builds. The band featured Sam Noto, Jules Chaiken, Billy Catalano, Lee Katzman and Phil Gilbert (tp); Bob Fitzpatrick, Archie LeCoque, Kent Larsen and Jim Amlotte (tb); Ken Shroyer (b-tb); Vince DeRosa and Jim Decker (fhr); Lennie Niehaus (as); Bill Robinson (as,bar); Bill Perkins and Richie Kamuca (ts); Steve Perlow (bar); Stan Kenton (p); Red Kelly (b) and Jerry McKenzie (d). [Photo above of Johnny Richards]

As I walked the beach near the pier at Balboa, it was easy to imagine the Kenton band playing there on a balmy summer evening as guys in Hawaiian prints, white T-shirts and chinos and women in patterned sun dresses dug the big, brassy sound in the breeze coming in off the water. Among the standouts during my sandy walk were The Big Chase, Rendezvous at Sunset, Speak Low and Beyond the Blue Horizon. I had been transported back to 1958 through music, and everything about the Richards arrangements made sense. I could see what he saw, smelled what he smelled and felt on my skin what he felt. Yesterday, I needed that summer trip back 60 years given New York's miserable bitter winter rain. A trip worth taking. [Photo above of the Rendezvous Ballroom prior to burning down in 1966]

JazzWax tracks: You'll find Stan Kenton's Back to Balboa (Capitol) here.

JazzWax clips: Here's Speak Low...

Here's Rendezvous at Sunset...

And here's Beyond the Blue Horizon...

Italian Romantic Pop: 1960s

Italy's golden era of romantic pop ran from roughly 1960 to 1965 but extended into the early '70s. Prior to its arrival was the dated operatic pop of the 1950s. On the other end and overlapping was the banal yeah-yeah movement of the mid- and late 1960s. Sandwiched in between was this love-struck pop ballad style triggered by a new generation of young adults who were children during World War II. This music became the backdrop for La Dolce Vita—which translated meant "the sweet life," as exemplified by the film of the same name directed by Federico Fellini in 1960. [Photo above of Italian romantic-pop singer Patty Pravo]

What brings all of this on, you ask? As readers know, I love drilling down on obscure corners of music history. The inspiration for this journey was my post last week on Roberto Magris's album, Sun Stone, which included a cover of a Memo Remigi's Innamorati a Milano, a 1965 hit that I fondly recalled from a trip to Rome as a child. This gorgeous but all-too brief period in pop sums up cinematic Italy in all its glory. I must also confess to missing Milan and Rome, cities I love. [Photo above of Italian romantic-pop singer Mina]

The shift in Italy's pop music in the early 1960s owes a great deal to the rise of a more stylish approach to Italian cinema and fashion that the Western world was beginning to take seriously. As incomes climbed in Italy thanks to tourism, manufacturing and exports, TV sales surged and so did the number of live TV variety and talent shows. Most of the romantic-pop singers who emerged were deeply passionate and ready for prime time. While the language barrier barred their access to the English and American pop markets (most of the top singers weren't known outside of Italy), they became nearly as popular in their home country as their movie-star counterparts. It was the music of a new generation proud of its heritage, optimistic about its future and seeking love [Photo above of Italian romantic-pop singer Peppino Gagliardi]

Here are 10 videos of Italian romantic-pop singers during this period, plus two bonus videos. And if you dig interior design, each clip features fabulous mid-century Italian-modern sets:

Here's Fred Bongusto with a full orchestra...

Here's Mina...

Here's Peppino Gagliardi...

Here's Ornella Vanoni...

Here's Mina...

Here's another by Ornella Vanoni...

Here's Pino Donaggio...

Here's Johnny Dorelli and Patty Pravo...

Here's Mina...

Here's Ornella Vanoni...

Bonus: Here's Memo Remigi singing his 1965 hit Innamorati a Milano in 2013. Remigi is still with us. Love those screens featuring footage of 1960s Milan...

Bonus2: Chet Baker was part of this scene as well when he recorded four romantic pop songs in Rome in 1962 backed by Ennio Morricone. Here's Chetty's Lullaby...

Doc: Sal Mosca (Un-Sung)

For years, cool-school pianist Sal Mosca labored as a student of Lennie Tristano, recording only sporadically. He avoided touring with top stars as their accompanist to be with his family and to teach his students. Before Mosca died in 2007, James M. Lester was able to make this wonderful short documentary—Sal Mosca (Un-Sung):

Here's Part 1...

And here's Part 2...

To read my last post on Sal Mosca, go here.

A special thanks to Don Messina, an extraordinary bassist who played behind Mosca on several of his final recordings.

Norma, Rob and Richard

In The Wall Street Journal this week, I interviewed fashion designer and icon Norma Kamali for my "House Call" column in the Mansion section (go here). Norma talked about her mom, who was a seamstress, a painter, a cook who could reproduce restaurant dishes by eating them once, a hairdresser and had many other artistic talents. Norma also talked about sleeping on her nose as a kid so it would turn up, like other kids' noses in her Manhattan neighborhood in the 1950s. Oh, before I forget, Farrah Fawcett's red bathing suit in the famed poster? That was Norma's. [Photo above by Norma Kamali at home in Manhattan’s West Village in October by the fabulous Brad Trent for The Wall Street Journal]

I've interviewed some real Nu Yawkers—Fran Drescher, Judge Judy, Ronnie Spector to name a few with triple-thick accents. Norma is the first whose accent sounds a lot like the one I heard growing up in Washington Heights. It's pure Manhattan (I do a fairly good job of hiding mine but was able to slip into it with Norma). As you can imagine, she was a lot of fun to interview. Here's Norma in action...

Sirius XM. Join me on Tuesday, December 17, when I visit with Nik Carter and Lori Majewski on their Feedback (Ch. 106) show to talk about my latest "Anatomy of a Song" on Steve Miller's Fly Like an Eagle. Plus another Hot 10 tracks at the end.

NPR. On Friday, I was on Steve Kraske's terrific Up to Date segment on NPR station KCUR in Kansas City. He asked me to bring along a handful of jazzy holiday songs that most listeners wouldn't know but would love once they heard them. Steve added one to the list as well. Here's the show...

"Up to Date" on KCUR

Why Jazz Happened. Last week, I received the following email from Oliver in Dublin with these lovely words. Thank you Oliver and Andrew:

Hi Marc. Bought a copy of your book, Why Jazz Happened, on Friday at Chapters bookstore on Parnell Street for one of my team, pianist Andrew Carroll. He just called to say it's a brilliant read. Have a great Christmas!

Now in paperback here.

Speaking of Eagles. Rob Hyman, a dear friend, Cyndi Lauper's collaborator on Time After Time and leader of the band The Hooters emailed from Bremen, Germany, where the band was on tour. He sent along a clip of the band at Epcot theme park at Walt Disney World Resort in November 2018 performing a cover of Fly Like an Eagle...

Buddy Rich, 1943. Last week, following my post on Buddy Rich, I received the following from Dave James:

Good morning, Marc. I played a lot of drums in my misspent youth, so I've always been drawn to the great drummers of the past. During a recent deep YouTube dive into Buddy Rich, I came across this pristine color video of Buddy with the Tommy Dorsey band playing Well, Git It!...

Richard Williams radio. On Sunday, December 15, Sid Gribetz will present the music of Richard Williams from 2 to 5 p.m. on WKCR-FM's “Jazz Profiles” feature brodcast. As Sid writes, "Williams was a trumpeter of sheer brilliance. His solos make you stop and take notice with their clarity, bright tone and creative invention." You can listen from anywhere in the world on your phone, iPad or computer by going here.

Stuck for a gift? There's always my Anatomy of a Song book, an Amazon bestseller that's now in paperback. The stories behind 45 rock, soul, pop, reggae, country and disco hits from the artists who wrote and recorded them. Fast, fun and you can jump in anywhere. Also, you'll find a playlist of all 45 songs here, allowing you to listen along for free. You'll find Anatomy of a Song in the U.S. here, in the U.K. here and in Canada here.

What the heck: Impossibly talented, the Nicholas Brothers had it all, even in 1936, when they were still kids...

Oddball album cover of the week.

I can think of worse places to be on Christmas than at a Holiday Inn. Syria, for example. But at least there was going to be a banquet at this one. Plus free live parking-lot music from the Commanders.

Videos: Ben Paterson

Unfamiliar with Ben Paterson? Stick a pair of glasses on him and he'll remind you of Bill Evans, circa 1958—but in much better shape. As for his playing, Paterson is extraordinary on both the piano and the Hammond organ. And he can sing! The other day, my friend Jimi Mentis emailed me YouTube links. When Jimi emails, I always stop what I'm doing. Here are the Paterson clips he sent along...

Here's Ben Paterson on piano, playing and singing I Wish I Knew, with Erik Soderlind on guitar and Neal Miner on bass...

Here's Ben Paterson on organ playing I'll Close My Eyes, with Kyle Asche on guitar. Shades of Don Patterson!...

Here's Paterson playing Anthropology, with Chris Flory on guitar and George Delancey on bass...

Here's Paterson playing In a Mellow Tone with Flory on guitar and Delancey on bass...

Here's Paterson playing his own On the Move, with Jake Vinsel on bass. Dig Paterson's string strumming...

And here's Paterson playing The Christmas Song, with Josh Ramos on bass and Jon Deitemyer on drums...

You'll find much more Ben Paterson here.

Paterson's discography is here.

And here's Paterson's site.

Roberto Magris: Sun Stone

Roberto Magris is an Italian jazz pianist with a fondness for drama. His albums always explode in stormy excitement and robust flavor. His latest release, Sun Stone, was recorded with his sextet at the Hit Factory in Miami in 2017 and features Shareef Clayton (tp), Ira Sullivan (as,sop,fl), Mark Colby (ts), Roberto Magris (p), Jamie Ousley (b) and Rodolfo Zuniga (d). It's finally out now. [Photo above of Roberto Magris]

All of the songs are by Roberto, except Innamorati a Milano, a beautiful, romantic Italian pop ballad by Memo Remigi from 1965. The album opens with the title track, a ferocious uptempo song that lets Roberto show off his forceful technique.

Innamorati a Milano takes the Remigi ballad faster than I recall it but retains the song's sunny La Dolce Vita-era sensuality and sophistication. I was in Rome in 1968 with my artist parents and younger brother. I still remember this song drifting up from the hotel bar's jukebox during a sweltering hot Italian summer with little or no air conditioning.   

The 6/8 waltz, Planet of Love, has a beautiful flute solo by Ira Sullivan (above). Maliblues is a moody minor-key melody with a crackling trumpet solo by Clayton. Beauty is Forever also sounds Milanese from the mid-1960s and is lyrically lush and breezy, with a solo by Colby. On Look at the Stars, we get to hear Sullivan's soaring soprano saxophone. By the way, Sullivan remains an extraordinary instrumentalist. And finally, Sun Stone II is back, slightly transformed.

Roberto, throughout, alters the mood of his piano depending on the piece, from pop cafe to textured typhoon. The reason I love his playing is there's so much to hear and his heart is always in Italy. Sigh.

JazzWax tracks: You'll find the Roberto Magris Sextet's Sun Stone (JMood) here.

JazzWax clips: Here's Beauty Is Forever...

Beauty Is Forever

And here's Innamorati a Milano (Fall in Love in Milan)..

Innamorati a Milano

So you have context, here's the original Remigi single...

George Shearing: Quintet Xmas

At JazzWax, 12 is the number of years I've posted annually on my selection for the JazzWax Vintage Holiday Album Hall of Fame. The point of this is to offer up perfect holiday music that conjures up feelings of a time long past or is just superbly executed seasonal music. Combined on your iTunes or Spotify playlist, all of these albums shuffled should do the trick this month.

My choice for induction this year is Christmas With the George Shearing Quintet. The Telarc release came out in 1999 and featured Don Thompson (vib), George Shearing (p), Reg Schwager (g), Neil Swainson (b) and Dennis Mackrel (d). You'll find this one here or at Spotify. [Pictured above, George Shearing at home]

Now meet the rest of the gang, in order of their year of selection, with links to buy or sample. Most are probably also available at Spotify...

2018—Gap Mangione's Family Holidays (2005).

2017—Doris Day: Complete Christmas Collection. (1964).

2016—Ella Wishes You a Swinging Christmas (1960).

2015—Two albums with the same name: Bobby Timmons' Holiday Soul and Don Patterson's Holiday Soul. Both trio albums were recorded for Prestige in Nov. 1964—the former on the 24th and the latter on the 25th.

2014—Herb Alpert & the Tijuana Brass: Christmas Album (1968).

2013—Steve Lawrence and Eydie Gorme's That Holiday Feeling! (1964).

Here are albums that have already been inducted into the JazzWax Holiday Album Hall of Fame... - See more at: http://www.jazzwax.com/2012/11/duke-pearson-merry-ole-soul.html#sthash.V0RZmXiQ.dpuf

2012—Duke Pearson: Merry Ole Soul (1969).

2011—Urbie Green: A Cool Yule Tide (1954).

2010—Eddie Higgins: Christmas Songs (2004).


2009—June Christy: This Time of Year (1961).


2008—Jo Stafford's Happy Holidays: I Love the Winter Weather (1950s).

2015—Two albums with the same name: Bobby Timmons' Holiday Soul and Don Patterson's Holiday Soul. Both trio albums were recorded for Prestige in Nov. 1964—the former on the 24th and the latter on the 25th.

2014—Herb Alpert & the Tijuana Brass: Christmas Album (1968).

2013—Steve Lawrence and Eydie Gorme's That Holiday Feeling! (1964).

Here are albums that have already been inducted into the JazzWax Holiday Album Hall of Fame... - See more at: http://www.jazzwax.com/2012/11/duke-pearson-merry-ole-soul.html#sthash.V0RZmXiQ.dpuf

2012—Duke Pearson: Merry Ole Soul (1969).

2011—Urbie Green: A Cool Yule Tide (1954).

2010—Eddie Higgins: Christmas Songs (2004).


2009—June Christy: This Time of Year (1961).


2008—Jo Stafford's Happy Holidays: I Love the Winter Weather (1950s).

Documentary: Jim Hall

Yesterday, I came across the following documentary from 1999 on guitarist Jim Hall called A Life in Progress (Rhapsody Films). It informs, inspires and relaxes, which was what Jim Hall was all about...

For my interview with Jim, start here. Links to additional parts are above the red date on each post.

Buddy Rich: Final Recording

In 1983, I saw Buddy Rich and his big band at a long-gone New York club called Wednesday's on East 86th Street. I recall a mid-week gig and that the place was a disco on the weekends. The only table available was the one directly in front of Rich's bass drum. We took it. People had avoided the table as if it had been placed amid Hell's Angels at a rock festival. Sitting there, your teeth were sure to rattle or you'd suffer Rich's glare if you weren't fully engaged. In truth, it wasn't as bad as all that. To see Rich from that proximity was to be a virtual member of the band and quite a thrill. As the band cooked through song after song, I was thunderstruck by the power and swing.

Listening to Buddy Rich: Just in Time, the Final Recording (Gearbox) reminded me of that night. Newly released this past Friday, the album is one of the finest historic jazz releases of 2019. Recorded at Ronnie Scott’s Jazz Club in London in November1986, the album documents Rich's last performance at the Soho nightspot. I believe there was one more recording made by Rich at the Grendals Lair in Philadelphia in December when the band returned to the States. Rich died in April 1987.

The band in London had been together for about two years—a lifetime for Rich, as his daughter Cathy remarks in her liner notes. The personnel includes Eric Miyashiro, Greg Gisbert, Dana Watson and Kevin Richardson (tp); James Martin, Tom Garling and Ric Trager (tb); Bob Bowlby and Mike Rubino (as); Steve Marcus (ts,sop); Chris Bacas (ts); Jay Craig (bar); Matt Harris (p); Rob Amster (b) and Buddy Rich (d). [Photo above courtesy of Stuart Nicholson]

To record live, the band brought in the Rolling Stones Mobile Unit, a recording studio on wheels that parked outside and ran wires inside to microphones. It's easy to forget how great Rich's bands were well into the 1980s. This one was especially good, with solid pick up and go and killer soloists. Playing together for so many live engagements polished them to the point of swing perfection. (Regarding the image above, bet you never thought you'd see the Rolling Stones logo next to Buddy Rich's name.)

The songs are Wind Machine, Night Blood, Ready Mix, The Trolley Song, Winding Way, Harco Shuffle, Just in Time, Loose, Love for Sale, Shawnee, Up Jumped Spring, Why Bother?, a Porgy & Bess medley, Twisted (with a vocal by Cathy Rich) and a few bonus tracks—Wind Machine as a single and Good News, Parts 1 and 2.

Of note is the Porgy & Bess medley arranged by Keith Bishop. It runs 10 1/2 minutes and is in the spirit of Rich's West Side Story Medley from his Swingin' New Big Band recorded live at The Chez in Hollywood in 1966. There are solos by Marcus (ts), Martin (b tb) and Bowlby (as). Also here, and from the same '66 album, is Bill Holman's Ready Mix, with solos by Harris (p) and Marcus (ts). Also swinging is Matt Harris's composition and arrangement of Why Bother? Featured on solos are Marcus (ts) and Gisbert (tp).

A couple of others: Love for Sale, with Pete Myers's terrific arrangement from 1967 on Big Swing Face. Solos by Bowlby (as), Gisbert (tp) and Marcus (ts). And Cathy Rich's Twisted is terrific. It must be daunting to hear your father work the cymbal while counting off, "One... two... three... four." The lyrics and melody (tenor saxophonist Wardell Gray's 1949 solo with words by Annie Ross) are far from easy to sing. In typical Buddy Rich fashion, he calls Cathy "a good kid" at the end. But you can hear how proud he is.

There isn't a bad track on this album. All tear down the runway and lift off neatly. I just wish there were notes that provided background on who had possession of the Ronnie Scott tape, how it was discovered and why it wasn't released 30 years ago. Which leads one to wonder how many other Buddy Rich gems are gathering dust in tape limbo. Kudos to Cathy Rich for getting this one finally released. [Photo above of Cathy Rich and Greg Potter, who leads the Buddy Rich band today]

JazzWax tracks: Buddy Rich: Just in Time, the Final Recording (Gearbox) can be found here.

JazzWax clips: Here's Wind Machine...

And here's Ready Mix...