TERRY VOSBEIN

TERRY VOSBEIN

And The Knoxville Jazz Orchestra

Progressive Jazz 2009

- By ROBERT J. ROBBINS , All About Jazz -

Over the last few years, Terry Vosbein, a Professor of Music at Washington and Lee University and a classically-trained composer of symphonies, operas, and chamber music (not to mention a former bassist with the Glenn Miller Orchestra), has been exhaustively researching the unrecorded scores from the Stan Kenton Collection at the University of North Texas. Now, thanks to his meticulous research, Vosbein leads the Knoxville Jazz Orchestra in the debut recordings of four originals and two arrangements by Kenton's eminence grise Pete Rugolo plus two charts from the iconoclastic composer/arranger Bob Graettinger, all dating from the period 1946-48. Moreover, Vosbein, an alumnus of the Kenton clinics during the Seventies, has added five of his own Kenton-inspired compositions plus a long-overdue Kentonian setting of a Stephen Sondheim classic.

Rugolo's 1948 "Artistry In Gillespie," an excursion into bebop a la his "Capitol Punishment" recorded the previous year, launches the CD with the force of a rocket, with David King, Don Hough, Stewart Cox, and Rusty Holloway respectively re-creating the solo roles of Kentonians Art Pepper, Milt Bernhart, Ray Wetzel, and Eddie Safranski. The Rugolo treatment of Claude Debussy's "Afternoon of a Faun," which dates from 1946 when the opus was about 55 years old, retains the impressionistic atmosphere of the original while transporting it into the realm of Kentonia via Doug Rinaldo's alto. "Don't Blame Me" is a typical Kenton ballad arrangement from the Forties, opening with the piano of Bill Swann, then building to a climax featuring Wayne Thompson's trumpet, and finally settling to a quiet coda following Holloway's bass interlude. Hough re-traces the solo path of Eddie Bert on Rugolo's "Hambeth," one of the few opuses in the Kenton repertoire with a Shakespearean title.

"Cuban Pastorale," by the then 24-year-old Graettinger, is an atonal visit to Havana which avoided recording due to a commercial ban imposed by the American Federation of Musicians throughout most of 1948, featuring trumpeter Rich Willey. Graettinger and Rugolo appear to have traded roles on their respective charts of "Walkin' by the River" and "Rhythms at Work," with each arrangement remarkably resembling the style of the opposite arranger (i.e. Graettinger's writing sounding more like Rugolo and vice versa).

Vosbein's own contributions would have easily qualified for acceptance into the Kenton library, and two of them (his arrangement of "Johanna" from Sondheim's Sweeney Todd, which spotlights the trombone section in a most Kentonian mode, and the original "Ahora es el Tiempo") merit inclusion in the repertoire of Mike Vax's Kenton Alumni band. In his writing, Vosbein interweaves the influences of Rugolo, Graettinger, and such other distinguished Kenton arrangers as Bill Holman, Ken Hanna, Bill Russo, and Willie Maiden.

Progressive Jazz 2009 : Knoxville Jazz Orchestra with Terry Vosbein Guest Conductor : Stewart Cox, Michael Spirko, Tom Fox, Rich Willey, Vance Thompson (tp) Tom Lundberg, Don Hough, Nate Malone, Bill Huber (tb) Brad McDougall (b-tb) Doug Rinaldo, David King (as,fl) Alan Wyatt, Will Boyd (ts) Tom Johnson (bar) Bill Swann (p) Mark Boling (g) Rusty Holloway (b) Keith Brown (d) David Knight (bgo) Terry Vosbein (cond)

COUNT BASIE

COUNT BASIE

The Magic Flea

Flag Waving, Basie style

From a '68 concert in Berlin. Great drumming by Harold Jones, lead trumpet by Gene Goe, and tenor by Eddie  "Lockjaw" Davis

Count Basie And His Orchestra : Al Aarons, Sonny Cohn, Gene Goe, Oscar Brashear (tp) Harlan "Booby" Floyd, Grover Mitchell (tb) Richard Boone (tb,vcl) Bill Hughes (btb) Marshal Royal (as,cl) Bobby Plater (as,fl) Eric Dixon (ts,fl) Eddie "Lockjaw" Davis (ts) Charlie Fowlkes (bar)  Freddie Green (g)

GEORGE RUSSELL

GEORGE RUSSELL

Living Time Orchestra

80th Birthday Concert

the African Game,

The 80th Birthday Concert is a live album by George Russell released on the Concept label in 2005, featuring a performance by Russell with his Living Time Orchestra recorded in 2003. The Allmusic review by Scott Yanow awarded the album 3½ stars and states "The 80th Birthday Concert, a two-CD set, stands as one of his finest recordings and sums up much of his career... it is the sound of the passionate ensembles, the very original writing, and the spirit of the musicians and the ageless Russell that makes this a highly recommended set

Alto Saxophone – Chris Biscoe

Baritone Saxophone, Bass Clarinet – Pete Hurt

Bass Trombone – Dave Bargeron

Drums – Richie Morales

Electric Bass [Fender Bass] – Bill Urmson

Flute, Electronics – Hiro Honshuku

Guitar – Mike Walker

Keyboards – Brad Hatfield, Steve Lodder

Leader – George Russell

Percussion – Pat Hollenbeck*

Tenor Saxophone – Andy Sheppard

Trumpet – Palle Mikkelborg, Stanton Davis, Stuart Brooks

CHICAGO JAZZ PHILHAMONIC

ORBERT DAVIS’

CHICAGO JAZZ PHILHAMONIC

Fanfare for the Uncommon Man

GENE HARRIS

GENE HARRIS

Captain Bill

AllMusic Review by Scott Yanow

A big-band date that slightly predated pianist Gene Harris' association with the Philip Morris Superband, this CD is ostensibly a tribute to the recently deceased Count Basie, but surprisingly, only two of the eight songs ("Swingin' the Blues" and "Blue and Sentimental") were played by Basie, although one original ("Captain Bill") was written in homage of the bandleader. Harris' 16-piece orchestra does bring back the spirit of Basie's band in spots, with a lightly but steadily swinging rhythm section and such soloists as trumpeters Conte Candoli and Jon Faddis and tenors Plas Johnson and Bob Cooper. But in reality, Harris dominates the solo spotlight, and the music (which includes a memorable version of "When Did You Leave Heaven") is a bit predictable.

Garnett Brown

Trombone

Ray Brown

Bass, Composer, Guest Artist

Bobby Bryant

Trumpet

Conte Candoli

Guest Artist, Trumpet

Bob Cooper

Sax (Tenor)

Herb Ellis

Composer, Guest Artist, Guitar

Jon Faddis

Guest Artist, Trumpet

Bill Green

Sax (Alto)

Thurman Green

Trombone

Jeff Hamilton

Drums, Guest Artist

Plas Johnson

Guest Artist, Sax (Tenor)

James Leary

Bass

Charles Loper

Trombone

Jack Nimitz

Sax (Baritone)

William Frank "Bill" Reichenbach Jr.

Trombone

Marshall Royal

Sax (Alto)

Frank Szabo

Trumpet

Bill Waltrous

Trombone

Bill Watrous

Guest Artist, Trombone

Snooky Young

Guest Artist, Trumpet

CHARLIE PARKER - WOODY HERMAN

Charlie Parker 

with Woody Herman

Four Brothers

Four Brothers with Charlie Parker and Woody Herman in July 1951, 

On the first chorus, Parker had really not heard the changes before.  He did not use any music. Now this tune has some unusual modulations on the bridge.  It is interesting to hear that Parker lays out so he can learn the changes.  Then by the second or third chorus, he has it.

The reed section: Charlie Parker (as) Dick Hafer, Bill Perkins, Kenny Pinson (ts) Sam Staff (bar)

LALO SCHIFFRIN

LALO SCHIFRIN

(London Symphony Orchestra)

Eine Kleine Jazz Music

Return of the Marquis de Sade

In 1966, when Dizzy Gillespie arranger and spy soundtracker Lalo Schifrin finished recording a Baroque album, he decided to make it a tribute to the Marquis de Sade -- in league with a play then circulating in the West End and on Broadway. Making the Third Stream seem like Percy Faith in comparison, the LP practically disappeared upon release on Verve, but enjoyed a long shelf life among idiosyncratic jazz fans. Thirty-five years on, Return of the Marquis de Sade is the sequel, with a host of songs comprising jazz rhythms and soloing, though a predominant use of Baroque instrumentation. Several of the song titles, including "Relaxin' at Charenton" and "A Night in Venezia," pun on famous jazz standards, while the performances crackle with imagination and energy. The final three tracks were recorded in tandem with Ray Brown, Grady Tate, Tom Scott, Brian Bromberg, and the London Philharmonic.

MICHEL LEGRAND

MICHEL LEGRAND

 and The London Big Band Orchestra Live in Paris

Michel Legrand and The London Big Band Orchestra perform 'Fast Food' at The Salle Pleyel, Paris, France in 2009. 

LES BROWN

   

LES BROWN

Kurt Weill's STREET SCENE (Sentimental Rhapsody)

Vocalist, Eileen Wilson,

I'm really not attempting to getting into swing styling here, It does come through. 

But while this is an excellent recording, I find it most interesting because Street Scene is described as  an American opera by Kurt Weill, Langston Hughes, and Elmer Rice. Written in 1946 and premiered in Philadelphia that year, Street Scene is based on the Pulitzer Prize-winning play of the same name by Rice.

It’s a great tune. Kenton recorded it on the Tropicana album. Totally different. Probably closer to Weill’s intention.

Bob Higgins (tp,arr) Dale Pierce, Bob Fowler, Jimmy Salco (tp) Ray Klein, Ray Sims, Ralph Pfeffner, Freddie Zito (tb) Les Brown (cl,as,arr) Musky Ruffo, Louis Prisby (as,cl) Ted Nash (ts) Joe Koch (bar) Butch Stone (bar,cl,vcl) Jimmy Rowles (p) Tony Rizzi (g) Joe Mondragon (b) Jackie Mills (d) Eileen Wilson, Ray Kellogg (vcl) Frank Comstock, Skip Martin, Ed Finckel, Ben Homer (arr)

Hollywood, CA, April 26, 1947

MAYNARD FERGUSON - BILL RUSSO

MAYNARD FERGUSON
LEONARD BERNSTEIN

Bill Russo's Titans Symphony part 4

Let’s stay with Russo for a bit and add Maynard along with Leonard Bernstein and the New York Philharmonic.

The audio of Symphony No.2 Titans part 4 Maynard Ferguson live with the New York Philharmonic conducted by Leonard Bernstein April 18 1959 World Premiere

The entire piece is available in parts on YouTube

BILL RUSSO

BILL RUSSO AND THE ITALIAN ORCHESTRA

Summetrime

Bill Russo, composer, trombonist and arranger for Stan Kenton's orchestra directed at jazz festivals of San Remo in 1962, a big band completely Italian.The orchestra includes Sergio Fanni, Nino  Impallomeni tp, Stanislao Massara, Athos Ceroni, Raoul Ceroni tb, Edoardo Busnello as, Eraldo Volontè ts, Fausto Papetti bs, Bruno DeFilippi g, Piero Lapolla b, Gil Cuppini dm.

DON SEBESKY

DON SEBESKY

Footprints of the Giant

Based on themes by Bela Bartok

I don’t think Sebesky wrote this for Mayard

 Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey

Alto Saxophone – Dave Sanborn*

Arranged By – Don Sebesky

Bass – Ron Carter (tracks: A1, A2), Will Lee (tracks: A3 to B3)

Bass Trombone – Tony Studd

Cello – Charles McCracken, Seymour Barab

Drums – Steve Gadd

Flute, Alto Flute – Al Regni*, George Marge, Harvey Estrin, Walt Levinsky

Flute, Alto Flute, Piccolo Flute [Piccolo] – Ray Beckenstein

Guitar – Joe Beck

Keyboards – Don Sebesky

Percussion – George Devens, Phil Kraus

Tenor Saxophone, Soloist [All Tenor Solos] – Michael Brecker

Trombone – Barry Rogers, Sonny Russo, Wayne Andre

Trumpet – Jon Faddis, Randy Brecker

Viola – Manny Vardi*, Jean Dane*

Violin – Charles Libove, David Nadien, Emanuel Green, Harold Kohon, Harry Cykman, Harry Glickman, Harry Lookofsky, Matthew Raimondi, Paul Gershman

Violin [Electric Violin] – David Rose (4)

Vocals [Vocal] – Joan LaBarbara*

GIL EVANS - MILES DAVIS

GIL EVANS - MILES DAVIS

MY SHIP

Originally from the Broadway musical, Lady In The Dark with music by Kurt Weill.  Here is what happened to it when Gil Evans got ahold of it. Oh, yeah, he hired Miles Davis to play the solo trumpet part. This is so quintessentially Gil Evans.

PHIL WOODS

PHIL WOODS

 &

 Barcelona Jazz Orquestra 
My Man Benny

Homenatge to Benny Carter.

A special invitation to the BJO, the arrival Phil Woods, in full form at 79 years old

Saxo alt

solista: Phil Woods

Dani Alonso: director

Saxos: Víctor DeDiego, Juli Aymí, Xavier Figuerola, Pep Pascual, Joan Chamorro

Trompetes: Matthew Simon, Ivó Oller, Jaume Peña, Alberto Pérez

Trombons: Dani Alonso, Josep Tutusaus, Jordi Giménez, Sergi Vergès

Piano: Ignasi Terraza

Contrabaix: Manel Àlvarez

Bateria: Esteve Pi

Tècnic directe: David Casamitjana

Tècnic estudi: Josep Roig (temps record)

Video: Ramon Tort (divinoconcepto)

BUD BRISBOIS

BUD BRISBOIS

Sweet Georgia Brown

The only information I can find about this tune is that it’s a Mike Barone arrangement. “… and the trumpet section is:

Ray Triscari, Pete Candoli, Bud Brisbois, and Al Porcino who all played on this, but I think Jack Sheldon was also in the section.”  and I think it was recorded in Japan.

MELLOW TONE

IN A MELLOW TONE
3 Ways

I'll take Frank Forster any day.
How about you?

THE JAZZ COMPOSERS ORCHESTRA

The Jazz Composer's Orchestra 

(1968 / Full Album)

This is one of the most cacophonous things I have ever heard. It makes Sun Ra sound like Benny Goodman. Im reminded of a class I took many years ago at North Texas. It was required, and it was taught by Morgan Powell. It was called Jazz appreciation or some such thing. Its purpose was to expose students to music they might have never encountered before. There was nothing new to me until he played one recording, Ornette Colman’s Double Quartette. 50 years ago I couldn't get into it and neither today can I. This recording to me is a big band representation of the same thing. But as it was 50 years ago, it’s something worth listening to and trying to understand.  BTW, I don’t

German-born composer/trumpeter Michael Mantler and his then-wife Carla Bley were instrumental in developing within jazz the idea of self-sufficiency and independence from established record companies. Their creation of the Jazz Composer's Orchestra, with recordings released on their own label, was the culmination of this endeavor, and the first recording was one of the masterpieces of creative music in the '60s. Mantler had come from the European avant-classical tradition and sought to provide an orchestral framework supporting some of the most advanced musicians in avant-garde jazz -- and he succeeded magnificently. His style tends toward the brooding and darkly romantic with harsh, cynical edges, a perfect foil for the robust, shackle-breaking improvisations found herein. The cloudy, roiling swirls that open "Communications #8," echoed by Bley's stabbing piano chords, lay the groundwork for inspired soloing by Don Cherry and the pre-Last Tango and still extremely fiery Gato Barbieri. Subsequent pieces include an amazing feedback showcase for Larry Coryell and a gorgeous, somber work featuring bassist Steve Swallow and trombonist Roswell Rudd. All of this is a preview for, well, "Preview," an utterly incendiary flight by Pharoah Sanders over a pounding rhythm by the orchestra, a piece that will leave the listener bruised, battered, and exhilarated. Except that the best is yet to come: a 34-minute, two-part composition, a concerto for Cecil Taylor and orchestra, that finds the pianist at the height of his powers, just beginning to enter the third phase of his development where he fused ultra-high energy playing with rigorous logic and heartbreaking beauty. The breadth of this piece, its expansiveness, and its tension between order and chaos is one of the single high watermarks of avant-garde jazz. Communications is a masterwork in and of itself and laid the basis for stunning work by others in decades hence, notably Barry Guy and his London Jazz Composer's Orchestra. It's an essential document for anyone interested in avant jazz and late-20th century creative music.

• Michael Mantler – conductor, producer

• Don Cherry – cornet, trumpet

• Randy Brecker – flugelhorn

• Stephen Furtado – flugelhorn

• Lloyd Michels – flugelhorn

• Bob Northern – French horn

• Julius Watkins – French horn

• Jimmy Knepper – trombone

• Roswell Rudd – trombone

• Jack Jeffers – bass trombone

• Howard Johnson – tuba

• Al Gibbons – soprano saxophone

• Steve Lacy – soprano saxophone

• Steve Marcus – soprano saxophone

• Bob Donovan – alto saxophone

• Gene Hull – alto saxophone

• Jimmy Lyons – alto saxophone

• Frank Wess – alto saxophone

• George Barrow – tenor saxophone

• Gato Barbieri – tenor saxophone

• Pharoah Sanders – tenor saxophone

• Lew Tabackin – tenor saxophone

• Charles Davis – baritone saxophone

• Carla Bley – piano

• Cecil Taylor – piano, liner notes

• Larry Coryell – guitar

• Kent Carter – bass

• Ron Carter – bass

• Bob Cunningham – bass

• Richard Davis – bass

• Eddie Gomez – bass

• Charlie Haden – bass

• Reggie Johnson – bass

• Alan Silva – bass

• Steve Swallow – bass

• Reggie Workman – bass

• Andrew Cyrille – drums

• Beaver Harris – drums