LP :: Detail

Harmony in Jazz  (1980)

Encore P 14387

     

Liner Notes:

The Hi-Lo's used to be referred to, by critics trying to find slots for its vocal techniques, as sort of purveyors of what was once known as "West Coast jazz," as a warm version of the "cool school," as trend-makers, and even as "The Eggheads of Harmony" by Steve Allen. There were numerous other attempts to define their musical approach in simplistic fashion - always, to be sure, with high praise.

It went on at one point to such lengths that it raised this protest: "We would rather not be categorized," said Gene Puerling, spokesman and organizer of the foursome. "Since we endeavor to delve into all phases of vocal group work, such as our four-part harmonic constructions of standards, folk songs, and even barbershop gems in their traditional harmonies... we can hardly be categorized as a 'jazz' vocal group. (Besides, has anyone really come up with an acceptable definition of the word 'jazz'?)"

Well, a whole generation of listeners would have argued the point. This four-member group flourished at the top of their art in pre-Beatles days, thanks to the versatility of their performances. They appealed to all ages. And whatever they sang had bits of syncopation, a light swing and other jazz influences. Lots of them.

Gene seems to have protested a bit much back then. There are eight songs arranged by Marty Paich here. Gene commented, "Looking at the contents of this program, however, we feel that we have directed our attention, for the most part, to the jazz idiom." He had warm things to say about the instrumental scores, too - how well Marty's and those others by Frank de Vol and Frank Comstock complemented the group without overshadowing the basic vocal arrangement.

Organized in April 1953, the group debated for months about a name and finally settled on Hi-Lo's because it was an accurate description of their vocal and physical range.

Gene Puerling, who did the arranging, formed the group in Hollywood, California after a varied career in the entertainment industry. Born in Milwaukee on March 31,1929, Gene became a disc jockey after graduating from high school. Later he worked as a free-lance singer, organized two vocal groups in the Milwaukee area and paid his rent by running a profitable popcorn concession. Then he headed west.

Clark Burroughs was the fellow with the range up to G over high C. A native of Los Angeles, he was born on March 30,1930, attended Loyola University, worked as an actor and singer, met Gene after he left the Billy May orchestra.

Bob Morse, baritone, also a native Californian, was born on July 27,1927. An accomplished artist as well as a musician, Bob attended UCLA, Chouinard Art Institute, and the Westlake College of Music.

Bob Strasen, a former U.S. Signal Corps instructor, was born in 1929.

That was the original group. Just so it's clear about the reference to the name "Hi-Lo's" - Gene and Clark stood 5'7?" and 5'5" respectively. Morse and Strasen were well over six feet.

All but two of the cuts included here are by that foursome. "Goody, Goody" and "Indiana" were recorded after a change of personnel.

Don Shelton joined the group in March 1959 as second tenor, replacing Bob Strasen. He was born in Tyler, Texas, August 28,1934. A fine performer on alto sax, clarinet and flute, he had played with many of the West Coast recording and dance bands, and sung with a number of other vocal groups.

It all added up to acceptance and admiration as they toured around the country. When the group appeared at Basin Street East in New York City, the reviewer on the then-alive Journal-American wrote, "...(The Hi-Lo's) do weird and wondrous things to harmonics, giving them a highly individual treatment that's most refreshing... I guess the word that sums them up is superb!"

Of course this album is jazz. Listen to the vocal arrangements and instrumental solos, the treatment of the standard songs, the original composition by Marty Paich. Look at the array of West Coast musicians that make up the Dektettes. Almost without exception, each appears in any compendium of jazz players. Some have even made points in other fields. Jack Sheldon has been using Merv Griffin as a comic foil for several seasons now. Frank de Vol has played comic roles in numerous television and motion pictures, most recently appearing as the accordion-playing band leader on Fernwood Two Night.

There's nothing but joy the way the Hi-Lo's touch up each selection. There is constant and pleasurable surprise in their harmonies, the sort that makes musicians and audiences laugh and giggle with delight. The group brings a feeling of spontaneity to each arrangement, no matter how intricate it is; they add remarkable spicing and insouciance to their lilting interpretations; shift tempo and mood with special effects; turn each effort into a cohesive emotional statement.

The Hi-Lo's once did vocal adaptations of instrumental themes by the classical masters, worked with Bach chorales and a wide variety of other music. They also did more than direct their attention to the jazz-idiom. They also directed ours. And a worldwide audience took notice: they won every major music poll for vocal groups when they were performing, including the readers' polls of Downbeat and Playboy magazines. All that they did, no matter how they tried not to categorize their work, seemed by consensus to fit in a properly influenced jazz-bag. Certainly it does in this collection.

Mort Goode

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