Shelly Goff

In a follow-up to their hit recording of music from My Fair Lady, Shelly Manne and his Friends (a trio with pianist André Previn, bassist Leroy Vinnegar, and the drummer/leader) recorded nine songs from the play Li'l Abner. Although Johnny Mercer and Gene DePaul wrote the score, none of the songs caught on except for the ballad "Namely You," and this LP was not a best-seller. The musicians are in fine form but the melodies are not too memorable (when was the last time anyone played "If I Had My Druthers" or "Progress Is the Root of All Evil"?).

In a follow-up to their hit recording of music from My Fair Lady, Shelly Manne and his Friends (a trio with pianist André Previn, bassist Leroy Vinnegar, and the drummer/leader) recorded nine songs from the play Li'l Abner. Although Johnny Mercer and Gene DePaul wrote the score, none of the songs caught on except for the ballad "Namely You," and this LP was not a best-seller. The musicians are in fine form but the melodies are not too memorable (when was the last time anyone played "If I Had My Druthers" or "Progress Is the Root of All Evil"?).

This unusual set has five selections from a date featuring the great tenor Coleman Hawkins, pianist Hank Jones, bassist George Duvivier, and drummer Shelly Manne. Both "Take the 'A' Train" and "Cherokee" find the group at times playing two tempos at once (Manne sticks to double-time throughout "Cherokee"), and showing that they'd heard some of the avant-garde players. The most swinging piece, "Avalon," was previously available only on a sampler, while "Me and Some Drums" features Hawkins and Manne in a very effective duet; the veteran tenor makes his only recorded appearance on piano during the first half. This date is rounded off by a pair of trio features for Eddie Costa (with Duvivier and Manne); one song apiece on vibes and drums. A very interesting set with more than its share of surprises.

Shelly Manne scored big with a jazz version of the Peter Gunn soundtrack in the 50s - and he does it again in this 60s version of Henry Mancini's music for the full-length Gunn movie! The style here is a bit more far-reaching and looser than before - showing not just Manne's development as an artist, but also his ear for some of the best styles of the younger generation - as evidenced by his inclusion of Frank Strozier on alto and flute, and Mike Wofford on piano - alongside more familiar faces Monte Budwig on bass and Conte Candoli on trumpet.

Shelly Manne scored big with a jazz version of the Peter Gunn soundtrack in the 50s - and he does it again in this 60s version of Henry Mancini's music for the full-length Gunn movie! The style here is a bit more far-reaching and looser than before - showing not just Manne's development as an artist, but also his ear for some of the best styles of the younger generation - as evidenced by his inclusion of Frank Strozier on alto and flute, and Mike Wofford on piano - alongside more familiar faces Monte Budwig on bass and Conte Candoli on trumpet.

When Shelly Manne and His Friends (a trio starring pianist André Previn) had a surprise hit with their interpretations of melodies from My Fair Lady, it started a trend toward recording jazz versions of scores from plays. For this LP, Manne's trio (with Previn and bassist Red Mitchell) perform nine songs from the play Bells Are Ringing. Although seven of the pieces remained obscure, "The Party's Over" (which is heard twice) and particularly "Just in Time" caught on. As is always the case with this group, Previn's piano is the lead voice and his virtuosity, good taste, melodic improvising, and solid sense of swing are chiefly responsible for the music's success.

This trio set by Shelly Manne & His Friends (consisting of the drummer/leader, pianist André Previn, and bassist Leroy Vinnegar) was a surprise best-seller and is now considered a classic. Previn (who is really the main voice) leads the group through eight themes from the famous play, including "Get Me to the Church on Time," "I've Grown Accustomed to Her Face," "I Could Have Danced All Night," and "On the Street Where You Live." The result is a very appealing set that is easily recommended.

Shelly Manne made a countless number of records from the 1940s into the '80s but is best-known as a good-humored bandleader who never hogged the spotlight. Originally a saxophonist, Manne switched to drums when he was 18 and started working almost immediately. He was with Joe Marsala's band (making his recording debut in 1941), played briefly in the big bands of Will Bradley, Raymond Scott, and Les Brown and was on drums for Coleman Hawkins's classic "The Man I Love" session of late 1943. Manne worked on and off with Stan Kenton during 1946-1952, also touring with Jazz at the Philharmonic (1948-1949), and gigging with Woody Herman (1949). After leaving Kenton, Manne moved to Los Angeles where he became the most in-demand of all jazz drummers…

Shelly Manne, along with many other jazz veterans, had to make accomodations in the '70s to changing musical values. While he didn't totally switch gears, there was a different flow and tone to his sessions, something that's clearly audible on Alive in London, a 1970 date cut at Ronnie Scott's and reissued on CD. Guitarist John Morell and electric pianist Mike Wofford reveal as much rock and pop influence as jazz technique, and Manne's backing holds things together without tipping the scales one way or the other. Trumpeter Gary Barone and tenor saxophonist John Gross were equally skillful at adapting, while bassist Roland Haynes held the rhythmic center along with Manne.