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Complete Recordings 1958-1964

Fresh Sound FSR-CD 852




Colors In Sound

1. Walkiní Time

2. For You, For Me, Forevermore

3. What Is There To Say?

4. Deep Down

5. Easy Living

6. Yesterdays

7. You Brought A New Kind Of Love To Me

8. Desert Fever

9. Spring Will Be A Little Late This Year

10. Periwinkle Blues

11.Youíd Be So Nice To Come Home To

Tracks 1,2,4,&5

Ernie Royal, Joe Ferrante, Doc Severinsen, Foxy Corby - Trumpets

Frank Rehak, Eddie Bert - Trombones

Davis Amram - French horn

Bill Barber - Tuba

Ray Starling - Mellophone

Sal Salvador - Guitar

George Roumanis - Bass

Jimmy Campbell - Drums

Tracks 3,6 &11

Same as above except;

Jimmy Maxwell replaces Joe Ferrante on trumpet

Ray Starling - Trumpet & mellophone

Osie Johnson replaces Jimmy Campbell on drums

Tracks 7- 10

Foxy Corby, Al Maiorca, John Frosk, Bill Hodges - Trumpets

Frank Rehak, Eddie Bert - Trombones

David Amram - French horn

Bill Barber - Tuba

Sal Salvador - Guitar

George Roumanis - Bass

Osie Johnson - Drums

The Beat For This Generation

12. To Beat Or Not To Beat

13. That Old Feeling

14. Satin Doll

15. But Beautiful

16. Venice Anyone

17. Secret Love

18. The Mad Pad

19. Iím Glad There Is You

20. Bleecker Street Blues

21. The Dancing Beat

22. The Continental

23. I Concentrate On You

Ernie Royal, Jimmy Maxwell, Doc Severinsen, Foxy Corby, Danny Stiles, Jerry Kail, Charles Kamey - Trumpets

Jerry Tyree - Flugelhorn

Eddie Bert, Willie Dennis - Trombones

Ray Starling - Mellophone

Vinnie Dean - Alto sax

Larry Wilcox, Mike Citron - Tenor saxes

Jack Furlong - Baritone sax

Sal Salvador - Guitar

John Bunch Piano

Bucky Calla - Bass

Charlie Persip - Drums


You Ainít Heard Nothiní Yet!

1. Space Walk

2. Boato

3. On The Street Where You Live

4. The Song Is You

5. Shade Three

6. All The Things You Are

7. Blues March

8. The Old Gnu

9. Love You Are Here

10. Ambulating

11. Another Page

12. Colors In Sound

13. Turkish Taffy

14. Chuckles

Jerry Tyree, Jerry Kail, Burt Collins, Al Stewart - Trumpets

Ray Starling, Dave Moser - Mellophones

Ray Wiegand, PeteVibona or Eddie Bert - Trombones

Andy Marsala - Alto sax

Charlie Mariano, Joe Farrell - Tenor saxes

Nick Brignola - Baritone sax

Sal Salvador - Guitar

Dave Frishberg - Piano

John Beal - Bass

Steve Little - Drums

Sheryl Easly - Vocals (tracks 3, 9, 11)

Sal Salvador was a guitarist in the single-note Charlie Christian tradition of playing, who first gained some measure of recognition in the Stan Kenton Orchestra on his recording New Concepts Of Artistry In Rhythm in 1953. Although Salvador could not be considered an innovator on the instrument, he nevertheless was an inventive player with a fluid and resourceful style. The three albums featured on this two-CD release are long on ambition but short on content.

Colors In Sound is an interesting construct in that the band is brass heavy, without reeds, with the colour to be provided by the tuba, French horn and mellophone. The brass had to carry the leads over the rhythm section, with Salvador's guitar filling in the bulk of the solo space. Bassist George Roumanis wrote the arrangements, all of which are relatively short, and designed for commercial airplay. While many of the eleven tracks in this session may be nothing more than background music, there are several that are quite punchy and solid. Walkiní Time has some rhythmic life built around solos from Salvador, Ray Starlingís mellophone, and the tuba of Bill Barber. Deep Down is a swinger pushed along by the drumming of Jimmy Campbell with some fine muted trumpet from Doc Severinsen and an eight-bar solo from trombonist Frank Rehak.

The arrangement for Jerome Kernís Yesterdays is barely over two minutes but therein it combines a Latin rhythm with straight 4/4 to interesting effect. In this case the drummer is Osie Johnson and he shows his mettle. Ray Starling takes a high-note trumpet solo, and Salvador is nicely effective in his brief moment. Cole Porterís Youíd Be So Nice To Come Home To is a fitting closer to this particular album. It is a heady charmer filled with some nifty interplay between trumpeter Starling and Salvador, as the brass blazes away in the out chorus.

The Beat For This Generation is less brassy and more mushy than Colors In Sound. Recognizing that a full brass sound was not gaining any traction, Sal Salvador added reeds, thus taking the bite out of the band. Although the section work continued to be tight and the harmony of the arrangements was interesting, no strongly identifiable sound emerged. Listen to That Old Feeling, or Satin Doll or But Beautiful and you will get a good sense of the range and style of the band. The ensemble work is fastidious, and the expression of the guitar with the reeds and the brass come together succinctly. Venice Anyone is a number that is somewhat out of the box as it is swinger with a series of sixteen and eight bar exchanges between tenor saxophonists Larry Wilcox and Mike Citron. Drummer Charlie Persip is a whirling dervish on his drum kit. The closer on this session is Cole Porterís I Concentrate On You which gives Salvador space to show his stuff, along with Ray Starling on mellophone, and Vinnie Dean on alto sax.

The final album is entitled You Ainít Heard Nothiní Yet!, which is probably a well-intentioned but hyperbolic statement. Although the band sounds more like a band, there is still a sense that it lacks an identity, despite having some strong section players, and several nifty arrangements from Larry Wilcox. Among these are Boato, a bossa nova number on which Salvador demonstrates his creativity, and Charlie Mariano rips off a strong tenor solo. Jerome Kern and Oscar Hammerstein II wrote The Song Is You and they surely could not have imagined the swinging arrangement offered here. Salvador plays with creativity and fluency over the band, and the brass section is especially forceful. The band rarely delved into a pure jazz theme, so it was a pleasant surprise to listen to their take on Benny Golsonís Blues March (although the liner notes show the title as Blue March). With drummer Steve Little setting the march tempo, the band settles into a groove, spinning out a rollicking version of the tune, with Salvador sculpting an inquisitive niche.

There may be some Sal Salvador fanatics out there who were pining away for the re-release of these albums. However Fresh Sound Records might want to consider devoting their resources to more promising titles.

Pierre Giroux

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