It is simply staggering to consider how much fantastic jazz was recorded in the 1950s and early 60s. It makes you wonder why certain albums gained fame and popularity, while others, like these recently reissued gems from the vaults of Fresh Sound Records, wallowed in undeserved obscurity. Well, at least we have them now, and they are worth appreciating and re-assessing
Woodwind specialist Ted Nash (1922-2011, and uncle to today’s Ted Nash) had an impressive studio career working with the likes of Nat Cole, Ella Fitzgerald, Frank Sinatra and Doris Day. He impresses on these two albums here, one as a leader in his own right, and the other as a sideman for Chuck Wayne-inspired guitarist Tony Rizzi. Both sessions from the summer of 1954 in Capitol include brother Dick Nash/tb, Morty Corb/b and Alvin Stoller/dr along with the guitarist and reedmeister.
The emphasis is on California Cool tones, with Nash’s tenor in glowing form on the bopping “Nash-Inalize” whle his flute blends well with his trombonist sibling on “South Of Brazil” and “Passion Girl”. Rizzi veers well around “Nightfall” and “Teddy Bear” while relaxed and nimble on “Laurel” and “The Grabber”. Nash’s alto sax glistens on “Here’s Tony” and the rhythm team works like marines in an obstacle course on “Footloose’ and “Frantica”. Driving on PCH with the top down.
The NYC-to-LA based Hal Schaefer (1925-2012) was pianist for the likes of Benny Carter, Harry James, Peggy Lee and Billy Eckstine while trying to carve out his own niche as a leader. These two LA sessions from the mid 50ss have him in trio and small band format. Of the latter, Schaefer joins together with Joe Modragon/b and Alvin Stoller/dr for a bopping session that is reminiscent of vintage Hampton Hawes or Phinehas Newborn, graceful on an uptempo “All The Things You Are”, and evocative on “You Are Too Beautiful” and “Have You Met Miss Jones”. He’s got a great sense of swing as on “St Louis Blues” and “Thou Swell” and he never overplays his solos. The second session includes all stars like Phil Woods/as, Milt Hinton/b, Ed Shaughessy/dr and Urbie Green/tb for some classy and concise charts of “Dancing In The Dark”, “Isn’t It Romantic” and “Spring Is Here”. Green is rich and warm on “This On’s For Jack” and Woods shines on “Imagination”, but the focus here is on velvety arrangements, melding swing era danceability with cleverly devised and modern harmonies. Studio studs at play.
Guitarist and bandleader Alvino Rey (1908-2004) had a successful career on the radio and recording studios, teaming with Nelson Riddle ,Johnny Mandel and pioneering the steel guitar enough to land him a spot in the Steel Guitar Hall of Fame. These two albums have him in big band settings, custom made for the capri-slacked generations. 1958’s Swingin’ Fling is a big band affair that includes the warm baritone sax of Gerry Mulligan for a number of the tunes, like the earthy read of the strip-teaser “Night Train” , a sleek “Speak Low” and a warm “I Didn’t Know About You”. Two years later, Rey takes on charts by Warren Barker once again, focusing on the in your face rhythm section, delivering hits from the swing era in the new fangled thing called Hi Fi Stereo with big and bold reads of “Temptation”, “The Peanut Vendor” and “Begin The Beguine”. Music for the martini crowd.
All sets include great liner notes, listing of musicians and informative background detective work. How did we miss these first time around?