Personnel:
Herbie Mann (fl, b-cl), Jack Sheldon (tp), Jimmy Rowles (p), Buddy Clark (b), Mel Lewis (d)
Reference: FSRCD 486
Bar code: 8427328604864
In 1957, flutist Herbie Mann claimed the bass clarinet as his most suitable second horn (#1-7). This fine, low-pressure collection is a showcase for Manns playing, but not at the expense of the other musicians. According to annotator Orrin Keepnews, this session consisted of relaxed, spirited, and free-wheeling blowing. The spirit is maintained without shoving decibels into the breach. And there are enough solos to go around.
Jack Sheldon plays with great authority. Rowles performs in supporting and solo roles with equal proficiency. Lewis and Clark service the horns with steady flow of rhythmic drive. On bass clarinet, as on the flute (tracks #8-11), Herbie Mann here revealed himself to be a very consistent jazzman.
"This reissue not only showcases Herbie Mann’s versatility but also captures the breezy sophistication of West Coast jazz at its finest—a testament to the timeless appeal of these musicians and their remarkable synergy.
We all know Herbie Mann as the celebrated flute player, but many may not realize he also explored the bass clarinet. In 1957, Mann released GREAT IDEAS OF WESTERN MANN, a likely first in jazz history where the leader plays entirely on bass clarinet. Remarkably, it was also the first Riverside release recorded on the West Coast.
Here, Mann approaches the bass clarinet with the same personality and swing he brings to the flute, giving the instrument a lighter, more playful character than its usual brooding reputation. Stylistically, it’s a textbook West Coast bop session, with a youthful Jack Sheldon shining on both open and muted trumpet. The rhythm section, Jimmy Rowles on piano, Buddy Clark on bass, and Mel Lewis on drums, keeps things tight and swinging throughout.
Sheldon’s open trumpet tone kicks off Miles Davis‘ ‘The Theme’ with a clarity that’s striking yet inviting, free of any harsh edges. The bass clarinet, with its naturally deep and shadowy timbre, takes on a contemplative, almost elegant character in Mann’s hands. Jimmy Rowles on piano was a perfect fit with his understated style exuding quiet sophistication and a sense of knowing exactly what the moment calls for.
Cole Porter’s ‘Get Out Of Town’ is a mid-tempo beauty. Mann takes off with Porter’s melody and runs with it, everyone comping behind him. Sheldon plays a beautiful muted solo that carries a warmth and sparkle that draws you in. Rowles solos in his typical light and conversational way with the addition of a couple of subtle harmonic surprises. Buddy Clark’s bass has a warm, steady pulse and he makes the other players sound better by always being in the right place at the right time.
Rowles and Clark trade a lovely duet on ‘A Stella Performance’ before Mann takes center stage. Mel Lewis keeps things flowing with his relaxed, swinging approach to timekeeping, subtle with plenty of swing. Sheldon steps in with another outstanding open horn solo, full of character and finesse."
—Tim Larsen (December 12, 2024)
https://jazzviews.net/
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"The immodest title of this one carries a double connotation; it was probably the first album of jazz in which the leader recorded entirely on bass clarinet and, less significantly, the first Riverside album recorded on the West Coast. The first achievement -- which Mann and producer Orrin Keepnews thought of three years before Eric Dolphy broke out his bass clarinet on records -- ought to be more widely known, but the usual prejudices among critics regarding Mann's subsequent popularity among record buyers have decreed otherwise. In any case, Mann phrases on the bass clarinet pretty much the way he does on flute, with a definite personality, plenty of swing, and a airy outlook that makes the instrument sound less sinister. Stylistically, this is strictly a mainstream West Coast bop blowing session, with a young Jack Sheldon offering up splendid, in-the-pocket open and muted trumpet. Jimmy Rowles (piano), Buddy Clark (bass), and Mel Lewis (drums) comprise the swinging rhythm section. Miles Davis' "The Theme" and Cole Porter's "Get Out of Town" contain the tastiest solos, with Mann's own "A Stella Performance" running closely behind, but all tracks are consistently good [...]"
—Richard S. Ginell (All Music Guide)
