HARD BOP ORIGINS: WEST COAST HARD BOP

Chet Baker & Bud Shank (1954)

WEST COAST HARD BOP

Calvin H. Neal, Jr. 

January 2, 2017 

            The perception has long been that the West Coast jazz of the 1950’s and 1960’s was soft, that it didn’t have the fire of the East Coast’s music. . Because of all the elaborate arranging, people also thought it had no swing. But the critics are wrong on both points. The West Coast during the Hard Bop era produced some music that would stand toe to toe with anything Blue Note, Milestone or any of the other East Coast labels had too offer.  Harold Land, Jack Sheldon, Art Pepper, Curtis Counce, Red Mitchell, Bill Perkins, Bill Holman, Jim Hall, Bud Shank, Carmell Jones and The Crusaders, all coming out of the Los Angeles area, played a fiery brand of hard bop, which is rarely mentioned.

            Many former members of the Stan Kenton and Woody Herman big bands resided in California and ushered in a brand of jazz that was considered soft mainly because it was played by the nearly all white men, who were former members of the big bands of Kenton and Herman. But West Coast jazz was neither soft nor lily white. Former Kenton trumpeter and arranger Shorty Rogers is seen as the architect of this brand of jazz, “cool jazz” some called it. Rogers arranged music for smaller groups the same way he did for Kenton’s big band, which gave the music a more rehearsed, yet still aesthetically pleasing sound.  An original member of Howard Rumsey’s “Lighthouse All-Stars, Rogers, Bud Shank, Marty Paich, Bill Holman, Bill Perkins and Shelly Manne among others came to represent the sound of West Coast jazz. The main distinction between the music of Contemporary Records or Pacific Jazz, was the Rudy Van Gelder sound. The musicians in California were just as talented and creative as the Eastern counterparts, but you rarely, if ever heard any jazz from any further west than St. Louis. But at the same time that Blue Note, Milestone, Prestige and Riverside were churning out excellent jazz, so were the West coast jazz labels.  For example, in Hollywood on August 4, 1956 drummer Lawrence Marable led an excellent hard bop session, Tenorman, that featured Marable’s quartet of James Clay on tenor sax, Sonny Clarke on piano and Jimmy Bond on bass. That same evening in Wilmington, Delaware, Jimmy Smith recorded a live session for Blue Note that became the classic, The Incredible Jimmy Smith at Club Baby Grand, Vols. 1 & 2. When you listen to Marable’s set, you will not know that these are Los Angeles based musicians. And I found that to be the case with most of the hard bop that came from the West.

            While Art Blakey, Horace Silver, Lee Morgan, John Coltrane and others are making a name for themselves in New York, Los Angeles was cooking with musicians and music that was absolutely on par with what Blue Note, Riverside and Prestige were offering. Pacific Jazz and Contemporary were the West Coast labels for top flight jazz. In fact, The Crusaders, a never mentioned super-group of hard bop, recorded 11 studio album and 5 lives sessions for Pacific Jazz between 1960 and 1969. There are many sessions worthy of discussion, but a few I like are reviewed below.

            Indiana born and bred trumpeter Conte Candoli, became one of the most widely used trumpeters on the West Coast in the 1950-60’s. And as his 1955 session for Bethlehem Records, Powerhouse Trumpet states, he certainly is a powerhouse. Joined by Bill Holman on tenor sax, Lou Levy on piano, veteran bassist Leroy Vinnegar and Lawrence Marable on drums, they give a quite enjoyable set of music. Candoli gets beautifully sentimental on My Old Flame and Holman and Levy are shining throughout the set. 

            Drummer Lawrence Marable’s, aforementioned, Tenorman is an excellent hard bop set recorded for Capitol Records.  Recorded August 4, 1956 in Capitol’s Hollywood studio, Tenorman, which introduces tenor saxophonist James Clay, is a true hidden gem.  Marable and Clay are assisted by pianist Sonny Clark, before his return to New York and his association with Blue Note and Jimmy Bond, again, on bass. Though Clay is the star, Clark shines on The Devil and the Deep Blue Sea, Willow Weep for Me and his own composition, Minor Meeting.  Clay gives a tender reading of Lover Man. This is another volume of music that deserves search. 

            One of the leading lights of the hard bop school, Harold Land, who was a member of the legendary Clifford Brown/ Max Roach Quintet and was a West Coast titan, also recorded for Contemporary in 1958. On January 13 & 14, Harold went into Lester Koenig’s Los Angeles studio and recorded the sessions that became, Harold in the Land of Jazz. Land was ably assisted by Swedish firebrand, trumpeter Rolf Ericson. Ericson’s smooth, yet fiery sound complimented Land nicely. The rhythm section featured Carl Perkins on piano, Leroy Vinnegar on bass and drummer Frank Butler, who was a regular companion of Land. Land goes from full speed on the Weill/Nash standard, Speak Low, to mellow on the Latin tinged, Nieta, penned by pianist Elmo Hope. Grooveyard lives up to its name, allowing both Perkins and Ericson room to stretch out a little and really groove. And the whole group really swings on Smack Up. Hating to sound redundant, but this is another five star recording worth of any library or collection.

            Los Angeles native, pianist Hampton Hawes recorded an inspired set for Contemporary Record in March of 1958. On March 17, Hawes went into the studio with former Roach-brown tenor saxophonist Harold Land;  a very young Scott LaFaro, (this was only his third recording session having previously recorded with Buddy Franco and only weeks early for Contemporary with pianist/vibist Victor Feldman) on bass and drummer Frank Butler, a well known West Coast presence and recorded the session that became the album, For Real. 

            In June 1961, seldom mentioned trumpet titan Carmell Jones recorded a set for Pacific Jazz, The Remarkable Carmell Jones, which is still a very much under recognized  classic, by a very under recognized artist. The session features Jones with a group of California mainstays. Harold Land on tenor, Frank Strazzeri on piano, Gary Peacock on bass and Leon Pettis on drums.  A swinging mid-tempo version of Ellington’s, I’m Gonna Go Fishin’, starts out the set and all artists get into the groove.  Jones, Land, Strazzeri and Peacock shows nicely on their solos.  Jones is articulate and tender, yet still muscular on the Harold Arlen/Johnny Mercer standard, Come Rain or Come Shine. On Sad March, Strazzeri shows and proves nicely. And on Jones’ beautiful composition, Stellisa, Jones, Land and Strazzeri speak eloquently. Overall this is a 5 star session that is sadly overlooked.

Another trumpeter, though ill-fated, Joe Gordon was a force to be reckoned with. Born in Boston in 1928, played with Charlie Parker and Dizzy Gillespie. After making his way to California, he recorded with Harold Land, and was part of the front line under leader Shelly Manne and His Men for their historic live sessions from San Francisco’s BlackHawk nightclub. In  July 1961, he recorded a session as leader in Los Angeles for Contemporary Records, guided by Contemporary head producer and owner Lester Koenig, sort of a West Coast Alfred Lion, if you will.  An able composer Gordon, who died at age 35 due complications of his heroin addiction, penned all the compositions on this  set, Lookin’ Good.   On the opening track, Terra Firma Irma,  Gordon, altoist Jimmy Woods, Dick Whittington on piano, Jimmy Bond on bass and Milt Turner on drums set the pace for what while be a swinging hard bop session.  Gordon, Woods and Whittington have an up tempo fire, in a strict hard bop mode. Woods continues to delight on Song For Richard. His advanced hard bop leanings, add to the complexity of Gordon’s tunes here. Pianist Dick Whittington, former owner of Maybeck Recital Hall in Berkeley, California, is in a definite New York state of mind in both his solos and comping.  The  tricky Non Viennese Waltz Blues features more Woods and his alto is pointed straight to the avant garde.

The last offering is a one of the most hidden classic’s of the hard bop era. Saxophonist Curtis Amy and one of the most mythical musicians in all jazz, trumpeter Dupree Bolton, recorded a session in March 1963 for Pacific Jazz Records and its legendary producer and founder, Richard Bock. This session, Katanga, become legendary in the eyes of some hard bop historians as it is one of the literal handful of  recordings from the illusive and supremely talented trumpeter Dupree Bolton. 

Another of Dupree’s appearances is with Harold Land, on the saxophonist’s classic set for Contemporary, The Fox. The Land session, recorded in August 1959 at Radio Recorders studio in Los Angeles, featured Land’s hard driving tenor, the fierce, wonderfully bitter tone of  Bolton, playing advanced hard bop, even in 1958, New York native pianist/composer Elmo Hope, Herbie Lewis, bass and the ever present and ever steady beat of Frank Butler. Tunes like, The Fox, Land of Jazz another Elmo Hope composition, One Second, Please, stand out. Bolton gets to stretch out on Sins-A-Plenty, his brittle tone reminiscent of trumpeter Johnny Coles.

On Katanga, Bolton and Amy both represent the finest hard bop, of the time. Amy and Bolton are joined by guitarist Ray Crawford, pianist Jack Wilson, who lead a few sessions for Blue Note during this period, Victor Gaskins on bass and Doug Sides on drums. On his composition Native Land, Amy is a revelation on soprano sax. On Jack Wilson’s Amyable, based on the chord changes of So What, Bolton takes a Miles-like turn and is masterful. Bolton also does a splendid job on You Don’t Know What Love Is. A lot of jazz fans have never heard of Curtis Amy or Dupree Bolton. 

THE JAZZ CRUSADERS

The Jazz Crusaders are the un recognized stars of the hard bop era. With original compositions by its band members, from 1961-1970, this group of childhood friends from Houston, Texas, Wilton Felder, tenor sax; Wayne Henderson, trombone; Joe sample, piano and Nesbert “Stix” Hooper on drums recorded 11 studio albums for Pacific Jazz, some of it the best hard bop of the time.  The Jazz Crusaders were the most consistent band in jazz and the hard bop era, though Art Blakey or Horace Silver and their aggregations can claim longevity, no other group held the entire band together for such an extended period. The bass player changed for the Jazz Crusaders from gig to gig, from recording to recording. Bassist  Buster Williams had a somewhat consistent relationship with the group, but there was never a permanent bass player. Joe Sample’s composition Freedom Sound, became a jazz anthem and hard bop standard. 

The Jazz Crusaders’ signature was the unique two horn front line of tenor sax by Wilton Felder and Wayne Henderson on trombone. The sound was immediately identifiably unique and like Blakey or Silver, their sound was known by fans from the first note. Felder’s big, round  “Texas Tenor” sound along with the jazzy lyricism of Henderson on trombone made for one very formidable front line. Joe Sample, is one of the greatest jazz pianists, ever. His gentle touch, and clear florid style make him one of the living masters of jazz piano. Though never as combustive as Blakey or Elvin Jones, “Stix” Hooper could rock a beat with any of his contemporaries. Must have Jazz Crusaders sessions are, Freedom Sound, recorded in Los Angeles at Pacific Jazz studios on May 21, 1961, the anthemic title track was introduced to the jazz world, as well as an excellent version of the Theme From Exodus. Freedom Sound  found Jimmy Bond manning the bass chair.

In January 1962, January 7, the Jazz Crusaders recorded their second studio album for Pacific Jazz. Looking Ahead, introduced to new hits to the Jazz Crusaders belt and another to the world of jazz standards, Joe Sample’s Tortoise and The Hare and Wayne Henderson’s classic composition, The Young Rabbits. Jimmy Bond again was bassist on the session. Listen to this music and compare it to anything coming from Blue Note and its competitors.

 The first of their  live recordings at the historic Lighthouse, in Hermosa Beach, California was the setting for a gem of hard and one of the  best live recordings of the era. The Jazz Crusaders At The Lighthouse, was recorded for Pacific Jazz on August 5, 1962. Felder, Henderson, Sample and Hooper, were this time joined by Victor Gaskin on bass. Highlights of this set are Wayne Henderson on his own composition, Cathy’s Dillema, Congolese Sermon, another Henderson tune that showcases Wilton Felder. Joe Sample shines on his own compositions, Weather Beat and Scandalizing and the entire group gets loose on Jackie McLean’s Appointment In Ghana. All of the Jazz Crusaders Pacific Jazz recordings, live and studio are highly recommendable and the Pacific Jazz Studio Recordings are available in a box set from Mosaic Records that includes a 19 page booklet containing all relevant session information along with a short biography of the Jazz Crusaders and their Pacific Jazz tenure by jazz historian Bob Blumenthal.

LENNY MCBROWNE & THE FOUR SOULS

A short-lived  West Coast  group that recorded two very nice hard bop sessions was led by Brooklyn born drummer Lenny McBrowne. Lenny McBrowne and the Four Souls, recorded two sessions in Los Angeles and Hollywood, in 1960, for Pacific Jazz and Riverside Records, respectively. The sessions were each helmed by men who became legendary for their contributions  during this era. Pacific Jazz founder Dick Bock recorded the Pacific Jazz session, Lenny McBrowne and The Four Souls, at Rex Production Studio, Hollywood, on January 2, 1960.  Their second, Eastern Lights, was  recorded at United Recording Studio,  Los Angeles, October 13, 1960. This Riverside project was produced by sax legend (to be) Julian “Cannonball” Adderley. After having heard the Four Souls play at the Zebra Lounge in Los Angeles on the nights when his own quintet wasn’t on stage, Adderley convinced Riverside to let him produce a session for the up and comers. In this cadre of  West Coast jazz musicians, McBrowne was the only East Coast transplant. Pianist Terry Trotter was born in LA and trumpeter Don Sleet and tenor man Daniel Jackson were from San Diego.  The core of this quintet,  Don Sleet trumpet,  Daniel Jackson tenor sax, Terry Trotter piano, and Lenny McBrowne drums  stayed consistent, but on the Pacific Jazz session the bass seat was helmed by Herbie Lewis and on Eastern Lights, Jimmy Bond was the bassist. Lewis and Bond were both mainstays of the West Coast jazz scene in the 1960’s.

Trumpeter Sleet released an excellent hard bop set in 1961 for the Jazzland label, Members Only, recorded at New York’s  Plaza Sound Studios on March 16, 1961 Sleet led a quintet that included the tenor sax of Jimmy Heath, who also composed the title track, Wynton Kelly on piano, bassist Ron Carter and Jimmy Cobb on drums. Playing with some of the most accomplished artists of the time, the unknown Sleet more than holds his own. Sleet is beautifully romantic on Secret Love and But Beautiful. On Softly, As in a Morning Sunrise, Sleet, Heath and Kelly all represent impressively.  Veterans Heath and Kelly shine throughout. Sleet makes a very impressive debut, and then seemingly faded into the shadows. According to AllMuisc.com, Sleet died “in obscurity in 1986.”

McBrowne and mates acquit themselves very nicely and deserve to be remembered in the hard bop lexicon. On this Pacific Jazz release,  the Latin tinged Invitation, finds the also unknown Daniel Jackson in fine hard bop form on tenor sax. On the exotic,, Lazinka’s Tune, McBrowne intros with as Jackson, Sleet and pianist Trotter stretch out and swing. On the Adderley helmed Eastern Lights, they group starts out in a much more Eastern vain with Daniel Jackson’s almost knotty, Saudi. Again Jackson, Sleet and Trotter sparkle. On Like Someone In Love, Sleet demonstrates why he earned the Riverside session. Never big or pyrotechnic, Sleet reminds of a very energetic version of Kenny Dorham or Chet Baker. Another composition by Daniel Jackson, the title track is swinging hard bop, straight from LA!! Jackson shows he could played back East on any Blue Note, Prestige or Riverside hard bop session. And he was a very able composer, in fact, the only composition not by Jackson from Eastern Lights, is the Burke-Van Heusen classic, Like Someone In Love. If you like hard bop and the music of the entire era, these sessions plus many more from the West are available and worth seeking. Remember, not all hard bop or risky music came from the East.