“HIS MASTER'S VOICE”

RCA VICTOR LPM-1198

A "NEW ORTHOPHONIC” HIGH FIDELITY RECORDING

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VM STILL SWINGING TOP HAT, WHITE TIE, AND TAILS YOU CAN DEPEND ON ME WE’LL BE TOGETHER AGAIN IT’S BAD FOR ME EXACTLY LIKE YOU SHAMEFUL ROGER

SIDE 1

THE DAUGHTER OF MISS THING SOMETIMES I’M HAPPY

SWEETHEARTS ON PARADE SLATS

LAMENT FOR A LOST LOVE PERFIDIA

SIDE 2

The Joe Newman Octet

A label or a catch phrase can be a convenient thing, but it rarely tells a rounded story. In the Thirties, in the Swing Era, Benny Good- man was called “King of Swing.” As pat labels go, this one was pretty accurate, for it was Goodman who brought on the Swing Era and it was Goodman who, to the general public, was the pre-eminent figure of that era. But Goodman, at that time, was a mover and shaker, not a polisher. It was Count Basie’s band, riding onto the scene in the wake of Goodman (and with Goodman’s ardent sup- port), which became the epitome of the swing band and turned out to be the most influential band of the period.

The strength of Basie’s influence, after two decades, is widely evident in the playing of numerous small groups today, particularly in recording-groups which have access to genuine, Grade A Basie sidemen. One reason—and a rather basic reason —for the continuing appeal of the Basie manner was aptly summed up by Joe Newman when he was considering the approach to be taken on these numbers.

“I want them to have a swing to them,” he said, “to be easy, to be good listening. I want to try to reach the mass of people, and I think the way to do it is with things I’d want to listen to if I were a listener.”

There can be little question of what Joe Newman would listen to if he were a listener. For many years he has been an outstanding member of Count Basie’s band. He is steeped in the Basie tradition and so are most of the men in his octet.

Freddie Green, a member of the original Basie band who was of enormous importance in creating what has come to be recognized as the typical Basie attack, is generally considered the greatest rhythm guitarist working today. Shadow Wilson has served two stints as Basie’s drummer, while Eddie Jones is Basie’s current bassist. Al Cohn, though a man of parts of the jazz world, has never achieved Basiedom, but his approach to the tenor sax is patterned to a large degree on that of Basie’s Lester Young. :

The octet’s recruits from the non-Basie world are Urbie Green, a trombonist of such versatility that he has played successfully with Frankie Carle, Jan Savitt and, most notably, Woody Herman; Gene Quill, a rising young alto star who has worked with Claude Thorn- hill and Charlie Barnet; and Dick Katz, a pianist closely associated © with Tony Scott, who effects a remarkable adaptation of his normal, sharply modern style to fit the mood of these performances.

There are other influences besides that of Basie at work here. Joe Newman has a pungent personality of his own which constantly makes itself felt. There are lines reaching out to Duke Ellington, Benny Goodman and Mildred Bailey. There is even, as we shall see, a badly shredded skein attached to S. J. Perelman.

Side One Top Hat, White Tie, and Tails —Once a song and a dance for Fred Astaire, this bouncing tune has been fitted out by Manny Albam — with a counter-melody which dances gaily behind the ensemble and, between choruses, vamps till the soloists are ready.

You Can Depend on Me—Earl Hines wrote and popularized this number, which later provided one of Basie’s early successes on rec- ords. Now it turns up as Joe Newman’s favorite tune in a Manny Albam arrangement that gives everyone a chance to solo.

We'll Be Together Again—Newman’s pretty, soulful side comes to the fore in Ernie Wilkins’ arrangement of this Frankie Laine composition.

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It’s Bad for Me—A Cole Porter contribution to an English revue, which has lain fallow for almost a quarter of a century, moves into the jazz scene in an arrangement by Al Cohn.

Exactly Like You—The early Basie version of this McHugh-Fields tune was one of the great performances of the Thirties, and Al Cohn’s arrangement catches the spirit and tone of that performance. “On a tune like this,” says Cohn, “‘there’s nothing you can do but swing.”

Shameful Roger— This is probably the first jazz interpretation of an S. J. Perelman character, the villainous Shameful Roger Esterhazy. As Manny Albam originally conceived the shameful one, he crept onto the scene disguised as a muted trumpet but, in performance, Joe Newman resorted to the plunger instead. The result is an Elling- ton sound over a Basie beat—the headiest kind of jazz mixture.

: Side Two The Daughter of Miss Thing —Newman picks up Harry Edison’s muted trumpet bit from Basie’s old stampede, Miss Thing, to provide a theme which Ernie Wilkins amplifies in his arrangement.

Sometimes I’m Happy—Manny Albam gives the Vincent Youmans standard an unusual slow ballad treatment, inspired by Mildred Bailey’s version and reflecting (unconsciously, Albam says) some suggestion of the Fletcher Henderson arrangement that Benny Goodman used to play (see RCA Victor LPT-1005).

Sweethearts on Parade—A fast, swinging version of a number that is identified equally with Carmen Lombardo, who wrote it, and Louis Armstrong, who loved it. The speed in Al Cohn’s arrangement is logical, he says, because a tune like this— made up mostly of whole notes and half notes—lends itself to a fast tempo.

Slats —An extension, by Ernie Wilkins, of an exclamation point riff dreamed up by Newman which provides a varied solo spree for Urbie Green, running from strangulation to open-throated gusto.

Lament for a Lost Love— An obscure but typically lovely Ellington tune arranged by Al Cohn.

Perfidia— Shadow Wilson’s drums are an important element in Ernie Wilkins’ arrangement of this south-of-the-border standard.

JOHN S. WILSON Copyright 1956, Radio Corporation of America

This Is an RCA Victor “New Orthophonic” High Fidelity Recording It is distinguished by these characteristics: 1. Complete frequency range. 2. Ideal dynamic range plus clarity and brilliance. 3. Constant fidelity from outside to inside of record. 4. Improved quiet surfaces.

For best reproduction, RCA Victor records should be played with the R.LA.A. or “New Orthophonic” curve adjustment. The A.E.S. position may also be used with bass boosted and treble reduced.

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TMKS ® © Radio Corporation of America LPM-1198 ; Marcas Registradas Printed in U.S. A.

LPM

1198

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