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NORMAN. PRESENTS
with the
Cover Design: Modern/ Arts.
GENE NORMAN PRESENTS
If the word contemporary can be applied to the
arrangements and compositions in this album, then it can
be said that the musicians performing can be justifiably
credited through their individual interpretation. The
original compositions were written specifically to com-
plement the performance of the musicians, in that each
melodic line was written with consideration to their
capabilities. The harmonic structure is of rather a
conservative nature, keeping in mind a chordal pattern
to which jazz musicians of our era are accustomed to
improvising to. The compositions involved, in a sense,
differ from each other; each one taking shape in accord-~
-ance to the thematic material. Some were conceived
contrapuntally and others based on a homophonic style
of writing. It has been a desire of mine, for many years,
to integrate a legitimate chamber sounding group, with >
jazz evolving from within its structure. The intent here
was to keep the over-all sound characteristic of a classical —
chamber group. The only difference is that instead of
the usual development of thematic material, as in classi-
cal works, this would be supplemented by the improvisa-
tion of the soloist. The composition PAICH-ENCE
could well be used as an example of developing the
thematic material. At the close of the first chorus the
Tenor, played by Bob Cooper, begins a double time figure
for two bars, and immediately following, the valve-
trombone, played by Bob Enevoldsen, continues with
a similar figure for two more bars, until in the seventh
and eighth bars of the phrase the two instruments merge
together in a contrapuntal fashion. These two lines were
played as written with, of course, the two musicians’
personal touch added. I felt, at this point, that the com-
position had a natural tendency to move with this double
time feeling, and in order to develop the idea thoroughly,
the figure had to be written to make it completely and
fully realized. It, no doubt, could have been improvised
just as well or even better than the given notes, but the
instrumentalists felt completely at ease and were able
to insert a little self-expression in the playing of it. I
feel it necessary to mention that a great deal of gratitude
and respect be given to my beloved teacher and
friend Mario Castelnuovo-Tedesco, for his guidance and
ooo TENORS WEST
SIDE I
TENORS WEST (Paich) Skyview - BMI
THERE’S NO YOU (Adair, Hopper) Barton Music - ASCAP
THE DRAGON (Paich) Skyview - BMI
SHORTY-GEORGE (Count Basie, Eddie
Durham) T. B. Harms - ASCAP
PAICHENCE (Paich) Skyview - BMI
AT THE MARTI GRAS (Paich) Skyview - BMI
SIDE II
TAKE THE “A” TRAIN (Billy Strayhorn) Tempo Music - ASCAP
BALLET DU BONGO (Paich) Skyview - BMI
LINE FOR LYONS (Gerry Mulligan) Criterion - ASCAP
JACQUELINE (Paich) Skyview - BMI
CON-SPIRITO (Paich) Skyview - BMI
PERSONNEL
JIMMY GIUFFRE—TENOR
BOB COOPER—TENOR
BOB ENEVOLDSEN—TENOR, VALVE TROMBONE
HARRY KLEE—TENOR, ALTO, FLUTE
JACK DULONG—BARITONE SAX
MARTY PAICH-—PIANO
JOE MONDRAGON—BASS
JACK COSTANZO—BONGOS
ART MARDIGAN FRANK CAPP ; a a
GNP-21
patience with me when I studied with him. He helped
me to understand the basic fundamentals of harmony
and counterpoint and how these two sister arts work
together. Also his guidance in composition and orches-
tration which has been a true inspiration of which I
will always be indebted. In conclusion, music must be
an expression with a purpose. It should convey a
thought and remain within the borders of simplicity,
whether it be jazz or classical or any other art» form.
The artistic importance is that it is music which brings
esthetic pleasure to the listener. | MARTY PAICH
MARTY PAICH BIOGRAPHY .
Originally from Oakland, California. Played and
wrote for local bay area bands. Became interested in
jazz about 1940. The Jimmy Lunceford band being the
big influence of that time. “It was hearing the Lunceford
band that I first became interested in writing.” “My first
instrument was accordion.” Attended San Francisco State
College in 1942 for one year. In 1943 was drafted in_the
Air Corps, and spent 3 years in an Air Corps band, play-
ing and in charge of the dance band. Wrote for Army ©
shows and toured different air bases. First started piano
in 1945. Discharged in 1946 and moved to Los Angeles
in the summer of 1946. Became a student at*the Los
Angeles Conservatory of Music from 1946 to 1951.
Studied composition with Morris Ruger and Mario
Castelnuovo-Tedesco.. Attended summer lecture classes
with Arnold Schoenberg. Wrote two String Quartettes,
Woodwind Trio, several songs and three orchestral works,
plus Choral works with orchestra. Graduated 1951 with
Masters Degree in Composition, Magna Cum Laude.
Played and wrote for the following bands: Bobby Sher-
wood, Skinny Ennis, Jerry Gray and played the Bob
Crosby Club 15 Show on CBS Radio. Accompanied
singer Peggy Lee and wrote several arrangements in her
“Songs In An Intimate Style” album. Played with Shorty
Rogers Giants and wrote for other modern jazz groups,
including Shelly Manne, Bob Enevoldsen, Dave Pell
Octet, Chet Baker, and Herbie Harper. Has written for
Victor Young and currently conducting and arranging
for various vocalists.
OTHER OUTSTANDING @ & & ALBUMS
GNP 1—CHARLIE VENTURA IN CONCERT Featuring: Charlie Ventura, tenor and baritone sax; Boots Mussilli, alto sax; Benny Green, trombone; Conte Candoli, trumpet; Roy Kral, piano; Kenny O’Brien, bass; Ed Shaughnessy, drums; Jackie Cain, vocals.
Titles: Birdland; Flamingo; Body and Soul; Lullaby in Rhythm; Boptura; Over the Rainbow; Dark Eyes; High On An Open Mike.
GNP 12—FRANK MORGAN Featuring: Conte Candoli; Wild Bill Davis; and Machitos Rhythm Section.
Titles: Bernie’s Tune; My Old Flame; I’ll Remember April; Neil’s Blues; The Champ; Chooch; The Nearness of You; Whippet; Milt’s Tune; Get Happy.
GNP 14—RENE TOUZET, HIS PIANO, CONJUNTO
AND ORCHESTRA Featuring: The Cha Cha Cha and the Mambo.
Titles: Manengue; Love For Sale; Flamingo; Peanut Vendor; Mambo Crescendo; Laura; Mambo Guaguanco; Que pasa con el cha cha cha; Malaguena; Summertime.
GENE NORMAN PRESENTS
GENE NORMAN PRESENTS
GNP 15—LIONEL HAMPTON WITH THE
JUST JAZZ ALL-STARS
Featuring: Lionel Hampton, vibes, piano and drums; Charlie Shavers, trumpet; Willie Smith, alto; Corky Corcoran, tenor; Milt Buckner, piano; Slam Stewart, bass; Jackie Mills, and Lee Young, drums.
Titles: Perdido; That’s My Desire; Central Avenue Breakdown; Kaba’s Blues; Hamp’s Boogie Woogie; Flyin’ Home.
GNP 16—BILLY DANIELS AT THE CRESCENDO
FEATURING BENNY PAYNE AT THE PIANO
Titles: Them There Eyes; Love Is a Many-Splendored Thing; Sway; Autumn Leaves; 7Deed I Do; Easy To Love; Too Marvelous For Words; My Blue Heaven; It’s All Right With Me; My Yiddishe Momme; You Were Meant For Me; Lady of the Evening; If I Should Lose You; How Deep Is the Ocean; I Can Dream; I Live For You; That Old Black Magic.
6233 HOLLYWOOD BOULEVARD, HOLLYWOOD 28, CALIFORNIA
GNP 17—CORKY HALE Featuring: Corky Hale, harp, piano and flute; Buddy Colette, flute and tenor sax; Larry Bunker, vibes; Howard Roberts, guitar; Red Mitchell, bass; Chico Hamilton, drums; Bob Enevoldsen, bass; Don Heath, drums.
Titles: Foggy Day; Soon; What Is There To Say; There’s An Island in the West Indies; I Can’t Get Started; Autumn in New York; Somebody Loves Me; But Not For Me; Taking a Chance On — Love; April in Paris; Cabin in the Sky; London in July.
GNP 18—THE BEST OF MAX ROACH AND
CLIFFORD BROWN IN CONCERT Featuring: Max Roach, drums; Clifford Brown, trumpet.
Titles: Jor-Du; I Can’t Get Started; I Get a Kick Out of You; Parisian Thoroughfare; All God’s Chillun Got Rhythm; Tenderly: Sunset Eyes; Clifford’s Axe.
GNP 19—MR. BONGO - JACK COSTANZO
AND HIS AFRO-CUBAN BAND Featuring: Jack Costanzo, Bongo and Conga drums.
Titles: Caravan; Melado De Cana; La La La; El Resbaloso; Coco May May; Chopsticks Mambo; Abaniquito; Just One of Those Things; Goza Negra; Bongo Festeris.
Printed in U.S.A.
MAN por PRe at
o* TENORS WEST JIMMY GIUFFRE, Tenor; BOB COOPER, Tenor; BOB ENEVOLDSEN, Tenor, Valve Trombone;
HARRY KLEE, Tenor, Alto, Flute
with the MARTY PAICH OCTET
Side 1 /* GNP 21
. TENORS WEST (Paich)
. THERE’S NO YOU (Adair-Hopper)
. THE DRAGON, (Paich)
. SHORTY-GEORGE (Durham)
. PAICHENCE (Paich)
. AT THE MARTI-GRAS — (Paich)
RMAN no PRe
e Se
V> as
? TENORS WEST "22°" JIMMY GIUFFRE, Tenor: BOB COOPER, Tenor; BOB ENEVOLDSEN, Tenor, Valve Trombone;
HARRY KLEE, Tenor, Alto, Flute
with the MARTY PAICH OCTET
Side 2 e GNP 21
. TAKE THE ‘‘A” TRAIN — (Stzayhorn)
. BALLET DU BONGO (Paich)
. LINE FOR LYONS (Mulligan)
. JACQUELINE (Paich)
CON-SPIRITO (Paich)
s & Ns Loe