Live At The Newport Jazz Festival (1967)
Gabor Szabo Quintet

  1. Softly As In A Morning Sunrise (Romberg/Hammerstein) – 8:27
  2. Emily (Johnny Mandel/Johnny Mercer) – 6:52
  3. Mizrab (Gabor Szabo) – 13:54
  4. The Shadow Of Your Smile (Johnny Mandel/Paul Francis Webster) – 1:21
  5. My Foolish Heart (Victor Young/Ned Washington) /
    Comin’ Back (Gabor Szabo/Johnny Otis)-13:21

Gabor Szabo (except 4), Jimmy Stewart – guitar
Louis Kabok – bass (except 4)
Bill Goodwin Jr. – drums (except 4)
Hal Gordon – percussion (except 6)

Recorded live at the Newport Jazz Festival, July 1, 1967

5 included as part of the documentary film The Five Faces Of Jazz (a.k.a. Newport Jazz Festival 1967)

The documentary film The Five Faces Of Jazz – also known as Newport Jazz Festival 1967 – chronicles one particular afternoon of the 1967 Newport Jazz Festival, held between Friday, June 30 and Monday, July 3. Originally organized by flautist Herbie Mann with Olatunji and Dizzy Gillespie, “The Five Faces Of Jazz” was intended to showcase the various influences on jazz from Africa to the Middle East and Latin America to the United States.

Hungarian guitarist Gabor Szabo and Brazilian musician Luiz Henrique were also invited to participate in the special program. Apparently, plans changed at the last minute. Gillespie was out, Olatunji was added as a guest to the Herbie Mann Quintet (featuring Roy Ayers) and Szabo and Henrique performed their own sets with their own groups.

Recorded by the National Educational Television for WGBH-TV in Boston, this half-hour documentary ostensibly highlights the 1967 event. But while the festival featured performances by the Miles Davis Quintet, the Bill Evans Trio and the Wes Montgomery Trio, the documentary largely concentrates on Herbie Mann and his group.

The film also includes the lovely and intoxicating “Emily” from the Gabor Szabo Quintet’s Newport set. Surprisingly, Szabo never waxed a studio recording of Johnny Mandel’s popular theme from the film The Americanization of Emily (1964).

Here, Szabo turns “Emily” into a samba. While hunched over his guitar, he brings a mysterious romance from a private world deep within. He seems to flirt with Jimmy Stewart’s acoustic counterpoint and attracts a most sensuous solo — as if the music was written in Stewart’s soul and pours effortlessly from his strings.

Sufficiently courted, Szabo responds in kind with a lovely single-string solo of his own. Likewise, each member of the group listens carefully. Each watches the others intently. Rhythmic support motivates with empathy and provides a lush cushion for a memorable performance.