Personnel:
Sam Most (fl, cl), Doug Mettome (tp), Urbie Green (tb), Marty Flax (bs), Dick Hyman, Bob Dorough, Bill Triglia (p), Chuck Wayne, Barry Galbraith (g), Clyde Lombardi, Percy Heath, Aaron Bell (b), Jackie Moffett, Louis Bellson, Bobby Donaldson (d)
Reference: FSRCD1155
Bar code: 8427328611558
Sam Most (1930-2003) was born in Atlantic City, NJ, and began making a name for himself in nearby New York City, where his family moved when he was four years old. Sam played several instruments, including piano, saxophone, clarinet, and flute. It was with the last two that he earned a reputation as a trendsetter among modern jazz musicians, and it is these two instruments that are featured here.
Sam's earliest influence and inspiration came from his brother Abe, ten years his senior, who was the star clarinetist in the bands of Les Brown and Tommy Dorsey. At 20, Sam briefly played also with Dorsey, and later with the bands of Shep Fields, Boyd Raeburn, and Don Redman. However, his main claim to fame was the stellar work he did with his own modern groups, where his distinctive clarinet style (notably focusing on the instrument's higher register) and his remarkable agility on the flute blended so superbly.
In the summer of 1952, Sam truly came into his own when he recorded the flute feature "Undercurrent Blues." At the time, jazz flute was little more than a novelty, rarely featured in recordings or performances in the modern bebop style. "Undercurrent Blues" showcased the instrument’s potential in a fresh way and, while not a major hit, it caught the attention of many musicians, establishing Sam as the first modern jazz flutist.
Herbie Mann, the first jazz flutist to achieve widespread popularity, once said, "When I started playing jazz on flute, there was only one record out: Sam Most’s 'Undercurrent Blues.'"
Sam's emergence on the jazz scene was further recognized in 1954 when he won the New Star clarinet division in the Down Beat Critics’ Poll.
This CD set brings together, for the first time, Sam Most's earliest recordings as the leader of his sextets from 1952 to 1954.
—Jordi Pujol
When LA was truly “La La Land”
"Jazz musicians had it nice in LA in the 1950s and 60s, making good money playing in the studios for movies and TV shows and then hitting the clubs at night for hip gigs. And they could all afford to buy a house in the suburbs! What could go wrong?!?
Here is a Fresh Sound Records reissue that prove jazzers didn’t have to suffer to be creative.
Playing flute and clarinet, Sam Most made a nice career as a studio stud, still finding time to put out an impressive number of his own albums. These sessions from 1952-54 (ironically recorded in NYC) start with Most with Doug Mttone/tp, Chuck Wayne/g, Dick Hyman/p, Clyde Lombardi/b and Jackie Moffett/dr with the leader’s flute sublime on “Undercurrent Blues” and his clarinet bouncy on “Taking A Chance On Love”. A larger band brings in Urbie Green/tb, Bob Dorough/p, Percy Heath/b, Mettome/tp and L ouie Bellson/dr for a classy take of “Scroobydoo” and classical “I Hear A Rhapsody”. The band further expand with some charts by Quincy Jones on a hip “Skippy” and suave “ Open House” with Jones’ own “Blues Junction” a nice showcase for Most’s licorice stick. Woodwind wonders.
When it was hep to be hip!"
—George W. Harris (October 14, 2024)
https://www.jazzweekly.com
