Wardell Gray Albums (7)
What The Critics Say
Wardell Gray's admitted direct and huge influence is Lester Young, and as a tenor saxophonist growing up in the passing lane between swing to bop, it would be difficult for anyone to ignore the so-called President of Jazz. Gray's time in Los Angeles with Dexter Gordon further refined his sound, but these recordings, his first as a leader, define the greatness of Gray. Originally recorded on 78s for Vogue Records, and an LP for the Fontana label, this collection is essentially a complete session, done November 23, 1946 in Hollywood, CA, with several alternate takes included. Drummer Harold "Doc" West and bassist Red Callender are the cream of the crop West Coast rhythm section at the time, and cook up a storm when asked to up the tempo. Alongside pianist Dodo Marmarosa, Gray is inspired to play unison lines with him on several occasions, especially in the introductions and melody lines of these pieces, as they mesh brilliantly into a stunning display of teamwork and compatibility. Five versions of "Dell's Bells" display the shared values between Gray and Marmarosa, as they scoot along in perfect tandem lines that seem telepathic, while also displaying the fluid dynamics of the tenor man. "One for Prez" falls along the same lines, basing this jam on the theme of "How High the Moon." Five versions of this one -- three at the end of the CD -- are shorter with a more edited introduction. Settling into a more cozy mood, three renditions of the ballad "The Man I Love" have Marmarosa in more of a support role, offering chiming chords and comping that is clearly interactive. Two takes of "Easy Swing" are just that, an original based on a simple theme adding big doses of the blues and an off-minor mode à la Thelonious Monk, a big influence on Marmarosa. Drummer Chuck Thompson replaces West for a sole take of "The Great Lie," an out-and-out furious bopper, all Gray, with Marmarosa and the ever brilliant Callender pumping up the rhythm to maximum levels. If you are fond of saxophonists like Don Byas, Chu Berry, Herschel Evans, and Lester Young, please include Gray and this wonderful introduction to him as a leader, backed by a bulletproof all-star combo, all deserving high praise. ~ Michael G. Nastos, All Music Guide
What The Critics Say
This album was recorded live in Los Angeles in 1948, and finds the great Wardell Gray amidst some of the finest musicians of the time. In the late 1940s, the West Coast jazz scene introduced the big band jazz concert idea to the public. At this time in his short career, Gray was starting his ascent and would achieve lasting fame in tenor sax history. The recorded sound on the album is tinny, given that it was recorded in a hall, and the echo is distracting. However, the compact disc cleaned much of this up, and the dueling between the two tenors shines right through. Vido Musso, the other fine tenor here, was with Stan Kenton for a time. His punchy style plays off the smoother swing of Gray. There's also some strong, bright soloing by Howard McGhee, Ernie Royal, Barney Kessel, and Red Callender. The rhythm section swings hard throughout the session, and Gray knows how to ride the wave with a vengeance. He had that effortless tone of Lester Young, and was full with the fire of bop at the same time. His improvisation was prodigious, and he could translate a landslide of ideas through his horn. The genius Erroll Garner, then only 35, renders a fine solo version of "Tenderly." The compact disc version adds the bonus cut "Sweet Georgia Brown." This is what ignited jazz at the summit sounded like in concert in the late 1940s. Recommended. ~ Mark Romano, All Music Guide
'Wardell Gray's Los Angeles Stars'
Release Date 1/1/1953
Tracks 6
Label Prestige
See Album Tracklist and Review
What The Critics Say
The contributions of Wardell Gray are often overlooked due to his premature death from a drug overdose in 1955, but this promising tenor saxophonist caught the ears of fellow West Coast musicians. This bop-oriented date was recorded in 1952 during a live engagement at the Haig (the famous tiny club where the Gerry Mulligan-Chet Baker Quartet became famous). Gray is joined by trumpeter Art Farmer, pianist Hampton Hawes, bassist Joe Mondragon, and drummer Shelly Manne, making up a powerful quintet. Although the horn soloists aren't always heard as well as the rhythm section, they are clearly inspiring one another. Highlights include a spirited take of "Bernie's Tune," a romp through Charlie Parker's "Donna Lee," and "Jackie," a smoky, brisk blues riff by Hampton Hawes in which Gray sounds a bit like Dexter Gordon, his old bandstand sparring partner. Wardell Gray takes top solo honors, but not by much. The source material, which is quite good for the era, is evidently from a radio broadcast. ~ Ken Dryden, All Music Guide
