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| 5.576 Ft
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| 1. | Pennie Packer
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| 2. | Prez Sez
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| 3. | Feather Bed
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| 4. | A Ghost of a Chance
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| 5. | Little Quail
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| 6. | Sweet & Lovely
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| 7. | Citrus Season
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| 8. | Ronnie's Tune
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| 9. | A Froggy Day
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| 10. | Ronnie's Line
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| 11. | Ear Conditioning
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| 12. | Quintessence
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| 13. | Time's Up
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| 14. | Earful
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| 15. | Aretha
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| 16. | Arrival
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| 17. | Ad Libido
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Jazz
Tracks #1-7: "All About Ronnie":
Recorded at Rudy Van Gelder studio, Hackensack, New Jersey, on March 21, 1956
Willie Dennis (tb), Ted Brown (ts), Ronnie Ball (p), Wendell Marshall (b) and Kenny Clarke (d)
Tracks #8-9:
Recorded in Hardvard Square, Boston, February 1955
Lee Konitz (as), Ronnie Ball (p), Peter Ind (b) and Jeff Morton (d)
Track #10:
Recorded in New York, on June 15, 1955
Lee Konitz (as), Warne Marsh (ts), Ronnie Ball (p), Billy Bauer (g), Oscar Pettiford (b) and Kenny Clarke (d)
Tracks #11-14:
Recorded at Radio Recorders, Hollywood, California, on October 3 (#11,12) and 24 (#13,14), 1956
Warne Marsh, Ted Brown (ts), Ronnie Ball (p), Ben Tucker (b) and Jeff Morton (d)
Tracks #15-16:
Recorded at Radio Recorders, Hollywood, California, on December 21, 1956
Art Pepper (as), Warne Marsh, Ted Brown (ts), Ronnie Ball (p), Ben Tucker (b) and Jeff Morton (d)
Track #17:
Recorded at Radio Recorders, Hollywood, California, September 1957
Warne Marsh (ts), Ronnie Ball (p), Red Mitchell (b) and Stan Levey (d)
Includes extensive booklet with recording details, extensive notes and rare photos.
From the moment English-born pianist Ronnie Ball arrived in New York in 1952, his ambition was to learn more about music, study more, become a part of the American jazz scene, feel a sense of accomplishment and belonging. He established a healthy rapport with pianist Lennie Tristano and started to develop his style, along with lots of other young players, including tenorist Ted Brown and trombonist Willie Dennis, who figured so prominently in the weekend sessions at Lennie's school.
Most of the sounds on this set are extensions and interpretations of Tristano's musical philosophy. That is the aim of this compilation; to gather Ronnie's only album as a leader, "All About Ronnie", with all the recordings of his compositions he recorded as a sideman with the Tristano clique - rewarding, moving music, revealing all the resources of his formidable playing. This is therefore a homage to a vastly underrated pianist whose deep talent deserved, to many jazz fans, much wider recognition.
---Jordi Pujol, from the liner notes.
Tracks #1-7 orifinally issued as a 12" LP:
"All About Ronnie (Savoy MG 12075).
Bonus Tracks:
#8-9 taken from "Lee Konitz in Harvard Square" (Storyville LP-323).
#10 taken from "Lee Konitz Meets Warne Marsh" (Atlantic LP 1217).
#11-14 taken from Ted Brown "Free Wheeling" (Vanguard LP 8515).
#15-16 taken from "Modern Jazz Gallery" (Kapp 2-LP set KXL 5001).
#17 taken from Warne Marsh "Music for Prancing" (Mode LP-125).
Original recordings produced by Ozzie Cadena (1-7), George Wein (8,9), Nesuhi ertegun (10), Albert Marx (11-16) and Red Clyde (17).
This CD compilation produced by Jordi Pujol.
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Notes to 'All About Ronnie':
"Not exactly a household name, Ronnie Ball is probably best known for his charts on the Warne Marsh LP 'Jazz of Two Cities' (available on the Capitol Jazz Tristano/Warne Marsh two-fer, 'Intuition'). While "Ear Conditioning" could be considered an underground classic and perhaps his vision at its most fully realized peak, this underappreciated session from earlier in 1956 is very enjoyable in its own right. Like 'Jazz of Two Cities', Ball is joined by tenor saxophonist Ted Brown. Otherwise the cast includes Willie Dennis on trombone, Wendell Marshall on bass, and the versatile Kenny Clarke on drums. Listeners familiar with better-known sessions from the Tristano school probably know what to expect on this date. Many of the tunes, especially the two Ball originals, feature rapid-fire heads that, like "Ear Conditioning," don't resolve themselves for several bars at a time, making them rather like transcribed Charlie Parker solos that have been appropriated into altogether new themes. Particularly of interest is Ball's decision to employ the exact same dissonant three-against-four bridge before returning to the respective heads of both the first and second tunes on the record, prompting one to question whether or not the first song is simply repeated. While on the surface this music might seem (and probably is) like overly academic bebop, it doesn't pretend to be anything else and should be accepted for what it is: a style that is as seemingly light and carefree as it is harmonically dense and aesthetically probing."
---Brandon Burke -All Music Guide
Ronnie Ball
Active Decade: '50s
Born: Dec 22, 1927 in Birmingham, England
Genre: Jazz
Styles: Cool, Jazz Instrument, Piano Jazz
Ronnie Ball enjoyed success on both sides of the Atlantic. He led sessions with Ronnie Scott and Harry Klein in the early '50s as well as heading his own bands. Then Ball moved to New York in 1952, studied with Lennie Tristano, and worked with a number of musicians through the remainder of the '50s and into the '60s. This list included Chuck Wayne, Dizzy Gillespie, Lee Konitz, Kenny Clarke, Hank Mobley, Art Pepper, Warne Marsh, Buddy Rich, Kai Winding, Gene Krupa, Roy Eldridge and Chris Connor.
---Ron Wynn, All Music Guide |
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