The Commodore record label was known for its recordings of the early period jazz pioneers up to bebop, and not necessarily the modernists.
Frank Wess was one of those post-bop players, coming out of the Count Basie Orchestra, who eventually made his mark as a premier individualist tenor saxophonist and a seminal jazz flutist stepping away from the swing and big band sound. These small group sessions by
Wess give proof positive that he was ready to step out as not only a leader and budding composer (he wrote six of these tracks), but to assert himself as a giant of jazz in his own right. Considering the dates of these recordings, 1954, it could easily be said he was ahead of his time. There are four quintet dates with
Wess and trombonist
Henry Coker -- "Wess Point" barely stating a melody prior to solos, "Some Other Spring" showcasing the sleek tenor of
Wess, "Mishawaka" a
Charlie Parker flavored hard swinger with the horns in unison, and modal hints rhythmically propping up
Coker's singing 'bone during "Flute Song." The next four have trombonist
Benny Powell in for
Coker and follow slightly different textures. "Basie Ain't Here," like "West Point" is a jam with an alternate take tacked on, pianist
Jimmy Jones and
Wess on flute duet for the standard "You're My Thrill," while the longer "Frankosis" is a fine swing number. The band expands to a sextet for another four cuts, returning
Coker for one, and
Urbie Green for the other three, as well as adding trumpeter
Joe Wilder throughout. These pieces are not as distinguished, though they have individual bright moments. "Pretty Eyes" features a more soulful
Wess on tenor, "Wess of the Moon" has brief Latin flourishes from drummer
Osie Johnson, the flute vibrato on the bop modified standard "Romance" stands out, and the sweeter side of
Wess is pronounced during the slower "All My Life." In most instances
Wess leads and the other horns play quiet background harmonies. Not all of this music is from Commodore, as the final two tracks are from the
Thad Jones quintet recordings for the Debut label, run by
Charles Mingus.
Thad Jones' trumpet,
Hank Jones on piano, the bass playing of
Mingus,
Kenny Clarke's drumming, and
Wess on tenor whip through the definitive hard bop composition of
Thad Jones' "Bitty Ditty," and the harder bopping, quick and lithe "Elusive."
Frank Wess made many recordings later on for the Savoy label, especially with fellow
Basie-ite
Frank Foster, with modern big bands, as a then premier flutist (most notably the Progressive label classic Flute Juice) and with the
New York Jazz Quartet as its sole lead instrument. These sessions foreshadow all of the great work
Wess would do from then on, and has to be considered a classic in his solid discography. ~ Michael G. Nastos