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WOODY HERMAN Vol.3 120739bk Woody3 10/8/05 5:30 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Also available in the Naxos Jazz Legends series … 8.120658 8.120741 8.120743 8.120762 8.120768 8.120770 These titles are not for retail sale in the USA 120739bk Woody3 10/8/05 5:30 PM Page 2 Track 9: Sonny Berman, Irving ‘Marky’ Tracks 14, 15 (parts 1-3), 16: Sonny Berman, WOODY HERMAN Vol.3 Markowitz, Conrad Gozzo, Pete Candoli, Cappy Lewis, Conrad Gozzo, Pete Candoli, Shorty Rogers, trumpets; Ralph Pfeffner, Bill Shorty Rogers, trumpets; Ralph Pfeffner, Bill ‘The Thundering Herd’ Original Recordings 1945-1947 Harris, Ed Kiefer, trombones; Woody Herman, Harris, Ed Kiefer, Neil Reid, trombones; Sam Marowitz, John LaPorta, clarinet, alto sax; Woody Herman, clarinet, alto sax; Sam The end of World War II witnessed a change in army. Herman had felt the band was stifling and Flip Phillips, Mickey Folus, tenor sax; Sam Marowitz, John LaPorta, alto sax; Flip Phillips, America’s place in the world. Thanks to its decided to expand its scope, using musical voices Rubinowitch, baritone sax; Red Norvo, vibes; Mickey Folus, tenor sax; Sam Rubinowitch, resounding success in defeating the Axis forces, patterned after the Duke Ellington orchestra. Tony Aless, piano; Billy Bauer, guitar; Chubby flute, baritone sax; Red Norvo, vibes; Ralph the U.S. emerged from the war as a world power: The key elements to Herman’s Herd would Jackson, bass; Don Lamond, drums Burns, piano; Chuck Wayne, guitar; Joe proud, potent, and pulsating with creative become fiery rhythm, superb soloists, and Track 11: Sonny Berman, Irving ‘Marky’ Mondragon, bass; Don Lamond, drums energy. Just as Patton’s Third Army was innovative arrangements. Markowitz, Conrad Gozzo, Pete Candoli, Track 15 (part 4): Stan Fishelson, Bernie Glow, marching across Europe, a smaller but no less The rhythm section of pianist Ralph Burns, Shorty Rogers, trumpets; Ralph Pfeffner, Bill Irving ‘Marky’ Markowitz, Ernie Royal, Shorty powerful army of musicians was making its first guitarist Billy Bauer, bassist Chubby Jackson, and Harris, Ed Kiefer, trombones; Woody Herman, Rogers, trumpets; Earl Swope, Ollie Wilson, recordings for Columbia Records. The new drummer Davey Tough anchored the band’s Sam Marowitz, John LaPorta, clarinet, alto sax; trombones; Bob Swift, bass trombone; Woody Woody Herman orchestra typified the direction sound and kept it swinging. Jackson was the Flip Phillips, Mickey Folus, tenor sax; Sam Herman, clarinet, alto sax; Sam Marowitz, alto Americans were heading: taking chances, cheerleader of the outfit: cajoling, screaming, Rubinowitch, baritone sax; Red Norvo, vibes; sax; Herbie Steward, alto & tenor sax; Stan swinging hard, and combining the stagnating big and encouraging the musicians on every song. Jimmy Rowles, piano; Billy Bauer, guitar; Getz, Zoot Sims, tenor sax; Serge Chaloff, band sound with exciting new charts penned by Burns, along with trumpeter Neal Hefti, provided Chubby Jackson, bass; Don Lamond, drums baritone sax; Fred Otis, piano; Gene Sargent, young Turks experimenting with the sounds of distinctive, modern arrangements. Burns burned Tracks 12, 13: Sonny Berman, trumpet; Bill guitar; Walter Yoder, bass; Don Lamond, bebop. Between 1945 and 1947, there was no out early as the band’s pianist and principle Harris, trombone; Woody Herman, clarinet, drums orchestra, black or white, which could measure arranger, often resorting to Benzedrine to stay alto sax; Flip Phillips, tenor sax; Red Norvo, up to the heat generated by what became known awake during all-night arranging sessions. vibes; Jimmy Rowles, piano; Billy Bauer, guitar; as ‘The Thundering Herd’. The nickname was The soloists were led by the swaggering tenor Chubby Jackson, bass; Don Lamond, drums apt; the Herman band was like a herd of wild sax of Flip Phillips and the ferocious trombone of buffalo, thundering its way through virgin Bill Harris. Other standouts during this period musical territory, unstoppable and brimming included high-note trumpet players Sonny with enthusiasm. In fact, the spirit of the band Berman and Pete Candoli, vibraphonist Margie was so great that sheer instrumental volume Hyams, and Herman’s own high-flying clarinet. wasn’t enough; the Herman band often This compilation features some of the best heightened its musical frenzy with shouts, and most exciting sounds of the Woody Herman screams, and shrieks from its talented crew. orchestra between 1945 and 1947. Bassist Herman’s previous band, known as ‘The Chubby Jackson compared the Herd to the Band that Plays the Blues’, had been decimated Chicago Bears. ‘It was charge-through-the-brick- as member after member was drafted into the wall jazz’, he was fond of saying, and the early 2 8.120739 8.120739 7 120739bk Woody3 10/8/05 5:30 PM Page 6 15. Summer Sequence, Parts 1-4 11:41 16. Back Talk 3:05 recordings for Columbia were the musical Dizzy Gillespie-inspired unison trumpet passage (Ralph Burns) (Shorty Rogers–Red Norvo) equivalent of the Big Bad Wolf, blowing down designed by Neal Hefti, and Woody’s own Columbia 38365/7, mx HCO 2044-1, 2045-1, Columbia CL 6026, mx HCO 2053-1 every house in town. idiosyncratic vocal. The recording was Herman’s 2046-1, 3062-1 Recorded 20 September 1946, Los Angeles One of the first songs they recorded was first for Columbia, cut in New York’s venerable Recorded 19 September 1946 and Apple Honey, named for an ingredient that Liederkranz Hall on East 58th Street, a favorite 20 December 1947, Los Angeles supposedly enhanced the flavor of Old Gold facility for jazz and dance bands. cigarettes, the sponsor of Herman’s radio show. The beginning of Goosey Gander is based on Woody Herman & His Orchestra According to Ralph Burns, the song was basically the old folk song “Shortnin’ Bread”, but it then Woody Herman & His Woodchoppers (tracks 12 & 13) a head arrangement in the style of Duke meanders into a swaggering blues, with Phillips, Transfers & Production: David Lennick Ellington. Flip Phillips takes the first solo Harris, and Candoli taking solos. Digital Noise Reduction: K&A Productions followed by a blustery chorus by Bill Harris, Along with Apple Honey and Caldonia, Discographical information courtesy of The Jazz Discography by Tom Lord: www.lordisco.com accompanied by screams from the rest of the Northwest Passage was based on the chords to Original monochrome photo of Woody Herman from Michael Ochs Archives / Redferns band. Woody Herman was an underrated “I Got Rhythm”. The song starts off like a soloist; he positively glistens in his brief passage. Goodman sextet number but then after a Flip Personnel The song is capped off by the hysterical high- Phillips solo, the brass pushes the momentum to trumpet playing of Pete Candoli followed by a a riff-soaked conclusion, with Chubby Jackson’s Tracks 1, 3-5: Sonny Berman, Charles Track 7: Sonny Berman, Irv Lewis, Conte disjointed, deliberately reckless ending. bass pounding underneath. Frankhauser, Ray Wetzel, Pete Candoli, Carl Candoli, Pete Candoli, Irv Lewis, Ray Linn, Candoli’s reputation as a supercharged Neal Hefti’s The Good Earth is a tour de Warwick, trumpets; Ralph Pfeffner, Bill Harris, Neal Hefti, trumpets; Bill Harris, Ed Kiefer, soloist prompted his wife to fit him with a force for Phillips; listen for a musical tug-of-war Ed Kiefer, trombones; Woody Herman, Sam Ralph Pfeffner, trombones; Woody Herman, Superman costume, which he once wore to a as he battles with the brass section. By this time, Marowitz, John LaPorta, clarinet, alto sax; Flip clarinet, alto sax; John LaPorta, Sam Marowitz, concert at New York’s Paramount Theater. Pete Candoli’s younger brother Conte, no slouch Phillips, Pete Mondello, tenor sax; Skippy alto sax; Pete Mondello, Flip Phillips, tenor During Apple Honey, Candoli, in costume, came himself on the trumpet, had also joined the band DeSair, baritone sax; Marjorie Hyams, vibes; sax; Skippy DeSair, baritone sax; Tony Aless, sliding down a wire from a balcony to land just in at the tender age of eighteen. Ralph Burns, piano; Billy Bauer, guitar; piano; Billy Bauer, guitar; Chubby Jackson, time to play the bridge. With its nonsensical vocal chorus, Your Chubby Jackson, bass; Dave Tough, drums bass; Buddy Rich, drums; Red Norvo, vibes Herman said that he gave Bijou the subtitle Father’s Moustache shows the Herd’s loose Tracks 2, 6: Sonny Berman, Conte Candoli, Tracks 8, 10: Sonny Berman, Irv Lewis, Pete Rhumba a la jazz because ‘I was trying to explain sense of humour at work. Substituting for Pete Candoli, Irv Lewis, Neal Hefti, trumpets; Candoli, Shorty Rogers, Neal Hefti, trumpets; why we were abusing the Latin rhythm. I guess Tough on this song is Buddy Rich, who rides the Bill Harris, Ed Kiefer, Ralph Pfeffner, Ralph Pfeffner, Bill Harris, Ed Kiefer, you might call this a stone age bossa nova.’ The rhythm underneath a quirky solo by Sonny trombones; Woody Herman, clarinet, alto sax; trombones; Woody Herman, Sam Marowitz, song is a showpiece for the trombone of Bill Berman. Bill Harris devised the melody and the John LaPorta, Sam Marowitz, alto sax; Pete John LaPorta, clarinet, alto sax; Flip Phillips, Harris. Caldonia, a song associated with jump ensemble passage is credited to Neal Hefti. Mondello, Flip Phillips, tenor sax; Skippy Mickey Folus, tenor sax; Sam Rubinowitch, blues saxophonist/bandleader Louis Jordan, was Wild Root, a Neal Hefti melody based on DeSair, baritone sax; Tony Aless, piano; Billy baritone sax, flute; Tony Aless, piano; Billy thrown together in a head arrangement the day “Flyin’ Home”, remained untitled until the band Bauer, guitar; Chubby Jackson, bass; Dave Bauer, guitar; Chubby Jackson, bass; Don before it was recorded.
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