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| 4.331 Ft
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| 1. | The Theme
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| 2. | Lady Bird
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| 3. | Get Out of Town
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| 4. | Is It True What They Say About Dixie?
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| 5. | A Handful of Stars
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| 6. | A Stella Performance
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| 7. | A Sad Thing [*]
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Jazz
Recorded Los Angeles, 1957
Herbie Mann - Clarinet (Bass), Flute, Recording Supervision
Buddy Clark - Bass
Jack Sheldon - Trumpet
Jimmy Rowles - Piano
Mel Lewis - Drums
In 1957, flutist Herbie Mann claimed the bass clarinet as his most suitable second horn (#1-7). This fine, low-pressure collection is a showcase for Mann’s playing, but not at the expense of the other musicians. According to annotator Orrin Keepnews, this session consisted of “relaxed, spirited, and free-wheeling blowing”. The spirit is maintained without shoving decibels into the breach. And there are enough solos to go around.
Jack Sheldon plays with great authority. Rowles performs in supporting and solo roles with equal proficiency. Lewis and Clark service the horns with steady flow of rhythmic drive. On bass clarinet, as on the flute (#8-11), Herbie Mann here revealed himself to be a very consistent jazzman.
* Joe Tarantino - Remastering
* Orrin Keepnews - Original Liner Notes, Producer
* Paul Bacon - Cover Design
The immodest title of this one carries a double connotation; it was probably the first album of jazz in which the leader recorded entirely on bass clarinet and, less significantly, the first Riverside album recorded on the West Coast. The first achievement -- which Mann and producer Orrin Keepnews thought of three years before Eric Dolphy broke out his bass clarinet on records -- ought to be more widely known, but the usual prejudices among critics regarding Mann's subsequent popularity among record buyers have decreed otherwise. In any case, Mann phrases on the bass clarinet pretty much the way he does on flute, with a definite personality, plenty of swing, and a airy outlook that makes the instrument sound less sinister. Stylistically, this is strictly a mainstream West Coast bop blowing session, with a young Jack Sheldon offering up splendid, in-the-pocket open and muted trumpet. Jimmy Rowles (piano), Buddy Clark (bass), and Mel Lewis (drums) comprise the swinging rhythm section. Miles Davis' "The Theme" and Cole Porter's "Get Out of Town" contain the tastiest solos, with Mann's own "A Stella Performance" running closely behind, but all tracks are consistently good. On the CD edition, there is one break from the format, the addition of another track from the July 3, 1957, session, the lengthy "Blues for Tomorrow" (originally released on the anthology of that name), by the "East Coast All-Stars" -- with Gigi Gryce, John Coltrane, and Coleman Hawkins.
---Richard S. Ginell, All Music Guide
Herbie Mann
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Apr 16, 1930 in Brooklyn, NY
Died: Jul 01, 2003 in Santa Fe, NM
Genre: Jazz
Styles: Jazz-Funk, Soul-Jazz, Jazz-Pop, Afro-Cuban Jazz, Crossover Jazz
Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews's Quintet (1953-54) and then started working and recording as a leader. During 1954-58 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the 1950s who recorded on bass clarinet; he also recorded in 1957 a full album (for Savoy) of unaccompanied flute.
After spending time playing and writing music for television, in 1959 Mann formed his Afro-Jazz Sextet, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby" and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the 1970s advanced, Mann became much more involved in rock, pop, reggae and even disco. After leaving Atlantic at the end of the 1970s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin and in the 1990s founded the Kokopelli label on which before breaking away in 1996 he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumusly released Beyond Brooklyn for Telarc.
---Scott Yanow, All Music Guide |
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