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~ ASIGNOF THE GUITAR {ORCHESTRA OF

ARRANGED &: CONDUCTED BY

BOB FLORENGE

Producer: Richard Bock

Art Direction: Woody Woodward

Cover Photography: Fred Poore

Engineer: Bruce Botnick

THETIMES JOE PASS

The entertainment world is becoming one fast-moving community for guitarist Joe Pass. A seasoned and respected jazz performer, Pass has now entered the realm of the pop music song, the haven for million sellers,,the constant merry-go-round on which the gold ring is within arm’s reach of nearly everyone. © It wasn’t too long ago that the jazz fraternity completely snubbed the commercial Tin Pan Alley writer and felt that the esoteric jazz journals were the only publi- cations to read. Nowadays, jazz players from coast to coast are getting the,. message that jazzmen can earn a healthy living IF they connect with a properly designed piece of commercial material on records. And, as a result of an infusion of quality material by young, aggressive, seriously-minded pop composers, the jazz players have shorn their hesitancies anent recording these works. 0 Hence, we have Joe Pass collaborating for the first time with Chet Baker and a vocal chorus on 12 tunes right out of popsville. The trail is not unpaved for Pass, who has already delved into sideline experiments with various forms of pop music fot World Pacific. Since 1962, when he started recording, Joe has warmly interpreted motion picture themes and folk songs in his dynamically individual jazz style. So he has rated an ‘‘A’’ for open mindedness and effort. 0 Joe is a staunch individual who enjoys a challenge and is thoroughly dedicated to music, be it jazz or the more widely appreciated popular idiom. For the past five and one-half years he has been associated with Synanon, the unique social experi- ment in drug rehabilitation. He has played with the Santa Monica, California branch’s small band at Saturday evening open house sessions and is probably one of the organization’s best known ‘‘graduates.’’ O With the guitar having become the favorite plaything of the nation’s youth (one out of every three instruments sold is a guitar), a favorable climate is spurring more professional guitarists to shoot for the commercial recording market. This Beatles-led environment offers Mr. Pass a new audience to aim for, one which is guitar conscious and amplifier-fed. Joe acknowledges this audience and hopes he can gain new devotees as a result of the material in this album. Its concept was described by Joe as a sort of ‘‘round robin’ collaboration between himself, arranger Bob Florence and producer Dick Bock. © ‘‘Bob Florence’s arrangements put the songs in a more musical setting,’’ Pass said. He qualified the thought by explaining that Florence had brought greater depth and insight to familiar arrangements written by the beginning young kids who are aiming primarily for the pop charts. O Joe said he thought a jazzman could take any kind of tune, ‘‘treat it right and it will be good.’’ What did he mean by treating it right? “‘By using the proper chord changes and picking the right time to play it.” O With the majority of material aimed at the pop charts and AM radio exposure, the beat

is of vital importance to a song’s success. One discernible difference is quickly heard in the group working with Pass and Baker. The beat is subdued but rhythmically flowing. Credit drummer Frank Capp with a clean attack, while retaining the commercial feel on such powerful chart tunes as Petula Clark’s ‘“‘A Sign Of The Times,’’ the bossa-novaish ‘‘Phoenix Love Theme’”’ and Dionne Warwick’s ‘‘Are You There.’’ O Pass, with his warm, lyrical fingering and Baker, with his soothing flugelhorn, are like two confident surfboard riders dashing magnificently into shore as the vocal chorus provides them with a smooth ocean of rolling waves. O Bob Florence’s arrangements enable Pass and Baker to be powerful in their first go-around. There are no wasted notes, no long-blown solos; yet, Pass is able to add his own spice to the songs, a spice which puts performances by jazz musicians above the normal output of the recording studio group. A studio group goes hurriedly from one session to another, sight-reading arrangements. Pass, because of his background, adds soul and emotion to his playing. 0 Pass and Baker are each given latitude in their soloing. Rarely are they heard playing counter melody lines. This is a team effort of distinguished soloists able to take an established and familiar melody and create their own tapestries of joyous moods and colors. — Eliot Tiegel

a

side one

A SIGN OF THE TIMES

THE PHOENIX LOVE THEME

(Senza Fine) (From the 20th Century-Fox Film ‘‘The Flight Of The Phoenix’’)

NOWHERE MAN

DINDI

A SUMMER SONG

MOMENT TO MOMENT

side two

IT WAS A VERY GOOD YEAR

ARE YOU THERE (With Another Girl)

WHAT NOW MY LOVE (Et Maintenant)

SOFTLY AS | LEAVE YOU

SWEET SEPTEMBER

Hear

the guitar

of Joe Pass

on

World Pacific

and

Pacific Jazz

Records:

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ST-73/PJ-73 * CATCH ME e JOE PASS e Falling In Love With Love; Summer- © time; Mood Indigo; Catch Me; Just Friends; Walkin’, Walkin’ Up; But Beautiful; No Cover No Minimum; You Stepped Out Of A Dream.

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2

ST-1822/WP-1822 * GREAT MOTION PICTURE THEMES « JOE PASS & THE FOLKSWINGERS ¢ Charade; Sunday In New York; Manha De Carnaval (Car- naval From Black Orpheus); Fall Of Love; Wives And Lovers; How The West Was Won; More; It Had Better Be Tonight; Lawrence Of Arabia; Love Song Of Tom Jones; Love With The Proper Stranger; Call Me Irresponsible.

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