Shelly Manne: Shelly Manne and His Men at the Black Hawk 1

For many years, but certainly for most of the '50s and '60s, the top jazz drummer—by public opinion—was Shelly Manne. Although he was typically associated with West Coast Jazz, (a term he disliked), Manne had come West from New York City in the '50s and settled in Los Angeles in the halcyon days of the post-war boom. He was a guy of many parts; he raised horses, had married an ex-Rockette, and become part-owner of what was to become the proverbial "legendary" jazz club in Los Angeles, Shelly's Manne-Hole. Aside from being beyond technically proficient as a drummer and an excellent, if subtle, soloist, Manne was visible, generally well liked, widely respected, and involved in a variety of musical activities. While he became primarily known as a small group drummer, via Shelley Manne and his Men, he had also paid dues as a big band drummer with Stan Kenton and Woody Herman. He ended up working in studios, in television and in the movies, memorably allowing Frank Sinatra to "sit in" for him in the Otto Preminger film, The Man With the Golden Arm (1955). He had a lengthy career of over 40 years. During that time, he played all sorts of music, and was by no means averse to recording a few best-selling titles with figures such as Andre Previn. So, what remains now is an enormous body of work with which to contend.

Listeners will always argue over what was so-and-so's "best" recording, although that is a bit like fighting over which was Picasso's best painting. Interestingly, not a few of Manne's listeners would argue that the disk under review was one of, if not, the best. In late 1959, Manne took his working band up to San Francisco and recorded at the celebrated Black Hawk club. The gig lasted a few nights, and it was immediately apparent that something special was going on. Manne suggested to Lester Koenig of Contemporary Records that he get a crew over to the Blackhawk to record, and eventually, the entire performance was released. This is one of several recordings in the series which Craft has chosen to reissue in its Contemporary Records Acoustic Sounds series. The choice was inspired, because this is, especially in its present audiophile vinyl pressing, a historic recording.

The band opens very subtly, in an understated way, with "Summertime." George Gershwin wrote the music for "Porgy and Bess," first performed live in 1935. As of now, there are nearly 3,000 recorded versions. Some will say this is one of the finest. They are surely correct. The opening statement is on trumpet by the lamented Joe Gordon. Pensive and muted, if someone hears echoes of Dizzy Gillespie doing "Tin Tin Deo" with an ever so slightly Latin tinge, they could be forgiven, because that was in Gordon's pedigree. Gordon is then followed by Philadelphia-born Richie Kamuca with a kind of mournful statement, the blues, but really something more. And then there is the rhythm section of Manne, Victor Feldman on piano, and Monty Budwig on bass, with Budwig really framing the whole at the bottom. The subtlety with which they interact, and their striking creativity, never breaks the mood. The effect, overall, is hypnotic.

But Manne changes things up immediately with Tadd Dameron's "Our Delight." Better get buckled in, because this version is up, around about 240 bpm up. The solos are all impressive, but Kamuca seems to have been inspired for about 5 choruses worth of harmonic extensions which elicit a shouting "Go" from Manne at one point. And that is just Kamuca. Gordon follows with a briefer, but corkscrewing, spiralling solo which may well be mostly flash but, in this context, flash works too. This is where Victor Feldman finally cuts loose on piano, and while known for his block chords, his comping and broken voicings are believable, but only just. If someone is accustomed to hearing Feldman on vibes, his piano playing here may come as something of a shock. He is sensational. Budwig, who is masterful throughout, and Manne, who is himself, somehow keep this from careening out of control.

There is no letup on "Poinciana." Once again, the band is out of the gate at breakneck speed. Kamuca solos at equal length, although he eventually seems to run short of ideas. No matter, this is Gordon's turn to shine. Even though he makes a Chet Bakerish entrance, Manne is soon pushing him relentlessly, almost as if to see what he can get out of Gordon, who is now on the receiving end of the shouted encouragement. Feldman plays well, with Manne and Budwig getting into a kind of exchange in which both solo. There is very little to dislike. The set concludes with what was apparently an early recording of Frank Rosolino's "Blue Daniel," and the briefest of snippets from the band's theme.

While there have been earlier reissues of all the Black Hawk recordings, this one, (Vol 1) at least is sonically superior. Recording live at a venue can be unforgiving, but this remastering from the original tapes by Bernie Grundman is better balanced (not to mention audible) than earlier editions. The series is a treat, and it would be nice to see all four volumes eventually reissued this way.

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