Lou Levy - The RCA Recordings

© -  Steven A. Cerra - copyright protected; all rights reserved.

Because of his long associations with female Jazz vocalists such as Peggy Lee [circa 1955-75], Ella Fitzgerald [1957-1962] and later stints with Anita O’Day and Nancy, Lou Levy is sometimes referred to as “... a fleet-fingered bop pianist known principally as an accompanist.” [Andre Barbera writing in The New Grove Dictionary of Jazz, Barry Kernfeld, ed.

But the broader view might see Lou as having had a parallel career as a member of many instrumental groups led by Shorty Rogers, Stan Getz, Terry Gibbs and Med Flory and Supersax, not to mention, countless recordings on which he appeared as a sideman.

Perhaps the gigs by the accompanist Levy made possible the “comforts of home” while the instrumental Jazz jobs provided “food for the soul?”

Thankfully, along the way, Lou made a number of recordings to help document his contributions to Jazz. These began early in his career thanks to Shorty Rogers. [Lou held down the piano chair in Shorty’s quintet the Giants for many years.]

One of the first things Shorty Rogers did when he joined in the mid 1950s RCA as its Artists & Repertoire man for Jazz on the Left Coast was to contract with pianist Lou Levy to do three LPs for the label. Fittingly, in order that we might hear the Levy piano style unencumbered, Lou opted to do the first one for RCA as as a solo piano album.

Pianist Andre Previn, who due to his work in Hollywood films was resident in Hollywood for most of the 1950s, did the honors for the liner notes to Solo Scene Lou Levy, Pianist [RCA 74321665052 1956]

“The sides in this album fill a gap long overdue in today's recorded modern jazz. This is quite a statement, considering the hundreds of albums currently available, but then Lou Levy is quite a musician. Long an established and highly respected pianist among his fellow musicians, he has been woefully neglected by the public and even by jazz fans, who have considered him only as a valuable man to have around in a rhythm section.

The eleven tracks which comprise Solo Scene will hopefully change this attitude, for here is Lou proving himself as an imaginative, powerful soloist. There have always been pianists who sound perfectly fine within the safe confines of a rhythm section but who suddenly reveal their shortcomings when sitting alone at the piano; not so with the gifted Mr. Levy who for his recording premiere, disdains any and all help from other instruments, and tackles eleven standards in solitary splendor, thus following the small and select company of musicians who make up the category "Solo Pianists."

Lou was born in Chicago in 1928. His father played piano by ear so Lou's interest in jazz was immediate, and his flair for it undeniable; by the time he was eighteen he was accompanying Sarah Vaughan, having already put in a short spell with Georgie Auld's band in the company of Tiny Kahn, Red Rodney. Curly Russell and Serge Chaloff. He next joined Chubby Jackson's band and became one of the first jazzmen of the modern school to play Europe. During '48 and '49 he was a mainstay of the great Woody Herman Second Herd (the famous Four Brothers band ) and was well on his way to becoming the favorite pianist of many modern musicians.

In 1952, tired of the road and the scuffle that goes with it, he deprived the music business of his presence and went into the publishing field. However, it has never been possible to keep as natural and accomplished a musician as Lou away from his chosen instrument for too long a time, and in '54 he capitulated and opened at Frank Holzfeind’s Blue Note in Chicago, playing solo intermission piano. And there the story of this album actually started. Woody's band was booked into the club, and suddenly the sidemen were paying Lou one of the great musicians' compliments: they were using their intermissions to sit around the stand, listening closely and passing the word around that Lou was back and in great form. On the last Sunday of their engagement. Al Porcino, the wonderful trumpet player, lugged in his tape recorder and took down some fifteen or twenty of Lou's solo efforts. These tapes soon achieved almost a legendary status. Musicians all over the country heard them, some had them copied, others remembered them in detail, and "Hey, did you hear those Blue Note Lou Levy tapes?" became the opening gambit of many a jazz discussion. In the meantime, Lou moved out to Los Angeles and began gigging around: with Conte Candoli, Stan Getz and Shorty Rogers, on record dates and one-nighters. He was almost willing to forget about his status as a solo pianist, but his many friends were not; and finally, after much prodding, RCA Victor snared him into their recording studios. Characteristically, it then took Lou only two fast sessions to cut the album and make some extra sides as well; more often than not the first take was the final one.

Side One opens with a forgotten song from "The Wizard of Oz". called Ding Dong the Witch Is Dead. Taken at a breakneck pace and played for bravura effect, it shows off Lou's technique and his unfailing sense of time.

Lullaby of the Leaves has a tender introduction and a lovely, moody statement of the theme. Here, as in many of the sides. Lou shows his love for the Impressionist School, making large use of the whole-tone progressions so dear to the music of that genre.

Making Whoopee, which follows, has a fine, down-home feel to it. The gamut is run here, with no disdain shown for occasional stride piano, a quick interpolation of 3/4, and a funky ending.

It Ain't Necessarily So, from "Porgy and Bess", is again complete with tempo changes, variation in dynamics, and an occasional romanticism that belies the original lyric.

Violets for Your Furs is perhaps the best ballad playing of the album. Lou plays the Matt Dennis verse (a great habit), and there is an interesting polytonal coda.

The side ends with another virtuoso display: Harold Arlen's Get Happy. A grandiose statement of the tune leads into several fast jazz choruses, and the ascending key changes are worth listening for.

The opener on Side Two is That Old Black Magic, taken at an uptempo. Lou sets a pattern in the introduction which carries over into the first chorus. Some fascinating rhythmic shifts occur during the second 32 bars.

I'll Take Romance is again Debussy-esque. played in 3/4, and full of Lou's favorite device, a series of rapid ninth chords. The second chorus settles into a slow 4/4 and there is a lovely afterthought ending.

Nice Work If You Can Get It has some humorous interchanges of ad lib and straight tempo, and a surprising, fast jazz coda.

Black Coffee is a great accomplishment in construction. Reflective and funky in turn, it uses the entire range of the keyboard to make its point.

The closing number is Irving Berlin's Cheek to Cheek, which shows off Lou's versatility. It has wonderful good-naturedness, some driving jazz and a piquant dissonance for the good-bye.

Although this is essentially a jazz album, it will be appreciated by more than the jazz coterie of fans. The tunes are always recognizable, and the piano playing displayed is the perfect relaxed "party piano". There is always a great sense of assurance, of playing on a large scale; there is intensity, humor, reflection and showmanship. When the time comes for Lou Levy to decide to really strike out as a soloist, a lot of already firmly established pianists will have to put in extra hours to keep their places secure.”

• ANDRE PREVIN Radio Corporation of America. 1956

For the his second offering on RCA, Lou turned to a quartet format with Larry on vibes. Stan Levey is on drums for both the quartet and Leroy Vinnegar on bass.

Entitled Jazz in Four Colors/Lou Levy Quartet [RCA ND 74401], here are Shorty and Lou’s comments about the album:

“In planning this album, Lou and I spent much time trying to figure out a "different" instrumentation. This was no small problem in face of the fact that so many albums are being made today. While trying to figure out an instrumentation Lou went to work on a job that enabled him to renew one of his favorite musical acquaintances: Larry Bunker on vibes. Lou and Larry enjoyed playing together and made a wonderful nucleus for a quartet. This also presented the possibility of forming a group that could record and appear in public.

This album could be called "the birth of the Lou Levy Quartet." and I must say that it was a privilege and a great thrill to be a witness to the birth of this swingin', tasty, musical baby.

Here to tell you about the album is Lou Levy I the proud father.”

SHORTY ROGERS

“Through working in various bands. I found the men who had just what I wanted for this album. Creativeness, plus down-home musical authority . . . namely, Larry Bunker, Stan Levey, and Leroy Vinnegar.

Stan was my first acquaintance. I met him in Boyd Raeburn's band, Galveston, Texas, around '47. The band included Maynard Ferguson on his first job in the States. Stan had been playing with "Diz" and "The Bird" all through the '40s and the experience really showed in his playing. He did everything great. That was the only job I've ever worked with Stan, but that experience, and hearing Stan lately, sold me on him.

Larry was next. We worked a very short time together in Georgie Auld's Quartet four years back, at which time Larry played drums and vibes: then came a job a year back with Barney Kessel, where I really found out about Larry's vibes. He played only vibes on the job and swung all the time. Larry and I now both work with Peggy Lee, so that's three jobs together.

Leroy and I are from the Midwest, but didn't meet until a year ago in Hollywood. Conte Candoli introduced us on the bandstand at Jazz City, and a few months later we worked a short engagement together at Zardi's in a wonderful quintet led by Stan Getz . . . also including Conte and Shelly Manne. Other than a half dozen albums, that was the only time I worked with Leroy. He is a thrill to work with, and anyone who has worked with him will bear me out. His time is perfect and he never stops swinging.

Since Stan works at the Lighthouse in Hermosa Beach. Leroy works with Shelley Marine's group, and Larry and I are with Peggy Lee — it was evident that we wouldn't have time to rehearse before the session — that all music on the date would be "new" to us. So. in two dates — March 31st and April 4th — we worked out, rehearsed and recorded ten tunes, as follows:

TUNE UP — A Miles Davis original with unique chord changes that present an interesting challenge to any soloist. Larry and I play two choruses each. We then split the 32-bar chorus into four 8-bar sections played by Larry, Stan, myself and Leroy. in that order. The next chorus is split into eight 4-bar sections. The final chorus is melody followed by a fade ending in which Larry plays a real interesting ascending line.

WITHOUT YOU - This was an Andy Russell number in Walt Disney’s "Make Mine Music." It is also a very unusual tune in chord structure but everyone seems right at home on this. There is a bass pickup into the first chorus. I play one and Larry and Leroy split one before the out chorus.

WAIL STREET - This is Barney Kessel's original. Built in D minor, it employs cycles of fifths in excellent taste. After the piano intro. the tune rolls right through the melody chorus into Larry’s two choruses.  Larry's solo is definitely one of the brightest spot in the album. All his imagination and swing really show here. I take two choruses: the ensemble and Stan exchange four bars: we walk the bridge and finish up with an extended ending featuring Larry.

STAR EYES — The drums and intro. in general, present a mild Latin flavor that is maintained throughout most of the melody passages. This is eliminated for all the jazz solos This tune is another example of how great Stan and Leroy sound on a "groove" tempo. They make it a pleasure at all times. The routine on the introduction is reversed and used as an ending.

THE LADY IS A TRAMP - This number completes the first side and is done by the trio minus the vibes. I had played this arrangement before on local trio jobs. After the first chorus, there are three piano choruses building up to one chorus of "walking" and one chorus out with an extended ending that has a slight flavor of "ragtime."

THE GRAY FOX — This is an up-tempo original. There's an eight-bar piano intro, followed by the first ensemble chorus and an extension and break leading into Larry's two choruses. The piano solo of two choruses is introduced by an interlude and break. Then a chorus is split between Stan and Leroy. The piano intro is repeated and into the out chorus with an extended ending. I'm very happy with this tune as it shows the effort made to have an organized interesting date.

BUTTON UP YOUR OVERCOAT - One chorus of ensemble into one for Larry. I do a chorus and a half, and Leroy has the bridge. We finish out with an extended ending. This is another "groove" for Leroy and Stan.

IMAGINATION - Here is a display of Larry's great sensitivity on vibes. To get so much from this instrument is a rarity. Except for the second bridge, it's all Larry.

GAL IN CALICO — We used a simple introduction and open fourth voicing throughout the ensemble section. There are suggestions of western music, especially in the intro and ending. Larry and I get two choruses each, and Leroy and Stan split a chorus of fours. As a curious note, this was the only number that required more than two takes. But we're happy with the results.

INDIANA — The final tune on the date. Trio only. Shorty suggested doing the first chorus ad-lib, the manner in which I handled most of the tunes for The Solo Scene (RCA Victor LPM-1267) album. There is abundance of chord alterations, but this tune has been recorded frequently, so a new flavor was in order. The tune is not breakneck tempo, but pretty well up. Three piano choruses lead into a wonderfully organized chorus of drums. The out chorus is followed by a B.G.-type tag ending. [“B.G.” = Benny Goodman]

Without getting too flowery, I'd like to say that I'm more than happy with the performances of the men individually, as well as collectively. After doing this date. I was all the more sure that someday soon I would take this group on the road. It may not be possible to get the same men, but if I come close, that's great.

To Shorty Rogers, who sat in the booth through all the recording, a large share of credit is due. If I'm the "Proud Papa," let's make Shorty "Godfather."

LOU LEVY

In 1957, Lou selected a trio format with Max Bennett on bass and Stan Levey on drums when he recorded A Most Musical Fella: The Lou Levy Trio [RCA 74321665052] for which he wrote the following liner notes.

In planning this album, intentions were to do it with three difFerent groups, with the first four tunes to be done by a trio. But after the first date we were so happy with the results that it was decided to make the whole thing with the trio. There is no doubt that the personnel on this album was the deciding factor. The trio jelled too well to do anything but a complete trio album.

Side one opens with Night and Day. Stan starts it by playing the pattern of the verse melody on a cymbal. It sounded so good that this was a natural for a starter. The arrangement is rather bright and features an opening chorus alternating between a Latin and swing feel.

Angel Eyes, Matt Dennis' lovely tune, is treated as we believe he intended — very delicately from the introduction into one and a half choruses. The second bridge has a double-time feel but this is not intended to be jazzy; it felt natural and sounded good to all of us.

Lou's Blues is a very simple original done mainly to satisfy the desire to relax and play the blues. After having to play somewhat involved arrangements, the blues is always a ball.

Yesterdays gave me a chance to play solo piano, at least the first chorus. The second chorus is in tempo and is what I'd call a natural rhythmic impression of the original tune.

Apartment 17 is my original, very bright and sixty-four bars long. It's the kind of tune that keeps you thinking, as it's always going somewhere.

The second side opens with How About You, a standard jazz tune that affords many opportunities for chord alterations moving under the melody. These fast moving progressions are. for the most part, dropped, although Max uses them to good advantage at the opening of the second chorus.

Baubles, Bangles and Beads, a wonderful tune from "Kismet" that was recorded so beautifully a few years back by one of my present employers. Peggy Lee. It is a tune that offers wonderful opportunities for improvising, although you'll notice that the largest portion of the melody was treated with deserved calm.

Woody 'n 'Lou is a bright original, based harmonically on Dizzy's RCA Victor recording of Algo Buena. The chromatic progression of this tune is the one used in How About You. I'll venture to say it's one of the most comfortable progressions for "blowing."

We'll Be Together Again is ad-lib solo piano until the second eight, and then in tempo until the end. The introduction is re-used as an ending. I'd like to add that this tune has great personal meaning to me, so I jumped at recording it.

The last tune on the date is I’ll Remember April and we only made one take. Personally. I got carried away and played quite a few choruses, but there was so much excitement during this take we knew we couldn't reach that point again.

What I'm going to say now is not directed at musicians or people that can evaluate music on their own; it's more for people with a love for music and a lack of knowledge concerning it.

The chord alterations and substitute progressions are added to modern jazz mainly for two reasons: to improve the accompaniment to the melody and to give the jazzman a more interesting cycle of chords to improvise with. I find that many songwriters find the approach most refreshing. In fact, I have yet to hear one speak against it.

I also think the public has been frequently misled as to what modern jazz really is. I've seen numerous TV shows with major personalities trying to define modern jazz. These people are not jazz musicians, so immediately this should disqualify them. If you really want to learn to appreciate modern jazz, listen to the people who play it and live with it. It offers mental and physical satisfaction, and if you're not getting that now. try again — because you're missing an awful lot.”

LOU LEVY

All three of these RCA recordings have been prepared for CD release by Jordi Pujol and can be purchased through the Fresh Sound website.