Jazz in the Classroom Volume II (1959)
Conducted By Herb Pomeroy

  1. Sermet’s Dream (Arif Mardin)
  2. Blue Print (Arif Mardin)
  3. Yesteryears (Arif Mardin)
  4. The Long Wait (Arif Mardin)
  5. Sweet Talk (Arif Mardin)
  6. New Warmth (Charles Bechler)
  7. My Elegy (Toshiko Akiyoshi)
  8. Blue Beau (Bob James)
  9. Deep Six (Richard Wright)
  10. I Would If I Could (James Progris)

Everett Longstreth, Edward Armour, John Hening, Daniel Nolan, Jr., John Weaver – trumpet  
Paul McLeod, Edwin Morgan, Jack Wertheimer – trombone
Richard (Dick) Wright – trombone, bass trumpet
Charlie Mariano, Anthony Bisazza – alto sax
Anthony Osiecki, Dodge Terlemezian – tenor sax
Nicholas Brignola – baritone sax
Charles Bechler, Bob James, Joe Zawinul – piano  
Gabor Szabo – guitar
Gene Cherico – bass
Harry Brown – drums 
Monty Stark – vibes

Arranged by Arif Mardin (1-5), Charles Bechler (6), Toshiko Akiyoshi (7), Bob James (8), Richard (Dick) Wright (9) and James Progris (10) and conducted by Herb Pomeroy

Recorded 1958 at the Berklee School of Music, Boston, Massachusetts

1 to 10 issued on LP in 1959 as Berklee BLP-2

Szabo probably did not participate in all titles here. He is certainly not discernible on all titles. In fact, the arrangements give prominence to Nick Brignola’s already accomplished baritone work and frequently feature the trombonists. Szabo does, however, score brief features in “Sermet’s Dream” and “The Long Wait.”

“Sermet’s Dream” introduces, as Mardin’s notes explain, Szabo’s “distant Hungarian folk music overtones.” Although the song has the dramatic flair and shadings of an early Sun Ra chart, Szabo is afforded less than eight measures (barely one chorus) to announce his talents.

He seems constrained by Mardin’s clashing horn embellishments and responds with a single-line feature that is awkward and unsure; an effort to pack many ideas into a very small space. Most striking, though, is his unusually sweet, burnished hollow-bodied tone; very much in deference to Norman Granz’s popular plecterists — Tal Farlow and Herb Ellis.

“Yesteryears” and “New Warmth” offer evidence of Szabo’s assured sense of support, yet only “The Long Wait,” another Mardin composition, allows for Szabo’s creative picking and another opportunity to solo. Here, too, his peculiar sense of rhythm and single-note gracefulness guide him toward an unusual and unique conclusion. But the limitations of the chart again force Szabo to awkwardly release all his ideas in too brief a space.