Billboard : 02/11/1956
Score of 77

A re-mastering of some choice items previously available on Prestige EP’s and 10-inch LP’s. The recordings date from the 1949-1951 period, and involve a flock of major modern jazz personalities. Davis plays Conception and My Old Flame from a memorable date with Sonny Rollins, Walter Bishop and Art Blakey. In another set, Davis is paired with Konitz, the selections are: Erzthetic, Yesterdays, etc. Konitz, in turn, swings in two numbers with guitarist Billy Bauer. Mulligan rounds out the program with Preservation and Into It, cut with Zoot Sims, Kai Winding and Jay Jay Johnson.

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Liner Notes by Ira Gitler

This LP is not called Conception simply because there is a recording of George Shearing‘s tune included in the set. The main reason for the title are the conceptions of the musicians represented here. Their importance lies not only in the excellence of their playing and the individuality of their conceptions but for the impact and influence that these conceptions have made on other musicians and jazz as a whole.

Lee Konitz

Exx-thetic, Odjenar, Yesterdays, Hibeck, recorded March 8, 1951, with Miles Davis, trumpet; Sal Mosca, piano; Billy Bauer, guitar; Arnold Fishkin, bass; Max Roach, drums.

Duet for Saxophone and Guitar, Indian Summer recorded March 13, 1951 with Billy Bauer, guitar.

Lee’s is a highly personal and original conception which has influenced in part other altomen such as Paul Desmond and Ronny Lang, but which is more important for its own strength than for the amount of people it has directly influenced. There are other conceptions of merit here: Miles Davis (q.v.); Billy Bauer’s, again one more important for itself than as an influence; Max Roach’s helping to bring Kenny Clarke‘s innovation to flower and influencing countless drummers; George Russell‘s too often overlooked and perhaps not as important influence but more deserving of close scrutiny. Ezz-thetic and Odjenar are his compositions.

Miles Davis

Conception, My Old Flame, recorded October 5, 1951 with Sonny Rollins, tenor sax; Walter Bishop, piano; Tommy Potter, bass; Art Blakey, drums.

From a point of departure of Freddie Webster and later Dizzy Gillespie, Miles forged a new style which has been a major influence in the Fifties touching trumpeters such as Shorty Rogers, Chet Baker, Art Farmer, Red Rodney, Blue Mitchell in varying degrees.

Sonny Rollins has not received the recognition from the critics as yet but his Bird-grounded conception has influenced many tenormen including Hank Mobley, J.R. Monterose, Charlie Rouse, and Ike Quebec (recent vintage) and also altoman Jackie McLean.

Stan Getz

Intoit, recorded January 6, 1950 with Al Haig, piano; Tommy Potter, bass; Roy Haynes, drums. Prezervation, recorded June 21, 1949 with Al Haig, piano; Gene Ramey, bass; Stan Levey, drums.

Stan, influenced by Lester Young and later more indirectly by the Charlie Parker imprint, set a whole new trend in style and sound for young tenormen in the Fifties, not only in the United States but abroad as well. A partial list might include Jerry Coker, Bill Perkins, Dave Pell, and the Europeans Ronnie Scott, Hans Koller and Bobby Jasper.

Concerning conceptions: I cannot omit Al Haig who solos on both of Stan’s selections. Al was one of the first and best in the modern piano style.

Gerry Mulligan

I May Be Wrong, recorded March 15, 1950 with Chubby Jackson‘s Orchestra; So What, recorded March 15, 1950 with Zoot Sims, tenor sax; Charlie Kennedy, alto sax; Jay Jay Johnson, Kai Winding, trombones; Tony Aless, piano; Chubby Jackson, bass; Don Lamond, drums.

Gerry has turned a lot of heads with his playing and writing. The tenor-like handling of his cumbersome instrument influenced the late Bob Gordon and Sweden’s Lars Gullin. When Bud Shank plays baritone, a Mulligan stamp is evident.

Zoot, like Sonny Rollins, has not received the recognition really due him as an individual and influence. Many of the musicians who have been influenced by Getz have also learned from Zoot. In addition there are those who he has directly affected: Bob Cooper, Jack Montrose, Phil Urso, Bill Holman and Britisher Tommy Whittle to name a few.

These recordings represent some of the best work of these influential musicians. They are to be enjoyed as well as analyzed.