It was welcome news indeed for lovers of the big sound of the baritone sax: Serge Chaloff was back. “Serge, for years one of music’s more chaotic personalities, has made an about face of late and is again flying right. It is evident in his playing, which…has become a thing of real beauty.” So began Jack Tracy’s Down Beat review (Oct 5, 1955) of Boston Blow-Up!, the recording made by the Serge Chaloff Sextet on April 4-5, 1955.
“Chaotic”…others used harsher words to describe Chaloff. Serge had been a junkie since the mid-forties, and although he played splendid saxophone with Georgie Auld, Woody’s Second Herd, and his own groups in early-fifties Boston, by 1954 he had no room left to run. He voluntarily entered the rehab program at Bridgewater (Mass.) State Hospital to put an end to his years of addiction.
Chaloff emerged from Bridgewater in early 1955, and one of the first to help Chaloff reestablish himself was the disk jockey Bob “The Robin” Martin, who negotiated a recording contract with Capitol Records as part of the “Stan Kenton Presents” series. Later in the year Martin arranged Chaloff’s guest appearance on Steve Allen’s Tonight Show.
January 1958: Life Is a Many Splendored Gig for the Pomeroy Band
In late January 1958, after what seemed to Bostonians like an interminable wait, Roulette Records released Life Is a Many Splendored Gig, the Herb Pomeroy Orchestra’s first album (Roulette R-52001), and January 30 was the date the local press first wrote about it.
John McLellan, in his twice-weekly Jazz Scene column in the Boston Traveler (oh, to have the luxury of a twice-weekly jazz column in a daily paper), summed it up in six words: “the whole album is a gas.”
In The Boston Jazz Chronicles, I wrote about this band being the high-water mark of Boston jazz in the 1950s, and this recording is the proof of it. The band swings and the soloists (especially Joe Gordon) are standouts, but I give extra credit to the arrangers—Pomeroy’s band had the reputation of a writers’ band, and they’re in evidence here. Band members Everett Longstreth and Boots Mussulli contributed two arrangements each, as did Pomeroy himself, and Jaki Byard and Ray Santisi each wrote one. Byard’s “Aluminum Baby” became the band’s most requested tune. Bob Freedman, who replaced Byard in the saxophone section in September 1957, also contributed a chart.