Jazz From The Pacific Northwest (Live)

Album review

Shelly Manne was one of the most prolific drummers on the West Coast jazz scene and a respected bandleader. The always evolving Shelly Manne & His Men served as an incubator for Left Coast talent, and Manne was as comfortable blowing bebop as he was swinging show tunes, hard bop, ballads, and blues. The double-length Jazz from the Pacific Northwest offers three fine performances by two versions of Shelly Manne & His Men. The first was recorded at the inaugural Monterey Jazz Festival in 1958. The second is drawn from two stellar evenings at Seattle's The Penthouse in 1966. These recordings sound warm and full, with few flaws.
The 1958 lineup includes bassist Monty Budwig, pianist Russ Freeman, flutist and alto saxophonist Herb Geller, and trumpeter Stu Williamson. In 1966, Manne's Penthouse band included a returning Budwig, pianist Hampton Hawes, altoist/flutist Frank Strozier, trumpeter Conte Condoli, and guest vocalist Ruth Price on two selections.
1958's "Stop, Look & Listen," introduced by Freeman's bop, reveals the influence of Wardell Gray. Uptempo, its melody offers a pronounced elegance. Charlie Mariano's "The Vamps Blues" is straight-ahead hard bop; Freeman walks a I-IV-V progression, and Geller's alto solo quotes standards. Budwig drives the changes, guiding Manne's snare and whispering ride cymbal. Bill Holman's lengthy "Quartet (Suite in Four Movements)" was composed for this band. Nearly 18-minutes long, each section allows individual versatility. Freeman's swinging blues piano and Budwig's fat, woody bass sprint while Geller's cool alto highlights the second section. In the third movement, Manne uses mallets on the toms and works the kick drum with a Latin feel. The final section is kicked off by his frenetic snare as Freeman challenges Geller and Williamson.
The two 1966 Penthouse gigs offer four lengthy performances and two shorter tunes. Gig opener "Softly, As in a Morning Sunrise" commences at breakneck tempo with Strozier and Candoli. Manne's syncopated groove is constant and forceful. Budwig delivers an extended walking bassline while Hawes digs into the intricacies of the harmony. Strozier's flute almost steals "Summertime," while Condoli's muted horn quotes "Why Couldn't We Fall in Love" before his solo initiates a dialogue with Freeman. Price guests on "Dearly Beloved" and closer "Surrey with the Fringe on Top"; both offer sophistication. Hawes' "Funny" opens with a lengthy solo from Candoli that bridges jazz-blues and hard bop. Hawes' solo dances a line between bop, bossa, and blues. The standard "My Secret Love" is essentially a vehicle for Strozier's dazzling flute work over Manne's syncopated, staggered accents and carefully articulated breaks.
Manne's bands here are energetic, creative, and tight, lending a portrait of the bandleader at his musical best. As is typical of any Feldman project, this one includes rare archival photographs and a booklet with detailed liner notes and interviews with musicians including Holman, Jim Keltner, Joe LaBarbera, Price, and Peter Erskine.

© Thom Jurek /TiVo