Howard Rumsey's Lighthouse All-Stars Music For Lighthousekeeping (Contemporary)

Music For Lighthousekeeping

Conte Candoli, trumpet; Bob Cooper, tenor sax; Frank Rosolino, trombone;
Sonny Clark, piano; Howard Rumsey, bass; Stan Levey, drums.

This album was recorded on a series of Tuesday evening dates at Contemporary Records' studio, and I think you will find it just different enough from our other albums to make it interesting throughout. The material is programmed the way we might present the last set of a busy, swinging night at the Lighthouse.

Side One: "Love Me Or Leavy" was written for Stan Levey by Bill Holman. It's a fast moving original that gives Stan a chance to exchange thirty-two bar choruses with the horn players, plus an extended solo before the ensemble out chorus.

"Taxi War Dance" was arranged by Bob Cooper and was added to the library when John Levine requested some Basie material. "Coop" transcribed Lester Young's solo for the opening ensemble chorus. After the blowing choruses the horn players get into an exchange of eight bars each, then four bars, then two bars. There are some send-offs, Stan gets two four-bar breaks, Sonny plays a bridge, and I play the next one. All in all a swingin' pleasure.

"Octavia" is a Cooper original. It's a theme based on octave intervals and it is the one ballad on this album. I enjoy playing this tune so much that possibly it would be better for you to listen to it yourself and make your own decision. I hope you won't mind if I call it exquisite. "Coop" plays this one solo with the rhythm section and, except for sixteen bars by Sonny, it is tenor all the way.

"Mambo Las Vegas" is one of two mambos on this album written for us by Bill Holman. The name implies a lot, and anyone who has been to Las Vegas know how excitement permeates the atmosphere. Let me tell you this, just in case you haven't been there: it's impossible to find an after-hours spot in that town, everything is open twenty-four hours a day! We tried to do the same thing musically, so if you hear a cow-bell, maracas, claves, ram's horn or conga drum you will know that the All-Stars are playing these Latin instruments between choruses.

Side Two: "Jubilation" [mp3] is another Cooper composition and arrangement. Here is an example of why I think of "Coop" as a musician's musician. This is the type of arrangement I can play over and over and yet always feel like next time I'll play it better. The progression is very good for blowing, but it is definitely not just another progression. There is an excellent shout chorus just before the last ensemble too!

"I Deal" is Sonny Clark's blues contribution to this set, and he gets to deal quite freely. He plays two choruses before the ensemble chorus and follows that with several more. Then the horn players and Sonny exchange six bars apiece with Stan before the out chorus. This is a good chance to hear Clark's approach to a medium-up blues.

"Latin For Lovers," Bill Holman's second mambo contribution to this set, is a good example of why I like to have him write for the group. It seems that no matter what he writes for any band, large or small, the musicians love to play it. His material always sounds fresh, it swings, and invariably it meets with good audience response. On the blowing choruses the rhythm goes into straight time on each bridge and, once again, the horn players double on the Latin instruments.

"Topsy," the wonderful Eddie Durham--Edgar Battle original, first recorded by Count Basie in 1937, has been our signature every night since 1950 and is the perfect tune to cool out on after a hard blowing session. Regular patrons of the Lighthouse who have heard us play it night after night, have repeatedly asked us to record it. Please keep in mind when you hear us play anything Basie has recorded, we play in the spirit of reverence, not competition.

The All-Stars join me in hoping the music in this album will make your housekeeping a whole lot lighter!

--HOWARD RUMSEY, From the liner notes

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