LENNIE NIEHAUS - Complete Fifties Recordings
Phono 870253
LENNIE NIEHAUS, alto sax on all tracks, plus:
Collective personnel:
Stu Williamson (tp), Frank Rosolino (tb), Bob Enevoldsen (v-tb), Vince DeRosa (fhr), Jack Montrose, Bill Holman, Bill Perkins (ts), Jimmy Giuffre, Bob Gordon, Pepper Adams (bs), Hampton Hawes, Lou Levy, Pete Jolly (p), Monty Budwig, Buddy Clark, Red Mitchell (b),Shelly Manne, Mel Lewis (d), among others.
Recorded in Los Angeles, 1954-1957.
Original sessions produced by Lester Koenig & Pete Rugolo.
BONUS ALBUM CD4 [9-19]: (Contemporary C-3514):
Featuring: Lennie Niehaus or Joe Maini (as), Bill Holman (ts), Jimmy Giuffre (bs), Ralph Peña (b), Shelly Manne (d), Duane Tatro (arr, cond), among others.
Los Angeles, 1954-55.
You need to make your own mind up. Jazz in 1950s on the west coast of the US was characterised as either bloodless and cold, formulaic or intellectually exciting. Which was it? The music of Lennie Niehaus captured on these four CDs can help you to decide. He recorded with his octet, sextet, quintet and with strings.
Niehaus was an alto saxophone player who worked with Stan Kenton from 1954 to 1959. His playing was distinctive: he had a pellucid tone, a blend of Parker, Konitz, Mariano, Shank with a sharp edge all his own. Also with Kenton he had opportunities to write. He continued his writing after he left Kenton and eventually wrote for films. He composed the music for many of the Clint Eastwood films including ‘Bird’.
The music on the CDs was produced between 1954 and 1957 for the Contemporary label. Shelly Manne told Niehaus to go with Contemporary. He said “Les Koenig will let you do anything that you want. He’ll just record you.’ Niehaus said that he wanted musicians for the sessions who were great sight readers with a special sound in the ensemble and while soloing. He certainly got his way, the musicians that he used were some of the most technically and imaginatively advanced in California.
Throughout the sessions Niehaus used mainly drummer Shelly Manne and bassist Monty Budwig. Frank Rosolino is present on some of the tracks but the main trombone voice is Bob Enevoldsen who played the valve trombone which had a softer fleeter less bullying sound. Saxophonists Bill Perkins and Jack Montrose were featured. Both were influenced by Lester Young and Perkins out of that influence had developed a unique sound. Jimmy Giuffre who became known as an avant garde clarinet player here appears on baritone.
Gerry Mulligan and his pianoless quartet stimulated an interest in counterpoint and linear writing. Niehaus wanted to build on that and explore more textures. Part of the pleasure in listening to the Niehaus compositions and arrangements is the way that the musicians navigate their way through the Niehaus intricate arrangements even though the effort of doing so seems to have exhausted some of their improvisational imaginations. Try ‘Thou Swell ' on CD 3 for complexity. ‘Knee Deep’ an original by Niehaus on the same disc has tight writing and the solos restricted to a few bars with backgrounds that complement. Stu Williamson on trumpet has a bright assertive solo. The jazz inflected counterpoint at the beginning of ‘Three Of A Kind’ is astounding and exciting. Above everything is the glorious tone of Niehaus’ alto.
When you listen to these tracks you realise that control is at the heart of a great deal of his music; that is its strength and its weakness. There is never the sense of abandon but there is an interest in experiment and technique and structure. This is a long way from what was going on back east with their simple arrangements as starting points for a string of long solos and unison out. Because of techniques developed in the west coast sessions like these, musicians were often tempted into the film studios, some never to reappear.
The music here is more than a relic of the past. Jazz does not like to look back but there is a great deal to learn from the musicality and discipline on these disks.
The package has a thirty six page booklet which has original liner notes including one essay by French critic Andre Hodier who wrote ‘Jazz: Its Evolution and Essence’. The original recordings were done by engineer Roy DuNann who should be as well-known as Rudy Van Gelder. The remastering has kept faith with the bright sound from the 50s.
Reviewed by Jack Kenny
Phono 870253
LENNIE NIEHAUS, alto sax on all tracks, plus:
Collective personnel:
Stu Williamson (tp), Frank Rosolino (tb), Bob Enevoldsen (v-tb), Vince DeRosa (fhr), Jack Montrose, Bill Holman, Bill Perkins (ts), Jimmy Giuffre, Bob Gordon, Pepper Adams (bs), Hampton Hawes, Lou Levy, Pete Jolly (p), Monty Budwig, Buddy Clark, Red Mitchell (b),Shelly Manne, Mel Lewis (d), among others.
Recorded in Los Angeles, 1954-1957.
Original sessions produced by Lester Koenig & Pete Rugolo.
BONUS ALBUM CD4 [9-19]: (Contemporary C-3514):
Featuring: Lennie Niehaus or Joe Maini (as), Bill Holman (ts), Jimmy Giuffre (bs), Ralph Peña (b), Shelly Manne (d), Duane Tatro (arr, cond), among others.
Los Angeles, 1954-55.
You need to make your own mind up. Jazz in 1950s on the west coast of the US was characterised as either bloodless and cold, formulaic or intellectually exciting. Which was it? The music of Lennie Niehaus captured on these four CDs can help you to decide. He recorded with his octet, sextet, quintet and with strings.
Niehaus was an alto saxophone player who worked with Stan Kenton from 1954 to 1959. His playing was distinctive: he had a pellucid tone, a blend of Parker, Konitz, Mariano, Shank with a sharp edge all his own. Also with Kenton he had opportunities to write. He continued his writing after he left Kenton and eventually wrote for films. He composed the music for many of the Clint Eastwood films including ‘Bird’.
The music on the CDs was produced between 1954 and 1957 for the Contemporary label. Shelly Manne told Niehaus to go with Contemporary. He said “Les Koenig will let you do anything that you want. He’ll just record you.’ Niehaus said that he wanted musicians for the sessions who were great sight readers with a special sound in the ensemble and while soloing. He certainly got his way, the musicians that he used were some of the most technically and imaginatively advanced in California.
Throughout the sessions Niehaus used mainly drummer Shelly Manne and bassist Monty Budwig. Frank Rosolino is present on some of the tracks but the main trombone voice is Bob Enevoldsen who played the valve trombone which had a softer fleeter less bullying sound. Saxophonists Bill Perkins and Jack Montrose were featured. Both were influenced by Lester Young and Perkins out of that influence had developed a unique sound. Jimmy Giuffre who became known as an avant garde clarinet player here appears on baritone.
Gerry Mulligan and his pianoless quartet stimulated an interest in counterpoint and linear writing. Niehaus wanted to build on that and explore more textures. Part of the pleasure in listening to the Niehaus compositions and arrangements is the way that the musicians navigate their way through the Niehaus intricate arrangements even though the effort of doing so seems to have exhausted some of their improvisational imaginations. Try ‘Thou Swell ' on CD 3 for complexity. ‘Knee Deep’ an original by Niehaus on the same disc has tight writing and the solos restricted to a few bars with backgrounds that complement. Stu Williamson on trumpet has a bright assertive solo. The jazz inflected counterpoint at the beginning of ‘Three Of A Kind’ is astounding and exciting. Above everything is the glorious tone of Niehaus’ alto.
When you listen to these tracks you realise that control is at the heart of a great deal of his music; that is its strength and its weakness. There is never the sense of abandon but there is an interest in experiment and technique and structure. This is a long way from what was going on back east with their simple arrangements as starting points for a string of long solos and unison out. Because of techniques developed in the west coast sessions like these, musicians were often tempted into the film studios, some never to reappear.
The music here is more than a relic of the past. Jazz does not like to look back but there is a great deal to learn from the musicality and discipline on these disks.
The package has a thirty six page booklet which has original liner notes including one essay by French critic Andre Hodier who wrote ‘Jazz: Its Evolution and Essence’. The original recordings were done by engineer Roy DuNann who should be as well-known as Rudy Van Gelder. The remastering has kept faith with the bright sound from the 50s.
Reviewed by Jack Kenny
