2004-12-14 21:10:04 UTC
He was 79. I only got to meet and hear Frank live on one occasion and that was during the memorable (three buses) trip to the initial Newport Jazz Festival back in 1954. I was on my way to the washroom when I heard someone call me by name. The voice belonged to Red Mitchell and the gentleman with him was Isola. They were there along with trumpeter Tony Fruscella to make up a Gerry Mulligan Quartet. Frank was born in Detroit on February 20, 1925; he took up the drums in 1936 after hearing Gene Krupa with the Benny Goodman band. From 1943 to 1945 he worked in an Army Air Force Band and then settled on the U.S. west coast where he studied and worked with the bands of Bobby Sherwood and Earle Spencer in 1946 before heading to NYC where he found work with the bands of Johnny Bothwell and Elliot Lawrence in 1947 and played sessions with Charlie Parker in the apartment of William Henry. For such a talented and inventive drummer, he didn't leave much of a recorded legacy.
On April 23, 1953 he was the drummer on a recording date that guitarist Jimmy Raney did for Prestige and that four tune session (one of my desert island discs) is now part of a CD called "Early Stan" released under Getz's name. Raney was joined that day by Getz (disguised as "Sven Coolsen" - he had just arrived home from a stay in Europe), pianist Hall Overton, Red Mitchell and Isola. Four marvellous tracks, a superb version of Monk's "'Round Midnight" and memorable Raney compositions, "Lee" (for his wife), "Signal" and "Motion", his "You Stepped Out Of A Dream" - a particular favourite of Rene Thomas as well. When Raney and Mitchell played the Seville Theatre that year they both spoke of that session with great enthusiasm.
On Stan Getz's "At The Shrine" CD on Verve, there are two tracks, "We'll Be Together Again" and Jimmy Mundy's "Feather Merchant" that come from a November 9,1954 studio session with Frank heard with Getz, Bob Brookmeyer, John Williams and Bill Anthony. In 1954, Frank and Anthony also did a trio session with John Williams for EmArcy and I remember owning a 10" lp of that session. It's now on CD as "John Williams on EmArcy - master takes" and the titles from July are "I'll Take The Low Road" by Williams, "Railroad Jack" by trumpeter Phil Sunkel and Harold Arlen's "Out of This World". In August they did, Elise Bretton's "For Heaven's Sake", Irving Berlin's "Be Careful, It's My Heart", Williams' "Williams Tell" and "Blue Mirror" and Mack Gordon's "Somewhere In The Night". In June 1955 with Chuck Andrus on bass, Williams and Isola did Gus Kahn's "How Strange" and in October of that year with fellow Detroiter Ernie Farrow on bass, Gillespie's "Manteca", Irene Higginbotham's "Good Morning Heartache" and the standards, "Baubles, Bangles and Beads" and "Someday My Prince Will Come". In December 1952, Isola did two sessions with Getz that appear on the Verve CD, "Stan Getz Plays". The quintet here is made up of Getz, Raney, Duke Jordan, Bill Crow and Isola and they did things like "Stella By Starlight", "Lover Come Back To Me", "The Way You Look Tonight" and "Stars Fell On Alabama" on the first session and "Thanks for the Memory", "These Foolish Things" and Gigi Gryce's "Hymn Of/To The Orient". Trumpeter Tony Fruscella was like Frank, a wonderful unsung musician. On the double CD "Tony Fruscella - The Complete Works" [Jazz Factory], Getz, Isola, Williams and Anthony are heard on a 1955 studio session playing two of Sunkel's pieces "Blue Bells" and "Roundup Time" and on a live session from Birdland that same year they do "Get Happy", "Dear Old Stockholm", Getz's "Pernod", Bird's "Scrapple From The Apple" and "Night Train" (more properly Ellington's "Happy Go Lucky Local").
The Mulligan Quartet we heard at Newport in 1954 had just played Paris with Bob Brookmeyer in place of Fruscella and a number of CDs have appeared including "The Pleyel Concerts, Volumes 1 and 2" on Vogue. Brookmeyer also did a date for that label with Mitchell, Isola, guitarist Jimmy Gourley and pianist Henri Renaud. Isola is also listed recording with Helen Merrill and Eddie Bert but I don't have access to those sessions. In 1957 just after recording "Back Country Suite", Mose Allison's debut recording [Prestige] he returned to Detroit where he remained active.