Archive for the Shelly MANNE Category

Shelly MANNE & His Men – Play More Music From Peter Gunn, Son Of Gunn! 1959

Posted in JAZZ, Shelly MANNE on December 2, 2010 by whoisthemonk

Shelly MANNE & His Men – Play More Music From Peter Gunn, Son Of Gunn! 1959
2005 Issue


While drummer/bandleader Shelly Manne’s initial 1959 outing, dedicated to Henry Mancini’s Peter Gunn TV scores, was more than just a novelty, this follow-up disc stretches the concept to the absolute limit. Recorded only five months after the release of Shelly Manne & His Men Play Peter Gunn, Son of Gunn!! sounds exactly like what it is: jazz musicians taking ostensibly generic background music for a television show and trying to make something more out of it. Apparently, even Mancini was aware of the challenge these musicians were facing, and encouraged them to apply free interpretations on these ten cuts and not to worry about maintaining a “Mancini feeling.” Besides the lack of interesting material, Manne was also working with a brand-new front lineup, as trumpeter Conte Candoli and alto saxophonist Herb Geller were replaced by trumpeter Joe Gordon and tenor man Richie Kamuca. In retrospect, this isn’t a horrible set, just one that should have focused less on concept and more on vision.
By Al Campbell. AMG.
A crackling set of crime jazz from drummer Shelly Manne — a follow-up to his first set of work from the Peter Gunn soundtrack, and arguably even better than the first! Manne’s working here with a great combo that includes Victor Feldman on vibes, Joe Gordon on trumpet, and Richie Kamuca on tenor  playing with a warmly raspy tone that gives the work a quality that’s even more soulful than the Henry Mancini originals that inspired the set, and which is perfectly matched with the trumpet of Joe Gordon. There’s a depth here that goes way beyond the simple soundtrack roots of the material and the arrangements on the set are proof that Manne was one of the hippest-thinking jazz cats on the mainstream LA scene of the time. Titles include “Spook”, “Joanna”, “Walkin Bass”, “Blues For Mothers”, “Odd Ball”, “Blue Steel”, and “Goofin At The Coffee House”.
From Dusty Groove.
More music from Mother’s, Peter Gunn’s favorite watering hole. Manne’s second LP of Mancini’s TV show music has weaker material & a different front line (trumpeter Conte Candoli & alto saxophonist Herb Geller replaced by trumpeter Joe Gordon & Richie Kamuca on tenor.). This followup is more bluesy than the first album. Maybe not essential Shelly Manne, but both albums taken together are classic Mancini & “crime jazz.”
Bass- Monty Budwig
Composed By, Arranged By- Henry Mancini
Drums- Shelly Manne
Piano- Russ Freeman
Tenor Saxophone- Richie Kamuca
Trumpet- Joe Gordon
Vibraphone [Vibraharp], Marimba- Victor Feldman
01. Odd Ball (H. Mancini) (3:33)
02. Blue Steel (H. Mancini) (4:52)
03. Spook! (H. Mancini) (5:24)
04. Joanna (H. Mancini) (4.13)
05. Goofin’ at the Coffee House (H. Mancini) (3:34)
06. Walkin’ Bass (H. Mancini) (4:31)
07. My Manne Shelly (H. Mancini) (3:38)
08. Blues for Mother’s (H. Mancini) (4:25)
09. A Quiet Gass (H. Mancini) (4:36)
10. Lightly (H. Mancini) (3:32)
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Shelly MANNE & His Men – At The Blackhawk (Vol. 1,II,III,IV,V) 1959

Posted in JAZZ, Shelly MANNE on November 15, 2010 by whoisthemonk

Shelly MANNE & His Men – At The Blackhawk (Vol. 1,II,III,IV,V) 1959
1991 Issue.


Two decades after Shelly Manne’s untimely death at the age of sixty-four, the unassuming artistry of the once popular bandleader and widely recorded sideman is largely overlooked, if not forgotten. Manne’s utilitarian drumming contains elements from stylists ranging from Dave Tough, to Papa Jo Jones, to Kenny Clarke. Befitting a musician who spent his formative years playing with ensembles of all kinds and participating in jam sessions instead of practicing rudiments and licks by himself, his drumming doesn’t clamor for attention. Manne is the opposite of the legions of loud and insensitive trapsters whose disorderly accompaniment is akin to an extended solo. He guides a band in an efficient manner that always moves the music forward.
Manne’s steadfast drumming, however, is not synonymous with monotony. Utilizing intelligence and imagination instead of dazzling technique, he produces a variety of sounds from a conventional four-piece drum set and a few cymbals. Manne has a knack for repositioning himself within the music without breaking the flow or continuity. When backing a soloist he’ll often foreground one or two components of the drum kit, then promptly switch to others. Despite the frequent use of recognizable patterns, there’s nothing schematic about Manne’s playing. Furthermore, he’s resourceful and creative even at slow tempos and very low dynamic levels.

Throughout Shelly Manne & His Men At The Black Hawk (Contemporary), the near-classic sides (reissued on five compact discs) he recorded live with a working band in September of 1959, Manne displays a brilliant improvisational sensibility. At the helm of a conventional hard bop unit, consisting of two horns (trumpeter Joe Gordon, and tenor saxophonist Richie Kamuca) and rhythm (pianist Victor Feldman and bassist Monty Budwig), the drummer places himself deep inside the music, picking up on virtually everything that goes on around him. Contrary to his revered contemporaries Art Blakey and Max Roach, Manne never gets insistent, preferring to influence rather than dictate the proceedings. Manne’s relatively light touch is nonetheless firm and decisive. Even at the wickedly fast tempos of tracks such as “Poinciana” and “Theme: A Gem From Tiffany” you can sense Manne’s mind at work; weighing the possibilities while he responds in the moment to the exigencies of the music.

Moving at a dirge-like pace for nearly 12 minutes, the band’s rendition of Gershwin and Heyward’s “Summertime” (Volume 1, Track 1) never becomes tedious, partly because of Manne’s melding of rhythms and textures. Despite his supportive role in maintaining the solemn disposition of the music, there’s a restless quality to the drummer’s work. A pulse can usually be heard, via the hi-hat pedal on beats 2 and 4, some nimble ride cymbal patterns, or standard issue brush strokes; yet none of these things become too familiar due to Manne’s penchant for unceremoniously moving from one to another, while spontaneously integrating other elements. Never playing above mezzo forte and usually much softer, he often highlights pairs of sounds from different parts of the drum kit. During the beginning of Gordon’s solo, for example, the wispy hiss of a brush on cymbal lies under the steady clap of the hi-hat. Behind Kamuca’s turn, slapping single strokes with sticks to the snare are mixed in with precise eighth-note triplets to the bass drum.

Two separate takes of Benny Golson’s jaunty “Step Lightly” constitute some of Manne’s finest medium tempo efforts on the five discs. Consistently staying under Budwig’s sturdy bass line, his playing on the head of the first version (Volume 2, Track 1) is a lesson in how to help a band swing without making a fuss. As always, the small, seemingly inconsequential details of Manne’s drumming add up to something special. During the ten-measure “A” section of the 38-bar tune, as the hi-hat pedal on beats 2 and 4 clearly delineates the pulse, his ride cymbal work is barely audible. When the section repeats the cymbal is louder and more clearly defined, giving the music just a little more of a bounce. On the eight-bar bridge he briefly answers the horns with an odd, twisting fill between the snare and toms that momentarily jars the band’s march-like momentum. Although he stays in the pocket when the band returns to the “A” section, Manne is a bit more active, throwing in one prominent shot to the bass drum, a quarter note triplet on the snare that ends with a light cymbal crash, and a vigorous buzz stroke to the snare.

The challenges for Manne on both versions of “Step Lightly” are to keep things moving and sustain an easygoing groove for long periods of time (the tracks are 12:38 and 14:13, respectively). He does this very effectively in part by adhering to the basics of steady time, clearly defined sticking and footwork and, most of all, a willingness to listen and lock into Budwig’s line. Manne possesses a very large bag of tricks—he doles them out patiently and selectively. During Kamuca’s first chorus (Volume 2, Track 1) he lays back and allows us to appreciate the warmth of Budwig’s walking, judiciously adding snare drum accents (a good fit with one of the tenor saxophonist’s repeated phrases), some eighth-note triplets to the ride cymbal, as well as single strokes to a partially opened hi-hat. A few nicely placed hits to the mounted tom-tom indicate a building of intensity for Kamuca’s second chorus, and Manne follows with a rim knock on the fourth beat of each measure that, in terms of timbre, meshes with the slap of the hi-hat pedal on 2 and 4. As if to throw off the chains of this intentionally rigid pattern, he changes the hi-hat rhythm for several measures, playing the second and third beats of a quarter note triplet, briefly creating the illusion of accelerating the tempo when in reality everything stays in place.

By Manne’s somewhat conservative standards, the head of an up-tempo version of Tadd Dameron’s “Our Delight” (Volume 1, Track 2) is exceptionally busy and assertive. Moving around the drums with abandon, Manne sounds like he’s riding herd over a big band, reminding us of the years spent in Stan Kenton’s behemoth ensemble. Aggressively nailing the contours of Dameron’s composition, it’s one of those rare instances on the Black Hawk sides when he challenges the front line instruments. During the “A” section he fills all of the space left by Gordon and Kamuca with variations of fast single stroke rolls to the snare and toms. He briefly lets up on the bridge and plays straight time, but then adds exaggerated shots to the bass drum in unison with the horns. After busting loose again on a repeat of the “A” section Manne does an about face for Kamuca’s solo, reverting to a more conventional—but no less effective—timekeeping role. Manne lowers his volume and sparingly integrates terse snare and bass drum combinations into the steady ride cymbal and hi-hat rhythms. In the middle of the tenor saxophonist’s second chorus, he introduces a hopping, riff-like figure to the bass drum, and repeats it later on during Gordon’s turn. Another simple but propulsive device is Manne’s riding one cymbal for a period of time then switching to another. The light ringing tone followed by a hard metallic ping instantly adds another dimension to the band’s momentum.

Unlike his disciplined up-tempo timekeeping on the rest of the track, Manne ends “Theme: A Gem From Tiffany” (Volume 4, Track 4) with a stunning rubato drum solo. Singing and grunting beneath the sounds of his brushes, Manne jams together two very different strains of rhythms at an interval of a few seconds and then repeats variations of them. Sounding like an untutored child’s frustrated attempts at playing a melody on the piano, the first strain consists of hard slapping strokes that lurch between the snare and tom-toms, with irregular bass drum punctuation. It’s as if he takes a perverse pleasure in exposing the differences between the drums’ tone and timbre. The second, a burlesque of the standard ride cymbal rhythm played on the closed hi-hat, brings to mind Manne’s abandonment of the track’s original rapid tempo. Very different from anything else on the five discs, it’s a sly, willfully unhinged performance.
By David A. Orthmann.  AJJ.
Shelly Manne’s Quintet was recorded extensively at San Francisco’s Black Hawk club for three nights in 1959. Although not the most significant group that the drummer led, this edition (with trumpeter Joe Gordon, tenor saxophonist Richie Kamuca, pianist Victor Feldman, and bassist Monty Budwig) was certainly capable of playing high-quality bebop. Originally their output was released on four LPs; the reissue expanded the music to five CDs. The first volume adds an alternate take of Frank Rosolino’s “Blue Daniel” to a set that includes swinging versions of “Blue Daniel,” “Poinciana,” “Our Delight,” and “Summertime.” The extended performances are easily recommended to straight-ahead jazz fans.
By Scott Yanow, All Music Guide.
This is the first volume in a series of five which Shelly Manne & His Men recorded at San Francisco’s legendary Blackhawk jazz club on September 22-24, 1959. This is 100% pure jazz at it’s finest. I could not give less than five stars to any of the five albums in this series of music. The clean and precise sound of Manne’s drumming, along with the excellent chemistry of Joe Gordon’s trumpet and Richie Kamuca’s tenor sax seems to have been taken to a higher level in this intimate live setting. Victor Feldman, known more for his vibe playing, fills in well at the piano for Russ Freeman (Manne’s regular pianist on a European tour at the time). And Monty Budwig’s outstanding bass solos’ are not to go unmentioned. Manne’s dialog between sets only adds to the excellent club atmosphere these albums capture. If I was to be asked what pure west coast jazz sounds like in a small, intimate live setting more common in the ’50’s & early ’60’s, I would simply have to say listen to Shelly Manne’s albums recorded live at the Blackhawk.
By  Michael A. Lopez.
Joe Gordon- Trumpet
Richie Kamuca- Tenor Sax
Victor Feldman- Piano
Monty Budwig- Bass
Shelly Manne- Drums
01. Summertime 12:01
02. Our Delight 12:02
03. Poinciana 13:15
04. Blue Daniel 8:43
05. Blue Daniel 8:14
06. A Gem From Tiffany 0:49

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