Koffman, Moe - Cool and Hot Sax

Tracks

Side 1

		Track Name	Length
	1	Hey There	03:42
	2	Bei Mir Bist Du Schön	03:12
	3	General Delivery	03:20
	4	Francesca	04:09

Side 2

		Track Name	Length
	1	The Swingin' Shepherd Blues	03:57
	2	Coaster	04:03
	3	Hambourg Bound	04:05
	4	The Baron	03:58

Photos

Videos

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Information/Write-up

The Moe Koffman Septet

The question is often asked by visiting groups from the U.S.A. . . . Why are Canadians so very appreciative of American Jazz? To the best of my ability, here's the answer.

It all started a long time ago—during the era of Goodman-Dorsey-Basie-Herman-Miller and the rest. Because of our geographical location, we heard the programs from the various American Radio stations; so we heard the records of those great bands. It was the only music — on both the records — but when we heard the band live we stopped, bought enough 50¢ pop to cover a two set minimum, and sat before it with reverence. The musicians sang standards and looked off while the music was absorbed . . . but we, their thirsty music fans sat standing in front of the bandstand in rapt attention for the whole night.

The thrill of seeing in person the men and the music that had become a legend to us was indescribable. Probably the fact that the border was so near and yet so far had a lot to do with the vividness in which we held the American big band sounds. Personally, I remember the kick I got when Art Mooney and his band appeared in a local spot and did a very straight 45 minutes and yet were mobbed for autographs. It is very desirable work. It was the only way to see live face to face appearances of Name Bands here in Canada. It’s not an unfamiliar story for people to have driven 200 miles out in Saskatchewan just to hear Sam Noto or Hank Bianci do a one nighter.

South of our border, the bands made a great many more appearances, and it was not uncommon to have Dorsey and Goodman in the same city the same night . . . That, then, is one of the best of our tremendous interest in Jazz over here.

With the advent of Bars and Lounges in Toronto, the door was open for Club work. It became necessary for musicians to form units, work out arrangements and programs, and present them night after night. Certainly, because they were paid for, the Clubs in particular, the Town Taverns, has closed their ranks since touring groups meant loss of time away from other organized work or family business; but instead of “killing” the club scene it has grown for riding and like other healthy economic units. You may now work out of your own area and still work out fairly regularly. You may go to other towns, other provinces, other sections of our country . . . make a circuit of hotel chains, club chains, and so work out your own budget . . . that’s why I say the Jazz scene in Canada is pretty solid. Coast to Coast to Coast.
-Phil MacKellar

In a business such as music, where a continual search is carried out for new talent, it is most refreshing to happen upon a recent entrant such as Moe Koffman. At 26, Moe is one of the brighter new jazz artists of the day and he is in fine some trim.

The versatile Mr. Koffman is equally adept at playing five instruments: clarinet, alto saxophone, flute, tenor saxophone, and alto flute.

Koffman first came into the public spotlight in January of 1950. Moe had been playing with many of the top local jazz groups in Toronto. In January of 1950, Moe left Toronto to work with the newly organized big band of the late Jimmy Dorsey. His progress was accelerated by a short stay with Charlie Barnet, and a return stint in the fold of the Jimmy Dorsey Orchestra.

During the next four years, Koffman worked with such great bandleaders as Tex Beneke, Buddy Morrow, Charlie Barnet, Sonny Dunham, Tito Rodriguez, Ralph Flanagan, and many others.

The excitement Moe had garnered during those years, and the results of his most intensified study in the States, paid off handsomely upon his forming his own group. Moe arrived back in Toronto in 1955, and immediately set to work on developing music which he wished to introduce to jazz followers. He had heard and seen so much since his stay in New York that he was anxious to share some of the knowledge he had picked up in New York.

That group is what we call Moe on this record.

ED KARAM: Second only to Moe in this group’s originality (Moe was 1st) yet not necessarily second. He is an artist. He is originally from Vernon, B.C. Jazz was not then big in B.C. but it is interesting to note that Ed picked up a huge amount of jazz knowledge in that area. For four years Ed played with the C.B.C. Dance Band, while finishing his music training in Toronto. He is now recognized as being our finest Jazz pianist.

ED CAMARDA: Moe worked at a studio player for the CBC which also included Ed Camarda. Ed was noticed for his sensitive tone and great ear and Moe invited him to join the group. Ed studied at the Toronto Conservatory of Music and the University of Toronto. He has played with Jimmy Dale and Phil Nimmons and is one of the best trombonists in the country.

ROB McCONNELL: Also a studio player in Toronto. Rob plays valve trombone, which gives the group a very modern touch. He has played with the top local Jazz and Studio orchestras.

HUGH CURRIE: Besides Rob is also a gifted arranger. He lived in England where he organized several bands and toured the Continent. Back in Canada he worked for the Beavers and Hugh Jarrett (formerly of the Jordanaires). Hugh has done some time booking the house groups at Toronto’s Town-Tavern. Here, he plays valve trombone and does arranging.

RON RITCHIE: Moe calls Ron Canada’s best young bass player. He is beginning to attract attention from American agents and so has joined the leading Jazz combos in the area. Moe had often worked with Ron prior to this recording.

JERRY FULLER: Is the Koffman percussionist and has been with Moe since the very start.

Moe Koffman, incidentally is married and has 2 and one half sons and one beautiful mother. He is planning to record a Flute LP, based more on the flute while Edna son hope that Moe plays xylophone for another great flutist called Herbie.

Moe Koffman: flute, alto sax
Ed Bickert: guitar
Ron Rully: drums
Hugh Currie: bass
Jack Long: trumpet
Rob McConnell: trombone
Eddie Karam: baritone sax

Produced by Morty Palitz
Recorded at Hallmark Studios, Toronto, Ontario, May 1957

Cover design by Si Leichman
Photography by Charles Varon

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