Liverty Records LRP 3045 - 1957
Fresh Sound Records (2003 release)
Lee Morgan & Conte Candoli (tp) Frank Rosolino (tb) Benny Golson (ts) Bob Cooper (ts)
Dick Shreve (p) Red Mitchell (b) Stan Levey (d)
“Lighthouse Club”, Hermosa Beach, CA, February 14, 1957
Lee Morgan & Conte Candoli (tp) Frank Rosolino (tb) Benny Golson (ts) Bob Cooper (ts)
Wynton Kelly (p) Wilfred Middlebrooks (b -1,7) Red Mitchell (b) Charlie Persip (d)
“Lighthouse Club”, Hermosa Beach, CA, February 27, 1957
1. Reggie of Chester (B. Golson)
2. Stablemates (B. Golson)
3. Celedia (B. Golson)
4. The Moto (Bob Cooper)
5. Champ (D. Gillespie)
6. Blues After Dark (B.Golson)
7. Wildwood (G. Gryce)
8. Quicksilver (H. Silver)
9. Bye Bye Blues (Lown)
MP3@320 :
Flac
“Double or Nothin’” foi gravado em 1957 e lançado pela gravadora Liverty, pequeno selo da Califórnia. Originalmente creditado como “Howard Rumsey/Charlie Persip – Double Or Nothin’ (Liverty LRP 3045)”, teve nos anos 60 um relançamento em LP já em nome da dupla de trompetistas.
A cena da gravação: Músicos da costa leste que estavam em Hollywood acompanhando Dizzy Gillespie em apresentações e gravações pela Califórnia em Fevereiro de 1957, tocam nos fins de semana livres no famoso clube Lighthouse em Hermosa Beach, reduto dos músicos mais descolados da West Coast. O proprietário do Lighthouse era o contrabaixista Howard Rumsey, músico atuante no cenário local à época. Estão disponíveis para a sessão alguns músicos do hepteto que acompanha Dizzy Gillespie: o pupilo deste na ocasião, Lee Morgan, atuando em um trompete modelo Gillespie, com a famosa campana voltada pra o alto. O saxofonista Benny Golson, o pianista Wynton Kelly e o baterista Charlie Persip completam os Yankes. Os músicos locais de grande expressão, todos muito influenciados pelo som de NYC desde o bebop na metade dos anos 40, agora tinham sua atenção no hardbop que começava a ecoar da Big Apple. Alguns habituais das gravações no Lighthouse lá estavam: o especialíssimo trombonista Frank Rosolino, o saxofonista Bob Cooper, o pianista Dick Shrieve, o contrabaixista Red Mitchell e o baterista radicado na West Coast, Stan Levey. Estes gravaram ao lado de Candoli e Morgan no dia 14 de Fevereiro, temas: “Moto”, de Bob Cooper; “Stablemates”, de Benny Golson e “Quicksilver”, de Horace Silver. Os temas restantes foram gravados duas semanas depois com Wynton Kelly ao piano, Charlie Persip na bateria e o contrabaixista Wilfred Middlebrooks em dois temas. O repertório é todo de clássicos do hardbop, bebop e west-cost jazz. Benny Golson assina quatro maravilhas, Dizzy é lembrado em “The Champ”, o clássico hardbop “Quicksilver” de Horace Silver, “Wildwood” de Gigi Gryce, “Moto” de Bob Cooper e, ainda vale destacar, a bela balada “Celedia” de Golson.
“Double or Nothin’” é uma perfeita mistura de músicos de primeira qualidade, de concepções estéticas diversas, porém complementares, da sonoridade do leste e do oeste americano durante a efervescente cena musical da segunda metade dos criativos anos 50.
En Febrero de 1957, Dizzy Gillespie llegó a Los Angeles para dar una serie de conciertos. Entre los músicos que formaban su big-band de entonces se encontraba el baterista Charlie Persip y los integrantes de su combo partiucular, los "Charlie Persip's Jazz Statesmen": Lee Morgan, Benny Golson, Wilfred Middlebrooks y Wynton Kelly.
Los fines de semana estaban libres de compromisos y lo dedicaron a frecuentar el Lighthouse de Howard Rumsey en el cual, obviamente, se sucedieron inevitables jams con ellos sobre el escenario. Entusiasmado con el resultado, Rumsey sugirió que ambos grupos sumaran esfuerzos para una grabación.
Así surgió Double or Nothin', uno de los más celebrados encuentros entre músicos del Este y del Oeste.
Complementados con Conte Candoli, Frank Rosolino, Bob Cooper, Red Mitchell, Dick Shreve, Red Mitchell y Stan Levey, las grabaciones se realizaron el 14 y el 17 de Febrero de 1957 en la pequeña grabadora californiana Liberty Records.
Como acertadamente lo adjetiva Gordon en su libro, esta grabación es una de las joyas menos conocidas de la década de 1950.
Aunque reeditada en 2003 en forma de disco compacto por Fresh Sound Records bajo el nombre de Conte Candoli y Lee Morgan, el LP original está aquí gracias a Paolo!
Re-issue of all-star 1957 Hollywood studio gathering led by top trumpeters Conte Candoli and a youthful Lee Morgan with solid support from Benny Golson, Wynton Kelly, Frank Rosolino, Bob Cooper, Red Mitchell, Stan Levey, Charlie Persip, Dick Shrieve and Wilfred Middlebrooks.
The band were all regular performers at the famous Lighthouse Club and this session was organised and overseen by club owner and bass player Howard Rumsey. Benny Golson wrote 4 new pieces for the session, plus one from Bob Cooper, Dizzy’s “The Champ”, “Quicksilver” by Horace Silver, “Wildwood” by Gigi Gryce, and the perennial “Bye Bye Blues”.
Thanks to Hot Beat Jazz and Raz « Jazz Is My Life :-)
vol
1
This post
is a rip of a CD reissue of two LPs collecting together the music
performed by a Murray led quartet at a Manhattan club on New Year's eve
in 1977. You can almost smell the seafood in the club's name! It
re-unites the rhythm section of Hopkins and Wilson from Murray's earlier
India Navigation recording from eighteen months before, and adds Lester
Bowie.
Bowie is the link between the three most powerful groupings of
musicians who came together in New York in the late 1970s to transform
the established free jazz movement into the new music scene. Bowie had
been active in both St Lois and Chicago in the collectives that became
BAG and AACM respectively, and here in New York he is one of the
earliest to play with musicians, who like Murray had come from LA.
Inspired by the Black Arts movement and the idea of musical collectives
they had nurtured these ideas in major black communities in the US, but
ultimately moved to new York, often after sojourns in Europe.
Bob
Cummins was one of those jazz lovers and small-scale entrepreneurs who
captured much of the vibrant energy of the scene on his India Navigation
label in the 1970s. He seemed to earn his living as a lawyer, and spent
it on recording live performances in the lofts and small venues, and
then releasing the recordings. He
died in September 2000, but small bursts of CD reissues seem to
appear from time to time. Not sure why and how, but I'm always glad of
the opportunity to listen to more. This one seems to be out of print as
far as I can tell. It was certainly hard to find a copy when it was
first re-released.
I haven't got the original vinyl LPs, but the CD
liner notes say there's nearly seven minutes taken off 'Santa Barbara
And Crenshaw Follies', and by my calculations there's possibly over two
minutes less on 'For Walter Norris' if the timings on LP and CD can be
believed (they can't usually). The CD notes also talk about an
unreleased track. many of these tracks were staples of Murray's
repertoire, and you get the usual personal dedications, rich textures
and sometimes inspired themes. I'm very fond of this recording. I hope
you enjoy it too.
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