Personnel:
Aaron Sachs (cl, ts), Phil Sunkel, Bernie Glow (tp), Urbie Green, Jimmy Cleveland, Frank Rehak (tb), Danny Bank, Gene Allen (bs), Nat Pierce, Hall Overton (p), Joe Roland (vib), Barry Galbraith, Dick Garcia, Jimmy Raney (g), Clyde Lombardi, Aaron Bell (b), Osie Johnson (d)
Reference: FSRCD1143
Bar code: 8427328611435
Aaron Sachs (1923-2014) was a native New Yorker who grew up in the Bronx. After studying clarinet with private teachers, in 1941, still in his teens, Sachs landed his first job with Babe Russin, playing clarinet and alto saxophone, the latter through self-training. That same year, he joined vibraphonist Red Norvo's Septet, alongside fellow Bronx musicians Shorty Rogers and Eddie Bert. After a brief period with the Van Alexander orchestra in 1943, Aaron rejoined Norvo in January 1944, solidifying his reputation as a skilled clarinetist and earning the prestigious Esquire "New Star" award in 1945.
Between 1945 and 1946, he performed both instruments with Benny Goodman, Buddy Rich, and Charlie Ventura bands. In 1946, Sachs formed his quintet, Aaron Sachs and his Manor Re-bops, establishing himself as the first jazz musician to embrace bebop on the clarinet, preceding Tony Scott and John LaPorta.
In 1948 Aaron married singer Helen Merrill, a union that lasted only a few years, as they divorced in 1956.
His tenure with the Earl Hines sextet from 1952 to 1953 allowed him to develop his talent as a tenor saxophonist. He admitted, "I enjoy playing both instruments, but I am disappointed that the clarinet isn't used more, both in jazz and pop records today." Sachs had Lester Young as his main influence, and that's how he wanted to play both tenor sax and clarinet. Subsequently, Aaron led his own combo at Cafe Society in New York for a period. Later, he worked as a freelancer in commercial recording sessions, primarily playing the tenor saxophone. Sachs cited Lester Young as his main influence for both instruments.
Leonard Feather once remarked, "Aaron has proved that he can bring to both instruments the taste, style, and musicianship that bespeak artistry rather than mere versatility for its own sake."
This CD compilation features three albums recorded by Aaron between 1954 and 1957, showcasing his talent as an instrumentalist and composer alongside some of the finest jazz musicians from the New York scene. The arrangements of these recordings were skillfully crafted to provide a supportive backdrop for either clarinet or tenor saxophone, highlighting Sachs' versatility and artistry.
—Jordi Pujol
CHOC Jazz Magazine
"Avec une opiniâtreté digne d’éloge, Fresh Sound Records fait revivre une période féconde du jazz, celle des années 1950-60.
Ainsi resurgit une figure tombée dans l’oubli, celle d’Aaron Sachs (1923- 2014). Son patronyme, assurent les
plaisantins, le prédestinait à la pratique du ténor où il excella, comme en témoigne cet album. Son mérite
essentiel demeure toutefois dans la réhabilitation d’un autre instrument, la clarinette, tombée en désuétude
depuis l’émergence du bop. Entamée en 1941 auprès du vibraphoniste Red Norvo, sa carrière le conduira
successivement chez Benny Goodman, Buddy Rich et Charlie Ventura avant qu’il ne dirige ses propres formations
et, précédant Tony Scott et John Apport, introduise la clarinette dans les orchestres bop.
II n’abandonne pas pour autant le sax ténor, pratiqué notamment dans le sextette d’Earl Hines entre 1952 et
1953. Alternant avec bonheur les deux instruments, il deviendra par la suite un des fleurons de la scène new
yorkaise. Un simple coup d’œil sur la liste de ses partenaires lors des séances ici reproduites suffit pour mesurer
sa notoriété d’alors . Urbie Green, Jimmy Cleveland (tb), Nat Pierce (p), Barry Galbraith (g), Aaron Bell (b), Osie
Johnson (dm), autant de musiciens valeureux, réunis dans des groupes à géométrie variable, pour servir un
soliste doublé d’un compositeur de talent. En témoignent des thèmes tels Aaron’s Blues ou Platter Pie (en
sextette), Come Has Her Day ou / Can’t Believe (en quintette), subtilement arrangés. Ils voisinent avec des
compositions de Quincy Jones, Benny Golson ou Cole Porter. Autant de pièces où Aaron Sachs fait preuve d’une
invention et d’une maîtrise qui le placent dans la lignée de Lester Young qui grava en son temps quelques faces
remarquables à la clarinette."
—Jacques Aboucaya
Jazz Magazine
________________________________________________________________________________________
"There was such a surfeit of great sax players in the 1950s that it’s understandable that many got overlooked. Here’s a chance to see what you’ve been missing with this rich reissue from Fresh Sound Records.
Aaron Sachs is not a household name, but he was with a number of important artists such as Shorty Rogers and Red Norvo. This single disc set finds him with some impressive company, giving his ideas to mostly originals in a sound that has “LA Cool” written all over for it, even though it was all recorded in The Big Apple.
He plays both a Lester Young-Zoot Sims inspired tenor, and a stripped down Buddy DeFranco styled clarinet, in quintet, sextet and octet settings, mixing and matching with Urbie Green/tb, Barry Galbraith-Jimmy Raney-Dick Garcia/g, Aaron Bell-Clyde Lombardi/b, Nat Pierce Hall Overton/p, Joe Roland/vibes and Osie Johnson/dr. Sachs blows like a West Coaster on “One Track” and is gorgeously fluffy on “Aaron’s Blues,” fluttering on “Conversations” and sublime on “Why Shouldn’t I?” while digging in on the Basie-ish “Wiggins”. His licorice stick is cool for “Kingfish” and flexible for “Gorme Has Her Day” with a nice bounce for “You’re My Thrill”. Warm and breezy."
—George W. Harris (March 11, 2024)
https://www.jazzweekly.com/
