Once Charlie Parker, Dizzy Gillespie, Thelonious Monk, Bud Powell, Curley Russell, Max Roach and other black jazz musicians pioneered bebop and began recording the revolutionary style in 1945, other gifted jazz artists of the period quickly figured out the new language. Among the most exciting and proficient bop groups of 1947 was the short-lived Serge Chaloff Sextette.
The group recorded four songs (enough for two 78s) and featured Red Rodney (tp), Earl Swope (tb), Serge Chaloff (bar), George Wallington (p), Curly Russell (b) and Tiny Kahn (d). Five members of the group were in the George Auld Sextet, which gigged in New York but, sadly, did not record. Swope was added in place of Auld. [Pictured from left, the George Chaloff Sextette: George Wallington, Curley Russell, Red Rodney, Tiny Kahn, Earl Swope, Teddy Reig (partially hidden) and Serge Chaloff, courtesy of the Institute of Jazz Studies]
Earlier in '47, in January, Rodney had led a bop sextet session for Keynote, with Chaloff, Allen Eager (ts), Al Haig (p), Chubby Jackson (b) and Kahn. Two months later, Chaloff put his sextet together for Savoy. The Rodney date is strong but not nearly as hair-raising, since the band relied on Al Cohn and Gerry Mulligan arrangements, which had a certain civility. [Photo of Serge Chaloff above in 1948 by Popsie Randolph, courtesy of the Frank Driggs Collection]
On the Serge Chaloff Sextette date, three of the four songs recorded—Pumpernickel, Serge's Urge and Bar a Second—were written and arranged by Chaloff while the fourth, Gabardine and Serge, was by Kahn.
All four tunes are daredevil cute and blisteringly fast. They showcase tight unison lines and standout solos by four of the six musicians, who are in superb form. Pumpernickel, for example, starts with an impeccable pace-setter by pianist Wallington. After a breathless 16 bars by the group, Chaloff shows off his inexhaustible and leonine approach to the baritone sax. He's following by Rodney on trumpet, who is still vastly underrated as a swinging bopper. Swope's attack on trombone is forceful and spirited, with a sexy bop swagger. [Photo of Serge Chaloff above in 1948 by Popsie Randolph, courtesy of the Frank Driggs Collection]
The four Chaloff leadership tracks from 1947 are terrific entry points for listeners interested in any or all of the musicians involved and bebop in general. All I'll say is that the years after World War II must have been a trip in New York.
JazzWax tracks: The four tracks mentioned can be found on Serge Chaloff: The Complete Small Group Bop Sessions (Jazz Factory) here.
JazzWax clip: Here's Pumpernickel from March 1947.
The group recorded four songs (enough for two 78s) and featured Red Rodney (tp), Earl Swope (tb), Serge Chaloff (bar), George Wallington (p), Curly Russell (b) and Tiny Kahn (d). Five members of the group were in the George Auld Sextet, which gigged in New York but, sadly, did not record. Swope was added in place of Auld. [Pictured from left, the George Chaloff Sextette: George Wallington, Curley Russell, Red Rodney, Tiny Kahn, Earl Swope, Teddy Reig (partially hidden) and Serge Chaloff, courtesy of the Institute of Jazz Studies]
Earlier in '47, in January, Rodney had led a bop sextet session for Keynote, with Chaloff, Allen Eager (ts), Al Haig (p), Chubby Jackson (b) and Kahn. Two months later, Chaloff put his sextet together for Savoy. The Rodney date is strong but not nearly as hair-raising, since the band relied on Al Cohn and Gerry Mulligan arrangements, which had a certain civility. [Photo of Serge Chaloff above in 1948 by Popsie Randolph, courtesy of the Frank Driggs Collection]
On the Serge Chaloff Sextette date, three of the four songs recorded—Pumpernickel, Serge's Urge and Bar a Second—were written and arranged by Chaloff while the fourth, Gabardine and Serge, was by Kahn.
All four tunes are daredevil cute and blisteringly fast. They showcase tight unison lines and standout solos by four of the six musicians, who are in superb form. Pumpernickel, for example, starts with an impeccable pace-setter by pianist Wallington. After a breathless 16 bars by the group, Chaloff shows off his inexhaustible and leonine approach to the baritone sax. He's following by Rodney on trumpet, who is still vastly underrated as a swinging bopper. Swope's attack on trombone is forceful and spirited, with a sexy bop swagger. [Photo of Serge Chaloff above in 1948 by Popsie Randolph, courtesy of the Frank Driggs Collection]
The four Chaloff leadership tracks from 1947 are terrific entry points for listeners interested in any or all of the musicians involved and bebop in general. All I'll say is that the years after World War II must have been a trip in New York.
JazzWax tracks: The four tracks mentioned can be found on Serge Chaloff: The Complete Small Group Bop Sessions (Jazz Factory) here.
JazzWax clip: Here's Pumpernickel from March 1947.
This story appears courtesy of JazzWax by Marc Myers.
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