Billboard : 08/29/1964
Jazz Spotlight

Jazz lovers will revel with this, the first volume of previously unreleased recordings by Duke Ellington, Ben Webster, Terry Gibbs, Shirley Scott, and avant-garders, McCoy Tyner, Charlie Mingus, John Coltrane, Clark Terry and Shelly Manne. The set is made up of unissued tracks recorded during the past three years and there’s plenty of jazz to keep any phile happy.

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Cashbox : 08/22/1964

Jazz collectors should come out in droves for this top-notch Impulse set which features a stellar coterie of artists dishing-up a splendid program of rare and previously unreleased recordings. The LP spans the entire gamut of the modern jazz idiom going all the way from the far-out sounds of Charlie Mingus to the comparatively conservative Duke Ellington progressions. Loads of airplay potential here.

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Cashbox : 12/05/1964
Impulse Records Celebrates 5th Anniversary in Business

To Continue Operation Under Policy Which Made It Grow – Make It With Strong Ideas Rather Than A Large Roster

A concept of ideas rather than a slew of exclusive pactees continues to be the format of Impulse! Records, ABC-Paramount’s five-year-old jazz subsid.

While the original central format of Impulse! was to cut the “new, the modern and the avant garde,” Bob Thiele, who directs the operation of the label, has tried to broaden this repertoire to include all phases of the jazz spectrum.

But, the one-shot artist policy basically continues and has left the diskery with a small, select roster of exclusive pactees, including John Coltrane, Yusef Lateef, Shirley Scott and McCoy Tyner and the two Soviet jazzmen who defected to the West, Boris Midney and Igor Berukshtis.

Under this one-shot attitude, the label has done packages by such stars as Duke Ellington, Coleman Hawkins, Quincy Jones, Benny Carter and Shelly Manne, among others. Due in Jan. is a Lionel Hampton set, You Better Know It, on which he performs with a small combo, consisting of personnel he hasn’t recorded with in 20 years. One of them is Ben Webster.

Also, the label has paired jazz greats for the first time. Such teamings have consisted of Duke Ellington and Coleman Hawkins, Charlie Mingus and John Coltrane.

In Thiele’s view, the main problem is the introduction of new artists. “No matter how talented an artist is,” he explains, “the record company has to have faith, and stick with him beyond the first release, even though it may not be a hit.” As an example of an artist coming through under such circumstances, Thiele points to McCoy Tyner, once Coltrane’s pianist and now a solid jazzist in his own right.

A future example of Thiele’s thinking is another Jan. release, by Archie Shepp, a tenor sax discovery of Coltrane, who co-produced the set with Thiele.

Working in combination with artistry at Impulse! in obtaining success is artwork. The label feels that its “coordinate covers” has achieve a definite image, instantly recognizable in a collection of albums on a record store shelf. Featuring dramatic photos, with a minimum of printing, the aim is to telegraph the album concept immediately to the viewer. Double-fold packaging is also standard, which allows for detailed liner notes and a number of photos. “The real jazz connoisseur wants as complete information as he can get about an album,” says Thiele. Impulse! liners always list personnel and recording dates.

The Jan. release will total 12 albums. It will give the label a catalog of 89 LPs. The sum lends credence to the label’s claim that it is “The Definitive Jazz Scene.”

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Saturday Review : 10/17/1964
Stanley Dance

The ten performances in this collection have not been issued before and they derive from session for the most part previously released by Impulse. Their over-all quality is good, and they were presumably laid aside because of programming considerations – length, tempo, mood, etc. Duke Ellington, Coleman Hawkins, and Ray Nance (violin) create a moving version of Solitude together, and Hawkins returns in an exciting Avalon with Shelly Manne. The first publicly issued recording of the number Ellington wrote for Queen Elizabeth II, A Single Petal of a Rose, is played by Ben Webster with dignity and lyricism. Mingus declaims compulsively on the subject of Freedom, and a fluted Basie sextet swings crisply on a Thad Jones original.

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Star-Gazette – Elmira, NY
Harold Stern – 08/15/1964

It’s a long wait between Impulse releases, but they’re usually well worth waiting for. The current group, numbering 14 LPs is the company’s outstanding bundle to date. There are no fringe albums, no throwaways. Every album is an example of good modern or mainstream jazz. The package abounds in major jazz talents, performing at their best.

When one company offers so much that is so good at the same time it is difficult to go into much detail.

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Oddly, of the 14, the album I liked best was the one I expected to like least, a sampler called The Definitive Jazz Scene Volume 1. This is made up of selections which for one reason or other were left out of other records. But they don’t sound like second-rate leftovers and the two selections which include Coleman Hawkins are among his best: Solitude with Duke Ellington, which, unlike the album combining them, finds Hawkins dominant, and Avalon listing Shelly Manne as the leader which finds the Hawk even better. Also included are sides by Basie, Coltrane, Mingus, Tyner, etc.

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Down Beat : 11/05/1964
Harvey Pekar : 4 stars

These previously unissued selections were recorded during the last two or three years, and while they might not merit the collective label Definitive Jazz Scene, most have something to commend them.

Solitude is interpreted by an unusual Ellington quintet featuring a front line of Ray Nance’s violin and Coleman Hawkins’ tenor saxophone. Nance’s work is naggingly sentimental, but Hawkins, using a softer-than-usual tone, plays beautifully.

Tenor man Webster plus rhythm section performs Ellington’s Rose. Webster is at his best, contributing an extremely warm theme statement and simple but exquisite improvisation on the chords.

Big Nick, to quote the notes, is “a light, skipping melody.” Coltrane’s soprano saxophone work, though, is anything but that – it’s slashingly intense.

Manne’s Avalon has typical, lunging, up-tempo Coleman Hawkins. Hank Jones plays a graceful piano solo over the springy beat laid down by drummer Manne and bassist George Duvivier.

Clark Terry plays a relaxed gem of a solo on Hammer-Head. For most of the period Terry spent in Ellington’s trumpet section he was ignored, and now that he’s freelancing he’s taken for granted. It should be remembered that he’s one of the most original and lyrical of improvisers.

The Basie sextet’s Trey, with a two-flute, muted-trumpet front line, is highlighted by Thad Jones’ delightful trumpet spot.

Gibbs’ playing on the bright-tempoed Tippie is good but different from his ebullient work of the past. He’s economical and paces himself carefully.

After a narration by Mingus and some choral singing, Freedom features Booker Ervin’s sinewy tenor saxophone. The arrangement with its wailing effects is quite Ellingtonish.

Miss Scott provides tasteful, high-spirited organ on Lisa and Pam.

Pianist Tyner’s Flapstick never should have been released. It’s one of the worst thing he’s recorded; his lines are burdened with clichés, and the theme is a funky drag.

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Liner Notes by George Hoefer

Several summers ago Duke Ellington met Coleman Hawkins for their initial recording experience together. The result was a musically rewarding, highly rated album. Hawkins was a guest stay playing with a small contingent from the Ellington band and he thoroughly enjoyed the session – so much so, that he didn’t want to go home until he had played one of his favorite Ellington melodies, the great standard Solitude. After wandering around the studio with his tenor saxophone still on the strap, he finally convinced the Duke they ought to give the tune a rundown for kicks. Two reeds (Hodges, Carney) and the trombonist (Brown) had already left; Nance was going out the door with his trumpet and violin. When the Duke returned to the piano, drummer Sam Woodyard and bassist Aaron Bell again took their places and Ray Nance unpacked his violin. The tape machines were put in action and Impulse got the single take – a beauty. Ellington opens accompanied by Woodyard working lightly on the cymbals. Nance enters stating the melody as he performs a slow solo in low register on his fiddle with Duke coming behind him. This sets the stage for Hawkins who embarks upon a beautifully phrased, relaxed solo that is reminiscent of his famed Body and Soul in that he again rewrites a familiar strain from his own fertile ideas – and it is all done in the Ellington groove as though Hawk had been there all his life. The tenor plays through to the end of the track here he is accompanied by counter melodies from Nance. This track represents one of those unexpected rare incidents that do occur in jazz.

In March 1962 a recording session took place where the basic idea was to revive, and to update, the relaxed music of Count Basie’s Kansas City Six – a classic recording group of 1938. Again the resulting album was a musical success and again one track was left over. It was a charming original, Trey of Hearts, by ex-Basie trumpeter Thad Jones (one of the three Detroit Jones brothers – drummer Elvin and brother Hank also figure in this compilation), who also made the arrangement. The rendition starts with a typical Basie piano introduction followed by Jones’ trumpet chorus, Basie accompanied by bassist Ed Jones and drummer Sonny Payne, Frank Wess playing an alto flute, Jones again, Eric Dixon on a regular flute, and Payne performing a sensitive and restrained drum solo. The out ensemble is led by Jones backed by the singing flutes. Here a relaxed Kansas City mood is sustained by post-bop musicians replacing the Buck Clayton, Lester Young (on clarinet), Walter Page, and Jo Jones unit of 1938-39.

The next offering is indeed an unexpected treat. Back in 1959 Duke Ellington composed and recorded a suite especially especially for the Queen of England – only one pressing was made and it was presented to Her Highness by Ellington. Called the Queen Elizabeth Suite, it included six short compositions – Sunset and the Mocking Bird, Lightnin’ Bugs and Frogs, Northern Lights, Le Sucre Velour, Single Petal of a Rose, and Apes and Peacocks. The Rose number was written as a piano piece by the Duke and composer-arranger-pianist Bob Hammer recently transcribed it for a Ben Webster tenor saxophone solo. Webster recorded it early in 1964 with a fine rhythm section featuring Hank Jones’ sparkling piano. The saxophonist presents a restrained thoughtful interpretation at a medium tempo; in various spots he gets a singing echo-like tone that enhances the mood of the beautiful melody.

Vibraphonist Terry Gibbs recently recorded an album made up for the most part of originals. The light airy Tippie was reserved for use with this unusual collection. Gibbs carries the melody and improvises for the first half of the track accompanied by Kenny Burrell’s rhythm guitar, Louis Hayes’ superb drumming, and the expressive bass handled by Sam Jones. During the second half of number Burrell offers a creative solo in his rich-toned manner. When Gibbs returns to pick up the melody the quartet embarks on a tricky slow fade that culminates with the distant sound of the vibes.

Shirley Scott, the organist whose jazz orientation goes way back to 1955 when she worked with the Hi-Tones in Philadelphia (the group consisted of a vocalist with an accompanying trio made up of Miss Scott on organ, John Coltrane on tenor sax, and Albert Heath, drums). Since that time she has become well known in the jazz field for her technical command of the organ and her sensitive creativity. She has also engendered notice for the originality of her compositions in the blues vein. Here is an example: Lisa and Pam, recorded with a conventional organ trio (Earl May, bass; Jimmie Cobb, drums) after a big band date last August when Miss Scott’s organ was featured with Oliver Nelson’s large orchestra. On this blues the organist flavors her work with the modern gospel sound and swings hard as Cobb punctuates her playing using rim shots.

Sometime ago saxophonist John Coltrane recorded an original composition dedicated to tenor saxophonist George Walker “Big Nick” Nicholas, a former Gillespie big band (1948) side man. Titled Big Nick, it was made on soprano saxophone with Trane’s regular group. The track has not been issued until now, although Coltrane later recorded the tune on a date with Duke Ellington. Coltrane’s soprano horn opens the side with a light, skipping melody, almost identical to the oldtime accompaniment for a soft shoe routine. McCoy Tyner follows with a bright, clean piano solo that leads to another soprano interlude where Trane plays more in his well known improvisatory style. After this well conceived solo, the soprano saxophonist returns to his original melody to go out. As is usual on Coltrane Quartet records, a highlight is the unique swirling drum technique of Elvin Jones, which is heard throughout the track.

Twenty years ago Coleman Hawkins had a recording date for Bob Thiele’s Signature label on which he used a young New York-born drummer named Shelly Manne. The sides made on the date become jazz classics. A year or so ago Manne, who since the war has made California his home, arrived in New York on one of his periodic visits east. Thiele, now producer for Impulse, recalled the above mentioned Hawkins-Manne date – and he thought, “Why not try it again?” The magic of the drummer’s inspiration to the tenor saxophonist was still intact. The Manne-Hawkins album of 1962 rated a 5-star review in Down Beat. Here we again have an additional side left over from another highly successful jazz session – Avalon with Hawkins accompanied by a rhythm section featuring drummer Manne. Hank Jones’ piano introduction leads into a Hawkins solo. He starts by stating the tune as Manne’s cymbal work drives him to build a series of intense choruses. In mid-track the tenor rests while the piano takes over for a solo that builds to fast treble runs; Duvivier’s bass is effectively heard during this solo. Hawkins returns swinging and goes out playing the melodic line in a fade out.

The controversial Charlie Mingus gathered together an 11-piece band for a date last fall resulting in Impulse A-54 Mingus, Mingus, Mingus, Mingus, Mingus. The critics have given the set a high rating. From this session we have Freedom, an orchestration expanded by Bob Hammer from Mingus’ sketch. The title suggests the timely subject matter and as listeners are beginning to expect from the award-winning bassist, he offers a narration at the beginning – one has to listen closely to the Mingus words, as well as to his compositions, to get the full benefit of his message. The rendition features, in addition to the bassist’s vocal introduction, a choral group, rich orchestral ensembles, and the highlight of the performance – a driving tenor saxophone solo by Booker Ervin. The tenor’s closing statements are effectively answered by the full ensemble. Special attention should be focused on the drumming of Walter Perkins.

Clark Terry’s current Impulse album entitled The Happy Horns of Clark Terry brings together a group of musicians representing three different generations of jazzmen – Ben Webster and Milt Hinton; Clark Terry and Phil Woods; pianist Roger Kellaway and drummer Walter Perkins. As those who have heard the album will attest, the resulting collaboration was rewarding. An extra track, Hammer-head Waltz, written and arranged by Bob Hammer, is made available with this collection. The selection features Terry on a jazz waltz. It is of special interest to note the timeless musical rapport between the players regardless of their disparate ages.

McCoy Tyner, regularly featured pianist with John Coltrane’s Quartet, frequently records with a trio under his own name. The Tyner Track included here – an original blues – was made with bassist Jimmy Garrison (also of Coltrane’s group) and drummer Albert Heath, a fellow Philadelphian with Tyner. On the date the pianist improvised on one of his ideas for the blues – it was as yet an unnamed tune. Coltrane has said of his pianist, “He doesn’t fall into conventional grooves.” The characteristic of finding the most personal way of expressing himself tends to make his blues improvisations doubly interesting. As he himself has observed regarding his exploration into the blues, “I want to see if I can get back to the source.” This he does, while adding his own personal interpretations. After this blues was cut, someone suggested he call it Arm Waving Blues, but Tyner said, “No, we’ll call it Flapstick Blues.”