Personnel:
Paul Quinichette (ts), Buck Clayton, Joe Newman (tp), Dicky Wells, Henry Coker (tb), Marshal Royal, Ernie Wilkins (as), Sam Most, Herbie Mann (fl), Charlie Fowlkes (bs), Kenny Drew, Bobby Tucker, Jimmy Jones, Sir Charles Thompson (p), Count Basie, Jimmy Golden (p, org), Bill Doggett, Marlowe Morris (org), Freddie Green, Jerome Darr, Clifton “Skeeter” Best, Barry Galbraith (g), Jimmy Lewis, Walter Page, Al McKibbon, Gene Ramey, Jimmy Richardson, Milt Hinton, Paul Chambers, Al Hall (b), Gus Johnson, Les Erskine, Jo Jones, Harold Wing (d), Tommy Lopez, Willie Rodriguez, Manny Oquendo (perc), Quincy Jones (arr)
Reference: FSRCD1150
Bar code: 8427328611503
Few jazz stars of the 1950s gained such widespread acceptance and acclaim as Paul Quinichette. In the two years since he won the Down Beat Critics Poll for New Tenor Saxophone Star of the Year 1953, he garnered many individual honors. This recognition and subsequent fame were a direct result of his memorable association with the Count Basie Orchestra, of which he was a member from September 1951 to July 1953. During that time, he earned his reputation as Vice “Pres,” which, of course, means that he was considered the closest, both in tone and style, to Lester "Pres" Young.
All the recordings on this 2-CD set were produced by Bob Shad between 1951 and 1954 and originally released on the Mercury, EmArcy, Dale, and Decca labels. There are exceptional musical moments throughout these early Paul Quinichette sessions, full of loose swinging, unpretentious arranging, and a lot of good blowing. The mood frequently resembles that of the celebrated Kansas City Seven and Kansas City Five contingent with which Basie made some of his most unforgettable performances in the late 1930s. The presence of the Hammond organ in several of the tunes further contributes to creating an exhilarating atmosphere.
The latter two sessions result from the collaboration between Paul and young arranger Quincy Jones, distinguished by the smooth texture of the ensemble sound created through the use of tenor and flute flowing in two distinct frameworks, showcasing Quincy’s inventive gifts as a melodist. The straight 4/4 beat of the first group contrasts with the eight-to-a-bar approach that constitutes the substance of the second combo, where the guitar and drums disappear, replaced by three Afro-Cuban percussionists.
Despite his subsequent extensive and distinguished recording career, the music we can hear in these legendary sessions contains possibly the most definitive recorded examples of Paul Quinichette's tenor saxophone work, who in jazz history will forever be remembered as the Vice 'Pres'.
—Jordi Pujol
This box set beautifully captures Quinichette’s early years and offers a personal glimpse into the talent that made him a standout in the jazz world.
"Fresh Sound’s Paul Quinichette: THE VICE PRES, 1951 – 1954 pulls together some of his earliest recordings as a leader. Quinichette was known as the “Vice Pres” because he played a lot like Lester Young, aka “Pres.” Some critics wrote him off as a copycat, and he did admit he was a huge fan of Young. Still, if you listen closely, you’ll hear some key differences.
Lester Young had that smooth, whispery sound, light and airy, never pushing too hard. Quinichette’s tone is similar but with more bite, especially when he hits the higher notes. Where Young’s phrasing is subtle and laid back, Quinichette’s got a bit more edge—his tone is fuller, rounder, and more assertive when he wants it to be.
Paul Quinichette, born in Denver in 1916, began his musical journey on clarinet before switching to tenor sax. After earning a music degree from Denver University, he hit the road, touring the regional circuit before making his mark in the mid-to-late 1940s. He sharpened his skills with Jay McShann, then played with the Johnny Otis Orchestra in Los Angeles and Louis Jordan’s band in New York. In 1951, Quinichette joined the prestigious Count Basie Orchestra, where he remained for two years.
This 2-CD set brings together some of the biggest names in 1950s jazz. The first tracks, recorded in 1951, feature Kenny Drew on piano, Freddie Green on guitar, Gus Johnson on drums, Jimmy Lewis on bass, and Bill Doggett on organ. It’s an impressive lineup, and I was surprised to see how many of the tracks were written by Quinichette.
All the recordings were produced by Bob Shad and originally released on Mercury, EmArcy, Dale, and Decca. If you know the Count Basie smaller group recordings, like the Kansas City Seven or Five, you’ll get the vibe here; tight, swinging, and packed with that same lively energy.
The set features three organists: Bill Doggett, Marlowe Morris, and even Count Basie, who shines on two tracks. Morris’s playing feels a bit out of place, almost like it’d fit better at an ice skating rink.
Paul Quinichette passed away in 1983 at age 67, but he left behind a remarkable and varied recording career. He collaborated with jazz greats like Dinah Washington and Billie Holiday, and even in his later years, he kept on, including a 1978 session with Jay McShann. He also recorded with Mal Waldron in 1964, further proving his range and adaptability to the jazz scene.
This box set beautifully captures Quinichette’s early years and offers a personal glimpse into the talent that made him a standout in the jazz world, and it will keep your foot tapping from start to finish!"
—Tim Larsen (October 17, 2024)
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