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SHELLY MANNE AND HIS MEN, VOL. 4 by Shelly Manne, 1957 mono LP, autographed / signed by Shelly Manne (drums), Leroy Vinnegar (bass), Russ Freeman (piano) , Stu Williamson (trumpet) and Charlie Mariano (alto sax).
Offered here is a great signed piece for collector's of West Coast cool jazz.
The back of the LP cover has been singed by Shelly Manne (drums), Leroy Vinnegar (bass), Russ Freeman (piano) , Stu Williamson (trumpet) and Charlie Mariano (alto sax). It is exceedingly rare to find all 5 signatures on one LP cover.
Details: Contemporary Records C-3516, mono deep groove, yellow label, 1957, signed by all 5 band members.
Condition: Vinyl: VG+ (clean, good luster) Jacket: Fair to Poor (all seams are split, tape repair with masking tape is also splitting.)
From the All Music Guide:
Shelly Manne made a countless number of records from the 1940s into the 1980s but is best-known as a good-humored bandleader who never hogged the spotlight. Originally a saxophonist, Manne switched to drums when he was 18 and started working almost immediately. He was with Joe Marsala's band (making his recording debut in 1941), played briefly in the big bands of Will Bradley, Raymond Scott and Les Brown and was on drums for Coleman Hawkins's classic "The Man I Love" session of late 1943. Manne worked on and off with Stan Kenton during 1946-52, also touring with Jazz at the Philharmonic (1948-49) and gigging with Woody Herman (1949). After leaving Kenton, Manne moved to Los Angeles where he became the most in-demand of all jazz drummers. He began recording as a leader (his first session was cut in Chicago in 1951) on a regular basis starting in 1953 when he first put together the quintet Shelly Manne and His Men. Among the sidemen who were in his band during their long string of Contemporary recordings (1955-62) were Stu Williamson, Conte Candoli, Joe Gordan, Bob Enevoldsen, Joe Maini, Charlie Mariano, Herb Geller, Bill Holman, Jimmy Giuffre, Richie Kamuca, Victor Feldman, Russ Freeman, Ralph Pena, Leroy Vinnegar and Monty Budwig.
The owner of a swinging "walking bass" manner, comfortable in several idioms but not a prolific soloist, Leroy Vinnegar had a couple of heydays -- in the '50s and '60s as a busy freelance recording sideman, and as a member of Les McCann's most popular combo in 1969. As such, he played a major role in two of jazz's biggest hit albums, the trend-setting My Fair Lady set with Andre Previn and Shelly Manne (1956) and the Eddie Harris/Les McCann soul-jazz manifesto Swiss Movement.(1969).
Pianist Russ Freeman -- not to be confused with the guitarist/leader of the Rippingtons -- was better known as a sideman than a leader, but he was an important collaborator with both Chet Baker and Shelly Manne, leaving his mark on two of the most celebrated bodies of work in West Coast cool jazz.
Charlie Mariano's career can easliy be divided into two. Early on he was a fixture in Boston, playing with Shorty Sherock (1948), Nat Pierce (1949-50) and his own groups. After gigging with a band co-led by Chubby Jackson and Bill Harris, Mariano toured with Stan Kenton's Orchestra (1953-55) which gave him a strong reputation. He moved to Los Angeles in 1956 (working with Shelly Manne and other West Coast jazz stars), returned to Boston to teach in 1958 at Berklee and the following year had a return stint with Kenton. After marrying Toshiko Akiyoshi, Mariano co-led a group with the pianist on and off up to 1967, living in Japan during part of the time and also working with Charles Mingus (1962-63).
The younger brother of pianist Claude Williamson, Stu Williamson was a fixture on West Coast jazz dates of the 1950s. He moved to Los Angeles in 1949 and spent periods playing with Stan Kenton (1951), Woody Herman (1952-1953), and Kenton again (1954-1955), in addition to shorter stints with Billy May and Charlie Barnet. The mellow-toned Williamson, best-known for his association with Shelly Manne (off and on during 1954-1958), was on a countless number of sessions up until 1968 when he dropped out of the music scene. A drug addict, Stu Williamson spent most of his last two decades struggling outside of music.