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Dancing over, coursing under, breaking through the brilliant-to-dark sounds of the big band, or spotlighted center-stage, the jazz soloist writes his name and tells a tale. Much as a character actor would for a play or motion picture, he brings flair, added color and substance to the story told. Because most of his speeches are relatively short, the soloist must speak in pithy phrases and sentences. Lengthier exposition seems reserved for the small band where living is a bit freer and speech-making is the rule.

There are, however, certain bandleaders who give their most potent jazz sayers ample opportunities to speak. They seem to realize that arrangements can only be enhanced if jazz soloists are allowed to express themselves. In truth, the best of the larger orchestras in the jazz idiom function on a platform of interdependence. The improvisors are not caged but encouraged; and arrangements spring from a knowledge of, and interest in improvisa- tion and the men who blow. Perhaps the most influential and expressive of the bigger units, the Duke Ellington and Count Basie orchestras, and incidentally, the most success- ful, best illustrate this concept.

Generally though, interchange of ideas-interaction between the writers and the blowers, one energizing the other and resultant integration are not terribly prevalent. The soloist serves only as a small contributor to the overall fabric, and usually is not of, or entirely relative to that fabric. He merely stands up and speaks in short bursts, at so-called key moments.

Through the years, Les Brown has had a corps of soloists in his bands—one or two solo voices to a section. They have played important roles. Not completely unleashed as in other orchestras, still, jazz soloists always have been intelligently employed in the Band of Renown.

In this album, jazz soloists were, once again, intelligently utilized. But with one differ- ence. There was more freedom for, and thought given to the soloists. “Each arrangement was done with a particular soloist in mind,” said Bill Holman, one of the arrangers called on to shape this program. “We did our best to write charts that were simultaneously comfortable for, and invigorating to the soloist. In essence, a concerted effort was made to create the right atmosphere for each improvisor, which, in turn, allowed for a real working relationship between the improvisor and the Les Brown band.

Notes by: BURT KORALL Co-Editor, THE JAZZ WORD

(Ballantine)

Personnel on:

I REMEMBER YOU OUR LOVE IS HERE TO STAY THE CLAW APPLE HONEY

TRUMPETS — Al Porcino, Wes Hensel, Dick Collins, Jerry Kadowitz, Clinton McMahan.

TROMBONES — Roy Main, Dick Kenney, J. Hill, Clyde Brown.

REEDS—Matt Utal, Ralph La Polla, Bill Usselton, Al Aaron, Butch Stone.

RHYTHM — Donn Trenner, piano; Jules Bertaux, bass; Mel Lewis or Bob Neel, drums.

Personnel on: | ONLY HAVE EYES FOR YOU LET’S GET AWAY FROM IT ALL WILLOW WEEP FOR ME S’WONDERFUL

TRUMPETS — Wes Hensel, Dick Collins, Jerry Kadowitz, Clinton McMahan.

TROMBONES — Roy Main, Dick Kenney, J. Hill, Clyde Brown.

REEDS — Matt Utal, Ralph La Polla, Bill Usselton, Al Aaron, Butch Stone.

RHYTHM — Donn Trenner, piano; Jules Bertaux, bass; Mel Lewis, drums.

Personnel on: KING PHILLIP CHELSEA BRIDGE DON’T GET AROUND MUCH ANYMORE PIZZA BOY

TRUMPETS — Wes Hensel, Dick Collins, Jerry Kadowitz, Clinton McMahan.

TROMBONES — Roy Main, Dick Kenney, J. Hill, Clyde Brown.

REEDS — Matt Utal, Ralph La Polla, Bill Usselton, Al Aaron, Butch Stone.

RHYTHM — Donn Trenner, piano; Jules Bertaux, bass; Jack Sperling, drums; Tony Rizzi, guitar.

Printed in U.S.A.

They build cars and jazzmen in Detroit. Trombonist Frank Rosolino is just one of the many jazzmen who was born and raised there. He first attracted attention with the Gene Krupa band in the late Forties, came into his own with Georgie Auld’s jumping quintet in 1951, and moved to national prominence as trombone soloist with the Stan Kenton orchestra, a few years later.

Tired of the road, Rosolino planted roots in sunny Los Angeles in 1955 and has seldom strayed far from the warmth and smog of Southern California since. Currently, the trombonist is employed at one of the last bastions of modern jazz in the LA area, The Lighthouse in Hermosa Beach, and is active in studio and recording work.

According to Down Beat’s John Tynan: “His clowning on the job, at record dates, or with a band on the road has become fabled among musicians who know the stocky trombonist as one of the most likeable and extroverted jazzmen in the business.”

Much of his humor-filled personality comes through in his playing. But it’s when he’s most serious and really gets down to blowing that you realize his capacity. A man of his time, his conception is essentially modern, his technique, imposing. More important, there is a sense of perspective to Rosolino’s work, a vitality and earthiness that grows from hearing, understanding and assimilating what came before as well as what’s happening now in jazz.

FRANK ROSOLINO

Don’t Get Around Much Anymore (arranged by Bill Holman)

(arranged by Bill Holman)

BUDDY DE FRANCO featured on

King Phillip (arranged by J. Hill)

Chelsea Bridge (arranged by Wes Hensel)

At 36, after well over a decade as a figure of great influence on his instrument, Buddy DeFranco continues to forge ahead, to try. Not anything new for him, DeFranco was among the first clarinetists to endeavor to mesh the older swing elements with the ideas of Charlie Parker in the Forties. “In music—just as in everything else—there are constant periods of change, and the artist must be prepared for them. It’s like a surf-boarder waiting for a wave. When it comes, he must be ready for it,’ DeFranco told John Tynan of Down Beat.

As a member of the reed section of Gene Krupa’s orchestra, and. later with Charlie Barnet, Tommy Dorsey and the progressive Boyd Raeburn in the Forties, DeFranco made his name. He soon began to win polls, going on to reign supreme in the clarinet division for 11 years. Now others have challenged him; Tony Scott and Jim Giuffre have grown in stature, and recognition, from critics and fans, has come their way. But to many, Buddy is still “King of the Clarinet.” As Leonard Feather wrote during the course of a review of a DeFranco record: “Mr. DeFranco did for the clarinet what Bird did for the alto—placed it on a new plateau of harmonic and melodic imagination, dazzling technical brilliance, and an exciting new way of swinging.”

Over the last decade, the clarinetist has had big and small bands and recorded prodigiously. He continues to impress; and | would venture to say that definite progress has been made toward his ultimate goal: ‘To experience a somatic feeling in addition to the intellectual experience in modern music.” As Buddy says: “You gotta have both— the cerebral and the feel, the funk.”

TERRY GIBBS featured on

Apple Honey (arranged by Bill Holman)

The Claw (arranged by Bill Holman)

Terry Gibbs’ middle name is ENERGY. He’s constantly on the move when playing, and if I’m to believe interviews, in hisevery day life as well. It all began for vibraphonist Terry in Brooklyn 35 years ago. Reared in a section of that borough which produced such jazz notables as Al Cohn and the late Tiny Kahn, Gibbs first came to the ears of jazz fans in 52nd Street jazz cellars in the mid-Forties. But it was not until he had toured with a star-filled Buddy Rich band, and went on to join the great Herman Herd in 1948 that he burst into the national jazz picture.

Leaving the Herman band in 1949, after a year of fun and “wailing”, Gibbs worked with a short-lived band composed of Stan Getz, George Wallington, Kai Winding, Curly Russell and Stan Levey. The next step was the formation of a sextet with Charlie Shavers and Louis Bellson, which was hired in tote by Tommy Dorsey. “Terrible Terry” did not remain with “That Sentimental Gentleman” too long, for he never got anything to play. In 1951, however, he swung into action by joining the Benny Goodman Sextet.

For the last half dozen years or so, Gibbs has had his own group, a group that reflects the leader’s outgoing attitude about jazz. Like many of his former colleagues in the great Herman band—Shorty Rogers, for one; Jim Giuffre, for another—the vibraphonist’s home-base is now in California. The warm weather, however, has not stunted his restless spirit, which is accessible these nights shooting through his new big band in Southern California clubs—and here on a shouting run-down of an old Woody Herman favorite, Apple Honey, and a swinging “‘put on’”’ of horror movies, The Claw.

Two ex-Les Brown sidemen return to the fold for this effort.

Trumpeter Don Fagerquist, a disciple of Dizzy Gillespie, was first heard to advantage in 1944 and 1945 with Gene Krupa’s band. Krupa had a band with modern arrangements and inclinations in those days. Fagerquist’s budding style had a chance to blossom, and then to mature in the bands of Artie Shaw, Woody Herman and Les Brown later on.

Today, Don is interesting and often cogent, and reminds the listener, especially on I Remember You, that a musician can be a factor in jazz without breaking new ground; that while bringing small, individual twists to an established style, he can carve a place for himself.

* * * *

Ronnie Lang, who plays alto flute, flute, alto and baritone sax during his two outings, joined Les Brown in 1949 and remained with the Band of Renown until a little over a year ago, when he left to free-lance. Previous to his tenure in the Brown reed section, Lang spent time with bands fronted by Earl Spencer, Ike Carpenter and Skinnay Ennis.

Faced with selecting soloists for this album, Les mentioned Ronnie almost immediately. “He’s so under-rated, and plays so well,” Brown told me when he was last in New York. Listening to Lang’s two tracks, it becomes obvious that his ex-employer’s faith is. well placed.

To the alto sax, Lang brings a Parker-like conception, somewhat softened by a sound that is more mellifluous than that of the master. The earthy in this man of many reeds

manifests when he takes to the baritone sax: his sound is darker; his phrasing, not as jagged, but more even. The result: a rolling rhythmic feeling and guttsy power not often accessible in his work on the smaller saxophone.

On flute, a “lighter” facet of Lang’s personality emerges. Realizing the very nature of the instrument does not permit power or sweep, he creates movement and portrays emotion in an almost flippant way, exercising his rhythmic sense more than he does on the other instruments.

RONNIE LANG featured on

S’Wonderful (arranged by J. Hill)

| Only Have Eyes For You (arranged by Wes Hensel)

DON FAGERQUIST featured on

1 Remember You (arranged by Wes Hensel)

Love Is Here To Stay (arranged by Frank Comstock)

John Haley Sims, better known as Zoot, is a free soul. Loose, uninhibited, well versed in the blues, and perhaps the most rhythmically vital of the modern tenormen, Zoot can laugh, cry, talk, sing and swing on his horn. “Zoot is one of the best rhythm sections | know,” says his one-time employer Woody Herman. “He can swing more by tapping his toe than most guys with a band behind them.”

Another excellent, succinct description of Sims was given during an interview _ by ex-George Shearing sideman, Jean “Toots” Thielemans, to wit: ‘Zoot isn’t one of those cold, calculating musicians who thinks ahead as he plays. He just flows and lets phrases tumble out. There may be better technicians and some with a keener harmonic sense, but nobody swings like Zoot.”

Zoot has been swinging “professionally” since he joined Kenny Baker’s orchestra,in 1941 at 16. Though found in small groups during the last few years, notably Gerry Mulligan’s and his own in leadership with kindred soul—Al Cohn, he traveled with big bands for many years. Most widely identified with Woody Herman’s “Four Brothers” Herd, Sims also has added pulsing life to the Bobby Sherwood, Benny Goodman, Buddy Rich and Stan Kenton orchestras.

Once heavily influenced by Lester Young, Sims has come to a point in his development where one is conscious of his roots, but is more than aware that he has his own voice ... and uses it as an individual should.

A final note—Bill Holman’s arrangements for Zoot telate very well to the way the tenorman plays. Both show him to advantage; both set a particular mood; both allow Sims sufficient freedom...

ZOOT SIMS featured on

Willow Weep For Me (arranged by Bill Holman)

Let’s Get Away From It All (arranged by Bill Holman)

Printed in U.S.A.

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JAZZ SONG BOOK i

LES BROWN AND HIS BAND OF RENOWN

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CRL.57311 MG 7424 SIDE 1

1. KING PHILLIP STOMP (Buddy DeFranco) (2:30-BM!) 2. WILLOW WEEP FOR ME (Ann Ronell) (3:25-AS) 3. DON’T GET AROUND MUCH ANYMORE (2:42-AS)

(Duke Ellington-Bob Russell) 4. 'S WONDERFUL (G. & I. Gershwin) (3:03-AS) 5. APPLE HONEY (Woody Herman) (2:24-AS)

: 6 .1 REMEMBER YOU (2:26-AS) _ (Victor Schertzinger-Johnny Mercer) |-

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LES BROWN

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CRL57311 i MG 7425@ sive 2,

1, THE CLAW (Terry Gibbs-Donna Gibbs) (3:28-AS) 2. PIZZA BOY (Bill Holman) (3:20-AS)

3. LET'S GET AWAY FROM IT ALL (3:01-BMI) ‘ (Matt Dennis-Tom Adair)

4. LOVE 1S HERE TO STAY (3:33-AS) . \ (Ira & George Gershwin)

5. | ONLY HAVE EYES FOR YOU (2:48-AS) BX (Harry Warren-Al Dubin) a 6. CHELSEA BRIDGE (Billy Strayhorn) (3:34-AS)