Search - Hal Quartet Mckusick :: Complete Galbraith/Hinton/Johnson Recordings

Good music/long out-of-print/so-so annotation/not "complete"

Peter Feng | Wilmington, DE United States | 06/24/2005

(4 out of 5 stars)

"McKusick's 1950s music has much to recommend it. He was a lucid and concise improviser, somewhat in the West Coast mold, a boppish hybrid of Lee Konitz and Paul Desmond. He's an excellent technician, best remembered today for his contributions to George Russell's "Jazz Workshop" LP (which also featured Barry Galbraith in a supporting role). With no slight to McKusick, I don't think I'm the only listener who is interested in these recordings more for Galbraith's guitar, and for the nonet arrangements by Jimmy Giuffre and Gil Evans, than for the leader's sax.



The quartet itself has a unique "chamber jazz" sound: McKusick and Galbraith blend beautifully in the theme statements: Galbraith comps, plays countermelodies, or plays harmonies under McKusick (as if he were substituting for a full reed section). On a few tracks, McKusick plays clarinet instead of his usual alto sax. (He does not play flute, as the liner notes suggest.) McKusick and Galbraith both solo fluently. The rhythm section of Hinton and Johnson swings effortlessly.



This edition is not fully complete: three tracks written by George Russell, from the "Hal McKusick Jazz Workshop" LP are omitted. They are apparently slated for "George Russell: The Complete Bluebird Recordings," forthcoming from Lone Hill, which likely includes Russell's "Jazz Workshop," previously issued in multiple CD editions. (Note: the three missing tracks were previously issued on a 1988 RCA Bluebird CD, "The RCA Victor Jazz Workshop: The Arrangers." )



The second CD features the two albums recorded in 1955, "East Coast Jazz Series no. 8" arranged by Manny Albam, and "In a Twentieth Century Drawing Room," with cello quartet added. (The cellos function like a second guitar, and the meld well with the quartet.) Note that a Spanish CD issue of the "Drawing Room" session features the tracks in a different sequence.



The first CD has the live 1956 sessions that were issued as "Jazz at the Academy," with most of the arrangements attributed to George Russell. The "Jazz Workshop" arrangements are by Albam, Johnny Mandel, Jimmy Giuffre, and of course Gil Evans. "Blues for Pablo" would later appear on the classic Miles Davis album arranged by Evans, "Miles Ahead" while "Jambangle" was on Evans' own album, "Big Stuff!"



Annotation & production: some of the dates given differ from those in standard discographies. Bill Barber's tuba is uncredited. Not sure why the 1956 sessions precede the 1955 dates.



Sound quality is quite good overall. The live date is bright, clean, and well-mixed (although the bass is very slightly muffled); unfortunately, print-through is evident during the quiet numbers. Still, above par for a live recording from 1955.



The music repays careful listening, and some of the arrangements are quite innovative. It's nice to have the four LPs together on two CDs (with the caveat that you'll have to seek out the first rate George Russell tracks elsewhere). As with other Lone Hill issues, the sound quality is commendable while the annotation drops the ball."

Barry Galbraith Guitar Wiz

Alex Ander | Tennessee | 01/26/2009

(5 out of 5 stars)

"I bought this originally for the sole purpose of listening to Barry Galbraith's guitar playing. Hal's playing was also an ear catcher for me. The CD's sound great and there's quite a wealth of tunes to digest here for guitar enthusiasts. It's getting harder to find music by Barry Galbraith so this is a nice addition to any collection."