* Al Cohn —Mr. Music (RCA Victor LJM-1024) 1955 * Al Cohn —The Natural Seven (RCA Victor LPM-1116) 1955 * Joe Newman —All I Wanna Do is Swing (RCA Victor LPM-1118) 1955 * The Jazz Workshop —Four Brass, One Tenor (RCA Victor LPM-1161) 1955 * Joe Newman —I'm Still Swinging (RCA Victor LPM-1198) 1956 * Freddie Green —Mr. Rhythm (RCA Victor LPM-1210) 1956
From December 1954 to December 1955, jazz producer Jack Lewis recorded a series of outstanding albums at RCA Victor’s famous Webster Hall Studios in New York City with Al Cohn and Joe Newman, each leading several small swinging bands, and as sidemen on Freddie Green’s only album as a leader.
By then, Al Cohn was one the hardest working and most sought-after tenor saxophonists and arrangers in New York. His playing was in some way reminiscent of Lester Young, but above all, it was personal, both in sound and concept. The originality and strength of his work are evidenced by these sessions, for which he joined forces with his friend, trumpeter Joe Newman, as well as some of the best jazzmen on the New York scene.
It was in 1952, after becoming amain trumpet soloist for the Count Basie Orchestra, that Joe Newman rose to fame. Basically, Newman’s style stayed close to that of his mentor Harry Edison. His playing was a mixture of simplicity and spontaneity with just the right amount of originality of his own but without ever neglecting the contribution of the bop school.
The unamplified guitar of Freddie Green, long a mainstay of the bright and relaxed rhythm section of the Count Basie Orchestra, also brought a swing touch to these recordings. “Mr. Rhythm”, the first and only album recorded under his leadership, completes and closes this amazing set of swinging sessions that sustain a high level of musicianship, and a constantly pulsating rhythmic drive.
“The big thing around here these days is the Count Basie band. I think it’s having more and more of an influence on our musicians and arrangers all the time,” said Al Cohn in 1955. “We all want to swing, because swing, I think, is still the most important element in jazz.”