Serge Chaloff - Blue Serge

What I discovered thanks to Serge Chaloff...

Baritone saxophone is way cool.

I feel pretty certain that until I bought this CD, I'd never heard one before, or at least, never heard one as a spotlighted instrument. Serge is apparently the one guy who makes the baritone sax swing, and after listening to this recording, I tend to agree. I really enjoyed listening to him take that "blow" down into the lower register, sometimes even so low that the only sound left is the blowing itself. (Maybe a whale could hear some of those tones - I don't know.) The supporting trio is fantastic on swinging their way through the songs in as smooth a fashion as possible, so as not to draw attention away from Serge, but nonetheless, the piano work really strings things together, the drum solos are magnificent, and the bass is always where it needs to be whenever it needs to be there. Serge throws in enough of those low fog horn toots to really spice up the recording, and overall audio quality of this CD is very high. In short, there is a lot to enjoy here and it is of consistently high quality. True saxophone fans will appreciate the diversity Serge's baritone sax brings to their record collection, and casual fans of jazz will be amazed how different sounding two instruments both called a "saxophone" (one a tenor or alto and the other a baritone) can sound. (And yes I know tenor and alto sound different, but comparatively speaking, they are not as different as when either is compared to a baritone sax, in my opinon, humble or no.) I only award five star reviews to the creme de la creme, but this is as close as they come without scoring the max. Jazz enthusiasts can add this recording to their collection with ultimate confidence. June 28, 2008

A Blue Bird in Black Sheep's Clothing

I'd rank this one with the classic "Art Pepper Meets the Rhythm Section" except, given the comparatively small recorded output by Chaloff, this session has to be elevated to an even more exclusive place among essential jazz recordings. Along with the earlier, recently reissued "Boston Blow-Up," "Blue Serge" is the meager evidence upon which Chaloff's legacy and reputation must rest, apart from his role as one of Woody Herman's "Four Brothers," arguably the most legendary saxophone section (with Getz, Steward/Cohn, and Zoot Sims) in the history of the music.

"Boston Blow-Up" demonstrated the extraordinary cohesion and rapport Chaloff was capable of as a member of a section, in which he's as integral, balanced, and tasteful as Duke's Harry Carney. On the other hand, "Blue Serge," made just weeks before his partial paralysis due to spinal cancer, is an unrehearsed meeting during which Serge's inventive melodic lines, various vibratos and articulations, wide dynamic range, and contrasting rhythmic passages--alternating lyric and dramatic styles--produce a tour de force that transcends virtually any other recording that might be described as a "blowing session." To any listener who doesn't require tight arrangements and short solo spots and who can appreciate the unrestrained mastery of a major improvisational artist for whom the baritone saxophone is as natural and expressive as the human voice, "Blue Serge" has to be given a slightly higher priority than "Boston Blow-Up."

One recording session does not make a player the best on his instrument, but it's sufficient for this listener, in any case, to proclaim Chaloff a player second to none. Just listen to his fluid and dazzling technique on the first two tunes--on which he plays with the smoothness and richness of Harry Carney combined with the swing of Mulligan and the monster post-Bird chops of Pepper Adams. Then dig the follow-up--a somewhat trite tune ("Thanks for the Memories") that Chaloff transforms into a multi-textured, fascinating ballad opus. The last tune, "How About You," was not even included on the original LP, yet it's as soulful and deeply felt as anything on this recording, easily the definitive instrumental version of this standard. The rhythm section--Philly Joe (despite the cover's misleading reference to him as "Joe Jones"), Sonny Clarke, and Leroy Vinnegar--was as hip as any on the West Coast.

I'm blown away by Chaloff's ability to play with a Paul Desmond lightness one moment, then with a Johnny Hodges lushness the next, then with Hawk-like growls and plosives, and finally with a bracing and resonant, foundation-building bass tone the next, suddenly filling the massive chambers of his big baritone horn with unexpected reserves of purposeful breath. I've never heard anything quite like Serge's solo on "I've Got the World on a String." One moment he's charming his mistress/horn with a seductive, alluring tone and the next he's wrestling it to the floor, kicking, boxing, scraping and jabbing until he's got everything under control.

Serge was apparently the black sheep in his family. With a father who was a concert pianist and a mother who was a piano teacher to young prodigies (Hancock, Jarrett, Corea, even Shearing), Serge wound up with terrible addictions to booze and heroin--and an outlandish horn that he played with as much brilliance and striking originality as Charlie Parker did the miniature version. In fact, Serge reversed all priorities, fathering and bringing so much respect to black sheep that the rest of us can only be eternally grateful he didn't wind up in white wool. October 12, 2006

allmusic.com to Serge

Information Superhighway is fabulous. I searched on allmusic.com, under "instruments," for baritone saxophone players and learned about Serge. One word, wow. He has his own euphony, now I have to buy his Serge Chaloff and Boots Mussulli release. April 27, 2006

Essential Listening

Blue Serge is essential listening. Not just for jazz fans, but for all lovers of music regardless of category. There is not one flaw in the entire recording. It is total perfection. Chaloff's performance on the baritone saxophone combines extreme technical mastery with tremendous emotional expression. It is also incredible how all the members of the band work so well together, even though they had never played together before this session.

Even if you have sworn off all music except heavy metal, I suggest you obtain Blue Serge as soon as possible. Your attitudes toward music, and what it is capable of achieving, will never be quite the same after listening to this album. January 8, 2004

On no account

should you spend another day without owning this. I urge you to buy this now, this is perfection on cd. Do yourself the biggest favour you've ever done and click on buy this now. Do it now before they're all gone! June 17, 2003

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