Woody Herman Phillips Recordings

Hey gang!!!  Sorry for my absence, but I come baring gifts.  These two albums come from a much less examined period of Herman and his Herd - but an equally rewarding one to be sure.  I have two distinctive sides of Woody on offer today, a quiet quartet session and a roaring big band set.

Mosaic Records offered a small glimpse into this period with one of their 4 album, "Mosaic Select" sets.  This should send some indication to the importance and excellence of the music.  That said there will be no digital remastering here - just good old wax as we all know and love.

The album "1964" cleaned up wonderfully, but the quartet album still has some blemishes.  Both are in glorious mono sound, infact, they are excellent examples of just how incredible mono can be.  Lots of dynamic punch and space within the soundstage.  They have been ripped at 24/48 and transferred to FLAC for your convenience.  Of course, the full scans are included at 300 dpi... enjoy!!!

Swing Low, Sweet Clarinet

Herman took time off from leading his big band to participate in this unusual quartet session. Sticking exclusively to clarinet (although never on the same level as Benny Goodman and Artie Shaw), he shows himself to be a fine improviser and an expressive player who gives fresh interpretations to a variety of standards, some closely associated with BG and Shaw. Nat Pierce leads the fine rhythm section on this out-of-print but worthy LP. - Scott Yanow / AMG

Phillips PHM 200-004
1962

Woody Herman, clarinet;  Nat Pierce, piano;  Chuck Andrus, bass;  Gus Johnson, drums.

A1 Swing Low, Sweet Clarinet 3:10
A2 Rose Room 2:10
A3 Sweet Lorraine 3:01
A4 Blue Moon 3:15
A5 Begin The Beguine 2:57
A6 Pee Wee Blues 3:03
B1 Don't Be That Way 2:55
B2 Someday Sweetheart 3:25
B3 Mood Indigo 3:21
B4 Summit Ridge Drive 3:02
B5 On The Sunny Side Of The Street 2:12
B6 Alexandra 2:53

______________________________________________________________________

Woody Herman : 1964

All of Woody Herman's recordings for Philips (which regrettably remain out-of-print and unissued on CD) are excellent. He was leading one of the finest orchestras of his long career, playing both current and older tunes with creativity (helped out greatly by Nat Pierce's arrangements) and featuring such talented soloists as trumpeter Bill Chase, trombonist Phil Wilson and tenor great Sal Nistico. The release ranges from "Deep Purple" and "After You've Gone" to Oscar Peterson's "Halleluah Time" and even "A Taste of Honey"; everything works. - Scott Yanow / AMG

Phillips PHM 200-118
1964

Baritone Saxophone – Nick Brignola
Bass – Chuck Andrus
Drums – Jake Hanna
Leader, Clarinet, Alto Saxophone – Woody Herman
Piano – Nat Pierce
Saxophone – Sal Nistico
Tenor Saxophone – Carmen Leggio, John Stevens
Trombone – Henry Southall, Kenny Wenzel, Phil Wilson
Trumpet – Bill Chase, Billy Hunt, Danny Nolan, Gerald Lamy, Paul Fontaine

A1 Hallelujah Time 3:23

A2 Deep Purple 3:42

A3 Jazz Hoot 4:30

A4 A Taste Of Honey 3:13

A5 Satin Doll 3:18

B1 After You've Gone 5:08

B2 The Strut 3:07

B3 My Wish 3:28

B4 Cousins 5:53

Woody Herman - The Fourth Herd

As some of you may or may not know, I am a collector of the Jazzland label.  I began the project by firstly seeking out the sides which were issued under the labels imprint.  After acquiring the low hanging fruit, I still have a handful of sessions to find.

The Fourth Herd has crossed my path before, but in horrid condition so I was forced to pass.  My patience was rewarded when I found this copy through a local dealer.  The album is just fantastic - Herman at his best.  All of the tunes are hard swingin and uplifting, wonderfully positive vibes.  The featured players all play their asses off, particularily Adderley.

The idea of Woody's Fourth Herd was to have a band within a band.  So when the orchestra pulls back, there is a core octet to pick up the tune - this is where the featured guests really come in.  It worked out quite nicely, and of course when the full band comes in they hit hard.  Super tight, bright and brassy - a huge dynamic punch to the gut!!  The whole album is a winner, filled with excitement and interesting twists and turns.

As far as I know, this album was paired with another for a CD release by Mobile Fidelity Sound Labs (MOFI) and is the only instance of a digital release.  I haven't heard it but we can assume it would be excellent.  Well I would put this transfer against anything that may be out there.  The mono vinyl is minty, ripped at 24bit / 48kHz wav and converted to FLAC.  It's wonderfully dynamic and open... enjoy!!!

This CD is quite a bit different than most audiophile releases for it contains rare rather than famous recordings. 1959's The Fourth Herd (which features an all-star group of studio musicians and Woody Herman alumni along with his octet of the time) was only put out briefly by Jazzland while the music on 1962's The New World of Woody Herman was never available commercially before; both were originally cut for the SESAC Transcribed Library and were available only to selected radio stations on a subscription basis. The earlier session has solo spots for tenors Zoot Sims, Al Cohn and Don Lanphere, trumpeters Nat Adderley and Red Rodney, vibraphonist Eddie Costa and Herman on clarinet, a bit of alto and two vocals; Cohn and pianist Nat Pierce wrote most of the colorful and diverse arrangements. By the later session (which has charts by Pierce, Gene Roland, Phil Wilson and Bill Chase), Woody Herman once again was leading an exciting big band of his own. Trombonist Phil Wilson, Duke Ellington's tenor Paul Gonsalves (filling in for the temporarily absent Sal Nistico) and Herman are the solo stars and (as with the first date) the music swings hard and contains its share of surprises. - Scott Yanow / AMG for CD release of The Fourth Herd & the New World of Woody Herman

Jazzland JLP-17
July 31 & Aug 1, 1959

A1 Panatela
A2 Lament For Linda
A3 Misery, Stay Away From My Door
A4 In A Misty Mood
A5 Catty' Corner
A6 The Thirteenth Instant
B1 The Magpie
B2 Blues For Indian Jim
B3 The Devil And The Stoker
B4 The Swing Machine
B5 Summer Nights
B6 Johnny On The Spot

Bass – Milt Hinton
Clarinet – Woody Herman (tracks: A1, A4, A5, B2, B4, B6)
Cornet – Nat Adderley (tracks: A1, A4, A5, B2, B4, B6)
Drums – Don Lamond
Guitar – Barry Galbraith
Piano – Nat Pierce
Reeds – Al Cohn (tracks: A2, A3, A6, B1, B3, B5), Dick Hafer (tracks: A2, A3, A6, B1, B3, B5), Don Lanphere (tracks: A2, A3, A6, B1, B3, B5), Gene Allen (tracks: A2, A3, A6, B1, B3, B5), Sam Markowitz* (tracks: A2, A3, A6, B1, B3, B5), Zoot Sims (tracks: A2, A3, A6, B1, B3, B5)
Tenor Saxophone – Zoot Sims (tracks: A1, A4, A5, B2, B4, B6)
Trombone – Bob Brookmeyer (tracks: A2, A3, A6, B1, B3, B5), Frank Rehak (tracks: A2, A3, A6, B1, B3, B5), Jim Dahl* (tracks: A2, A3, A6, B1, B3, B5), Jimmy Cleveland (tracks: A2, A3, A6, B1, B3, B5)
Trumpet – Bernie Glow (tracks: A2, A3, A6, B1, B3, B5), Burt Collins (tracks: A2, A3, A6, B1, B3, B5), Ernie Royal (tracks: A2, A3, A6, B1, B3, B5), Irvin Markowitz* (tracks: A2, A3, A6, B1, B3, B5), Red Rodney (tracks: A2, A3, A6, B1, B3, B5), Reunald Jones (tracks: A2, A3, A6, B1, B3, B5)
Vibraphone [Vibes] – Eddie Costa (tracks: A1, A4, A5, B2, B4, B6)

The Capp/Pierce Orchestra - Juggernaut Strikes Again!

Here's a re-up for our Crypt brother Jazzjet.  You're gonna enjoy this one buddy...

Sooooo...I think most everyone is familiar with Nat Pierce.  It's fair to say that at this point in his career, he has mastered the big band genre.  Pierce spent most of his career being (unfairly) criticized as a Basie clone.  This album shows that he is so much more.  Of course, any big band will give The Count a big healthy nod, but I think between his book and the stellar arrangements, Pierce IS his own man.

The material is what really stands out on this one.  Wonderfully varied and fresh, it's clear the band are stoked to be playing these numbers.  Standouts for me are Buck Clayton's Chops, Fingers and Sticks and the Billy Preston ballad, You Are So Beautiful.

The soloing really moves around from chair to chair.  Capp and Pierce clearly wanted everyone to have a voice.  Check the track listing on the back cover for solo details on each tune.  I give the nod to Pete Christlieb and Marshal Royal, they just sound fantastic and spirited.  Of course the ensemble work is wildly tight and inspiring, a real joy to listen to.  Overall a fun and enjoyable side by a seasoned group of players.  Not a typical big band album by any means.

CJ-183 is of course mint.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...let your backbone slide Cryptheads!!  Enjoy!!

Concord Jazz (CJ-183)
1982
Recorded in Hollywood, CA - Oct/Nov 1981

Frank Capp (drums);  Nat Pierce (piano);  Ernie Andrews (vocals);
Bill Green (soprano & baritone saxophones);
Marshal Royal, Joe Roccisano, Jackie Kelso (alto saxophone);
Pete Christlieb, Bob Cooper, Bob Efford (tenor saxophone);
 Johnny Audino, Frank Szabo, Al Aarons, Warren Luening, Snooky Young, Bill Berry (trumpet);
Alan Kaplan, George Bohanon, Buster Cooper, Mel Wanzo (trombone);
Ray Pohlman (guitar);  Bob Maize (bass).

The Buddy Tate Celebrity Club Orchestra - Unbroken

Man... I love Buddy Tate.  This date is just another great session in his huge discography.  However, the orchestra owes it's swingin sound to more than just Tate.  They are indeed a group, and a fine one at that.  It was music like this which helped to keep swing alive and well through a decade like the 70's.

On Unbroken, we're treated to the full band blasting through ensemble melodies, individual solos, quiet and down tempo ballads & high flying dance numbers.  Aside from Tate, Bascomb really shines as a soloist - he has perfect tone.

I think it's easy to look back and see why albums like this, which at the time may have seemed average or relic, were infact essential to mainstream music's survival.

This MPS side was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  It's wonderfully minty and quiet.    
More of that old school vibe here at the Crypt... enjoy!!!

Recorded MPS Studio Villingen, Black Forrest June 30th/July 1st, 1970
MPS / BASF Stereo 20740

1972

Starting in 1952 and continuing into the early 1970s, tenor saxophonist Buddy Tate worked regularly at the Celebrity Club in Harlem with his septet/octet, which he logically called the Celebrity Club Orchestra. Tate and his group made relatively few recordings, which makes this set (cut for MPS and last available domestically as a Pausa LP) quite valuable. In addition to Tate, the group features trumpeter Dud Bascomb (who was with Erskine Hawkins' Orchestra during the swing era), pianist Nat Pierce, bassist Eddie Jones, and such lesser-known players as trombonist Eli Robinson, Ben Richardson (on clarinet, alto and baritone) and drummer George Reed. The unit performs six veteran swing standards (including "Undecided," "Airmail Special" and "Tuxedo Junction") and a couple of basic originals. The enjoyable music swings hard, making one wish that this fine session were reissued on CD. - Scott Yanow / AMG

Clarinet, Alto Saxophone, Baritone Saxophone – Ben Richardson
Bass – Eddie Jones
Drums – George Reed
Piano – Nat Pierce
Tenor Saxophone – Buddy Tate
Trombone – Eli Robinson
Trumpet – Wilbur Dud Bascomb

Charlie Barnet - Cherokee

Perhaps my optimism is warping my judgement, but I would like to believe that the Crypt is finally reaching certain "non-believers".   Yes, sometime ago I set out to reign in jazz fans who don't like big band, mainstream and/or basically anything deemed old and uncool.  In that time I have shared quite a few albums and overall received great response.

With that in mind, I am really excited to share this classic album by Charlie Barnet.  For those unfamiliar with him, I would suggest reading up on him, if you like a really non-traditional story.  For our purposes, the Coles notes read like this...  Barnet had his heyday in the 40's with a really great big band.  He eventually drifted out of jazz, but left a few albums along the way - Cherokee is one of those.

In 1958 Barnet hand picked a band to take into the studio.  Everest had commisioned him to cut a session, and so he decided to put together an album of tunes which were hits for him.  Now here's something else you should know about Charlie Barnet, he was always a wildly progressive band leader.  The result of all this is an album which infuses west coast cool and east coast bop into some great big band standards.   I think he wanted to show the apathetic youth, and modern jazz fans that big band could adapt and measure up.  Boy was he right...

I chose this album so that hopefully anybody still unsure about big band, can experience the absolute fun and joy of the genre at its best.  The music moves quickly and excitedly, yet retains a really soulful vibe.  The thing that most any jazz fan will enjoy about Cherokee, is the non stop barrage of solos.  Yes indeed, Barnet was the genuine article.  I have some really wonderful mint sides from his earlier years, but wanted to try and grab everyone's attention with this first - my favorite of his to be sure.  This set swings as hard as they come!!

This was ripped from my original Everest LP.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC, it's a really minty affair with top notch fidelity.  Be sure to read the liner notes penned by Nat Hentoff.  Enjoy!!!

Everest Records LPBR-5008
1958

Charlie Barnet (soprano, alto & tenor saxophones); 

Bunny Briggs (vocals); 

Pete Mondello (alto, tenor & baritone saxophones); 

Vinnie Dee (alto saxophone); 

Dick Hafer, Kurt Bloom (tenor saxophone); 

Danny Bank (baritone saxophone); 

Charlie Shavers, Markey Markowitz, Clark Terry, Al Stewart (trumpet); 

Billy Byers, Frank Sarroco, Bobby Byrne, Ed Price (trombone); 

Nat Pierce (piano); 

Chubby Jackson (bass); 

Terry Snyder (drums).