Original 1961 liner notes by Howard Guy (Pres. Society of Jazz Artists and Enthusiasts)

East Coast, West Coast jazz seemed far away, creative musical abilities met with reproach and opportunities to perform in the modern idiom were not to be had. Club owners who prospered through the war years sought to maintain their prosperity by using the music of yesterday upon a new generation. Local radio stations fell, one by one, to the hysteria of listeners polls which reflected the adolescent and juvenile mind. Concert and creative music gave way to stereotyped stomping, moronish melodies and simple singing, so flat in most cases that the well paid "Artist" could never have "made it" on a grade school choir. Good musical talent left the area when possible or because of financial difficulties forced themselves to work in a lower level of achievement. This was the dark age of music and creative thinking. In most cases the conditions still exist but a light has begun to glow and grow brighter. A new force has begun to work, musicians are listening, enthusiasts have begun to lay aside their record collections to follow, and credit goes to the technicians hands and the creative mind of Gene Rush who arrived here less than two years ago. Now, just 26 years old Gene is developing a mature style of his own although when listening, the inventiveness and force of Bud Powell, the melodic long lines of Wynton Kelly and the harmonic structure and delicate approach of Bill Evans are obvious influences. Gene pays tribute to his first teacher Jimmy Testa of Cannonsburg, Pa. who "taught me all about chords and how to voice them". He also makes mention of a two year associations with Pittsburgh tenor player Flo Cassinelli from whom he learned a lot. "Flo plays in the Lester Young style and man does he swing."

While stationed with the 7th Army Symphony & Soldier Show Co. in Stuttgart, Germany he became friends and worked with such talent as Don Ellis, Cedar Walton and Leo Wright.

Despite adversities suffered in pursuit of his musical goals, Gene has considered himself lucky and fortunate to be associated with them men on this date. Both here and on location the trio is a group effort and group sound. In numerous personal conversations with Gene he has eulogized the abilities of Tommy and Phil. "They have rekindled in me the flames of interest which seemed to have waned over the past couple of years."

Gene has written numerous things but has expressed satisfaction only with the two performed here.

Bassist Tommy Dorsey is unquestionably the finest artist yet produced in the area on his instrument. His strength, intonation, rhythm patterns and creative abilities are all tribute to the influence of Mingus, Heath, Chambers, Red Mitchell and most obviously the late Scott Lafaro. Even though only 25 years old, Tommy is helping to place the bass in its proper place as an equal part of a musical group.

The drummer with the trio is Phil Laughlin, only 25 years old and having played drums for only four years, he has catapulted intermediary and has lighted in the modern idiom with much force. He possesses inherent time, talent and has the rare ability to "drive" the trio without distorting the balance. He has been influenced strongly by Jimmy Cobb, Louis Hayes and Paul Motian and is well ahead of the field of melodic creative percussion.

"Charlie's Plague"... This was one of Gene's more recent tunes. It was originally inspired by John Coltrane and is dedicated to a local bassist.

"Swedish Schnapps"... This is an old Charlie Parker composition that the trio has been using as their theme.

"Sally"... A very beautiful and lyrical ballad composed by Gene's friend and long standing, noted trumpeter Don Ellis. Here the trio express very well their treatment of this type of tune.

"Stranger In Paradise"... Again an illustration of the group's free improvisation. Note that the last 8 bars have been omitted to keep the pattern for solos more interesting.

"N'uff Said"... Gene's latest composition which begins with a bi-tonal structure then goes to a modal type pattern on the bridge then back to the beginning theme.

"Vasa"... This was written by a relatively new friend of Gene's, well-known contemporary composer Earl Zindars. It has many different types of properties and Gene says it is one of the most interesting tunes he has ever played.