The Beginnings · West Coast Years 1959-1962

Bassist Gary Peacock (1935-2020) made his first recordings in the West Coast between 1959 and 1962. He was in his mid-20s when he arrived in Los Angeles, and although his talent was starting to get some recognition, not many would have counted Peacock among the most proficient young bassists in jazz. After the release of these recordings, there were few who wouldn't have.

Before him, the most prominent new bassists of the early 1960s were Scott LaFaro, followed by Charlie Haden, Steve Swallow and Chuck Israels. LaFaro's unexpected death in 1961 was a great loss because we most likely missed on further developments he would have contributed to the role of bass in jazz. Gary Peacock's push for innovation was a win for the same reason. The Peacock who suddenly burst in 1962 onto recordings with Jimmy Woods, Clare Fischer and with Don Ellis and Paul Bley was among the most challenging young musicians in jazz, a bassist learning to make his way into the most advanced groups. His playing had come far since his recordings with Bud Shank or Carmell Jones two years earlier, in an evolution that had no turning back.

Gary Peacock was sure that “although you may have an idea of where you are in your work, a record will show you where you really are —you and anyone else who hears it.” Listening to this compilation of his early recordings, you may find the answer.

Tracklist

Album details

Sources:
Track #1, from "Carmell Jones - Previously Unreleased Los Angeles Session (FSRCD 867)
Track #2, from "Bud Shank - Bud Shank with Maynard Ferguson-Stu Williamson & Bob Enevoldsen" (Crown CLP 5311, also on FSRCD 606)
Tracks #3,7,10 & 12, from "Clare Fisher - First Time Out" (Pacific Jazz Stereo 52)
Track #4, from "Carmell Jones - The Remarkable" (Pacific Jazz Stereo-29)
Track #6, from "Jimmy Woods - Awakening!!" (Contemporary S7605)
Tracks #5 & 9, from "Don Ellis - Essence" (Pacific Jazz Stereo-55)
Tracks #8 & 11, from "Bud Shank - New Groove" (Pacific Jazz Stereo-21)

Track #1: CARMELL JONES QUARTET
Carmell Jones (tp), Forrest Westbrook (p), Gary Peacock (b), Bill Schwemmer (d).
Recorded at Forrest Westbrook’s studio, at 2021 Santa Monica Blvd, Santa Monica, California, August 1960

Track #2: BUD SHANK QUARTET
Bud Shank (as), Billy Bean (g), Gary Peacock (b), Chuck Flores (d).
Recorded at Pacific Enterprises Inc./ Rex Studios, Los Angeles, April 18, 1959

Tracks #3, 7, 10 & 12: CLARE FISCHER TRIO
Clare Fischer (p), Gary Peacock (b), Gene Stone (d).
Recorded at Pacific Enterprises Inc./ Rex Studios, Los Angeles, April 12 & 14, 1962

Track #4: CARMELL JONES QUINTET
Carmell Jones (tp), Harold Land (ts), Frank Strazzeri (p), G. Peacock (b), Leon Petties (d).
Recorded at Pacific Enterprises Inc./ Rex Studios, Los Angeles, June 30, 1961

Track #6: JIMMY WOODS QUARTET
Jimmy Woods (as), Dick Whittington (p), Gary Peacock (b), Milt Turner (d).
Recorded at Contemporary Records, Los Angeles, February 19, 1962

Tracks #5 & 9: DON ELLIS QUARTET
Don Ellis (tp), Paul Bley (p), Gary Peacock (b), Nick Martinis (d).
Recorded in Los Angeles, July 14 & 16, 1962

Tracks #8 & 11: BUD SHANK QUINTET
Carmell Jones (tp), Bud Shank (as), Dennis Budimir (g), Gary Peacock (b), Mel Lewis (d).
Recorded at Pacific Enterprises Inc./ Rex Studios, Los Angeles, February 22, 1961

Original recordings produced by Dick Bock, except #1 by Forrest Westbrook, and #6 by Lester Koenig

This compilation produced for CD release by Jordi Pujol
Liner notes: Jordi Pujol
© 2020 by Fresh Sound Records

Stereo · 24-Bit Digitally Remastered
Blue Moon Producciones Discograficas S.L.

Press reviews

"Talentuoso contrabbassista e originalissimo compositore di hard-bop e jazz moderno, Gary Peacock era un musicista intellettuale ma distintivo il cui orecchio intuitivo e comprensivo per l'interazione di gruppo lo ha portato a passare dagli standard bop, a Jarrett , fino al free jazz d'avanguardia. Peacock (1935-2020) ha effettuato le sue prime registrazioni nella West Coast tra il 1959 e il 1962. Aveva circa 20 anni quando è arrivato a Los Angeles, e sebbene il suo talento stesse iniziando a ottenere un certo riconoscimento, non molti avrebbero pensato ad un Peacock tra i giovani bassisti più abili nel jazz di tutti i tempi.

Ora la Fresh Sound Records ha pubblicato questo cd con le registrazioni di Peacock durante questo periodo. L'album, The Beginnings: Gary Peacock, West Coast Years (1959-1962), presenta il bassista con il Carmell Jones Quartet, il Bud Shank Quartet, il Clare Fischer Trio, il Carmell Jones Quintet, il Jimmy Woods Quartet, il Don Ellis Quartetto e il Bud Shank Quintet. In anticipo su i tempi tutti questi brani appartengono a otto fantastici album, il che rende questa nuova compilation un punto di partenza interessante per sperimentare le radici jazz di Peacock e per capire l'approccio ai futuri album di leadership e alle sessioni di sideman. Fu anche durante questo periodo che Peacock fece amicizia con il pianista Paul Bley durante la registrazione dell'album Essence del 1962 del trombettista Don Ellis. Le tracce sono tutte scelte formidabili e super-cool."

—Giuseppe Maggioli (May 30, 2021)
https://www.facebook.com/WIndout
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"Bassist Gary Peacock, who died in September of 2020, was probably best known for Trio '64, his sole album in 1963 with Bill Evans, as well as his work with Albert Ayler, Paul Bley, Marc Copland and Keith Jarrett. But before Trio '64, Peacock spent several years in Los Angeles working as a sideman. On the West Coast, Peacock emerged as part of a school of conversationalist bassists who didn't just keep time but were expected to engage with a point of view.

Now, Fresh Sound has released a wise sampler of Peacock's recordings during this period. The album, The Beginnings: Gary Peacock, West Coast Years (1959-1962), features the bassist with the Carmell Jones Quartet, the Bud Shank Quartet, the Clare Fischer Trio, the Carmell Jones Quintet, the Jimmy Woods Quartet, the Don Ellis Quartet and the Bud Shank Quintet.

All of the tracks have an avant-garde edge, with Peacock driving firmly on top. During this period, Peacock became a rhythmic player with unusual bass patterns and improvised statements, at times provoking and other times supporting. All of these tracks belong to eight terrific albums, which makes this new compilation a smart starting point for experiencing Peacock's roots and playing intellect. Much of the music is ahead of its time, refusing to fit into the era's pop and songbook approach and carving out new territory for small-group jazz. On each track selected by Fresh Sound's Jordi Pujol, Peacock is playing powerfully and distinctly.

You need to hear this album to understand Peacock's approach on future leadership albums and sideman sessions. The tracks are all terrific choices."

—Marc Myers (January 11, 2021)
https://www.jazzwax.com
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"The first thing that is going to shock you about this collection of material by legendary bassist Gary Peacock during his early years is that at one time HE ACTUALLY LOOKED YOUNG!

Together with Charlie Haden, Steve Swallow and Chuck Israels, the recently departed Gary Peacock was one of the most important of the up and coming bassists, best known for his work with Keith Jarrett's classic trio alongside Jack DeJohnette, as well as with Albert Ayler and Paul Motian. This retrospective has him in seen different settings, all in Los Angeles (or Santa Monica) in trio or small group formats, showing a wide breath and width of his talents and taste.

There are some surprises here, as Peacock shows a debt to and influence from legend Charles Mingus, giving some clever work in Carmell Jones' Quintet with Harold Land/ts on “I'm Gonna Go Fishin’” and snapping with the trio of Clare Fischer/p and Gene Stone on “Free Too Long”. This same trio is quite lively, with Peacock's bass dominating “Stranger” and bopping to the nifty and  hip “I Love You”. A straight Jazz Messenger-ish “New Groove” and “Liddledabllduya” with Bud Shank/as, Jones/tp, Dennis Budimir/g and Mel  Lewis/dr sounds like vintage Blue Note material, while elliptical tones are by the more adventurous team of Peacock with Paul Bley/p and Nick Martinis/dr a Monkish “Form”  and sepia “Donkey”. West Coast warm."

George W. Harris (December 7, 2020)
https://www.jazzweekly.com