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A Jaz Approach to Stereo with Marty Napoleon — Mickey Sheen — Chubby Jackson ILS Aside from being an enthusiastically entertaining album, and Charlie Shavers; record dates with Hawkins, Roy We Three i is unique in that it utilizes a group stereo- Eldridge, Lester Young, Harry Edison, Buck Clayton, phonically in a manner that has never been done before. and Rex Stewart; appearances at the Great South Bay The project was conceived by Aaron Nathanson, chief and Stony Brook Festivals (he was musical director of mixing engineer at Everest Records. “Each musician,” the latter); and many other varieties of experience. he explains, “is on his own channel—both his singing and Sheen is also vice-president of the Association for the playing. Chubby Jackson, bass, is on the right; Marty Advancement of American Music, Inc., which has been Napoleon, piano, is on the left; and Mickey Sheen, invited by New York schools and by the United Nations drums, is on the middle.’ As you’ll hear, Nathanson has to give concerts illustrating American jazz. produced stereo of consistent clarity, logic, and depth. Let The Good Times Rock n’ Roll has lyrics by Marvin As is appropriate for the quality of ad lib fun con- David and music by Chubby Jackson. Nagasaki is the tained in this set, the album came into existence spon- venerable standard and the idea of putting the Chatta- taneously. The Big Three (Jackson, Napoleon and nooga Choo Choo on a cha-cha rail was Aaron Nathan- Sheen) have been together for some nine months. They son’s. The impressionistic vocal on My Ideal is Chubby’s asked permission to rehearse at the Belock studios in ant is meant to be a portrait of “a sophisticated Bronx Bayside, Long Island, one night when no recording gir ae LET THE GOOD TIMES ROCK ’N’ ROLL sessions were scheduled. Nathanson heard them, was Marvin David and Chubby collaborated on Travelin’ intrigued by their vitality and wit and also by the stereo- Mind on which the vocal is by Marty Napoleon. “Aaron | phonic possibilities of their approach, and an album was was looking for a savage, hypnotic type of beat,’’ explains NAGASAKI | proposed. Chubby. “What we did was for Mickey to play with just l “We used no gimmicks,’ Nathanson emphasizes. one brush on an empty valise; and I played no bass lines, | “There is no overdubbing, no multi-tracking. All the just rhythmic patterns. The organ is by Marty.” Cha- Cha voices and whistling were done while they were playing. Blues is a collaboration between the Big Three and CHATTANOOGA CHOO CHOO CHA-CHA l And we decided on largely “head” arrangements. The Nathanson. “Just Mickey plays the cha cha rhythm,” I policy was ‘anything goes.’ We wanted them to feel com- Chubby points out. “Marty and I play the blues against I pletely free.” It might be added that Nathanson himself it.” MY IDEAL | is a former musician, a clarinetist who had an eight year The four collaborated again on Whistle Your Blues | New York Philharmonic scholarship and studied with Away in which the whistling solo is by Chubby. “I’ve | Simeon Bellison. never heard a jazz whistler before,” says Chubby. “I | “We went to rehearse that night,” Chubby Jackson mean whistling a line as if it were coming out of a horn, TRAVELIN’ MIND | recalls, “as an instrumental trio. We came out as a vocal so I thought Id try it. I group. We'd never sung together before that night. Marty “Aaron Nathanson suggested Four Leaf Clover be sung | and I used to sing as an incidental feature of The Big by us. Marty had brought | it in as an instrumental CHA-CHA BLUES | Four (with Charlie Ventura and Buddy Rich) but Mickey arrangement.” “On this one,” declares Chubby, “as on had never sung before.” The Big Three is a co-operative the rest of the album, we wanted to entertain as wide an I group and ali responsibilities and rewards are split evenly audience as possible, and to swing while doing it.” | three ways. The extended, expert three-part drum solo on Caravan WHISTLE YOUR BLUES AWAY | Chubby Jackson who has his own big band album on was done in only one take. “Most drum solos,” empha- | Everest (Chubby Takes Over, LPBR-5009, SDBR-1009), sizes Chubby, ‘get monotonous, but this is different, par- I has worked with Raymond Scott, Terry Shand, Charlie ticularly with the way Aaron set up the microphones for FOUR LEAF CLOVER | Barnet, and became best known through his years with stereo. It’s like listening to a conversation in rhythms; { Woody Herman. From 1953 until recently, he settled in and because of stereo, you can hear what’s going on much | LINAOUd VJO INIGUOITY WIOTIA Chicage, and was involved for five years in a highly enter- more clearly. About Mickey, I’d like to add that he’s one i taining children’s TV show. Back in New York, Chubby of the greatest drummers I’ve ever heard. He knows the CARAVAN: Part 1, 2, 3 | is active again on the recording scene and in clubs and whole scene; he doesn’t get in anybody’s way; his time | concerts with The Big Three. and taste are impeccable. Nathanson adds: ‘‘He tunes his i Pianist Marty Napoleon, who has the same huge and drums, including his bass drums, no matter what he WE THREE visible delight in playing that Chubby enjoys, played with plays, and he can make his instrument a melodic one as | several big bands —including Georgie Auld, Charlie well as a very complex rhythmic ensemble.” i Barnet, Charlie Ventura — as well as the Big Four. He Chubby also gives much credit. to Marty Napoleon. 1 became internationally famous when he joined Louis “He doesn’t even have to play to inspire us. That smile | Armstrong in 1952. In recent years, he’s been free-lancing on his face and the way he moves his body makes you I in the New York area on records, in clubs, and on TV. want to play happy. Also, he doesn’t get in the way; he’ s i Drummer Mickey Sheen is not yet widely known out- wonderful in teamwork; and he knows every tune in life.” ! side New York, but is much respected by other musicians “We played the album,” Marty Napoleon summarizes | of nearly all schools and styles. Born in Brooklyn, Decem- this experience, ‘for the photographer who took the cover | ber 13, 1927, he is a thoroughly trained drummer. Gene shot. ‘How many guys in the group?’ he kept asking. ‘It’s Krupa recently asked him to coach Sal Mineo for Mineo’s just the three of us,’ I told him. ‘Yes, yes,’ he answered, | starring role in the forthcoming film biography of Krupa. ‘but how many are behind you?’ ‘All of it is just we | Sheen’s musical associations have included two and a three.’” And that, We Three, is aptly the title of the I half years at the Metropole with Coleman Hawkins windup tune and the album as a whole. — Nat Hentoff i | | i | THE RECORDING: This Everest Recording is a product of in the new Belock Recording studio, which is constructed along playback system, but naturally will be most appreciated by I Belock Recording, a division of the Belock Instrument Corp. the most advanced ideas in acoustics for recording. The very the audiophile with the very finest hi-fi equipment. When i An EVEREST recording represents a new peak of achieve- latest Telefunken, AKG and Neumann microphones were util- EVEREST recordings are played in the Belock studio through i ment in the recording art. As a product of Belock Instrument ized, feeding into a multi-channel stereo mixing console, espe- top quality hi-fi equipment similar to that found in home use, i Corp. this recording enjoys unique advantages shared by few, cially designed in the Belock Laboratories. The output of the the resulting sound is indistinguishable from the master tape. if any other record company. The parent company is con- console was fed into the new Ampex 300 self-sync stereo Since Belock Recording unconditionally guarantees that their i sidered one of the world’s finest precision electronic facilities recorders on half inch tape. A specially-designed Ampex with tapes and stereo disks are genuine stereophonic recordings l and is engaged chiefly in the development and production of low-noise amplifiers is used to produce the dubbing master. they are designated as CERTIFIED STEREO-MASTER i ultra-secret military devices. The company was one of the Tape duplication is accomplished on modified Ampex machines RECORDINGS. The frequency range of EVEREST recordings i earliest involved in the electronics aspects of ballistic missiles in the Belock studios, so that maximum quality control is exer- is 20 to 20,000 cycles. It is important to note that many com- | and is pre-eminent in the fields of radar, and fire-power com- cised at all times. For stereo disc, the tape is fed into modified panies specify wide frequency response, and while this is an I puters and stabilization systems. Harry Belock, founder of the Westrex stereo cutterhead, mounted on scully lathes.