SOMETHING BLUE

7RHorn P1

The Paul Horn Quintet

SOMETHING BLUE

HIFITAPE...J615...7 1/2 ips Stereo
VG+/G+...plays well...$12.00 SOLD

SIDE ONE:
Dun Dunnee - 7:00
Tall Polynesian - 7:55
Mr. Bond - 8:02

SIDE TWO:
Frempiz - 7:20
Something Blue - 8:00
Half and Half - 6:26

FROM THE BACK OF THE BOX:

THE LEADER This somehow seems characteristic of Paul Horn: in providing the data for these notes, he gave in detail the history of every member of his quintet but one. He left out Paul Horn.

Not that it is necessary to be convinced that Paul is a nice guy in order to enjoy his music fully. As it happens, he is, but whether a man is an admirable individual has little, if any thing, to do with the stature of his work. Beethoven had many narrow, petty characteristics but his music is cosmic in scope.

Indeed, it sometimes seems that an artist's personality is likely to manifest itself in reverse in his art. It is widely known in writing circles that humorists are usually deadly serious people, while the writers of tragedy are often hellers bent on a good time. One of our finest jazz trumpeters is known for his touchy, misanthropic and angry view of the world, yet he consistently produces music of moving, introspective gentleness.

And so the personality factor in an artist's work should be viewed with some skepticism. Freud admitted that there are mysteries in the creative process that even psychoanalysis could not upravel.

As long as it is kept in perspective, however, Paul's personality is worth some thought while listening to his music.

On a stage, when someone is soloing, Paul often stands very erect, one foot in advance of the other, head thrown back a little, his eyes shut. Taken with the fact that he is impeccable in dress, this posture and expression create an impression of pride and even vanity-as if he were a character from an Oscar Wilde play looking down an aristocratic nose at a world that perversely remains a little beneath his standards.

But ten minutes of conversation will convince you that Paul is a fundamentally modest person, sensitive to criticism and yet able to take it with a remarkably good grace and, if it seems valid, to act on it.

If he is that sensitive-and he is-then it would be logical to assume that he would go out of his way to avoid criticism. But it doesn't work out that way. Paul is an experimenters, and a determined one. While others have dabbled with clasical forms and techniques in jazz, Paul - who has an excellent background in "classical " music - went the whole route: he adapted a number of works from the concert and recital repertoires to the instrunmentation of a jazz quartet. He encountered some criticism for it. "But we all like the music," he said later "and wanted to do it. So we did."

Thus below the layer of personality that is modest and receptive, there's obviously a direct and personal kind of drive. After all, to experiment means to shick your neck out. Paul could earn an excellent income by confining himself to the studios of Hollywood, where he lives, instead of venturing out with a jazz group in a town where it is notoriously difficult for such groups to find steady work. But venture he did, nor did he confine himself and the group to the accepted forms and sounds of jazz He went on experimenting.

Thus you can see that the personanly factor in Paul's work is very complex-as it is in any artist. Paul strikes me as being built like an onion: a layer of modesty within a layer of pride within a layer of modesty within a layer of . . .

And that is as it should be. For it is out of a strange amalgam of humility and drive that artists are made. After all, no one practices a musical instrument for eight or more hours a day, as most frrst-rate instrumentalists must do at some stage of their growth unless he has a tremendous desire to excel.

So the man who would be an artist must be a mixture - driving and determined to conquer his instrument (listen to the slow, controlled vibrato Paul has achieved on flute) on the one hand, humble tn the face of the art that he and the instruments are trying to serve. Paul qualifies on both counts.

THE GROUP Paul, a native of New York, took his Bachelor of Music degree at Oberlin Conservatory of Music in Ohio, and his Master of Music degree at the Manhattan School of Music in New York City Later, he performed with the Sauter-Finnegan Orchestra, where his skill on several instruments stood him in good stead. But it was with the Chico Hamilton Quintet that he achieved his greatest prominence before forming his first group. In 1959, he organized a quintet and took it into the Renaissance Club in Hollywood. The personnel was the one you hear on this disc. (ibid - tape).

Jimmy Bond, a 27-year-old Philadelphian, on bass A student of bass at the New School of Music in Philadelphia at one.time. Jimmy later was graduated from the Juillhard School of Muslc in New York. At Juillhard, he studied bass, conducting and composition as a scholarship student. He has worked with Gene Ammons, Ella F'tzgerald, Carmen McRae, Buddy DeFranco, Nina Simone, George Shearing, Sonny Rollins, and Chet Baker. Paul Moer, a one-time rehearsal pianist and arranger for television. He worked for the Bob Hope Show, the Steve Allen Show, and Desilu Productlons. He also worked as arranger and pianist on a number of non-jazz albums, and has performed with such west coast jazz leaders as Shorty Rogers and Bud Shank, and at Howard Rumsey's Lighthouse.

Emil Richards, a vibist who was born Emilio Radocchia in 1932 in Hartford, Conn He begin studying xylophone at the age of six, went to the Hartford School of Music from 1949 through 1952, then was percussionist with the Hartford and New Britain symphony orchestras and the Connecticut Pops Orchfftra. In 1954 and 55 he was assistant leader of the U S Army band in Japan, and worked with Toshiko during that period. In 1956, he worked around New York with Flip Phillips, Charlie Mingus, and Chris Connor. Then he joined George Shearing with whom he remained until 1959, when he moved to Los Angeles and began working with Paul.

Billy Higgins, whom Paul calls "one of the finest young drummers to come out of L. A. in many years. He possesses that rare combination of abilities to play lightly and at the same time with great intersity and drive. His time is impeccable and, all in all, he swings like hell." Higgins, who is still in his early twenties, has worked with Leroy Vinnegar, Harold Land, and other leading west coast groups.


THE MUSIC The six compositions in this album are all originals. Four are by Paul Horn, the fifth is by Paul Moer, the sixth is by Emil Richards. All, execpting Something Blue, are departures from the standard jazz forms. For the technical minded, here is a break-down of the tunes:

Dun-Dunnee (Horn) - Three phrases are use. The first is 16 bars of G7; the second is 16 bars, comprising two bars of Gm, two bars of Fm, two bars of Ebm, two bars of Dm, with the total eight bars repeared. The tune end with eight bars of G7, which is also used as an interlude between the solos.

Tall-Polynesian (Moser) - This is written in 3/4 time. It opens with a four-bar interlude, The main melody is an eight-bar phrase repeated with a four-bar tag. The blowing is in double time (really 3/2) and the interlude comes in 3/4 time between each chorus.

Mr. Bond (Horn) - This composition consisst of four eight-bar phrases built on a diminished cycle. These phrases are eight-bars of G7, eight of Bb7, eight of Db7, and eight of E7. The tune begins with a vibe solo followed by eight bars of tempo, then into tune.

Fremptz (Richards) - There are three 16 bar phrases in 3/4 - 16 bars of C7, the 16 bars comprising four bars of Bb7, four of g7, with the total eight bars repeated, though with a feeling of 4/4; and finally 16 bars of C7.

Something Blue (Horn) - This a regular 12 bar blues, except that all changes are minor 7ths.

Half and Half (Horn) - This has town introductions, the first with piano and bass improvising on two chords, the second a 12 bar section in 6/8 time. The tune consista of three phrases - the first a 12 bar phrase in 4/4 (eight bars of ensemble, four bars of drum solo), and eight bar phrase in 6/8; and a final eight bars of 4/4.

The music is strongly impressionistic, and Paul points out that the influence is that of Maurice Ravel, though in the rhythms and the instrumentation used, a direct resemblance to Ravel will not be found.

Actually, the exotic flavor of this music is such that I was prompted to ask Paul if he were familiar with the music of Colin McPhee, a Montrea born composer who spent the 1930's living in Bali. McPhee was strongly influenced by the music he heard there, particularly the native gamelan music. Later, he adapted both the musical approaches and the instruments of the Balinese to symphonic music. Maybe Moer's title, Tall Polynesian prompted me to think of McPhee, but what ever it was, once the connection was made, kept finding a fascinating similarity of flavor between this album and some of McPhee's music, particularly his 1936 taccato for orchestra title Tabuh-Tabuhan, which I recomment you listen to, if you like this album.

Paul did not know McPhee's music.

Whatever the sources, this is a freash and different jazz album. One of Paul's friend says that his is "the only group on the west coast that's doing anything different." That would seem to be true, now that Ornette Coleman has gone east.

The exotic flavor of this music - sometime gentle and almost fragile - never overcome the drive of jazz. When the quintet drives, it drives hard, and there is hard cooking all the way. Or, as they say in the trade, "All the pots are on."

Paul thinks that wiht this quintet and this album, he has found his direction. And I believe he is right.

Produced by Dave Axelrod, Artist and Repertoire
Liner Notes by Gene Lees, Editor, Downbeat Magazine


Disc master for this long-playing microgroove HIFIRECORD were cut on a ful automatic Newmann (German import) cutting lathe with Teldec stereo cutting head. Amplifiers used in connection with, are 150 watts each. Frequency response is flat (plus or minus 2 DB) from 30 CPS to 20, 000 CPS.


ALSO: On Audio CD ASIN: B000000Z7P Released: 01 July, 1991



We may repair tape, but will note same above
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