Fresh Sound Records and the Legacy of Recorded Jazz
Listening to these three, live Moore sessions from 1956, 1957 and 1958that first came out on two Fantasy LPsit's evident that the saxophonist still had Lester Young in his heart and head but was slowly becoming his own man. What set him apart, among other things, was his technique (listen to "Them There Eyes"), ability as a blues player (demonstrated on "Them Old Blues," among others), and ease with chord changes.
San Francisco-based for most of his short career, these sessions feature backing by local and/or little known players, including trumpets Dick Mills and another tenor player named Harold Wylie. The bonus track, "Due's Blues," does have some "names" in the rhythm chairs, including Cal Tjader on vibes, Vince Guaraldi on piano and Bobby White on drums.
One thing is for certain, whatever the setting or the backing, Prez influence or not, Brew Moore was one heck of a hard swinger.
The Concert Jazz Band, founded by baritone saxophonist/arranger Gerry Mulligan has taken on celebrated proportions over the years. This "big small band of 13 piecesas much a showcase for its lightly swinging ensemble sound as it was for its soloistswas formed in 1960. It was a steady band for only two years, though it did work sporadically until 1964 and was revived briefly circa 1978.
Fresh Sound's two CD-set, Gerry Mulligan and the Concert Jazz Band: Santa Monica 1960, issues, for the first time (Mosaic, a few years ago, released a Mulligan set that contained six of these tracks) the complete live shows held at the Santa Monica Civic Auditorium October 1, 1960. This unit was chock full of fabulous soloists and section-men, including trumpeters Conte Candoli and Nick Travis, trombonist Willie Dennis, trombonist/arranger Bob Brookmeyer, alto saxophonist Gene Quill, tenor saxophonist Zoot Sims and the incredible drumming of Mel Lewis. Given the Maestro's association with his famous, pianoless quartet from the 1950s, there is no keyboard. The inventive and utterly singular charts are by the leader and Brookmeyer, Bill Holman, Johnny Mandel and Al Cohn.
This group was so special and so individual that almost everyone wanted to write for it. On famed CJB orchestrations like "The Red Door," the extended "Blue Port" and on the Mulligan "hit" of "My Funny Valentine," the band nicely combines much of what Mulligan had done before as a player and arranger. Of course, the general sound is "cool," a la Mulligan's charts for "Birth of the Cool," and features a good deal of contrapuntal ensemble writing, clearly heard on charts like "Out of this World."
Then there is the ensemble writing and section work that, from time to timeand you never know whenreally takes off, a la the leader's earlier charts for bands like Elliot Lawrence and Gene Krupa.
Not enough can be said about this release. Jordi Pujol's notes, by the way, are exemplary and easily guide the listener through the history and the music. It's a pity that this band couldn't continue. But as an interesting sidelight is that about a year after the Concert Jazz Band was history, another big band formed that continued, to an extent, the mission and legacy of the CJB. This new ensemble had the same drummer as Mulligan's band, Mel Lewis, as well as the same trombone soloist and sometimes chart-writer named Bob Brookmeryer. The new band was called The Thad Jones/Mel Lewis Jazz Orchestra.
It is important for anyone interest in jazz and its all-important recorded history to know about Fresh Sound Records.