Cashbox : 10/19/1957

The disk is Paich‘s first effort for Mode since becoming its Musical Director. Working with pianist Paich on the trio format are bassist Red Mitchell and drummer Mel Lewis, a fine threesome, who play the eight tune program with a variety of tempos and a bagfull of worthwhile ideas. Paich’s keyboard work on his own number, Dust Light is a high point here. Resourceful jazz waxing.

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Down Beat : 12/26/1957
Dom Cerulli : 3.5 stars

I particularly like New Soft Shoe, El Dorado Blues, and the very mood What’s New in this set.

Paich, a pianist of movement and taste, receives great support from Mitchell and Lewis, the former particularly spectacular in his solo spot on Dorado.

There is also an easy swing to River, and a unity of conception about the whole album. This isn’t the greatest trio in the world, or even the west coast; but it plays with taste, and occasionally with some flashes of fire.

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Liner Notes by Joe Quinn

Persons who hastily condemn the free forms of jazz expression as so much noise, are consistently confounded by the knowledge that virtually every young musician of the contemporary school has complete academic training in classical forms which enables him to be a better jazz musician. Often, in their astonishment, we hear them question the compatibility of two seemingly opposite cultures.

Fortunately, musicians such as Marty Paich, are more concerned with fusing the elements in music than in speculating on their relationships, and it is in this light that Mode is please to present Marty in trio with Red Mitchell and Mel Lewis. Marty’s arranging and composing talents are as much in evidence in this LP as his playing technique which is an added bonus in this interpretive collection.

Many years ago, Marty fancied himself as an accordion virtuoso, and continues to work out on the instrument whenever time will permit. During his army days he found the piano bench vacant on the base orchestra, and became a convert to the instrument at that time. Since then, he has become a professional piano player, having been in the employ of such notables as Peggy Lee, Dorothy Dandridge, Jerry Gray and Shorty Rogers, to mention a few who have found his tasty ideas and conception to their liking.

After separation from Uncle Sam, Marty enrolled at the Los Angeles Conservatory of Music, from which he took a masters degree in 1951. Under the tutelage of classicist Mario Castelnuovo-Tedesco he developed an excellence in arranging which led him to make contributions to the books of such renowned American jazz organizations as Stan Kenton, Count Basie, and Les Brown as well as some vocal charts for Woody Herman.

Marty’s prominence as an arranger has grown so during the past five years that he has had little opportunity to purvey his talents as a pianist on record. In fact, although he has worked as a sideman on several days, this is the first recorded set which has appeared under his own name.

By selecting bassist Red Mitchell and drummer Mel Lewis as his coworkers for the date, Marty assured himself and the listener of one of the most able rhythm combinations extant in the industry. Red Mitchell is a superior bassist whose value is measured in steady time and inventive solo passages which never cease to delight the listener. Mel Lewis is a stone-wall time keeper who is at home with any size musical unit. The three men form a powerhouse rhythm team which any band in the nation would be happy to lean on.

Half of the eight-tune set featured here are Marty Paich originals, while the second half features a Jack Montrose original and three excellent standards. The order and procedures are as follows:

I Hadn’t Anyone ‘Till You – Relaxed and bouncy, Ray Noble‘s fine composition points up the ready made rapport existing between trio members.

The Facts About Max – This Paich original was written for drummer Max Roach, hence the title. Its brisk tempo gives all hands a chance to shine.

Dusk Light – This haunting improvisation was conceived by Marty at the date. Its a piano solo which graphically demonstrates the leader’s immense talent.

The New Soft Shoe – Red Mitchell sets the jaunty pace for this one. Marty’s title is a whimsical tribute to the dance style of another era.

A Dandy Line – Jack Montrose penned this one some years ago, and the title is quite appropriate. Marty and the trio give it a pleasant outing.

El Dorado Blues – The blues line is by Marty, constructed for interplay between piano and bass. Red Mitchell demonstrates his great proficiency on the instrument.

What’s New? – Bob Haggart‘s moody composition gets almost a blues feeling from Marty. His unobtrusive support lends greater depth to his interpretation.

By The River St. Marie – Here’s a “seldom done” tune which the trio finds to its liking for relaxed jazz. Marty introduces some unusual chord patterns.

Because of specialization, relatively few musicians achieve as writers and instrumentalists. Marty Paich is a member of this minority group, and Mode is privileged to be the outlet for his first all-instrumental release. The fact that he has become musical director for the label assures a treasury of good music from this source for months to come.