ABC LP 149

Impulse AS-11

Mercury SR60129

Mercury SR60612

Mercury SR60653

Mercury SR61050

The Quincy Jones Abc / Mercury Big Band Jazz Sessions (5-cd Box Set)

Quincy Jones

Terrific, limited edition box set collecting all the recordings made by this one of a like group of superstar musicians including: Art Farmer, Phil Woods, Zoot Sims, Curtis Fuller, Phil Woods, Freddie Hubbard, Benny Golson, Art Blakey, and Hank Jones.

The set includes 5 CDs covering all of his 1959-60 studio and 1961 live Mercury sessions, as well as an earlier set from 1956 for ABC-Paramount and a 1961 date for Impulse.

Also includes an exhaustive essay by Brian Priestley and a complete discography, as well as many rare photographs by Chuck Stewart.


Tracklisting:

CD 1
- The ABC/Impulse Sessions

01. Walkin' (Richard Carpenter) 10:39
02. A Sleeping Bee (H.Arlen-T.Capote) 4:38
03. Sermonette Julian Adderley) 5:54
04. Stockholm Sweetnin' (Quincy Jones) 5:38
05. Evening In Paris (Quincy Jones) 4:05
06. Boo's Bloos (Quincy Jones) 5:10
07. The Quintessence (Quincy Jones) 4:19
08. Robot Portrait (Billy Byers) 5:24
09. Little Karen (Benny Golson) 3:42
10. Straight, No Chaser (Thelonious Monk) 2:24
11. For Lena And Lennie (Quincy Jones) 4:16
12. Hard Sock Dance (Quincy Jones) 3:18
13. Invitation (B.Kaper-P.F.Webster) 3:33
14. The Twitch (Billy Byers) 3:49


CD 2

01. The Birth Of A Band (Quincy Jones) 2:55
02. Moanin' (Bobby Timmons) 3:03
03. I Remember Clifford (Benny Golson) 3:42
04. Along Came Betty (Benny Golson) 3:17
05. Tickle Toe (Lester Young) 2:56
06. Happy Faces (Sonny Stitt) 2:40
07. Whisper Not (Benny Golson) 3:22
08. The Gypsy (William G. Reid) 4:04
09. A Change Of Pace (Q.Jones-H.Persson) 3:20
10. Tuxedo Junction (Johnson-Hawkins-Feyne-Dash) 2:43
11. Daylie Double (Quincy Jones) 5:59
12. Moanin' (Bobby Timmons) 3:10 (*) Alt. Take
13. Happy Faces (Sonny Stitt) 2:43 (*) Alt. Take
14. After Hours (Avery Parish) 3:31
15. Choo Choo Ch'Boogie (Darling-Horton) 2:26
16. The Hucklebuck (Alfred-Gibson) 2:25
17. The Midnight Sun Will Never Set (Jones-Salvador-Cochran) 2:41
18. The Preacher (Horace Silver) 2:53
19. Marching The Blues (Q.Jones-M.Liston) 2:41
20. Blues In The Night (H.Arlen-J.Mercer) 3:56
21. Syncopated Clock (L.Anderson-M.Parish) 2:44


CD 3

01. Lester Leaps In (Lester Young) 3:33
02. Ghana (Ernie Wilkins) 4:35
03. Caravan (Tizol-Ellington) 3:28
04. Everybody's Blues (Ernie Wilkins) 4:13
05. Cherokee (Ray Noble) 3:09
06. Air Mail Special (Christian-Goodman) 2:33
07. They Say It's Wonderful (Irving Berlin) 3:21
08. Chant Of The Weed (Don Redman) 3:13
09. I Never Has Seen Snow (Arlen-Capote) 3:08
10. Eesom (Bill Potts) 5:03
11. Pleasingly Plump (Quincy Jones) 2:15
12. G'wan Train (Patti Bown)) 6:20
13. Moonglow (Hudson-DeLange-Mills) 2:47
14. Tone Poem (Melba Liston) 3:38
15. You Turned The Tables On Me (L.Alter-S.Mitchell) 2:29
16. Chinese Checkers (David C.Glover Jr.) 2:40
17. Love Is Here To Stay (I) 3:11
(G.Gershwin-I.Gershwin)
18. The Midnight Sun Will Never Set (Jones-Salvador-Cochran) 4:31
19. Trouble On My Mind (William Noble) 2:30
20. A Sunday Kind Of Love (Prima-Bell-Leonard-Rhodes) 2:32
21. Parisian Thoroughfare (Bud Powell) 3:47
22. Pleasingly Plump (Q.Jones) 2:26 (*) 1st Version
23. G'wan Train (Patti Bown) 2:57 (*) Short Version


CD 4

- The Zurich Concert
01. Solitude (Ellington-DeLange-Mills) 4:27
02. Stolen Moments (Oliver Nelson) 13:44
03. Bess, You Is My Woman Now (Gershwin-Gershwin-Heyward) 5:45
04. Moanin' (Bobby Timmons) 2:58
05. Air Mail Special (Christian-Goodman) 3:51
06. Banja Luka (Phil Woods) 9:23

- The Zurich Jam Session
07. Billie's Bounce (Charlie Parker) 7:10
08. Scrapple From The Apple (Charlie Parker) 9:59
09. Blue 'N Boogie (D.Gillespie-F.Paparelli) 10:12


CD 5

- The Newport Concert
01. Ghana (Ernie Wilkins) 4:03
02. Meet B.B. (Quincy Jones) 3:59
03. The Boy In The Tree (Quincy Jones) 5:03
04. Evening In Paris (Quincy Jones) 5:21
05. Air Mail Special (Christian-Goodman) 4:21
06. Lester Leaps In (Lester Young) 6:10
07. G'wan Train (Patti Bown) 6:05
08. Banja Luka (Phil Woods) 5:56
09. I Had A Ball (J.Lawrence-S.Freeman) 5:02
10. Almost (J.Lawrence-S.Freeman) 4:20
11. Addie's At It Again (Lawrence-Freeman) 5:03



Original LP sources:

-That's How I Feel About Jazz
(ABC-Paramount ABC149)
-The Quintessence (Impulse AS-11)
-We Had A Ball (Limelight LS86002)
-The Birth Of A Band (Mercury SR60129)
-The Great Wide World of Quincy Jones
(Mercury SR60221)
-I Dig Dancers (Mercury SR60612)
-At Newport '61 (Mercury SR60653)
-Quincy Plays For Pussycats (Mercury SR61050)
-The Birth of a Band, Vol.2 (Mercury (J) 195J-30)
-The Great Wide World of Quincy Jones Live
(Mercury (J) 195J-32)
-Curtis Fuller and The Jazz Ambassadors
(Smash SRS67034)



Quincy Jones conducts all sessions.

Collective personnel includes:

Art Farmer, Ernie Royal, Bernie Glow, Joe Wilder, Terry, Joe Newman, Thad Jones, Freddie Hubbard, Harry Edison, Benny Bailey (tp), Jimmy Cleveland, Urbie Green, Frank Rehak, Billy Byers, Melba Liston, Ake Persson, Curtis Fuller, Quentin Jackson (tb), Phil Woods, Gene Quill, Frank Wess (as), Jerome Richardson (as,ts,fl), Herbie Mann (fl,ts), Zoot Sims, Lucky Thompson, Eric Dixon, Oliver Nelson, Budd Johnson, Sam 'The Man' Taylor, Benny Golson (ts), Herbie Mann (fl & ts), Jack Nimitz, Sahib Shihab (bs), Julius Watkins (frh), Milt Jackson (vib), Hank Jones, Billy Taylor, Bobby Scott, Patti Bown (p), Kenny Burrell, Les Spann (g), Milt Hinton, Charles Mingus, Paul Chambers, Ray Brown (b), Charlie Persip, Stu Martin, Jimmy Crawford, Osie Johnson, Don Lamond (d). Bill Potts, Al Cohn, Ralph Burns, Ernie Wilkins (arr).



Original sessions produced by Creed Taylor, Bob Thiele, Brice Somers and Jack Tracy.

Recording engineers: Irv Greenbaum, Frank Abbey, Tommy Nola, Bob Fine, Gerhard Lehner and Bill MacMeekin.

Tracks #1-6 on CD 1 are mono, all other selections are stereo.


Produced for release by Michael Cuscuna

Mastered using 24 bit technology by Malcolm Addey


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Notes:

"Musicians are quick to recognize pretentions or falsehoods, but such attributes are never mentioned in Quincy's connection. Only admiration, and a certain amazement as to what he achieved, are the standard reactions." --Brian Priestley, liner notes

"It didn't make sense economically, didn't make sense logistically, didn't provide ego satisfaction for star players, but Quincy Jones formed a big band. For the sheer sake of the music.

And because of their love for Quincy, an exceptional group of musicians signed on for the “tour," some of them literally traipsing all over Europe to find venues that could house them and bandstands that could squeeze them all in. There was never any problem finding audiences eager to hear what Quincy was thinking, or what musicians like Art Farmer, Zoot Sims, Curtis Fuller, Phil Woods, Freddie Hubbard, Benny Golson, Art Blakey, and Hank Jones were blowing. And listeners today will discover just the same joy.

The set includes all of his 1959-60 studio and 1961 live Mercury sessions, as well as an earlier set from 1956 for ABC-Paramount and a 1961 date for Impulse. The 1956 date for an ABC-Paramount release was a masterpiece of arranging and band leading. You hear him creating his new sound in what is the core of the set, the 1959-60 studio recording that comprised Quincy's “The Birth of a Band" release and later sessions. The final dates were a reunion of sorts, for a tour in Europe and a performance at Newport and an expanded orchestra for a studio session on Impulse. Even though recordings spanned a number of years, from New York to Zurich to Paris to Newport and back to New York, we were able to track down every original tape master.

In writing for the big band, Quincy concealed a great deal of harmonic and rhythmic complexity in his charts. He really was reinventing big band music for a new decade and a new generation of listeners. His pieces sounded youthful and vibrant, and could be technically demanding almost beyond belief; more the writing you'd expect a five-piece band to conquer, not one comprising 17 or 18 or 20 musicians. But his bands rose to the challenge, showing there is great swing in precision, and a way of creating excitement by playing both loose and tight at the same time.

The over-brimming talent of Quincy Jones was recognized early. Raised in Seattle, Quincy first began to study trumpet as a teen, and within a few years was performing, touring and recording. He also quickly took to arranging, creating charts for Oscar Pettiford, Art Farmer, Tommy Dorsey, and Count Basie, among others, just six or seven years after taking up the horn. Work as a music director, producer, and conductor came soon after and he would become a record company executive at a time when black musicians didn't get those opportunities [...]"

-All About Jazz (December, 2007)

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