During the 1950s, when I
started to become aware of jazz (actually late into the 50s for me, on a
journey through rock and roll and rhythm and blues), there were two independent
labels at the heart of that era: Blue Note and Prestige. Of the two, Blue Note
has become the most famed, perhaps because it’s still around. Books have been
written about it, its history chronicled.
The moment I turned from
rhythm and blues to jazz (no, never turned—the moment I opened up to include
jazz) came at two in the morning, in my dorm room at Bard College, twisting
through the dial of my AM radio, looking for some R&B, and suddenly my hand
stopping, my heart stopping, my world pausing to let in a sound that transfixed
me. It was John Coltrane with the Red Garland Trio, and it was the first jazz
record I ever bought. And it was on Prestige.
To the extent that Prestige
and Blue Note were the Beatles and the Stones of the 50s to a jazz fan, I was a
Prestige guy. I bought many records on both labels, of course, but when I look
back at my vinyl collection, it leans heavily toward Prestige.
But there’s been no history
of Prestige Records. Wikipedia doesn’t have much. There’s a photo book of
Prestige album covers, but that’s all I’ve been able to find. And this blog won’t
be it, either, because I don’t know enough. Not unless someone who was there on
the scene, like Chris Albertson or Bill Crow, can fill in some of the gaps.
I’m using jazzdisco.org as my
guide through this Prestige listening project, and I’m going chronologically by
recording date, starting in 1949, the year Bob Weinstock started the label, first
as New Jazz, then a year later as Prestige. I’m going by jazzdisco’s session
index, because I can’t really figure out any other way to do it. The most
famous Prestige album line, their 7000 series, seems to have started in 1955,
so what was Prestige issuing before that? I hope someone will straighten me
out.
Anyway, the third 1949
session – Serge Chaloff and the Herdsmen, March 10, 1949. The group is made up
of Woody Herman veterans, as Serge was, and he’s most famous as one of Herman’s
Four Brothers saxophone section, and the Jimmy Giuffre composition of that
name, featuring Stan Getz, Zoot Sims, Herbie Steward, and Chaloff. Of the four,
Chaloff was the only baritone sax, and he was pretty close to the only baritone
sax player in jazz (Ellington’s Harry Carney his precursor) until Gerry
Mulligan came along and made the instrument his own.
And Chaloff had the shortest
career of the four. He succumbed to Charlie Parker’s Disease – the heroin
addiction that claimed so many in the bebop era. He did kick the habit, but his
life was cut short anyway, as he died in 1957 of cancer. So unlike Sims and
Getz, he was not able to build very much on the Four Brothers foundation, but
he did make some good music.
Here’s “Bopscotch” from that session. Personnel: Oscar Pettiford b, Red Rodney tp, Earl Swope tb, Al Cohn ts, Serge Chaloff bs, Barbara Carroll p, Terry Gibbs vib, Denzil Best d, Shorty Rogers arr.
With not a lot of rehearsal time, there was no
guarantee that a group of musicians assembled for a recording date were going
to mesh, though sessions like the Minton’s and Monroe’s jam sessions gave a
strong common language to the beboppers. But these were a group of musicians
who’d spent some time together in the Woody Herman band, and you can hear it in
the seamless blend of solos on this recording.
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