If nothing else, the vintage years of Blue Note records was known for having the hardest swinging black musicians around. The first exception to the rule was when multi-instrumentalist and artist Gil Melle’ recorded a handful of sessions for the label. It could have been as a payback from Alfred Lion for having Melle’ introduce famed engineer Rudy Van Gelder to the label, or maybe that the famous album covers that Melle’ made for Monk, Rollins and Davis got his foot in the door.
Well, it doesn’t matter, but it shows that this guy was a creative sort. He sure doesn’t sit still here, as he’s recorded in a plethora of settings where he plays the tenor and baritone in small group settings that include George Wallington/p, Max Roach-Red Mitchell-Paul Motian-Joe Morello/dr, Tal Farlow-Lou Mecca/g, Osca Pettiford-Tommy Potter/b and Eddie Bert/tb. Some artsy vocals by Monica Dell are found on a handful of 1952 sessions making “The Gears” and “Sunset Concerto” feel very impressionistic. Most of the time, the sounds are subtle and swinging , with Melle’s bariton on “Lullaby of Birdland” and the “Newport News” suite deft and sublime. The feel here veers around California Cool, but with the collar turned up for attitude.
A 1957 broadcast from the Café Bohemia has Melle’ with Bert, Potter and Motian in a pianoless format that sounds telepathic on”Mark One” and “Quadrama.” Melle’s tone on baritone is buttery and smooth, with a bit more heft than Gerry Mulligan and not as harsh as Pepper Adams.The impressively sized booklet gives a perspective of Melle’s career, with listings of all musicians and background info. These pieces are overlooked bon mots that should be tasted and enjoyed.
Fresh Sound Records