Personnel:
Sal Salvador (g), Ernie Royal, Jimmy Maxwell, Doc Severinsen, Joe Ferrante (tp), Frank Rehak, Eddie Bert, Willie Dennis (tb), David Amram (Frh), Andy Marsala (as), Charlie Mariano, Joe Farrell (ts), Nick Brignola (bs), John Bunch (p), George Roumanis (b), Osie Johnson, Charlie Persip (d), Larry Wilcox (arr)
Reference: FSRCD 852
Bar code: 8427328608527
In 1958, Sal Salvador (1925-1999) was on constant call for free-lance studio work and performing regularly with his own quartet. Searching for new horizons, his Decca album 'Colors in Sound' was cut by a pilot model of the band he hoped to launch. All arrangements, by George Roumanis, were for a brass-packed band, without reeds (with colors added by French horn, tuba, and mellophone) over a strong rhythm section. The reaction to the album was such that Sal decided to book the band on a pick-up basis.
By the time his second Decca album 'The Beat for This Generation' was being recorded, he had developed a permanent band, including reeds, in part from Marshall Browns Newport Youth Band, augmented by some of the cream of the New York studio and jazz musicians, with startlingly good arrangements by George Roumanis and Larry Wilcox. Sals guitar was important as a solo voice and in setting the soundscape, leaving enough solo space for other band members.
Moving from Decca to Audio Fidelity's Dauntless label, he recorded a third big band album, 'You Ain't Heard Nothin Yet,' with Larry Wilcox in charge of all the arrangements. He would be also responsible for one last single the band recorded in 1964 for Sals own, recently formed label Danbar Records.
"Although Stan Kenton did his best to bring Sal Salvador to the attention of the jazz audience, the guitarist never seemed to gain the renown his talent seemed to deserve. He was a fine musician who became house guitarist at Radio City and Columbia Records and eventually a university professor. His love of big bands led to the emergence of the groups on the three albums here. I was disappointed to find Foxy Corby's solo contribution confined to a mere melody statement on Spring Will Be A Little Late but Rehak and Eddie Bert have the odd solo spot. The guitar work is dazzling and dextrous throughout, in the Christian style."
-Steve Voce (Jazz Journal, June 2015)
http://www.jazzjournal.co.uk
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"Best known for his work with Stan Kentons orchestra, guitarist Sal Salvador is one of the overlooked guitarists these days. He had a style and delivery similar to Herb Ellis; clean, clear and inherently swinging. This 2 disc set has him in an impressive environment,with the first two sessions in a brass-heavy big band that recalls his earlier employer.
Filled with trumpets, trombones and French Horn, the band shows its testosterone between swinging solos on pieces like Walkin Time and To Beat or Not to Beat. Salvador shows his ability to milk a note on the suave Easy Living and Satin Doll and he can make melodies on his own during his solos on Periwinkle Blues and You Brought a New Kind of Love to Me. A sax team that includes Charlie Mariano/ts, Joe Farrell/ts, Andy Marsala/as and Nick Brignola/bs as well as Dave Frishberg on piano are featured on the second disc, which has more of a Basie feel to it. The Sal and the band sizzles on The Song Is You and is revved up on All THe Things You Are. Vocalist Sheryl Easly brings her Christy-inspired voice to material such as On the Street Where You Live while the rhythm section has a gas of a time on Benny Golsons Blue March. This guy knows how to have fun on the frets!"
George W. Harris (August 31, 2015)
http://www.jazzweekly.com
