Army Times
Tom Scanlan : 01/18/1958

Moving now to more modern jazz, specifically Quartet: Russ Freeman and Chet Baker, the thought occurs that the award-winning Baker is probably a better trumpet player than people like myself – raised on greater trumpet players such as Eldridge, Edison, Berigan, Clayton, Cootie, Kaminsky, Butterfield, Hackett, Louis – give him credit for being. At least, I think his work on Say When and Love Nest off this set is good.

Freeman‘s piano is interesting, too, especially on his original Summer Sketch, which, as pianist André Previn who did the liner notes for this album points out, “is far removed from any pop material, and as a matter of fact, quite removed from the ordinary jazz tune.” In a way, it reminds me of some of Beiderbecke‘s compositions for piano – In a Mist, In the Dark, Candlelights.

The quartet is rounded out by drummer Shelly Manne and bassman Leroy Vinnegar. Both are excellent, as usual. Album is well recorded making it possible to appreciate Leroy’s big tone and Manne’s tasty drum work.

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Audio
Charles A. Robertson : January, 1958

By virtue of five originals, pianist Russ Freeman splits honors with his former boss Chet Baker on the billing of this album, and he seems to have designed them with the moody and reflective side of the trumpeter in mind. Not that the lighter, swinging facets of his personality are neglected, but it is the quiet beauties of Summer Sketch, the smoky quality of Fan Tan, and the musings on Amblin’ that are most persuasive as Baker coaxes rounded, Bixian tones from his horn. Say When allows drummer Shelly Manne an I Got Rhythm solo, and he indulges in some by-play with bassist Leroy Vinnegar on the uptempo Hugo Hurwhey. On Love Nest, Baker bits off his choruses in Eldridge fashion and again changes pace on Lush Life, the other standard. As a composer and pianist Freeman deals in essentials, an attribute which will stand him in good stead when he chooses to write for a larger group.

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Billboard : 11/11/1957
Score of 81

A swinging, high-flying group with honors shared by Baker and Freeman. Unison and solo work are sometimes amazing. There’s a bit of great writing by Freeman on Say When and some top-notch mood piano on Billy Strayhorn‘s Lush Life. Devotees of the modern blowing school will go for this one; and, of course, the big Baker following.

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Down Beat : 12/26/1957
Don Gold : 4 stars

You can listen to some LPs while reading a magazine, knitting, or taking a bath, without missing too much. There is an obvious superficiality about many of the LPs being treadmilled to oblivion today. This is not the case with this LP. You’ve got to listen carefully. You don’t have to assume either the Buddha or fetal position in front of your speaker, but if you relax and concentrate on what these four men are doing you’ll be the winner.

This record is the product of four individualistic, imaginative minds working as a group.

I haven’t heard Baker in better form in a long, long time. He plays with a lyrical force and considerable warmth here, indicating, too, a maturity of conception that often was missing in his past efforts.

Freeman‘s style, as annotator André Previn indicates, is one of “tautness and clarity.” From a firm rhythmic base, he creates interesting linear patterns. He wrote six of the eight tunes performed here, and there is something of value in each of them. However, when Previn notes that “his invention is unflaggingly melodic,” I am forced to disagree. He is an individualist, important in itself, and when at best is quite convincing, but I do not perceive a consistent concern for memorable melodic lines in his compositional efforts.

Vinnegar stands by like Goliath throughout, and Manne is superb – they form two-thirds of a rhythm section any group could use favorably.

Nest is a vibrant performance, with Baker particularly effective. Sketch is moody imagery in ballad form with interesting folk music overtones. Its content is communicative, but it is a trifle stiff for my taste. Home features an attractive line and a full-toned Vinnegar solo. When is a cousin of I Got Rhythm. Life is given a warm, but non-expletory treatment. Amblin’, the longest track, writhes in blues-based sensuality for 7 minutes and 12 seconds, with a simple pulsating solo by Freeman the high point. Hugo is an appealing up-tempo race, with each member soloing unaccompanied as the climax.

Despite the limitations noted, this LP is worth owning. In overall terms, it is a meaningful presentation, characterized by the talent of four fluent jazzmen working cooperatively to create a moving sound.

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Liner Notes by André Previn April 28, 1957

It is certainly true that the greatest asset any creative artist can have in any art form is originality. In the young and rapidly changing art known as jazz, this is particularly valid, since the field is cluttered with imitators of the handful of really and truly original playing musicians that jazz has produced. Naturally, many of these imitators are not slavish followers but merely influenced admirers, but the fact remains that the purely original creators are few and far between. Russ Freeman is such a creator; his originality stems both from a healthy respect and knowledge of tradition, and a completely personal and intriguing manner of presenting his musical thoughts. Like so many innovators, his style is perhaps not immediately ingratiating, but the fact that it is exclusively his own is unarguable, and repeated and careful hearings of his playing will eventually result in admiration on the part of every listener. The piano, of course, is the only instrument capable of performing entertainingly all by itself, and this has resulted too often in overelaborate, orchestral virtuoso displays from jazz pianists, intent on covering the keyboard from bottom to top in dazzling displays. Russ on the other hand is a purist in the best sense of that often misused word. His style is one of tautness and clarity; he strips his music down to essentials and the result is remarkable. Often it might seem that his playing is cold, aloof and angular, but actually it is more the coldness of a diamond than the coldness of an unfeeling musician. The best way to describe Russ’ music is to say that he is one of the very few improvisors around whose every single note counts; take out any one and a definite gap would be felt in the musical entity of his performance.

Russ is also a member of an even smaller elite group, namely the jazz composers. Not arrangers, mind you, but really composters. When he picks up pencil and paper to put down an original, it is just that: not simply an interesting line built on familiar chord changes or comfortable progressions, but a real piece, original in mood, concept and harmony. A perfect example of this quality can be heard in this album in a work called Summer Sketch.

If all this tends to make Russ sound deadly serious, then let me hasten to correct the impression. His playing is often filled with humor; a sardonic kind rather than the baggy-pants kind, but a very definite humor nevertheless. Another bright aspect of his playing is that his invention is unflaggingly melodic; his choruses sound like tunes within themselves rather than embroidery of the basic harmonies. His time is legendary, and his presence in a rhythm section can spark a whole band. Naturally, like so many good musicians, he is a chronic worrier, at no time is he ever completely happy with his output, and he can often be seen in a club or in the corner of a recording studio, sadly shaking his head and bemoaning his lack of talent while at the same time the other musicians are signing his praises to each other.

In this album, Russ is joined by artists of his own caliber. Chet Baker, his one-time boss, needs very little talking about. He is recognized as one of the all-time great trumpet players, has won enough placques, medals, and awards to do a juggling act with, and is internationally known through his successful records, first with Gerry Mulligan and then with his own groups. He too is a true original, and has become a major influence on countless young musicians. Also heard in these tracks are Shelly Manne, whose imagination is topped only by his extraordinary musicianship, and Leroy Vinnegar, who often sounds as if he invented swinging. Russ, Shelly and Leroy make up the rhythm section in Shelly’s own Quintet; they have played together nightly since 1955 and must certainly be considered one of the all-time rhythm sections.

All the musical analysis in the world will not prove one-tenth as much as listening to the tracks in this album, so let’s get on with them.

SIDE ONE begins with the old standard The Love Nest, and never before has the Burns and Allen theme been swung so happily. Chet plays muted choruses, there are eights and fours for Shelly, and a pixie coda.

Fan Tan is Russ’ tune, a funky excursion featuring some far from customary changes. Chet endows his choruses with his particularly lovely bittersweet quality, while Russ and the rhythm section walk right along.

Summer Sketch, which I mentioned before, is one of Russ’ best compository efforts to date. It is far removed from any pop material, and as a matter of fact, quite removed from the ordinary jazz time. It is a real piece, a perfect picturization of the title: moody, reflective and beautiful, a great example of Russ’ inimitable musical personality.

An Afternoon At Home closes the side, and indicates that the Freeman home is a very content one, bright, happy, and swinging. Russ’ humor is very much in the foreground in his playing here.

SIDE TWO leads off with Say When, the only trip into the time-honored I’ve Got Rhythm changes that Russ has ever made. However, the tune is a far cry from the simplicities of the Gershwin standard and features some intriguing by-play between Chet and Russ. Chet’s choruses are nothing short of marvelous, and a clear indication why he is a constant poll winner. Russ also manages some of his most swinging excursions, and Shelly’s solo is a real composition by itself. Even Russ is happy with this one!

Billy Strayhorn‘s famous Lush Life is next, and with the exception of a few harmonic twists, is played absolutely straight. It is a sensitive and loving performance. In Amblin’, another Freeman tune, Russ demonstrates better than at any other time during this album his wise economy of notes, the taut sparsity of his musical thinking. His choruses sound simple, but this is the deception of the year. As a pianist, I guarantee it!

The album closes with Hugo Hurwhey, a bouncing skipping uptune, with everyone concerned really cooking. The four gentlemen take turns around the end playing without the aid of any rhythmic background, their unfailing time is something to marvel at and envy.