V.S.O.P. #132

EARLY SKYLARK and TAMPA EPs:

THE LIGHTHOUSE ALL STARS, MAYNARD FERGUSON, CHARLIE SHAVERS

The three recordings that make up this program were originally released on the Skylark and/or Tampa Records labels in the early to mid-1950s. We have included three EPs that are not necessarily related to each other in this program to complete the release of Skylark and early Tampa jazz recordings on VSOP RECORDS.   Bob Scherman, a child prodigy who became a record producer, and composer created the Skylark and Tampa Records labels during the early 1950s. Skylark was the label that Bob Scherman used too release recordings between 1951 and 1955, when the label was collapsed into Tampa Records. Practically every Skylark jazz recording had been re-issued as a Tampa release, by 1955. (There are several singles that we will add to upcoming releases, and albums by Bill Donati that include jazz material that will be digitally released in the future.)

Bob Scherman participated in and supervised all activities of Skylark and Tampa, but he had help.   Much of the studio work was shared by Dick Taylor, who had worked with Bob Scherman on some of his earlier efforts connected with his publishing work.   Bob had set up his publishing company, Webster Music, to provide demo services for songwriters, as well as to promote his own compositions. He brought in Dick Taylor to manage many of the demo recording sessions, and later to act as contractor for some of the Skylark sessions, and some of the early Tampa sessions, as well.

The first set of recordings on this album consists of recordings that were made on March 26, 1952 at Capitol Records. They are or at least appear to be the first recordings credited to the Lighthouse All Stars. The personnel included Shorty Rogers (trumpet), Jimmy Giuffre (tenor), Milt Bernhart (trombone), Frank Patchen (piano), Howard Rumsey (bass), Shelly Manne (drums) with Vivien Garry on vocals.   Side 1 consists of "M.B.B." or "More Big Boy", and Side 2 consists of a medley which includes "You Know I'm In Love With You", "Whispering" and "I Get A Kick Out of You" performed by Vivien Garry. The first release of this material on Skylark Records (apart from single 78s) was an EP entitled "Jam Session 2" Skylark 12.   This same material was later re-released as Tampa LP 12 "Shorty Rogers and the Lighthouse All Stars", with a cover designed by Maurice Childs, (that is the cover used for this album.)   The release history of these recordings is somewhat complex. Rather than explain all of the details here, it would be better to consult Jim Harrod's thorough and detailed discussion of the discographical history of these recordings at:

"http://jazzwestcoastresearch.blogspot.com/2012/12/the-first-lighthouse-all-stars.html"

Dick Taylor, who worked frequently with Bob Scherman, is credited with performing on these recordings, as is Tony Rizzi. Tony Rizzi or another guitarist is obviously on "Whispering". However, the contract for the actual session does not include them. It would appear that either they played on the live portion that was recorded at a later date and spliced in to create the effect of a live jam session or another session took place where portions of the album were recorded ("Whispering"). Vivien Garry, the vocalist on Track 2, was married to Dick Taylor prior to this recording and to Jimmy Giuffre shortly after the recording date, causing Shelly Manne to dub this the session of "Vivien Garry and her many husbands.". She recorded a significant number of singles for Skylark and other labels, but is included here for her participation in the "Jam Session 2" release.  Vivien Garry was not only a singer, but also played bass, and recorded some very nice material.  She had been married to Arv Garrison, and together they recorded various sides with George Handy for Guild and Sarco Records.  There is a very nice Jubilee AFRS recording of her performing "I'm In The Mood For Love" available to hear on YouTube, and she also recorded some  V-Disc material.  She made a number of sides for Exclusive, Miltone, RCA, Signature, Webster Music (a Skylark precusrsor) and Skylark Records, as well.

The second set of recordings on this album consists of a program that appeared on an EP  originally entitled "Jam Session 1" released as Skylark SK11 and featuring a group that included Maynard Ferguson (trumpet), Bob Cooper (tenor), Abe Most (clarinet), Paul Nero (violin), Paul Smith (piano), Tony Rizzi (guitar), Stan Fletcher (bass) and Irv Cottler (drums).   Side 1 featured Paul Nero's "Cool Canary Blues" and Side 2 was devoted to a jam on "Sweet Georgia Brown".   Both selections are fairly long, coming in at around 13 minutes and 40 seconds each and feature extended solos by each player.   "Sweet Georgia Brown" was also released on Skylark EP100 as by a Lighthouse All Stars group with the same personnel. The actual recording date is not certain although it would appear contemporaneous with the "Jam Session 2" material, judging by the personnel and the Hot Canary-Cool Canary connection.   The labels on the various releases of this material suggest that the original leader was violinist Paul Nero, whose actual name was Kurt Polniarof (not to be confused with saxophonist Klaus Doldinger who goes by the same name). Paul Nero was a very in-demand violinist for pop and jazz sessions, whose extensive work invites comparisons with the careers of Harry Bluestone and Felix Slatkin. He presented himself very much as a fiddler rather than a violinist and his playing is often compared to that of Eddie South or Stuff Smith. He composed a number of works based upon his original composition, "The Canary", including "The Hot Canary" by Stan Kenton featuring Maynard Ferguson on Capitol, Paul Weston on Capitol Records, Florian Zabach on Decca, Ella Fitzgerald with Sy Oliver on Decca   and "The Cool Canary Blues" offered here.   Portions of these live recordings were used to create the live portions of "M.B.B" and the Vivien Garry medley.  The Maynard Ferguson "Jam Session 1" material is lengthy and was actually recorded live, in contrast to the "Jam Session 2" sides.  While it is likely that originally the group was led by Paul Nero, most releases on Skylark credit it to Maynard Ferguson. He had recently recorded Paul Nero's "Hot Canary" with Stan Kenton for Capitol, and was very much identified with that recording. There are nice solos by Maynard Ferguson, Bob Cooper, Abe Most, Tony Rizzi and Paul Smith.

After the two "Jam Sessions 1" selections, we have included the original versions of "Big Boy" which were released as "Big Boy Part 1" and "Big Boy Part 2" on Skylark 538, both sides presented here as one track. As is evident, "M.B.B." is simply a combination of both parts 1 and 2 with additional live material added in to give the impression that the material was recorded live in a club. These are the essential components of every version of "M.B.B." and "Big Boy" released on Skylark and Tampa.   It is interesting to note that there are many fans of this recording, especially among those who were alive and on the West Coast when this recording was first released. Today, there is still some question as to whether "Big Boy" and "M.B.B." were intended to be received as a tribute to the rhythm and blues honking saxophone style of playing that was enjoying popularity at the time or whether they were intended as parody. Opinions are divided, and each is welcome to form their own.

The final EP included on this release was originally released as Skylark 103 Charlie Shavers:"Jazz".   The personnel includes Charlie Shavers (trumpet), Abe Most (clarinet), Sid Cooper (alto sax), Boomie Richman (tenor sax), John Potoker (piano), Tony Rizzi (guitar), Sandy "Sid" Bloch (bass), and Alvin Stoller (drums). The common link between all of these musicians is the post-war Tommy Dorsey band, in particular the period between September, 1946 and June, 1947 when all were sidemen in that aggregation and, at times, in the Clambake Seven.   The material performed is also a bit earlier in style from the two other Skylark sessions featured on this album. All four selections are of average length for a 78 of that period, with no extended solos. Two of the selections are adaptations of popular classical works, one is a tin pan alley standard ("Three Little Words"), and one an original work devoted to musicians union head, James Petrillo.  The selection devoted to James Petrillo, head of the musicians' union, also suggests that this was recorded during the late 1940's when his iron fisted control of recorded music gave rise to the 1942 and 1948 recording bans.  This material features clarinetist Abe Most, and he may have had something to do with both the Jam Session 1 material and these Charlie Shavers recordings being released on Skylark and Tampa, since his solos are showcased, at least on the Charlie Shavers' sides.   Tony Rizzi is also on this recording, making him the only musician to perform on all three recordings presented here.   

We would like to thank jazz researcher Jim Harrod, who assisted us in securing sound recordings and album covers needed for this release. He provided copies of the very rare "Jam Session 1" EP on Skylark, and a copy of a test pressing of the original 78 of "Big Boy Part 1 and Part 2". We would also like to thank Ken Poston for his assistance.