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JAZZ HALL OF FAME SERIES LRP-3071

CALVIN JACKSON, Péanist, ana His Orchestra LIBERTY

Jazz Variations on Gershwin’s RHAPSODY IN BLUE

To re-analyze a major work in any light other than that which focuses on the tradi-

tionally accepted treatment is to invite ridicule, risk censure, incite the faithful to an

examination of hempen cord and strong oak with the avowed intention of stretching

the neck of the offender. Thus by giving this “fresh” attention to the enormously popular

George Gershwin work, the Rhapsody in Blue, I automatically qualified as a leading

candidate for the indignities the purists will undoubtedly heap upon my head.

Was I fully aware of the aforestated drawbacks? Sure . . . I only hesitated long

enough to take a deep breath and ask for a copy of the original score when LIBERTY

proposed my undertaking this project . . . re-orchestrate Gershwin? ? ? up-date the

sounds? ? ? create a contemporary concept!!! ... these phrases and more assailed my

thinking. Stating it simply — it was a challenge I could not ignore.

Musicians and critics alike have in the main conceded the fact that Gershwin was

ahead of his time. He composed in a legible jazz idiom that unfortunately was beyond the

ken of his interpreters. So few of the true jazz figures of his era were capable of “read-

ing” the notes that he had to depend on a pseudo-type hybrid that fell loosely between

the categories of society dance band musician and second-rate legitimate artist. True, the

SIDE ONE

original Whiteman rendition was literally and figuratively speaking, a milestone in

American jazz history . .. to say such was not the case would be bordering on heresy,

but I do maintain, and other students of Gershwin will bear me out, that here was a

composer far ahead of the tools at hand. It is a monumental tribute to the vision of Paul

Whiteman that he even undertook the giant step at all...

We have heard symphony soloists and groups undertake a longhair interpretation

of the work, and frankly, if you love jazz and Gershwin as do I, you must have felt as

though here was an enormously interesting and vital Huckleberry Finn being stifled in

a boiled collar and tails...

As you will perceive on examination of our version, we have stayed fairly religiously

within the confines of the original melodic line... it is only the 1927 vintaged adorn-

ments that we tampered with and brought up to present-day standards of advanced

harmonics and listenability ... we would like to feel that George Gershwin would be as

exhilarated by this reading of himself in a jazz idiom as we were in the attempt...

— CALVIN JACKSON

SIDE TWO

JAZZ VARIATIONS ON

RHAPSODY IN BLUE

(George Gershwin) * Harms, Inc. © ASCAP

CALVIN JACKSON, Pianist,

and His Concert Orchestra

17:15

MORE JAZZ VARIATIONS ON GERSHWIN THE CALVIN JACKSON QUARTET Calvin Jackson, Piano; Al Viola, Guitar; Buddy Woodson, Bass; Mel

Lewis, Drums.

BIDIN’ MY TIME 2:45

(George and Ira Gershwin) * New World Music Corp. * ASCAP

SOMEONE TO WATCH OVER ME 5:06

LADY BE GOOD 3:30 (George and Ira Gershwin) * New World Music Corp. * ASCAP

(George Gershwin) * Harms, Inc. * ASCAP

OF THEE | SING 2:35 FASCINATIN’ RHYTHM 2:00

(George Gershwin) * New World Music Corp. * ASCAP (George and Ira Gershwin) * Harms, Inc. * ASCAP

ABOUT SPECTRA-SONIC-SOUND . . . LIBERTY’S SPECTRA-SONIC-SOUND is a process which incorporates the use of an advance design of the famed Telefunken microphone in conjunction with Altec Lansing power

amplifiers and Ampex Recorders. This combination, plus special microphoning and studio acoustics, has been u tilized to reproduce a brilliant sound. Correct balance between vocal and instrumental groups gives all

LIBERTY recordings outstanding clarity and presence for maximum high fidelity listening enjoyment. For best results, use the RIAA equalization curve. Frequency response is from 40 cps. to 15,000 cps.

Producer: Simon Jackson ¢ Cover Photography & Design: Garrett-Howard * Engineers: Val Valentin and Ted Keep

SPECTRA-SONIC-SOUND ...the ultimate in High Fidelity

Le EFA

©Liberty Records, Inc. Printed in U.S.A. by P.H.C.P.

TBERTY RECORDS. INC. HOLEYWOOD,-CALIEORN LA

“Liberty” and ‘Spectra-Sonic-Sound” Trade Marks Reg. U.S. Pat. Office Marcas Registradas

my REG. U.S. PAT. OFFICE

f JAZZ HALL OF FAME SERIES CALVIN JACKSON, PIANIST

FCM CMA gam ero

STRESS te miewermate™” (| cURVE. IE yean eae Lie) Sel

RHAPSODY IN BLUE (George Gershwin)

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G. U.S. PAT. OFFICE

JAZZ HALL OF FAME SERIES MORE JAZZ VARIATIONS ON GERSHWIN

THE CALVIN JACKSON QUARTET Calvin Jackson, Piano; Al Viola, Guitar; Buddy Woodson, Bass; Mel Lewis, Drums

priory wep ta, . yey) THE ULT a aot as ‘ge HU A 3

1. LADY BE GOOD (George Gershwin) 3:30

2. OF THEE | SING (George Gershwin) 2:35

vc 29) 0 an (George and Ira Gershwin) 2:45

4. SOMEONE TO WATCH OVER ME (George and Ira Gershwin) 5:06

reg Wa a (George and Ira Gershwin) 2:00