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~~ LES M’CANN (> THE GERALD WILSON ORCHESTRA

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“ae 91/LES McCANN & THE GERALD WILSON ORCHESTRA

| PACIFIC JAZZ SIDE 1: COULD BE / STRAGLER / RESTIN’ IN JAIL / BAILOR THE WAILER A PRODUCT OF LIBERTY RECORDS SIDE 2: MALEAH / LOT OF LIVING TO DO / KATHLEEN’S THEME / GUS GUS

This collaboration between LES McCANN and GERALD have been almost entirely restricted to California. Yet WILSON is a natural one and | think this album repre- the news of Gerald’s music spread rapidly after his PERSONNEL: sents a highlight in Les’ recording career. Les’ playing first release and he soon became a best-selling artist here, as always, is positive and extroverted and is in areas that had never seen him. Also Gerald has not LES McCANN - piano showcased wonderfully against the backdrop of had the television exposure that some of the older big VICTOR GASKIN ~« bass Gerald’s exciting band. bands have enjoyed, but a glance at the jazz polls shows him right at the top along with Basie, Elling- PAUL HUMPHREY - drums It occurred to me one night, several months ago, while | was watching Gerald Wilson and his orchestra ton, and Herman (and with a sound that is the most and the entire during one of their engagements at The Lighthouse, modern of the big bands). GERALD WILSON ORCHESTRA that if Gerald had chosen the media of motion pictures Watching Gerald’s orchestra in performance is to express himself rather than music, he would surely always a great pleasure for me because I’m watching featuring have become a great director in the tradition of a man who clearly enjoys what he’s doing and loves Dennis Budimir ¢ guitar Kramer, Preminger, or Stevens. his work. He seems to enjoy the musicians in his band as much as the audience and when one takes an excel- It should be known that | made this seemingly dis- Teddy Edwards « tenor lent solo, Gerald sometimes leads the applause. jointed evaluation of Gerald during my seventh Cutty The one characteristic that Gerald has that makes * ok Sark at The Lighthouse. Often when | make such state- him a rarity in jazz these days is his ability to com- ments in this frame of mind they don’t make a great PRODUCER: RICHARD BOCK municate with an audience. It’s this very characteristic deal of sense to me the following morning but the that he has in common with the man he shared this cover art by THOMAS KNITCH* comparison between Gerald Wilson and great motion record with. (courtesy The McKenzie Gallery) picture directors still seems valid to me. The success of Les McCann began as almost an A director must do many things well. The director album design & photography by underground movement. Les enjoyed a small but WOODY WOODWARD assembles the cast, brings his ideas to a script that devoted following in Southern California and when his has been selected, and uses his artistic judgments audio by RICHARD BOCK debut album was released on Pacific Jazz (“THE with the script and the actors to best achieve the TRUTH” PJ-2) the support was just as loyal but the *K OK *K results he wants. When the product is ready for the cult grew in numbers. His first album was an imme- public it has been the director who is most responsible *A note about our cover artist: Thomas Knitch studied at Los diate success and Les has built a record of success Angeles’ Art Center School and the Academie de la Grande for its success or failure. that is almost unequalled among jazz musicians today. Choumier and the Center de Il’Art Sacre in Paris where he had two one-man shows. Mr. Knitch now makes his home in Similarly, Gerald does all things well. He is a An aspect of Les McCann that has often been over- New York. craftsman in every way. He hand-picks the musicians looked is his compositional abilities. Les is the com- carefully (a glimpse at the personnel listing on this poser of all but one of the selections in this album. record will assure you that Gerald hasn’t settled for ‘‘Bailor The Wailer’ is an especially exuberant com- second best), he selects the material (most of which position and performance. Les dedicates this to Elgin he composes and arranges), and then he bolsters the Baylor of the Los Angeles Lakers (who might be band and the audience with his own enthusiasm and described as a hard-bop basketball player). And exuberance. Gerald is a total musician. He touches there’s the beautiful ‘‘Kathleen’s Theme’’ (arranged all bases, and like a good director he is the man in and conducted by Jimmie Haskell). ‘“Could Be’’ has charge. a good Basie feeling to it. Although Gerald.has paid his dues for many years, The arrangements with the big band on this album his reputation has become more widely known in the are by Gerald Wilson based on ideas by Les McCann. past few years. He played in the trumpet section of Les is another man who is well known for doing the great bands of Lunceford, Basie, Ellington, and many things well. This album is a testimony to his Gillespie, arranged and composed, for all these bands, writing ability and his playing. It also showcases his and led his own successful big band in the 40’s, but regular trio (Victor Gaskin on bass, Paul Humphrey even with his great success he left it all behind to con- on drums) one of the most successful groups in jazz tinue studying music. His self-imposed exile was and constantly in demand around the world. ended when he formed a big band that was recorded Like the two personalities involved in this record, by Pacific Jazz and released in 1961. (‘YOU BETTER “McCANN /WILSON” shouts with enthusiasm and BELIEVE IT’’ PJ-34). Many were able to hear this exuberance. No hard seli is needed to convince you exciting, fresh band for the first time. that you’ve made an excellent choice in picking up Hf : edge Gerald’s success has spread almost entirely word this album. The names LES McCANN and GERALD of mouth. Because of the economics of traveling WILSON speak for themselves. Listen. across the country with a big band, Gerald’s dates LES CARTER— KBCA Radio, Los Angeles