Billboard : 12/03/1955
Score of 74

Interesting, off-beat jazz that sounds more Julliard than jungle. Fred Katz‘ cello is the really “different” sound here, and the program has some of the appeal of the old Alec Wilder Octets. Collette is an interesting, sometimes almost longhairish soloist on flute, clarinet and the different saxes. Sometimes the group swings, and sometimes noodles around on amorphous themes. Could sell as modernist mood music with a jazz lilt.

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Harper’s Magazine : June, 1956

This group of oddly assorted instrumentalists – including an exceptionally satisfying cello – seems to have assimilated the liberating influences and put them to an easily assimilated use. The heat is off; no one is trying to sell you anything; and the unusual is served up with as much aplomb as the usual – no more, no less. The five members are nicely matched and they have a nice sense of ensemble. The effect is one of lessons digested without resulting in a loss of appetite, and I suspect that it will be the most appealing to most listeners.

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Saturday Review
Wilder Hobson : 11/26/1955

The most original ensemble setup I have encountered recently is the Chico Hamilton Quintet, led by the drummer Hamilton, who looks exceedingly dapper and sounds exactly that way. His associates (note the instrumentation carefully) are Buddy Collette, flute, clarinet, tenor and alto saxophones; Jim Hall, guitar; Fred Katz, cello; and Carson Smith, bass. Theirs is largely a composed music, played with great delicacy, and some of it does not come under the heading of jazz by my definition – which requires a basic dance pulsation in common time. But when they are bent on swing they arrive at it with the most sensitive gusto, and I would call special attention to Collette’s composition Blue Sands, to their traditional blues, and to numerous propulsive passages in other numbers.

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Down Beat : 12/14/1955
Nat Hentoff : 5 stars

Chico Hamilton‘s new quintet is responsible for one of the most stimulating, consistently inventive and unique jazz recordings of this or any recent year. There is, first of all, superb musicianship on the part of Buddy Collette, flute, clarinet, tenor and alto; Jim Hall, guitar; Fred Katz, cello; Carson Smith, bass, and Hamilton, drums. There is also the fresh writing by all five. As Katz points out in the notes, “…each one writes with feeling. Each original composition has warmth, has meaning, has a reason for being; it’s not just a series of clever chords or clever ideas.”

The third quality of excellence evident here is the collective emotional empathy of the quintet. This is really a unit, and while each of the men in it expresses his own individuality eloquently, they reach their total fulfillment in the cohesive, partly improvisational interplay that is so vitally basic to the best jazz.

There’s a lot more – the excellent beat, the scope of the group, the discovery of Hall and Katz, and the newly impressive impact of Collette and Smith (Hamilton has always been firstrate so long as I can remember.) Excellent recorded sound. Second side was cut at the Strollers club in Long Beach, Calif. Only clinker are the notes on the individual numbers by Fran Kelley, written in her inimitable prose, a cross between science fiction and theosophy.

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Liner Notes by Fran Kelley

Transcript of an interview with the Chico Hamilton Quintet on October 9, 1955:

Chico: “This is the way the group came about: After we made the trio records (Pacific Jazz PJ-17) I decided to add Buddy Collette to the group. In addition I had planned to use John Graas on French horn, but then John had to leave Los Angeles with the Liberace Show. About the same time I was working with Fred Katz who was then playing piano. Fred had just said to me, ‘Before I hang up my gloves I’d like to play a little jazz on the cello.’ I told him about the group I had in mind and mentioned that John was leaving town. Right then and there the idea was born. Later, John suggested Jimmy Hall. I had told John that I needed a guitarist. He said, ‘I’ve got a guitarist rehearsing with me. He’s here fresh from Cleveland – he reads good, plays good, and also writes.’ So I called Jimmy – now he’s in the group. I was very fortunate to get Carson Smith. I actually had to look really hard for him. I was told he had been working at the Celebrity Room in Hollywood. Three days later I found that the club had folded right after Carson opened. I finally managed to locate him – now I had a quintet. I called a rehearsal. The guys came over to my place and we just started making with the sounds. We only had two sheets of music then – it wasn’t exactly a rehearsal, but, it was a beginning.”

Fred Katz: “I think that we have here, because of the calibre of the guys, something that is unique. That something is content. I think each one writes with feeling. Each original composition has warmth, has meaning, has a reason for being; it’s not just a series of clever chords or clever ideas.”

Jim Hall: “It’s a necessity that we now have thorough arrangements, otherwise there’s no reason for the cello. Yet, it’s the cello that pulls us together.”

Buddy Collette: “We express ourselves mainly in writing now. Although we do improvise… out of which comes a tune – some idea one of us played – later, somebody brings in an arrangement on it.”

Chico: “Take for example the arrangement Jimmy made on The Morning After. He did everything possible with the composition. He had very little to work with; he stretched his imagination and produced an excellent arrangement.”

Fred Katz: “It seems to me that the general principle of jazz is improvisation. This is different than playing classical music where you are reinterpreting the written note. Jazz is completely subjective in that a man is playing as he feels at the moment; this is what makes jazz exciting and unique. The fact that compositions are based upon jazz idiom and jazz expression makes a new musical form possible. Jazz must have a rhythm section whereas classical music does not. That I think is a basic difference.”

Jim Hall: “Even in Bach‘s time improvisation was an important musical factor. Bach, himself, was renown for his powers of improvisation. Incidentally he wrote down lots of things he had improvised. I have a strong feeling about this idea of there only being music and not differentiating between jazz and classical music. Because the basis of much of what we call classical music was improvisation too.”

Carson Smith: “Jazz is an American Culture; it started in America. I believe jazz is the only really American cultural achievement. Improvisation is the key word. Out of this comes composition and arrangement. I think improvisation is the most positive element in jazz. There wouldn’t be jazz without it, but we can have jazz without arrangements. Because of the instrumentation of the Quintet, with the addition of the cello, we must depend on arrangements. We find freedom writing. In that direction, there is so far to go, so much to explore.”

Chico: “People are always asking me what type of music we are playing. Is it progressive? Is it modern? You know, that is a question. I say, We’re just trying to play good music. That’s all – we’re trying to swing. If you want to call it modern… OK. I feel that this organization we have here is really a showcase for each individual musician. Take Buddy for instance – I personally believe this is the first time he has been surrounded by musicians who complement him – give him inspiration and make him play better.”

Buddy Collette: “When you’re with one type of group you play to fit that group – whether you think you do or not. Whatever you hear around you reflects in your playing. I’ve played and recorded with a number of groups but they weren’t ideal for me. People tell me that I sound so different than I did with this or that band. Well, these things happen. My experience has been in just about every field of music. One of the reasons why I’m rather late getting recognition in the jazz field is because I was in the service from 1943 to 1946. When I got out we formed a thing called The Stars Of Swing. We played the Downbeat Club in Los Angeles. It was a beautiful group but not many people heard it. We played around for several years then I got a studio job. This was good because not too much was happening at the time. I remained in the studios for four or five years. During that time I lost contact with the jazz players. I’m just now getting back into jazz with this association with Chico.”

Chico: “I’ve had a lot of experience working with good bass players. I was even fortunate enough to work with Jimmy Blanton when I was on Duke Ellington‘s band. In order for me to play well I must have a bass player that I have confidence in so that anything I do is going to be alright. I have to get something form the rest of the group when I play with them, just as everybody has to get something from me – it works both ways. I get everything I could possibly want from Carson Smith. The only other bass player I can truthfully say I really dig playing with all the time is George Duvivier.”

Jim Hall: “I don’t recall there ever having been a group like ours – where there is so much opportunity for each individual as far as writing and playing is concerned. We have complete freedom and can utilize our whole background. It’s almost like a workshop for us. That’s why we feel so optimistic about the Quintet – there’s that certain spark.”

Side I

The following selections were recoded Tuesday afternoon, August 23, 1955 at Radio Recorders, Val Valentine recording engineer. Two Western Electric 640 AA microphones were used, one over all and one placed near the cello. We used an Altec 21C to record the bass; the guitar was picked up directly through the mixing board. -R.B. (Richard Bock)

A Nice Day (Buddy Collette original) ASCAP. Time: 2:50
This has the effortless gentle jump characteristic of most of the Hamilton book. Peace. Resolve. And such simple freedom is felt here. I do believe this group’s concept is what Alec Wilder would grant as a Western extension of his own. Buddy’s clarinet, its soft restraint predominates – a tidy tasteful guitar follows the cello and telescopes into a gracious pattern of counter-point – back to the beauty of Buddy’s clarinet and out.

Funny Valentine (Rodgers and Hart) ASCAP. Time: 4:15
The treatment of this beautiful Rodgers and Hart tune is one I imagine Delius would relish – As does everyone who hears. it. Freddie’s cello carries the melody… and slow pungent bass notes from Carson. Everyone on this selection seems wrapped in the dream of art. The soft vibrancy of Buddy’s flute sounds as a member of the string family. Cello continues melody as the flute provides contrapuntal pause. In the ending there is the feeling of the rushing of waves – and a return to the Sea. Though a cello sings a sad song, Freddie communicates his peace, foie de vivre and it’s meaning which permeates throughout the entire sound-story.

Blue Sands (Buddy Collette original) ASCAP. Time: 6:30
This production has what would make the very famous Caravan turn around and go the other way. It is a jazz-poem… so perfectly rendered… it is sure to know a tremendous future. New. But even now, once it is heard, its strange Oriental earthiness is not to be forgotten. Jim Hall’s swinging violence guitar-wise peaks this sound-story. Buddy repeats his sensuous flute theme and blends with some masterful cello bowings.

The Sage (Fred Katz original) ASCAP. Time: 3:34
A slow serious envolvement of a folk theme. Freddie says: “It’s a Universal Thought. No Time connected with it.” Freddie’s cello states the theme, a lovely melody with an impressionistic feel. Carson Smith quarter-notes his bass throughout. The walking bass is the jazz idea, and the top purely classic… which gives it that Timeless sense. As Freddie leaves the theme, each man in turn continue the sage musical observation-line. Chico’s place in this is restricted to just a few bars; but with all important punctuation. A subtle masterpiece?

The Morning After (composition by Chico Hamilton; arrangement by Jim Hall) ASCAP. Time: 2:05
This could be called “Counter-pointing the Scale.” Four bars of bass open with cello and Chico’s brushes crisply knitting together the arrangement. Clarinet and rest of group join in contrapuntal play. The bouncing spicatto detache of Freddie’s cello accompanied by a very merry double-timing Chico who goes into straight swinging; put them all together… and you know why this is so constantly requested by the Quintet fans.

Side II

The following selections were recorded on a Thursday evening, August 4, 1955, at Harry Rubin’s Strollers, a nightclub in Long Beach, California, the home of disc jockey Sleepy Stein’s very popular jazz radio program. We used two Western Electric 640AA microphones, one overall and one placed near the cello. The bass was picked up by an Altec 21C strapped to the instrument. (This is a high fidelity recording. For best results use the new RIAA high frequency roll-off characteristic with a 500 cycle crossover.) -R.B. (Richard Bock)

I Want To Be Happy (Youmans & Caesar; arrangement by Chico Hamilton) ASCAP. Time: 2:05
All strings swing here. And stay that way… while the jazz flute and Chico brush away the blues.

Spectacular (Jim Hall original) ASCAP. Time: 5:04
A jazz show-case. Where each has his place. Presents his face, and cuts out. Neat. Precisely imaginative.

Free Form (improvisation) Time: 4:57
This mobile abstraction with interspersing excitement appeals to listeners of the third ear.

Walking Carson Blues (traditional; arrangement by Carson Smith) Time: 6:02
An easy, walking blues. Equipped with automotive horns from the street, almost inaudible vocal reflections, and some tall toned alto tales, the guitar bites the blues and Chico of course wraps it all up in unegotistical sympathy.

Buddy Boo (Buddy Collette original) BMI. Time: 5:07
The guys have a ball on this one. A rubber one. Because believe me, this facetious little theme bounces in your brain interminably once you hear it. It’s ridiculous. I liked it.

Background recalls: Chico with Gerry Mulligan, Lena Horne; Carson Smith’s symphonic status, his jazz work with Gerry Mulligan and Chet Baker; Buddy Collette’s experience with Charles Mingus, Benny Carter, Jerry Fielding; Fred Katz… pianist and concert cellist… formerly with the National Symphony Orchestra, Washington, DC; Jim Hall, guitarist from Cleveland makes his initial appearance here as a recording artist. I really missed Chico’s solos here. But this album is for the group and his men, he says.