Behind The Session: “Gayle’s Groove”

In 1963, seven years before this recording, Mickey moved to NYC. One of his first big “breaks” was playing with Hank Mobley at the famous Hotel Theresa in Harlem. His first recordings were with pianist Bobby Timmons (1965 and 1966) and then with trumpeter Lee Morgan (1968). On the session featured here, Mickey recorded with Hank Mobley, and also for the first time with Woody Shaw and Cedar Walton, two artists he would later rejoin as members of Art Blakey and the Jazz Messengers. With the Messengers, Mickey recorded two Prestige albums in 1973 which included two Mickey Bass arrangements (A Chant For Bu and One For Trane). Both combo arrangements are available from Second Floor Music through Hal Leonard and other music stores. Full details are on secondfloormusic.com. Gayle’s Groove was Mickey’s first recorded composition.

What’s In A Name: “Abdullah”

This composition was quite likely named after Art Blakey’s Muslim name, Abdullah Buhaina. The Blakey solo that kicks off this recording sets up the classic high-energy style for which Blakey was renowned. Elmo later recorded this piece as a trio with Paul Chambers and Philly Joe Jones; that version (released in 1961 on “Here’s Hope” (Celebrity LB209)) has a laid-back swing feel—a casual shuffle in comparison to the earlier recording’s out-of-breath explosion of energy. The fact that the composition works just as well in these two moods is a testament to Elmo’s talents. -Rachel Bronstein

Behind The Session: “Got To Take Another Chance”

Got To Take Another Chance is from Philly Joe’s next album as a leader after his 1959 “Showcase” LP for Riverside. Joe started 1960 by recording a couple of multiple drummer dates: “The Soul Of Jazz Percussion” (Warwick) and “Gretch Drum Night At Birdland” (Roulette). Two days later he recorded a Wynton Kelly trio date for Vee Jay records (April 27), followed on May 20 with the “Philly Joe’s Beat” recording. Before he went back to Blue Note to record another string of albums starting with Freddie Hubbard’s “Goin’ Up” LP (November 6, 1960), Philly Joe did another session for Atlantic as a leader on October 4, 1960 that remains unissued. The 8 tracks that were recorded that day are all clearly titled in discography listings. For us Philly Joe fans, wouldn’t it be great to get that session released? Of course it would. Unfortunately, in February 1978, Atlantic Records had a fire in their Long Branch, New Jersey, non-air-conditioned storage facility which “destroyed virtually all of Atlantic’s unreleased masters, alternate takes and sessions tapes by artists who had recorded for the label and its offshoots throughout its classic 1948-1969 first golden era.”

Behind The Session: “Joe’s Debut”

Slick Philly Joe always loved to have the opportunity to switch from sticks to brushes and vice versa. From my own personal experience playing with him, I remember how we musicians would marvel at his ability to make those transitions seamlessly. We would look back at him in astonishment, observing his devilish smile because he knew we had no idea how he made the change. Philly Joe Jones gets my vote as slickest drummer of all time!

What’s In A Name – “Bellarosa”

This is the first composition recorded (in one take) on the 1953 session. This composition and the composition Carvin’ The Rock are both co-written with Sonny Rollins. To my knowledge, there is no documentation from Elmo as to when exactly these compositions were written. Sonny Rollins says, “if pressed, I would say 1950,” because a period of that year was the only time he remembers being in detention with Elmo at Riker’s Island. Sonny also remembers naming Bellarosa, (which he refers to as Bella Rosa), saying he named it for a current lady friend of Elmo’s named Rosemary. Bertha Hope, Elmo’s widow, remembers hearing that the song, which is played at a gentle walking tempo, evoked Rosemary’s walk.

Who Killed Tina Brooks?

Who Killed Tina Brooks?

A devastating account of Tina Brooks, a would-be tenor sax star stifled by seemingly arbitrary record label decisions. 

Behind The Session: “Bootin’ It”

Sonny Clark started his recording career in California, where he lived from 1951 to 1957. He arrived in NYC in April of 1957 and in June did three days of recording with Sonny Rollins. Four days after his last Rollins session he played in his first Blue Note session, as a sideman on a Hank Mobley date. A little less than a month later, he recorded his own Blue Note date, “Dial S For Sonny” which was his first official album as a leader. “Dial S For Sonny” features a horn section of Hank Mobley, Art Farmer and Curtis Fuller. Two weeks later, Curtis Fuller invited Sonny to join him for his Sunday Blue Note session in Rudy Van Gelder’s Hackensack living room. Sonny spent two more consecutive Sundays at Rudy’s playing on different Blue Note dates. He took one Sunday off before returning the following Sunday for his second Blue Note date as a leader, “Sonny’s Crib,” this time with John Coltrane in the front line along with Curtis Fuller and Donald Byrd. -Don Sickler

What’s In A Name? – “Carvin’ The Rock”

“The Rock” was what musicians, and others, called Riker’s Island, one of New York City’s large jail facilities. Drug problems caused quite a few musicians to be detained at “The Rock.” The only time Sonny Rollins recalls being detained at Riker’s with Elmo was for a portion of 1950, so, if pressed, he feels Carvin’ The Rock was written at that time. This would therefore be 3 years before the recording. There seems to be no word from Elmo as to when this composition was written. –Don Sickler

Just a peek at our collection…

One corner of our CD collection — the collection spans a few more walls and includes vinyl, as well.

Blip: Happy birthday, Wardell Gray

Yesterday was the birthday of tenor saxophonist Wardell Gray (1921-1955). He is not widely known today, mainly because he very rarely led a working band; much of his recorded output is as a sideman. However, he was important as part of the first generation of bebop musicians, and as a mentor to some of the “cool school” players on the West Coast in the 1950s. Gray toured extensively with the bands of Earl Hines, Benny Goodman, and Count Basie; he also recorded with Billy Eckstine, Charlie Parker, Dexter Gordon, and Tadd Dameron. His playing combined the influences of Lester Young and Don Byas into a smooth yet rather dark sound characteristic of the early beboppers. His improvisations had an elegant, singing quality which made them particularly good for writing lyrics to, as Annie Ross famously did for his solo on the blues “Twisted” which he recorded in 1949.

There is little footage of Wardell Gray, besides a few clips with the Basie band in 1950; this one has a good example of his soloing style.