Personnel:
Charlie Mariano (as), Ray Borden, Gait Preddy, Don Stratton, Roy Caton, Bud Wilson, Dud Harvey, Joe Gordon, Herb Pomeroy (tp), Mert Goodspeed, Joe Fine, Joe Laconi, Bob Carr, Frank 'Ace' Lane, Sonny Truitt (tb), Sebastian Giacco, Dave Chapman (as), Chuck Stentz, George Green, Randy Henderson, Andie Pirie, Jim Clark (ts), Gordon Barrantine, Serge Chaloff, George Myers (bs), Nat Pierce, Ralph Burns, Roy Frazee, Dick Twardzik, Richard Wyands, Jaki Byard (p), Steve Hester, Chet Kruley (g), Frank Vaccaro, Frank Gallaguer, Jack Lawlor, Bernie Griggs, Vernon Alley, Jack Carter (b), Joe McDonald, Pete DeRosa, Gene Glennon, Carl Goodwin, Jimmy Weiner, Peter Littman (d)
Reference: FSRCD1147
Bar code: 8427328611473
Charlie Mariano (1923-2009), a Boston native born to Italian immigrants, discovered his passion for jazz in the late 1930s after being inspired by Lester Young and Johnny Hodges. He quickly embraced the alto saxophone as his instrument and began jamming around Boston. Drafted in 1942, Mariano spent three years in an Army Air Corps band. Upon being discharged, he enrolled at Schillinger House to pursue his studies, but soon, influenced by the groundbreaking work of Charlie Parker and Dizzy Gillespie, he also immersed himself in Boston's vibrant modern jazz scene of the late 1940s, joining Ray Borden's orchestra and also performing at venues such as Hi-Hat, Wally's Paradise, and Eddie Levine's club.
In 1949, Mariano became a key figure in Nat Pierce's band and recorded his first two sides as a leader on the local Motif label, showcasing his modern style, and although he gained some attention among jazz critics, Charlie was still relatively unknown outside of Boston.
It was not until he recorded the 10-inch album titled "The New Sounds from Boston" —which included trumpeter Joe Gordon— for the Prestige label in December 1951 that Mariano's talents as a composer, arranger, and soloist were introduced to jazz audiences across the country.
In 1953, he recorded four more excellent albums, with releases on Prestige, Fantasy, and two on the Imperial label, leading groups that included other Boston jazz legends such as Dick Twardzik, Herb Pomeroy, and Jaki Byard. Not content with being solely a performer, that year he co founded the Jazz Workshop, advocating for musical education and experimentation. In early January 1954, he embarked on a tour with Stan Kenton, eventually finding himself on the West Coast, where he spent the next four years actively participating in the thriving California jazz scene.
Under the title 'Boppin' in Boston', this compilation of recordings from 1947-1953 serves as a testament to the early years of Charlie Mariano's extensive career. Although he initially played too much like Bird to be regarded as individually distinctive, from 1951 Mariano began creating a distinct voice with his alto saxophone, combining the innovations of bebop language with his own unique style. His contributions to jazz, as a performer and educator, solidified his legacy as one of Boston's most celebrated and revered jazz musicians.
—Jordi Pujol
"The Fresh Sound label from Barcelona, Spain has during the past couple of decades put out hundreds (probably thousands at this point) of superior jazz reissues, most from the 1945-1965 period. Thanks to the diligence of Jordi Pujol, a countless number of sessions have been saved from obscurity and been given the attention and packaging that they deserve.
Recent reissues include a pair of box sets featuring American saxophonists who first emerged during the classic bebop era. One of them dedicated to Charlie Mariano (1923-2009), a talented alto-saxophonist who was born, raised and often based in Boston. The two-CD set Boppin’ In Boston 1947-1953 has most of the highpoints from the first part of Mariano’s career. Starting with a ballad feature on “What’s New” with the Ray Borden Orchestra, Mariano is heard with groups (including a big band) led by pianist Nat Pierce and at the head of a variety of bop oriented combos. Among his sidemen are the forgotten but colorful bebop trumpeters Gait Preddy (whose career should have gone much further), Joe Gordon, Dick Collins, and Herb Pomeroy, trombonist Sonny Truitt, and pianists Roy Frazee (another talented but forgotten great), Dick Twardzik, Richard Wyands, and Jaki Byard. Mariano was clearly influenced by Charlie Parker, particularly during this era, but his own individual voice is heard gradually emerging. He would later spend time as a member of the Stan Kenton Orchestra, be part of the West Coast jazz scene in Los Angeles, and explore avant-garde jazz and fusion during his later years in Europe. Boppin’ In Boston shows that he was a very skilled player from the start.
This box set has extensive and definitive liner notes from Jordi Pujol along with superior sound. Highly recommended."
—Scott Yanow (July, 2024)
Los Angeles Jazz Scene
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"Best known for his work with Charles Mingus in the 1960s, alto saxist Charlie Mariano was one of the proto boppers, but instead of trying to sound like Charlie Parker, he leaned towards the lilting tone of Lester Young. That combination of Basie and bop is what makes this two disc set so irresistible.
Not only that, but Mariano had the idea before Miles Davis (it appears) of adding large textures to the harmonies and rhythms of bebop, pre-dating “Birth Of The Cool” by a few months. In 1949, he teams up with pianist Nat Pierce (after a one-off with the Ray Borden Orchestra with a rhythm section of Joe McDonald-Pete DeRosa/dr, Frank Vaccaro-Frank Gallagher/b and a mix and match of reeds and horns, including Serge Chaloff/baritone sax for some swinging and bopping pieces like “Sheba” and “Boppin’ In Boston”, with Mariano’s tone swooning on “Body and Soul” and “It Might As Well Be Spring”.
For 1951-1953 He brings in Sonny Truitt/tb, Joe Gordon/tp, Roy Frazee-Dick Twardzik/p and some extra horns and rhythm for some classy pieces like “Boston Uncommon” and a drop dead gorgeous “Autumn in New York”, while standards “Stella By Starlight” and “I’m Old Fashioned” have aged amazingly well.
A sextet with Sonny Truitt/tb, Dick Collins/tp, Vernon Alley/b, Joe McDonald/dr and Richard Wyands/p, Mariano gets nice and bluesy on “The Thrill Is Gone” and “Come Rain or Come Shine”. With Herb Pomeroy/tp and Jaki Byard/p backed by Jack Carter/b and Peter Littman/dr, Mariano focuses on the Byard compositions “Diane’s Melody” and “Chandra” while “How About You” sparkles. The 23 page booklet has copious notes and session information. Here’s a guy that you may have missed the first time around, since there was a surfeit of alto saxists post Bird. Not so today, so go back a few years to appreciate what an alto used to do."
—George W. Harris (June 3, 2024)
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