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CD |
| 5.313 Ft
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| 1. | Kaleidoscope
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| 2. | Love Me Or Leave Me
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| 3. | Little Train
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| 4. | Prelude To A Kiss
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| 5. | Conversation Piece
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| 6. | Interwoven
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| 7. | Around Town
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| 8. | Broadway T.Mcrae-W.Woode-B.Bird
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| 9. | Melting Pot
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| 10. | Ripples
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| 11. | Conversation
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| 12. | He Ain&
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| 13. | Cherokee
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| 14. | Fuguein&
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| 15. | Ripples*
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| 16. | Conversation*
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| 17. | Blues At Sunrise*
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| 18. | Kaleidoscope*
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Jazz
Tracks 2-5: Eddie Bert, trombone, Sal Salvador, guitar; Duke Jordan, piano; Clyde Lombardi, bass; Mel Zelnick, drums
Hackensack, New Jersey, May 11, 1953
Tracks 1,6-8: Eddie Bert, trombone, Vinnie Dean, alto sax; Duke Jordan, piano; Clyde Lombardi, bass; Art Mardigan, drums
New York City, August 20, 1954
Tracks 9-13: Eddie Bert, trombone, vocal #12; Vinnie Dean, alto sax; Duke Jordan, piano; Clyde Lombardi, bass; Joe Morello, drums
New York City, November 3, 1954
Tracks 14-17: Eddie Bert, trombone, Vinnie Dean, alto sax; Sal Mosca, piano; Clyde Lombardi, bass; Ed Shaughnessy, drums
New Rochelle, N.Y., August 5, 1959
Track 18: Eddie Bert, trombone, Duke Jordan, piano; Clyde Lombardi, bass; Osie Johnson, drums
Live at Gobblers Inn, Point Pleasant, N.J., August 8, 1955
*Tracks 14-18 previously unissued
Eddie Bert played in Goodman's boppers from November 1948 to September 1949. By 1950 he had enough of travel and trials of the road, so Eddie decided to concentrate on making his living around New York City, where he was regularly on call for recordings with Ray McKinley, Les Elgart, Elliot Lawrence, and the Sauter-Finegan orchestra. All of which takes us to the time of the sessions here, when Eddie was under contract to Discovery Records until the label went into bankruptcy and was sold to Savoy in 1956.
Yet, back to the three Discovery sessions included in this compilation (1 to 13), all of them feature pianist Duke Jordan, another giant the public has taken much too long to appreciate. Jordan worked for Coleman Hawkins and Charlie Parker throughout much of the 1940's, and even before that he was in the right place at the right time when bop was born in clubs like Clarke Monroe's in Harlem in 1941. Bassist Clyde Lombardi is also heard throughout these sessions, a musician many of us associate largely with the late Lennie Tristano's first trio performances. Drummer Art Mardigan handles the sticks (who swung Woody Herman's Third Herd for years), and then we segue to Joe Morello - and Eddie Bert recalls this as Joe Morello's very first studio date.
Very few fans ever heard Joe Morello when he subbed for Stan Levey in Stan Kenton's 1953 powerhouse, but broadcasts survive to prove that Joe was there, and his section mate was guitarist Sal Salvador, whom you will hear on the first four tracks of this CD. Eddie Bert likes that trombone-guitar unison in the front line, and he used it again in a session with Joe Puma six months later. Bert also liked the alto saxophone sound of his Westchester County neighbor Vinnie Dean, who had boarded the band bus with Sal Salvador through most of 1952-53 as integral parts of Stan Kenton's most sublimely swinging ensemble.
The last five tracks of this album previously unreleased recordings where we hear Eddie surrounded by his usual musicians. Through the years Eddie often worked with his own jazz group, most of the time including his peers Vinnie Dean, Clyde Lombardi Duke Jordan, Art Mardigan, Eddie Shaughenessy and a variety of drummers. For some gigs he also used pianist Sal Mosca, who grew up, just like Eddie, in Mount Vernon. Mosca, who studied for eight years with Lenni Tristano, doesn't have a long list of recordings under his name, yet he's considered by his colleagues as the last living great improvisational pianist of their generation. Tristano wrote that "of all the great people in jazz since the 40s, Sal Mosca is one of the greatest." We can hear all the expressive range of Sal's imagination in tracks 14 to 17.
The album finishes the same way it starts, with an also unreleased long version of Kaleidoscope, tune that gives name to this compilation and was recorded live in Gobbler's Inn, Point Pleasant, New Jersey in August, 1955.
Eddie Bert
Active Decades: '40s, '50s, '60s, '70s, '80s and '90s
Born: May 16, 1922 in Yonkers, NY
Genre: Jazz
Eddie Bert has had a rather long career in jazz and in the studios, managing to go almost unnoticed by all but his fellow musicians. A fine and flexible soloist, Bert has also played a large part behind the scenes, performing his parts quite capably in orchestras. Among his early teachers were fellow trombonists Benny Morton and Trummy Young. In 1940, when he was 18, Bert joined Sam Donahue's Orchestra, and two years later cut his first solo on record, "Jersey Bounce," with Red Norvo's band. Bert gigged with the orchestras of Charlie Barnet (1943) and Woody Herman, performed at a well-recorded Town Hall concert with Norvo in 1944, where he was extensively featured and, after a stint in the military, he worked during the next decade with such orchestras as Herbie Fields, Stan Kenton (1947-1948 and 1950-1951), Benny Goodman (1948-1949), Woody Herman again, and Les Elgart. From 1952-1955, Bert recorded several dates as a leader for Discovery, Savoy, Jazztone, and Trans-World, showing that he could be a personable bop-based improviser in small groups, too. He worked and recorded with Charles Mingus in late 1955, rejoined Goodman in 1957, was part of the ensembles on the various Miles DavisGil Evans projects, and performed with Thelonious Monk at his famed big band concerts of 1959 and 1963. In addition to his extensive studio work, Bert was associated with Elliot Lawrence, Chubby Jackson, and again with Mingus; he was part of Dick Cavett's TV big band from 1968-1972 and toured Europe with the Thad Jones-Mel Lewis Orchestra. In 1976, he led an obscure effort for the Danish Backbone label and has since headed sessions for Molshajala (a duo album with bassist Steve Roane), Keybone, and Fresh Sound (1987), in addition to recording as a sideman with Lionel Hampton, Sal Salvador, and Teo Macero, among others. In 1997, Eddie Bert toured with T.S. Monk's Monk on Monk ensemble.
---Scott Yanow, All Music Guide |
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