Butch Miles

At the age of 71, Johnny Frigo finally had his debut as a leader on record, with the exception of an obscure effort in 1957. Although he had spent much of his career as a studio bassist, Frigo successfully switched full-time to his first love, the violin, and was immediately considered one of the top swing-based violinists. Joined by both Bucky and John Pizzarelli on guitars, either Ron Carter or Michael Moore on bass, and drummer Butch Miles, Frigo is in wonderful form on 14 standards, including "Pick Yourself Up," "Detour Ahead" (which he had co-written while with the Soft Winds in the late '40s), "Stompin' at the Savoy" and "The Song Is You." This recommended CD launched the Chesky label.

On one of the first relatively straightahead sessions for GRP, baritonist Gerry Mulligan (accompanied by a rhythm section led by Dave Grusin's keyboards with an occasional horn section) performs six of his then-recent compositions including the title cut. Strangely enough, the most memorable selection is "I Never Was a Young Man" which has a rare but very effective Mulligan vocal.

As the title implies, this is very much a swing set. Pianist Dick Hyman (a master of all pre-bop styles) has little difficulty emulating Teddy Wilson, Art Tatum and Count Basie (among others) plus his own style in an octet also featuring trumpeter Joe Wilder, trombonist Urbie Green, altoist-clarinetist Phil Bodner, baritonist Joe Temperley, rhythm guitarist Bucky Pizzarelli, bassist Milt Hinton, drummer Butch Miles and (on three tunes) altoist Frank Wess. The opening and closing numbers are ad-lib blues both titled "From the Age of Swing"; sandwiched in between are ten swing-era standards plus a couple of obscure Duke Ellington items. Among the highlights are "Topsy," "Them There Eyes," "Rose Room" and "Mean to Me." No real surprises occur, but mainstream fans should like this swinging set.

A fine collection by the Count Basie Orchestra, In Europe was taken from concerts in France and Germany. Dating from the period when the band featured trombonist Al Grey and tenor saxophonist Jimmy Forrest (not to mention the exciting drummer Butch Miles), the orchestra plays its usual repertoire from the '70s (including "Freckle Face," "Whirly Bird," and "Basie!") but manages to sound fresh and creative within the boundaries of the Basie tradition.

This big-band performance from the 1975 Montreux Jazz Festival introduces what could be called Count Basie's third great orchestra (although in style it was a continuation of the second one he formed in 1952). With trombonist Al Grey, Jimmy Forrest on tenor and the fiery drummer Butch Miles giving this early Pablo version of the band its own personality, the Basie orchestra is in top form for a strong set. Of special note are two fine vocals by Bill Caffey, who would quickly drift into obscurity.