First, a note to readers. To those who are paid subscribers, thank you so much for your generous support. I’m truly grateful and will work hard to surprise you five days a week. [Photo above of Blue Mitchell by Francis Wolff ©Mosaic Images]
To those who are reading only two JazzWax posts a week for free, please consider subscribing. You’re missing out.
For 18 years, I provided JazzWax readers with free content. When the site’s host went bust in August, I spent an enormous amount of time and energy with three loving and hard-working readers who helped to bring JazzWax back. And bring it back we did, in just three weeks. It’s bigger, better and funner.
Paying readers not only get the new JazzWax but also have unlimited access to the old JazzWax archive, which lives under the “2007-2025” tab.
Paying $10 a month—or $100 a year with two months free—for something you know you love isn’t really a stretch. Cancel one of the many TV platforms you rarely watch or subscriptions to magazines you never read. Or cut out snacks during the week, which isn’t good for you anyway.
JazzWax is good for you. I’m a big believer in supporting what you truly love and want to preserve. You deserve all five posts each week and unlimited access to the site.
Now, on to today’s post…
Two of the prettiest composer-arrangers of late 1950s and early ‘60 were Tadd Dameron and Benny Golson. In mid-1960, Riverside producer Orrin Keepnews asked Dameron and Golson to arrange an orchestra for an album that showcased the gorgeous trumpet of Blue Mitchell.
The LP was Smooth as the Wind and can be compared with Bird With Strings, featuring Charlie Parker; Clifford Brown with Strings, Chet Baker and Strings and many others, some of which you know well and others that haven’t received much visibility. More on these hidden gems down the road.
During three recording sessions—on Dec. 27, 1960 and on March 29 and 30, 1961—Mitchell’s solos were wrapped in smartly arranged strings and brass. The album I’d most liken it to is Billie Holiday’s Lady in Satin, arranged and conducted by Ray Ellis.
That’s because Mitchell’s trumpet sounds like it’s singing and the scores have a knowing tenderness and respect for the solo artist. The same was true for Ellis’s arrangements for Billie. Each track here is more precious than the last.
The tracks:
Smooth as the Wind (arr. Tadd Dameron)
But Beautiful (arr. Dameron) (B)
The Best Things in Life Are Free (arr. Dameron) (B)
Peace (arr. Benny Golson) (A)
For Heaven’s Sake (arr. Dameron) (A)
The Nearness of You (arr. Dameron) (A)
A Blue Time (arr. Dameron) (B)
Strollin’ (arr. Dameron) (A)
For All We Know (arr. Golson) (B)
I’m a Fool to Want You (arr. Golson) (B)
The orchestra on December 27, 1960 (A):
Blue Mitchell, Clark Terry, Bernie Glow and Burt Collins (tp); Britt Woodman and Julian Priester (tb); Willie Ruff (fhr); Tommy Flanagan (p); Tommy Williams (b); Charlie Persip (d) and a string section led by Harry Lookofsky (vln).
The orchestra on March 29 and 30, 1961 (B):
Blue Mitchell, Clark Terry, Bernie Glow and Burt Collins (tp); Jimmy Cleveland and Urbie Green (tb); Willie Ruff (fhr); Tommy Flanagan (p); Tommy Williams (b); Philly Joe Jones (d) and a string section led by Harry Lookofsky (vln).
Blue Mitchell played with heated sensitivity and romantic phrasing. His tone was warm, engaging and seductive. Mitchell also was one of Benny Golson’s favorite trumpeters. He died in 1979 of cancer at age 49.
Here’s the full Smooth as the Wind without ad interruptions…




Hi Marc, We are going to miss your Saturday bundle of pieces. There was always enough to keep us going until Monday's post.
Regards,
James
Sorry but as I mentioned earlier I won’t be participating anymore after doing so for many years. I already support a few substacks and there’s no room for more. There are some substacks where support is appreciated but not mandatory for reading. Obviously you chose a different route. A bit disappointing but not the end of the world.