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