JOHN GRAAS

Jazz Studio 3

Coup de Graas

1. Mulliganesque
2. 6/4 and Even
3. My Buddy

1 & 3 = Larry Bunker, Don Fagerquist, John Graas, Red Mitchell, Gerry Mulligan, Marty Paich, Howard Roberts

2 = Larry Bunker, John Graas, Red Mitchell, Gerry Mulligan
December 16, 1954

 LINER NOTES

For some time, JOHN GRAAS, winner of the 1954 Metronome Poll, has been building a reputation as one of the most important modern jazz instrumentalists, and he has been doing it with an instrument usually found in the hallowed precincts of the symphony hall: the French Horn. For this he is to be congratulated because he is welding one more link in the chain which binds all modern music, and helping to destroy the prejudices which have served no good purpose but to divide where there should be no division.

"JAZZ STUDIO 3: JOHN GRAAS" offers the listener the opportunity of witnessing the growth of the artist in other fields: those of composition and arranging. Since making his arranging debut in "JAZZ STUDIO 2," John's newly discovered writing talents have been much in demand. Many jazz soloists and recording companies have sought his product, but even more important, he has been commissioned, as a direct result of his work in "JAZZ STUDIO 2," to compose a Jazz Symphony. Portions of this work will appear here. "JAZZ STUDIO 3" is glad to show-case Graas' writing talent in a stage of its development which will be all the more apparent to those who were first impressed by his flair for contrapuntal invention as illustrated by "GRAAS POINT," considered by many the high point of "STUDIO 2."

Side One:

1. "MULLIGANESOUE"- (John Graas)

It was a happy coincidence that made John's good friend GERRY MULLIGAN available for part of this album. The lead-off composition bears witness to Graas' long-standing admiration of the Mulligan approach to jazz. The title indicates the intention of this original to erect a familiar framework for Gerry's boundless drive and distinctive sound.

"The First Septet": John Graas, French Horn; Gerry Mulligan, Baritone Sax- Don Fagerquist, Trumpet; Red Mitchell, Bass; Larry Bunker, Drums; Marty Patch, Piano; Howard Roberts, Guitar.

2. "MY BUDDY"- (Gus Kahn, Walter Donaldson)

In selecting "MY BUDDY" as one of the standards, John says he has long felt that the essential beauty of this melody has too often been clouded by the saccharine thirds and sixths in which it is usually performed. To find something different for this quartet arrangement, he reached way back into the Middle Ages and came up with an early contrapuntal device known as the "organum." Later in this rendition, Graas plays a variation of the melody to which Gerry improvises a counter. This is an interesting example of "composition in action," a familiar Mulligan trademark.

"The Quartet"; John Grass, French Horn; Gerry Mulligan, Baritone Sax; Red Mitchell, Bass; Larry Bunker, Drums.

3. "6/4 AND EVEN"- (John Graas)

Under the title "6/4 MAMBO," this composition appeared recently in the new Herbie Harper album, and is presented here without the Latin beat. The 6/4 rhythm is gaining ground among jazz composers and instrumentalists of late because, while it represents another step in freeing jazz from strict adherence to traditional forms, it still swings beautifully. Graas again employed the "montuna" device, which worked so well in "DO IT AGAIN:"

"The First Septet": John Grass, French Horn; Gerry Mulligan Baritone Sax; Don Fagerquist, Trumpet; Larry Bunker, Drums; Red Mitchell, Bass; Marty Patch, Piano; Howard Roberts, Guitar.

Tom Mack

1. Walkin' Shoes

 LINER NOTES

Coup de Graas

He is a lucky man indeed who can boast of the first and foremost identification with a specific instrument in jazz history. For several years John Graas could claim not only this distinction but the added one of being almost the only jazz soloist of any consequence on the instrument of his choice, the French horn.

Long known as one of the most mellow and sonorous tonal components of the symphony orchestra it entered jazz by the back door, as an additional brass section sound making no solo contributions, and was embraced almost a decade later in the early 1950s as a vehicle for jazz ad libing.

John Graas has been a figure in all these areas. Like the horn itself, he began in classical music, later became an unidentified section man in a dance band and subsequently made his name as the first French horn jazz soloist.

In this release John has with him a gallery of CaIifornia colleagues, all of whom have been associated with his earlier efforts at one time or another. All the music on these sides was arranged by Graas and all the tunes are also his with the exception of Dick Grove's "Blues Street" and Gerry Mulligan's "Walkin' Shoes".

"Walkin' Shoes" the Gerry Mulligan tune that has come close to acceptance as a jazz standard, opens fittingly with Buddy Clark's bass walking, then offers the theme in unison, spreading into simple two part voicing now and then. This is played by a small group, with Graas, Art Pepper (tenor), Moer, Clark and Bunker.

- Tom Mack