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| 4.747 Ft
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| 1. | Jungle Pogo Stick
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| 2. | Green Dream
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| 3. | It&
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| 4. | A Walk In The Veldt
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| 5. | How Long Has This Been Going On?
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| 6. | The Blinfold Test
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| 7. | Tanganyka
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| 8. | Wagnervous
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| 9. | And So Is Love
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| 10. | Coming Back For Me
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| 11. | Crow&
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| 12. | Remember
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| 13. | Sunset Drive
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| 14. | Some Folks Like The Blues
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| 15. | I Hear Bells
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| 16. | Buzzin&
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| 17. | One Morning In May
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| 18. | Heat Wave
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| 19. | That&
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| 20. | You&
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| 21. | Top Hat, White Tie And Tails
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| 22. | Mood For Max
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Jazz
Tracks #1-10 from 12" LP "Tanganika" (DIG J-101)
Recorded at Capitol Studio, Hollywood, on September 16 & 27, 1956
John Anderson (tp), Buddy Collette (fl, cl, as & ts), Gerry Wiggings (p), Jim Hall (g), Curtis Counce (b) and Chico Hamilton (d)
Tracks #11-22 from Max Albright's 12" LP "Mood For Max" (Motif ML-502)
Recorded at Capitol Studio, Hollywood, on November 8, 16 & 23, 1956
[on #11-18]: John Anderson (tp), Dave Wells (b-tp, tb), Buddy Collette (fl, cl, as & ts), Bill Green (fl, cl b-cl, as & ts), Gene Cipriano (oboe, english horn, b-cl on #19-22) Chuck Gentry (bs, ou on #19-22), Gerry Wiggings (p), Curtis Counce (b), Joe Comfort (b on #19-22) and Max Albright (d)
The primary focus of the two albums compiled in this CD set rests on Buddy Collette’s talents as a writer and as a multi-reed instrumentalist. Although the sleevenotes didn’t say so, Tanganyka was Buddy Collette’s album; he is the composer of most of the tunes and is featured throughout. On the second album, Mood for Max, a Max Albright’s drummer date, Collette, as a player, is clearly the star of the session, along with trumpeter John Anderson. Both also made considerable contributions as composers and arrangers for the session.
Despite the presence of other great soloists on both dates, among them Jim Hall, Gerald Wiggins, Curtis Counce, Chico Hamilton and William Green, Buddy’s taste and sensitivity as a player and writer dominates. The writing ranges from the African exoticism that Collette had a penchant for delivering, as well as some Basie-type tunes, standards, and moody and groovy originals. Overall, it is an excellent example of the tight, considered writing that characterizes the best of the West Coast style.
This set, presented by disc jockey Sleepy Stein but actually led by multireedist Buddy Collette, slightly predates the Chico Hamilton Quintet and hints strongly at that chamber jazz group. Comprised of Collette, drummer Chico Hamilton, trumpeter John Anderson, pianist Gerald Wiggins, guitarist Jimmy Hall and bassist Curtis Counce - if one substitutes cellist Fred Katz for Anderson and Wiggins and changes the bassist, the result is the Chico Hamilton Quintet of 1955. The music is mostly group originals (five by Collette) and is an excellent example of cool jazz.
---Scott Yanow -All Music Guide
Studio drummer Max Albright's only session as a leader was one of the few releases for the short-lived Motif label. A variety of top L.A.-based musicians (including trumpeter John Anderson, Buddy Collette and William Green on reeds and pianist Gerald Wiggins) are heard from on the octet date. Collette and Anderson split the writing for the six standards evenly and each contributes three originals. This obscure session is melodic, swinging and worth searching for by fans of West Coast jazz.
---Scott Yanow -All Music Guide
Buddy Collette
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Aug 06, 1921 in Los Angeles, CA
Genre: Jazz
Styles: Cool, West Coast Blues, West Coast Jazz
An important force in the Los Angeles jazz community, Buddy Collette was an early pioneer at playing jazz on the flute. Collette started on piano as a child and then gradually learned all of the woodwinds. He played with Les Hite in 1942; led a dance band while in the Navy during World War II; and then freelanced in the L.A. area with such bands as the Stars of Swing (1946), Edgar Hayes, Louis Jordan, Benny Carter, and Gerald Wilson (1949-1950). An early teacher of Charles Mingus, Collette became the first black musician to get a permanent spot in a West Coast studio band (1951-1955). He gained his greatest recognition as an important member of the Chico Hamilton Quintet (1955-1956), and he recorded several albums as a leader in the mid- to late '50s for Contemporary. Otherwise, he mostly stuck to the L.A. area, freelancing, working in the studios, playing in clubs, teaching, and inspiring younger musicians. Although a fine tenor player and a good clarinetist, Collette's most distinctive voice is on flute; he recorded an album with one of his former students, the great James Newton (1989). In addition, Collette participated in a reunion of the Chico Hamilton Quintet, and recorded a two-disc "talking record" for the Issues label in 1994, in which he discussed some of what he had seen and experienced through the years.
---Scott Yanow, All Music Guide |
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