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Although much has been said and written to suggest that tenor man Paul Quinichette was merely a Lester Young clone, down to the “Vice Pres’ that became his moniker, the fact remains that Quinichette was really a vital player who just happened to work a few of Young’s more popular devices into his own vernacular. While his Prestige albums with Coltrane and his own Basie-styled dates for same form the core of his precious work on record, the material assembled on The Vice Pres fills in a bit more of the big picture with sessions cut between 1951 and 1954. Also included here are the eight tracks that appeared on the EmArcy 10” Sequel and another six alternate takes.
A 1951 date finds Quinichette’s strapping horn as part of an organ combo that included Bill Doggett and guitarist Freddie Green. This is the kind of early R&B stuff that Mercury would later turn out by such mainstays as Dinah Washington and Eddie Chamblee. Two large group sessions in 1952 take on a Basie tinge and the man himself even sits in for several numbers both as a pianist and organist. Representative of the lot, “The Hook” is an aptly named line that recalls such flag-wavers as “Flying Home.” Small groups return for the dates in 1953 and 1954 that round out this package.
Released in limited quantities, The Vice Pres will give fans of swing music and early R&B much to savor. Maybe the Quinichette legacy will also grab a bit more of the authority that seemed to elude the man while he was on this planet.
Track Listing: Crossfire, Sandstone, Prevue, No Time, P.Q. Blues, Bot Bot, The Hook, Samie, Shad Roe, Paul's Bunion, Crew Cut, I'll Always Be In Love With You, Sequel, Bustin' Suds, Let's Make It, Galoshes and Rubbers, People Will Say We're In Love, Rose of Birdland, No Parking, Sunday, Crossfire (2 alternate takes), Sandstone (alternate take), No Time (alternate take), Paul's Bunion (alternate take), Crew Cut (alternate take)
Personnel: Paul Quinichette (tenor saxophone); Joe Newman, Buck Clayton (trumpet); Henry Coker, Dicky Wells (trombone); Marshal Royal (alto sax); Charlie Fowlkes (baritone sax); Kenny Drew, Count Basie, Bobby Tucker, John Williams (piano); Bill Doggett, Count Basie, Marlowe Morris (organ); Freddie Green, Jerome Darr (guitar); Jimmy Lewis, Al McKibbon, Milt Hinton, Walter Page, Gene Ramey (bass); Gus Johnson, Les Erskine (drums)
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me. Try as I might, I was never able to achieve a high enough level of competency to perform at the level I was first and subsequently exposed to. Regardless, I was hooked on jazz and remain so to this day.