Podcast 3 Late 1950's Saxophone Greats ▶

Late 1950's Saxophone Greats
Welcome to ACE Jazz Library - Podcast no.3
This weeks podcast is a selection of contemporary and classic artists albums of the era. Featuring stars at the beginning middle and end of their careers the soud of the time was very much moving towards hard bop and on the cusp of avant garde, but this mix shows the diversity of styles already incorporated by the music masters, including elements of big band, swing and bop. As ever I have chosen examples from stellar album performances. To listen click on the title above. Check out additional samples at the links in the text (US) or below the post (UK).

Sonny Rollins – St Thomas (Saxophone Colossus 1956)
Sonny Rollins aptly titled Saxophone Colossus is a fine example of the high quality production newly available for studio albums of this era. Feel the space in the recording, which is characteristic of Rollins performances of the period with Max Roach weaving his percussive magic in and out of the mix. Unlike some of his contemporaries, Rollins’ style has a spareness where he holds back, and what is not heard is as important as what is heard. His striding, clear tone is to the fore on this impossibly delicious treat, with accompaniment by pianist Tommy Flanagan and bassist Doug Watkins which will leave you wanting more. Essential.

Cannonball Adderley – Love for Sale (Somethin' Else (Rudy Van Gelder Edition) 1958)
While historians dispute who actually led this session, album credit goes to Cannonball, but it is Davis’ gruff tone we hear at the end of “One for Daddy-O” asking Blue Note impresario Alfred Lion “Is that how you wanted it Alfred”. True, Davis did choose most of the material and even pen the title track, but who cares? It was Cannonball’s Blue Note recording date and Miles contribution could only be welcomed. After all it produced one of the most essential jazz album experiences of all time, only to be surpassed the following year by Davis’ own, Kind of Blue. Music this classy occurs rarely. Art Blakey on drums, Hank Jones on piano and Sam Jones on double bass, Essential.

Serge Chaloff - I’ve Got the World on a String (Blue Serge 1956)
As a featured artist in the bop big bands of Jimmy Dorsey and Woody Herman, baritonist Serge Chaloff’s career was plagued by drug addiction. In his brief career however he forged a path through the 1940’s for baritonists like Gerry Mulligan to emerge as artists in their own right not just as accompanists. This outstanding last recording sees Chaloff striding out with career topping style in a quartet date with pianist Sonny Clark, bassist Leroy Vinnegar and drummer Philly Joe Jones, only months before his sadly premature death from a spinal tumour at just 33.

Gerry Mulligan – Chelsea Bridge (Gerry Mulligan Meets Ben Webster 1959)
Mulligan gathered renown behind the scenes in the 1940s and 50s as an arranger, contributing notably to Mile Davis “Birth of the Cool” recordings, while his baritone playing gathered form. It was when he relocated to Los Angeles and formed a quartet with trumpeter Chet Baker (omitting piano) that he first gained the playing spotlight. Mulligan made this West Coast / Cool jazz sound his trademark and throughout a long career traded solos with many notable horn player including Lee Konitz, Stan Getz, Paul Desmond and for this date Ben Webster, the legendary King of Swing. Chelsea Bridge opens the set, giving a little flavour of the understated tone of the whole album, with the rhythm section Jimmy Rowles (piano), Mel Lewis (drums) and Leroy Vinnegar (bass) leaving ample space for the leaders to stretch out.  It is so cool it sounds effortless and after 11 wonderful tracks you will be left wondering if you’ve just listened to a “perfect” jazz album.

Coleman Hawkins  - Laura (Hawk Flies High 1957)
For this Riverside session Coleman Hawkins was enjoying something of a renaissance. Even after 32 years professional playing he was still capable of pulling out the stops. Hawkins proves here he could swing or bop with the best and was not shy to step into the studio with two of the hottest young bop players of the day, J.J. Johnson (trombone) and Idrees Sulieman (trumpet). The material ranges from swing to bop and the playing standard is consistently high throughout. Check out the Hawks’ trademark sound on his interpretation of the much loved classic Laura backed up by Hank Jones (piano), Jo Jones (drums), Oscar Pettiford (bass), Barry Galbraith (guitar),

Lester Young  - Prisoner of Love (Pres & Teddy 1956)
Young was nicknamed Prez by his lifelong friend and co-star Billie Holiday, referring to his presidential style. He was a key innovator in the swing to bebop movement, but here towards the end of his career with faltering health, he still has the ability to excel. While it is Young’s earlier recordings which are considered seminal, this set recorded the day after the equally impressive Jazz Giants session displays his fleeting and breathy tenor sax style throughout. With maturity Prez’s style took on a deeper more consummate elegance, not so evident in his rapid fire bebop days, which makes this recording a real collector’s gem. With fellow old timers Teddy Wilson (piano), Jo Jones (drums) and Gene Ramey (bass) it is not surprising the sound verges towards swing.

Ben Webster – Time After Time (Ben Webster & Associates 1959)
In this 1959 session Webster really stretches out in the new long player format with his idol Coleman Hawkins. The set starts with the marathon 20 min blow off “In a Mellow Tone”, but the pace is swinging rather than frantic, from start to finish. The sax stars trade memorable solos with Budd Johnson (sax), Roy Eldridge (trumpet), Jimmy Jones (piano), Les Spann (guitar), Ray Brown (bass) and Jo Jones (drums). But it is Webster with his breathy and sensual tone which takes us to the sublime limits on “Time After Time”.

Lee Konitz – Moonlight in Vermont (Lee Konitz Meets Jimmy Giuffre 1959)
Lee Konitz teams up with baritonist Jimmy Giuffre, whose beautifully lyrical arrangements define this octet session, which includes five saxes. The saxophone only rendition of “Darn That Dream” is a rare treat, but it is “Moonlight in Vermont” which shows off the ensemble cast to greatest effect, in this highly recommended outing.  The overall sound is cool, though Giuffre’s arrangements ensure plenty of bop and swing references.

Frank Morgan – The Champ (Frank Morgan 1955)
Alto saxophonist Frank Morgan’s brief fame when he debuted as leader in this 1955 set was sadly overshadowed by drug addiction, that prevented him capitalizing on his billing as "the new Bird" (Charlie Parker). While Morgan would not produce another album for 30 years, this set is alive with a vibrancy which definitely draws comparisons with Bird. This recording captures four latin tinged numbers with Machito's rhythm section and six songs with a septet including Wardell Gray (sax). Apart from the latin colouring, the set is pretty much straight ahead bop, and is memorable for trading os solos with Conte Candoli (trumpet).

Track Listing

0.00 St Thomas: Sonny Rollins
6.44 Love for Sale: Cannonball Adderley
13.43 I’ve Got the World on a String: Serge Chaloff
20.23 Chelsea Bridge: Gerry Mulligan Meets Ben Webster
27.39 Laura: Coleman Hawkins
32.10 Prisoner of Love: Prez Meets Teddy
39.45 Time After Time: Ben Webster and Associates
44.18 Moonlight in Vermont: Lee Konitz meets Jimmy Giuffre
48.16 The Champ: Frank Morgan