A well placed single microphone can still produce magical swing sessions…
Classic Vanguard Small Group Swing Sessions – Mosaic Records # MD-280 – 7 CD – 1953-1957 – ****1/2
(Artists include: Ruby Braff, Shad Collins, Joe Newman, Emmett Berry, Buck Clayton, Pat Jenkins – trumpet; Vic Dickenson, Benny Powell, Benny Morton, Bennie Green, Henderson Chambers, Matthew Gee, Lawrence Brown – trombone; Edmond Hall, Rudy Powell, Ben Richardson – clarinet;
Sam Margolis, Pete Brown, Earle Warren, Coleman Hawkins, Frank Wess, Frank Foster, Buddy Tate, Lucky Thompson – saxophones; Sir Charles Thompson, Nat Pierce, Johnny Acea, Jimmy Jones, Hank Jones, Count Basie,
Sammy Price, Pete Johnson, Clarence Johnson, Bobby Henderson – piano;
Steve Jordan, Kenny Burrell, Freddie Green, Roy Gaines – guitar; Walter Page, Gene Ramey, Aaron Bell, Eddie Jones – bass; Les Erskine, Jo Jones, Osie Johnson, Bobby Donaldson – drums; Jimmy Rushing, Joe Williams – vocals)
It’s always a special occasion when Mosaic Records, the definitive jazz collectors’ boutique label, issues a new CD box set. Their latest offering, now available, is the Classic Vanguard Small Group Swing Sessions. The Vanguard label was founded in 1950, by the brothers, Maynard and Seymour Solomon, in New York City. Initially, their focus was classical music, but between 1953-1958, under the supervision of impresario, John Hammond, (with start-up help from Nat Hentoff), they began a Showcase Jazz series of mainstream jazz, primarily swing.
Being based in New York City, Hammond had access to the cream of the crop artists, who both lived and recorded locally. With a limited budget, they utilized Brooklyn’s Masonic Auditorium, with its excellent acoustics for most all of their recordings. What stands out impressively today, is that they used a single microphone recording technique, with the mic placed strategically 30 feet over the stage. Remarkably, the sound stage acoustics have held up, even today, against much more sophisticated present day recording technology.
John Hammond did not take an initial salary, content to pour the label’s monetary assets into top grade artists, with free rein to produce what they wanted in recordings up to 15 minutes in length, the limit for 10 inch vinyl at that time, later expanding to 12 inch. Most all of these sessions were recorded in mono.
These Vanguard sessions are quite special and historical, as many of these albums have not been fully released for over 70 years, outside of the Japanese market. Both John Hammond, and his contemporary, Norman Granz of the Verve family of labels, helped keep the Swing jazz scene vibrant, as bop was emerging.
The seven CDs in this set, most in the 70 minute range, feature the best of recording artists of that period, whether they be veterans like Coleman Hawkins, Lucky Thompson, Sir Charles Thompson, and Edmond Hall, or new comers (and now legends) like Kenny Burrell. There is a contagious joy here, with generous horn solos, sparkling piano, and drummers that are adept on pushing the beat, but also laying back with tasty brush work, letting the front line take charge. The list of pianists involved in these sessions is beyond impressive, as they include boogie woogie, blues, and swing stalwarts.
There are dates led by Vic Dickenson, Ruby Braff, Joe Newman, Buck Clayton, Jo Jones, and Jimmy Rushing. The “sidemen” rotate and are found together on several recordings. This is especially the case with those that were in Count Basie’s bands, like Jo Jones, Walter Page, and Emmett Berry.
The talents of these artists is evident, in the fact that all of these recordings were made on single days. Most of the tracks were standards, well known by the musicians, and still open to some improvisation on the longer tracks.
Highlights are a plenty. Here are just a few:
Edmond Hall’s glorious clarinet on “Russian Lullaby,” and sensuous solo on “Jeepers Creepers.” Then, there is The Ruby Braff Special, from October, 1955, which has never been out on CD before, and highlights the under appreciated talents of this trumpet talent. Here, I was turned on to the talents of Sam Margolis’ tenor work.
Joe Newman enters bop territory on “Bop This,” and “Oh, Joe,” while the elder statesman, Coleman Hawkins, displays his rich tone on the well recorded, “It’s the Talk of the Town.” The heavy Basie influence is found on this Newman’s first date, as a leader, on March 9, 1954.
On the fourth CD, we have Buck Clayton sharing leader duties with Ruby Braff, on a version of “I Can’t Get Started,” each backing the other with “commentary,” while the other trumpet solos. On Clayton’s album titled, Buckin’ the Blues, recorded nearly three years later in March, 1957, the sound stage expands to stereo, Vanguard’s second album in this format with a larger grouping.
The fifth CD, which includes The Jo Jones Special album, from 1955, is largely comprised of Basie’s men, and memorable for “Shoe Shine Boy,” with The Count on piano, and a magnificent solo from Lucky Thompson. Lucky returns on “Lover Man,” with a solo as passionate, as a warm kiss between lovers.
The balance of Disc 5, and all of Disc 6, are devoted to Jimmy Rushing’s albums recorded for Vanguard. Jimmy had entered his 50s at this time, and still retained much of his earlier vocal powers, just a little mellowed with age. Vanguard provided him with a vocal microphone to embellish his presence among the backing horns. His mournful lament on “How Long,” stands out, as does his efforts to match Joe Williams’ version of Memphis Slim’s, “Every Day I Have the Blues.”
John Hammond introduces the inclusion of a Hammond organ and electric guitar (Marlowe Morris and Roy Gaines) on Rushing’s final studio album. Although now common place, this was rather unique (outside of Jimmy Smith’s work for Blue Note) during the mid 1950s mainstream period.
The final CD in this set takes place away from the Masonic Auditorium, for the first time, in this series. We move to a live night club setting at Count Basie’s Lounge in Harlem, on Oct. 22, 1956. To Hammond’s consternation, he had to deal with the requisite background noise and chatter, but the ambiance and enthusiasm, and Count Basie’s own introductions, make up for the lack of a more pristine setting.
The other bonus here is the inclusion of Basie’s new vocalist at that time, Joe Williams, young and vibrant, with his easy and vibrant vocal stylings. Emmett Berry’s brassy swagger on trumpet, backs Joe throughout. You’ll dig “More Than One for My Baby,” and “I Want a Little Girl,” where The Count sits in, on piano. Vic Dickenson helps close out the evening with his trombone mastery, on “Canadian Sunset.”
For Swing fans, this is a must purchase. Do not hesitate as there are only 5000 numbered copies being pressed, and the 16 page full size, erudite booklet, with a full essay from writer, Thomas Cunniffe, helps guide you through all the set’s offerings.
I must mention that Mosaic Records will follow-up with another Vanguard set this year, this time featuring the Vanguard Piano (led) Jazz Showcase. It will include the three prized duet albums of Ruby Braff, with pianist, Ellis Larkins. I can hardly wait…
—Jeff Krow
Classic Vanguard Small Group Swing Sessions
Album Index:
10 ” LP:
Vic Dickenson Septet, Vol. 1
Vic Dickenson Septet, Vol. 2
Sir Charles Thompson Septet
Joe Newman and His Band
Ruby Braff/Buck Clayton-Buck Meets Ruby
Sir Charles Thompson and His Band
Jimmy Rushing-Sings the Blues
Vic Dickenson Septet-Vol. 3
Vic Dickenson Septet- Vol. 4
12 ” LP:
Jo Jones Special
Ruby Braff Sextet- Ruby Braff Special
Jimmy Rushing and His All Stars
Various Artist- A Night at Count Basie’s
Jimmy Rushing- Listen to the Blues
Buck Clayton – Buckin’ the Blues
