Themes
Songs
Chronology
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Collection Themes Songs Chronology | |
ELLIOT LAWRENCE | ||
Plays Gerry Mulligan Arrangements |
Elevation |
Sugar Beat |
Elliot Lawrence Plays Gerry Mulligan Arrangements | |
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| Bernie Glow, Stan Fishelson, Al Derisi, Nick Travis, Dick Sherman, Eddie Bert, Ollie Wilson, Paul Seldon, Al Robertson, Freddy Schmitt, Tony Miranda, Al Cohn, Hal McKusick, Sam Morowitz, Eddie Wasserman, Charlie O'Kane, Buddy Jones, Russ Saunders, Don Lamond July, 1955 | |
LINER NOTES |
| Elliot Lawrence loves jazz. When he was an undergraduate at the University of Pennsylvania (he won the Thornton Oakley Award, given each year to the undergraduate who has contributed most to the arts, and won only once before in the field of music), he had himself a swinging band, which used to gig around the Eastern seaboard, blowing up quite a jumping storm. After he'd been graduated, he went to radio station WCAU, where he continued his swinging ways, despite the fact that studio bands are supposed to be strictly commercial. It paid off, though, because soon people started noticing his band much more than they did other studio groups, and finally offers became so frequent and attractive that Elliot and men left WCAU, bowed in at the Hotel Stader in New York, and automatically became a name band!
In that early Philadelphia outfit there was a young saxophonist, a redheaded, wide-eyed, enthusiastic youngster named Gerry Mulligan. Even then he was an arranger, and, encouraged by Elliot, who has done a great deal of writing himself, Gerry began turning out a batch of manuscripts for the band. And when the gang left the studios, Gerry went with it, and he continued to write for it for several years thereafter, even after he'd quit playing baritone so that he could concentrate exclusively on arranging.
The Mulligan history from there on is well-known. What's less known is that while Elliot, an arranger and an exceptional conductor, began to devote more time to commercial TV and radio shows, he still couldn't and wouldn't give up his love for playing jazz. So he kept a jazz band together, too, playing in spots now and then, and going out on enough lucrative weekend dates so that he could keep such jazz greats as Tiny Kahn, Al Cohn, Nick Travis, Eddie Bert, Hal McKusick, Sam Marowitz, Ollie Wilson, Bernie Glow, and Stan Fishelson.
With the exception of the late Kahn, who, by the way, wrote some swinging arrangements which Elliot will soon record for Fantasy, they're all on these sides. Don Lamond's the drummer who took Tiny's place. Buddy Jones and Russ Saunders share the bass spot. Jones plays on all except "The Rocker," "Happy Hooligan," "Elegy for Two Clarinets," and "The Swinging Door."). Elliot's on piano, of course. In addition to Cohn, McKusick, and Marowitz, the saxes have Eddie Wasserman and Charlie O'Kane, Glow blows all the trumpet leads; Fishelson's on all sides along with Al Derisi, while Travis or Dick Sherman complete. the section. Bert blows all the jazz trombone in a section led by Wilson and including Paul Seldon and, on four numbers, Al Robertson. On the other eight, there's a French horn, blown either by Freddy Schmitt or Tony Miranda.
All the musicians have a feel for modem jazz, as you can so readily hear on these selections. "The Rocker," after a big band opening, gives off small group sounds, not too dissimilar from those blown by Gerry's group today. There's that tight, swinging, counterpoint feeling, but there's also some driving Lamond drums (the guys in the band were gassed by him, by the way), some swinging Cohn tenor, and some blasting open brass.
"Bye Bye Blackbird" shows how much Mulligan can add to a pop tune, heretofore undistinguished along jazz lines. There's some especially interesting interplay between brass and saxes in the last chorus; Bert's trombone and McKusick's alto show off well, and Elliot and Al Cohn blow back and forth at one another effectively.
"Happy Hooligan" has the sound of its first name because Gerry, after having written a batch of somber sounding things for the band, wanted to prove that he wasn't such a morose arranger after all. It comes off as intended, too, what with its cheery-sounding, light and swinging muted trumpets, its exciting open brass, the swinging Cohn chorus, Dick Sherman's clean, modern sounding trumpet, and Bert's consistent trombone.
"Mullenium" is, according to Elliot, most typical of Gerry's little group, what with its trumpet and trombone counterpoint and then with the saxes coming along and adding a third line. It also offers a full chorus by Bert and another fine passage by Cohn.
"My Silent Love," another example of what Mulligan can do with a standard ballad, hits an especially pretty mood, enhanced by some lovely blowing by Cohn, the kind you can hear through a couple of albums he has cut for RCA-Victor, to whom he's under contract and who appears here with their blessings. There's also some very pretty altoing by McKusick.
"Bweebida Bwobbida" shows off a different Cohn, a really wailing cat, on an exciting vehicle that starts off with a cute statement of the theme by the trombones (note how they seem to be saying "bweebida bwobbida"), then really begins to build, including a great chorus by Bert. Originally this was a bit written for a small group, but Mulligan enlarged it for Elliot's big band.
The second side begins with the Gershwin "Strike Up the Band" standard, written originally as an opener for the band when it played the Paramount Theater in New York. It goes at a real up tempo, introed by Don's drum break, and featuring Cohn and Bert on some fine passages.
"Apple Core" is full of unison, a favorite device used to give big bands the intimate feeling of a small group. After much effective use of this sort of writing, Nick Travis blows his first solo of the date, a tasty, modern-sounding passage that shows why he's considered one of the real comers on the horn. And there's also more good Cohn and Bert.
"Elegy for Two Clarinets" is the album's mood piece, a lovely melody with lots of sustained sounds, quite reminiscent of the tender moods achieved by the old Claude Thornhill band. There's some pretty French horn by Freddy Schmitt, some delicate Lawrence piano, some especially pretty Cohn, and some lovely open trumpet by Glow with Dick Sherman answering in a ditto vein through a tightly muted horn. The piece was so titled because Gerry just didn't like writing for clarinets in big bands and wanted to bid them farewell in a nice, polite, musicianly manner.
"The Swinging Door," named for a spot over a garage where Gerry and well-known tenor man Zoot Sims (he and Gerry wrote the piece) used to play, is one of the more busy Mulligan pieces, highlighting Cohn, Bert, and McKusick and violently propelled by Lamond's explosive drumming.
"But Not for Me," another Gershwin melody, again shows how interesting Gerry can make a ballad sound.The sax scoring and playing is especially rich; McKusick and Travis blow fine passages, and Cohn and the trombones engage in some top-notch by-play.
"Mr. President" is Gerry's salute to one of his favorite musicians, Lester "Pres" Young. It's based on the famous tenor man's solo that itself was based on "You Can Depend on Me," and it has some really pretty alto from McKusick, plus the usual inspired Cohn tenor.
These then are the twelve tunes that comprise an LP of truly superior blowing of truly superior arrangements. The playing is by a bunch of modern, musicianly musicians, led by one of the most talented and enthusiastic leaders of big band modem jazz and penned by a composer-arranger whose contributions to the same medium have been tremendous. It's the first collection of several by Elliot Lawrence which Fantasy plans to issue in the months to come, and it's also the first that shows what a surprisingly blowing and exciting band Elliot Lawrence has been keeping under wraps for much too long.
-GEORGE T. SIMON
Elliot Lawrence's band came out of Philadelphia and radio station WCAU to become a nationally known organization in the late Forties and Fifties. One of the band's sometime tenor saxophonists eventually became a major contributor to the band's book. His talent as an instrumentalist emerged on the baritone saxophone and his writing skills were in evidence in several big bands. Gerry Mulligan had already done "Disc Jockey Jump" for Gene Krupa when Lawrence recorded his "Elevation" and arrangement of "Between the Devil and the Deep Blue Sea" in 1949. Later Mulligan did some important charts for Stan Kenton, and finally, for his own Concert Jazz Band. These 1955 dates yielded 12 Mulligan arrangements, including seven originals and "Mr. President," a scoring of Lester Young's solo from his 1939 recording with Count Basie. The Lawrence band interprets the Mulligan scores with style and bite, giving ample solo space to Al Cohn's tenor saxophone, Eddie Bert's trombone, Hal McKusick's alto sex, and the trumpets of Nick Travis and Dick Sherman. * * * * ... Mulligan's scores . are marked by [his] warmth and taste ... The section work is wonderfully firm and precise and swings crisply... Strongly recommended. |
| Collection Themes Songs Chronology | |
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Elliot Lawrence Orchestra |
| Merle Bredwell, Joe Dee, John Dee, Fred Edwards, Vince Forrest, Tony Lala, Barney Liddell, Alec Fila, Louis Giamo, Howie Mann, Louis Melia, Bruno Rondelli, Louis Palombi, Bud Pecha, Andy Pino, John St. Amour, Joe Soldo, Live, December 2-5, 1947 | |
LINER NOTES |
| It really does seem as if it was only yesterday that Elliot Lawrence was being hailed as "The Messiah of modern dance music': one glance at the instrumentation of this orchestra will partly substantiate that description of Elliot Lawrence because any orchestra of this time (1946-1947) which included regular players of oboe, bassoon and French-horn without violins, clearly demonstrated that, at least, the leader was trying to attain a distinctive orchestral sound.
As to why Mr. Lawrence departed from the business at such a comparatively early age (he was only 21 years old when this performance of THE FIVE O'CLOCK SHADOW was transcribed) is anybody's guess. His career contains some remarkable, personal, landmarks: at the age of 12 he was leading a children's band for a regular radio broadcast; then stricken with Poliomyelitis, from which with great determination and fortitude he recovered, to lead his first dance band-after college days-which included Gerry Mulligan and Red Rodney; then to lead an excellent dance orchestra with equally excellent singers (play this album for reference). During 1959, Elliot travelled from his home town of Philadelphia, PA, to Russia and conducted orchestras in Moscow and Leningrad (including the Moscow Radio Orchestra).
From a wealth of transcribed material I have programmed this album to typify the kind of musical selections which, if you were at the Statler Hotel or at the Palladium Ballroom at the time of these original broadcasts, you will well recall; and if you weren't then this will be an opportunity for you to catch up on what you missed. Finally, if you don't instantly recognise the melodic theme of ONCE UPON A MOON, it is the first melody of "Andantio Semplice" from the second movement of Peter lljitch Tchaikovsky's PIANO CONCERTO No. 1 IN B FLAT MINOR.
Track 1, Side One and Track 2, Side Two, were transcribed in the Hotel Pennsylvania (The Statler Hotel) New York in November, 1946, by the following, suggested, personnel: Earl Shuster - bassoon; Bert Gassman - oboe; Ernie Cantonucci, Mike Giamo - alto-saxophones; Andy Pino and either Jerry Fields or Bruno Rondelli - tenor-saxophones; Louis Giamo - baritone-saxophone; Alec Fila - lead and trumpet soloist; John Dee, Walt Stuart - trumpets; Frank Rodowicz, Vince Forrest, Willie Dennis - trombones; Tony Rya (Ryya) - French-horn; Elliot Lawrence - piano; Louis Palombi - double bass; Marty Masters - drums. Vocalists are Rosalind (also reviewed as Rosalyn) Patton; and Jack Hunter. That review (Down Beat, July 29, 1946) suggested that Elliot Lawrence's piano style sounded like Claude Thornhill's: a remark that caused Elliot Lawrence to instantly correct:- "My piano does not sound like Thornhill's. Claude concentrates on effects played in the higher register against the band, whereas I play melody on the middle keys".
All remaining tracks were transcribed at the Palladium Ballroom, Hollywood, California by the following, suggested, personnel: Bud Pecha - oboe; Joe Soldo and Louis Giamo - alto-saxophones; Andy Pino and either Joe Dee or Bruno Rondelli - tenor-saxophones; Merle Bredwell - baritone-saxophone; Alec Fila, John Dee, Fred Edwards - trumpets; Barney Liddell, Vince Forrest, Tony Lala trombones; John St. Amour - French-horn; Elliot Lawrence - piano; Louis Melia guitar; Louis Palombi - double-bass; Howie Mann - drums. Vocalists as indicated. Between December 2 and December 5,1947.
CHRISTOPHER A. PIRIE, THE SWING HOUSE, LONDON. |
| Collection Themes Songs Chronology | |
Elliot Lawrence An His Orchestra - "Sugar Beat" | |
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| 1 - 4 and 6 - 13 = Ernie Andalucci, Herb Collins, Ernie Cononucci, Paul Cope, John Dee, Mike Donio, Buddy Gentiles, Elliot Lawrence, Gerry Mulligan, Andie Ricardi, Red Rodney, Frank Rodowicz, Pete Sansone, Max Spector, Joe Verrechio 1945 | |
| 5 = Sy Berger, Merle Bredwell, Bill Danzien, John Dee, Vince Forrest, Chuck Harris, Bob Karch, Elliot Lawrence, Howie Mann, Gerry Mulligan, Jimmy Padget, Bruno Rondelli, Joe Soldo, Joe Techner, Phil Urso 1949 | |
| Collection Themes Songs Chronology |  |
