LOUIS BELLSON BIG BAND - Dynamite

EXPLOSION

Recordings by Louie Bellson's various big bands tend to be a slight disappointment, full of fire and explosive moments but sometimes lacking in subtlety and surprises. This effort finds the classic drummer at the head of a 14-horn, 19-piece orchestra that is certainly full of power. Bellson, his tenor star Don Menza and altoist Matt Catingub wrote all of the six songs, and among the key soloists are Menza, Catingub, trumpeter Bobby Shew, altoist Dick Spencer and guitarist John Chiodini (featured on "Where Did You Go"). Nothing all that unusual occurs (although Don Menza's Sambandrea Swing" is exciting), but modern big-band fans will enjoy the effort.
 AllMusic Review by Scott Yanow


Artist Credit
Matt Catingub Arranger, Clarinet, Composer, Flute, Sax (Alto)
Bill Holman Arranger
Dick Hendler Art Direction
John Williams Bass, Bass (Electric)
Dick Spencer Clarinet, Flute, Piccolo, Saxophone
Louie Bellson Composer, Drums, Primary Artist
Don Menza Composer, Sax (Tenor)
Jack Hayes Composer
Peggy Lee Composer
Nelson Hatt Flugelhorn, Trumpet
Walt Johnson Flugelhorn, Trumpet
Ron King Flugelhorn, Trumpet
Bobby Shew Flugelhorn, Trumpet
John Thomas Flugelhorn, Trumpet
John Chiodini Guitar
Jack Arnold Percussion, Vibraphone
Bruce Burr Photography
Frank Collett Piano
Louie Bellson Big Band Primary Artist
Carl Jefferson Producer
Carl E. Jefferson Producer
Phil Edwards Recorder, Remixing
Andrew MacKintosh Sax (Baritone)
Gordon Goodwin Sax (Tenor)
Nick Dimaio Trombone
Dana Hughes Trombone
Alan Kaplan Trombone
Bob Payne Trombone

ORREN EVANS' CAPTAIN BLACK BIG BAND - Mother's Touch

Complete Recording

Pianist Orrin Evans has been on a roll, with the release of a couple of diamond Posi-Tone releases in 2010: Faith in Action — dedicated to friend and mentor, saxophonist Bobby Watson—and the old school yet highly progressive thinking of The End of Fear , with Tarbaby trio-mates, drummer Nasheet Waits and bassist Eric Revis. But the truth of the matter is that Evans has been an active participant in the game for awhile, with numerous roles (leader, educator, and label owner), and a discography that includes a string of recordings in the '90s on the Dutch Criss Cross label.

The debut of Captain Black Big Band (a nickname of Evans' father, who smoked Captain Black tobacco) is another insight into Evans' repertoire—the aperture of his skills focused even wider, as he leads an humongous ensemble which includes newer flames such saxophonist Tia Fuller and time-weathered veterans like Frank Lacy. Recorded live at the New York's Jazz Gallery, the nearly forty-member band delivers music infused with Evan's contagious melodicism that is colored with the avant-garde, funky blues, and undeniable swing. Doused with Evans' street cred musicality from his stomping grounds in Trenton New Jersey, Philadelphia and New York, the band's sound is imbued with passion and adventurism.

After the announcer's introduction, the band jets off with "Art Of War"—tornadic horns, interlaced arrangements, and shimmering individual spots encouraged by the audience's cat calls and raucous fervor. A big band with attitude, the charts (a mixture of Evans' and other composers) are meaty and spicy, due in part to band's ongoing tenure at the Gallery. From clarinetist Todd Marcus' gospel-tinged "Inheritance," where Michael Walter White's trumpet shouts "hallelujah" in his fine solo, to the lazy groove of Evans' "Easy Now," or the tumultuous "Jena 6," with saxophonist Jaleel Shaw delivering one of the most soulful and searing solos heard in recent memory, Captain Black Big Band is a welcome and surprising debut from the ever-expanding mind of Orrin Evans.
Track Listing: Art Of War; Here's The Captain; Inheritance; Big Jimmy; Captain Black; Easy Now; Jena 6.

Personnel: Orrin Evans: piano; Jim Holton: piano; Neil Podgurski: piano; Luke Brandon: trumpet; Daud EL-Bakara: trumpet; Josh Evans: trumpet; Tatum Greenblatt: trumpet; Leon Jordan Jr.: trumpet; Brian Kilpatrick: trumpet; Curtis Taylor: trumpet; Tim Thompson: trumpet; Jack Walraith: trumpet; Walter White: trumpet; Stafford Hunter: trombone; Frank Lacy: trombone; Joe McDonough: trombon; Ernest Stuart: trombone; Brent White: trombone; Mike Boone: bass (1); Luques Curtis: bass; Mark Przybylowski: bass; Mark Allen: bass clarinet; Todd Marcus: bass clarinet; Donald Edwards: drums (7); Gene Jackson: drums (2, 6); Anwar Marshall: drums; Mark Allen: saxophone; Chelsea Baratz: saxophone; Todd Bashore: saxophone; Ralph Bowen: saxophone; Wade Dean: saxophone: Doug DeHays: saxophone; Wayne Escoffery: saxophone; Tia Fuller: saxophone; Rob Landham: saxophone; Victor North: saxophone; Jaleel Shaw: saxophone; Tim Warfield: saxophone; Darryl Yokley: saxophone

PEGGY LEE & QUINCY JONES - Blues Cross Country

Complete Album

Blues Cross Country is a 1962 studio album by Peggy Lee, principally arranged by Quincy Jones, with some arrangements by Benny Carter. The album can be described as a concept album, consisting of a musical journey across the United States through swinging blues songs, many of which were written by Lee with other contributors.[1]
Blues Cross Country was the second of Lee's two albums featuring arrangements by Jones. He had also arranged her previous studio album, If You Go (1961).

Peggy Lee - vocals
Quincy Jones - arranger, conductor
Benny Carter - arranger, alto saxophone, tuba
Stan Levey, Earl Palmer - drums
Max Bennett - bass guitar
Chico Guerrero - congas, percussion
Aubrey Bouck, Bill Henshaw, Sinclair Lott, Henry Sigismonti - French horn
Frank Strazzeri - piano
Toots Thielemans - guitar
Jimmy Rowles - piano
Bob Cooper, Harry Klee, Bud Shank - woodwind
Bill Green, Plas Johnson, Bill Perkins - alto saxophone, tenor saxophone
Jack Sheldon - trumpet
Dennis Budimir -guitar
Bob Bain, John Pisano, Howard Roberts - guitar
Artie Kane - electronic organ
Larry Bunker, Emil Richards - percussion
Lou Levy - piano
Jack Nimitz - baritone saxophone
Buddy Collette - alto saxophone, tenor saxophone
Justin Gordon - tenor saxophone
Hoyt Bohannon, Vern Friley, Bobby Knight, Lew McCreary, Dick Nash, George Roberts, Frank Rosolino, Tommy Shepard - trombone
Pete Candoli, Bob Fowler, Conrad Gozzo, Joe Graves, Al Porcino, Ray Triscari - trumpet

ROB McCONNELL AND THE BOSS BRASS - The Jazz Album

My Man Bill

Rob McConnell's Boss Brass began as a big band comprised of trumpets, trombones, French horns, and an expanded rhythm section that played commercial music for Canadian radio transcriptions. In 1972, arranger/valve trombonist McConnell added a sax section for the first time, and with this 1976 set (originally released by the Canadian Attic label), he finally began to use the orchestra for jazz charts. McConnell and his 22-piece orchestra perform three of his originals, plus "Portrait of Jenny" (a feature for flugelhornist Guido Basso) and "Body and Soul," which showcases guitarist Ed Bickert. Among the other key players are trumpeter Sam Noto and tenorman Eugene Amaro. Excellent big band music.
Scott Yanow

Artist Credit
Rob McConnell Arranger, Composer, Conductor, Photography, Primary Artist, Producer, Trombone (Valve)
Don Thompson Bass (Acoustic), Bass (Electric)
Gary Morgan Clarinet (Bass), Sax (Baritone)
Moe Koffman Clarinet, Flute, Sax (Alto), Sax (Soprano)
Jerry Toth Clarinet, Flute, Sax (Alto)
Eugene Amaro Clarinet, Flute, Sax (Tenor)
Rick Wilkins Clarinet, Sax (Tenor)
FTerry Clarke Drums
Guido Basso Flugelhorn, Trumpet
Bruce Cassidy Flugelhorn, Trumpet
Arnie Chycoski Flugelhorn, Trumpet
Sam Noto Flugelhorn, Trumpet
Erich Traugott Flugelhorn, Trumpet
Ed Bickert Guitar
Michael Craden Percussion
Jimmy Dale Piano
Rob McConnell & the Boss Brass Primary Artist
Ron Hughes Trombone (Bass)
Bob Livinston Trombone
Ian McDougall Trombone
Dave McMurdo Trombone

CLATTON-HAMILLTON JAZZ ORCHESTRA Absolutely

A Beautiful Friendship

Featuring some of Los Angeles' finest jazz musicians, the Clayton-Hamilton Jazz Orchestra (which has drummer Jeff Hamilton and altoist Jeff Clayton among its three leaders) performs the arrangements of the other co-leader, bassist John Clayton. There are several classic charts on this CD, including "Blues for Stephanie," "For All We Know" and "Reverence"; all ten selections are well worth hearing. The swinging music has its share of subtle surprises and many fine solos, including some by tenors Rickey Woodard and Charles Owens, pianist Bill Cunliffe, altoist Clayton and trumpeters Oscar Brashear, Snooky Young and Clay Jenkins. Highly recommended for big band fans.
AllMusic Review by Scott Yanow

Artist Credit
John Clayton Arranger, Bass, Composer, Conductor
John Clayton, Jr. Arranger, Bass, Conductor
Jeff Hamilton Composer, Drums
Jim Hershman Guitar
Bill Cunliffe Piano
Clayton-Hamilton Jazz Orchestra Primary Artist
Bill Green Sax (Alto)
Lee Callet Sax (Baritone)
Charles Owens Sax (Tenor)
Rickey Woodard Sax (Tenor)
George Bohannon Trombone
George Bohanon Trombone
Thurman Green Trombone
Maurice Spears Trombone
Oscar Brashear Trumpet
Bobby Bryant Trumpet
Chuck Findley Trumpet
Clay Jenkins Trumpet
Snooky Young Trumpet

BILL HOLMAN - A View From The side

TENNESSEE WALTZ

Although he never seems to win any popularity polls, Bill Holman is among the most respected and unique arrangers of the last 40 years of the 20th century. This CD features his band of the mid-'90s, an outfit that includes many of the top Los Angeles-based musicians. Holman's writing is often colorfully overcrowded (rewarding repeated listenings) yet logical, with the charts progressing and developing from beginning to end rather than repeating the same basic ideas continuously. Whether it be the many complex themes of "No Joy in Mudville," the showcases for tenor saxophonist Pete Christlieb ("But Beautiful") and Bob Efford's bass clarinet ("The Peacocks"), the very advanced "Make My Day," or the rebuilding of "Tennessee Waltz," this JVC release is a consistently memorable set from a masterful arranger who deserves much greater recognition in the jazz world.
AllMusic Review by Scott Yanow

Artist Credit
Bill Holman Arranger, Composer, Leader, Liner Notes, Performer, Primary Artist
Dave Carpenter Bass, Bass (Acoustic)
Bob Efford Clarinet (Bass), Sax (Baritone)
Bob Leatherbarrow Drums
Ron Stout Flugelhorn, Trumpet
Bob Summers Flugelhorn, Trumpet
Carl Saunders Flugelhorn
Frank Szabo Flugelhorn
Pete Christlieb Flute, Guest Artist, Sax (Tenor)
Bill Perkins Flute, Sax (Alto), Sax (Soprano)
Lanny Morgan Flute, Sax (Alto)
Doug McDonald Guitar (Electric)
Rich Eames Piano
Ray Herrmann Sax (Soprano), Sax (Tenor)
Kenny Shroyer Trombone (Bass)
Bob Enevoldsen Trombone (Valve)
Andrew Martin Trombone
Jack Redmond Trombone

WOODY HERMAN & HIS BIG BAND - Fiftieth Anniversary Tour

This set, which is the best of the Woody Herman Orchestra's Concord recordings, celebrates his 50th year as a bandleader, quite an accomplishment. No guest stars are needed for this set, which shows just how strong a big band he still had. With tenor-saxophonist Frank Tiberi gradually taking over leadership duties (today he leads the ghost Woody Herman Orchestra) and trombonist John Fedchock contributing the arrangements, the band was in fine shape even if the leader was aging. Whether it be "It Don't Mean a Thing," John Coltrane's "Central Park West" (a great arrangement) or Don Grolnick's "Pools," every selection is excellent.
Music Review by Scott Yanow

Artist Credit
Lynn Seaton Bass, Bass (Electric)
Woody Herman Clarinet, Performer, Primary Artist, Sax (Alto), Sax (Soprano)
John Fedchock Composer, Trombone
Jim Rupp Drums
Bill Byrne Flugelhorn, Trumpet
Roger Ingram Flugelhorn, Trumpet
Mark Lewis Flugelhorn, Trumpet
Les Lovitt Flugelhorn, Trumpet
Ron Stout Flugelhorn, Trumpet
Dave Riekenberg Flute, Sax (Tenor)
Brad Williams Piano
Michael Brignola Sax (Baritone)
Jerry Pinter Sax (Tenor)
Frank Tiberi Sax (Tenor)
Mark Lusk Trombone (Bass)
Paul McKee Trombone

CLAYTON-HAMILTON JAZZ ORCHESTRA Live In Germany

SQUATTY ROO

DON ELLIS - Live At The Filmore

Puzzy Wiggle Stomp

This is a crazy and consistently riotous two-disc set that features the Don Ellis Orchestra at its height. The 20-piece orchestra (with trumpeter Ellis doubling on drums along with a regular drummer and two percussionists) often used electronic devices (such as ring modulators) at the time to really distort its sound. When coupled with odd time signatures and such exuberant soloists as Ellis, trombonist Glenn Ferris, tenor saxophonist John Klemmer (showcased on the remarkable "Excursion II"), guitarist Jay Graydon, altoists Fred Selden and Lonnie Shetter, and tenor Sam Falzone, the results are quite memorable. Highlights of the date include "Final Analysis" (which contains a countless number of false endings), a bizarre rendition of "Hey Jude," and an often hilarious remake of "Pussy Wiggle Stomp." In 2005, the Wounded Bird label reissued this session on CD for the first time. Unfortunately, no bonus tracks were available.
 AllMusic Review by Scott Yanow

Artist Credit
Don Ellis Arranger, Composer, Drums, Liner Notes, Main Personnel, Primary Artist, Trumpet
John Klemmer Arranger, Composer, Main Personnel, Saxophone, Wind, Woodwind
Fred Selden Arranger, Composer, Main Personnel, Saxophone, Wind, Woodwind
Les Hooper Arranger
Hank Levy Arranger
Dennis Parker Bass, Bass Instrument, Main Personnel
Doug Bixby Bass, Double Bass, Main Personnel, Tuba, Tuba (Contrabass)
Don Switzer Bass, Main Personnel, Trombone (Bass)
Lee Pastora Congas, Main Personnel
Ron Dunn Drums, Main Personnel, Percussion
Ralph Haumphrey Drums, Main Personnel
Ronnie Dunn Drums, Percussion
Ralph Humphrey Drums
Jay Graydon Guitar, Main Personnel
Tom Garvin Main Personnel, Piano
Lonnie Shetter Main Personnel, Saxophone, Wind, Woodwind
Jon Clarke Main Personnel, Saxophone, Woodwind
Sam Falzone Main Personnel, Saxophone, Woodwind
Ernie Carlson Main Personnel, Trombone
Glenn Ferris Main Personnel, Trombone
Stewart Blumberg Main Personnel, Trumpet
Jack Coan Main Personnel, Trumpet
John Rosenberg Main Personnel, Trumpet
Glenn Stuart Main Personnel, Trumpet
Brent Dangerfield Producer
John Clark Saxophone, Wind
Sam Faizone Saxophone, Wind
Don Quigley Tuba

WOODY HERMAN 1964

Complete Recording

Loved this whole era of Woody's bands. This was a perfect followup to Herman 1963

All of Woody Herman's recordings for Philips (which regrettably remain out-of-print and unissued on CD) are excellent. He was leading one of the finest orchestras of his long career, playing both current and older tunes with creativity (helped out greatly by Nat Pierce's arrangements) and featuring such talented soloists as trumpeter Bill Chase, trombonist Phil Wilson and tenor great Sal Nistico. The release ranges from "Deep Purple" and "After You've Gone" to Oscar Peterson's "Halleluah Time" and even "A Taste of Honey"; everything works.
AllMusic Review by Scott Yanow

Arrangement: Nat Pierce, Solos: Carmen Leggio, Sal Nistico
Leader, Clarinet, Alto Saxophone – Woody Herman
Trumpet – Bill Chase, Billy Hunt, Danny Nolan, Gerald Lamy, Paul Fontaine
Trombone – Henry Southall, Kenny Wenzel, Phil Wilson
Saxophone – Sal Nistico
Tenor Saxophone – Carmen Leggio, John Stevens
Baritone Saxophone – Nick Brignola
Piano – Nat Pierce
Bass – Chuck Andrus
Drums – Jake Hanna

GORDON GOODWIN'S BIG FAT BAND -That's How We Roll

HUNTING WABBITS

Upon seeing the title That's How We Roll, people who don't know anything about the history of pianist/tenor saxophonist Gordon Goodwin and his Big Phat Band might assume that this is a hip-hop recording. "That's how we roll" is a popular expression in hip-hop circles (at least as of 2011), but like a lot of the bebop and hipster slang of the '40s and '50s, hip-hop slang often reaches people who aren't necessarily part of hip-hop's core audience, and that includes a jazz instrumentalist like Goodwin, who is jazz-oriented on this 67-minute CD but doesn't conduct himself like a jazz purist from start to finish. Goodwin has his traditional big-band influences (Count Basie, Buddy Rich), but it's obvious that he also has a taste for soul and funk; in fact, some of the horn arrangements on That's How We Roll successfully find the link between Basie's funkiness and the funkiness of '70s funk/soul bands such as Parliament/Funkadelic, Tower of Power and Earth, Wind & Fire. That's How We Roll has its share of tracks that could easily be described as big-band soul-jazz, including "Rippin' n Runnin'," "Howdiz Songo?," and the title tune. But "Race to the Bridge" and "Gaining on You" have boppish melodies, and Goodwin's hard-swinging arrangement of George Gershwin's "Rhapsody in Blue" (which is the only song on this 2011 release he didn't compose) is quite Basie-minded. Meanwhile, the least jazz-friendly track is "Never Enough," which features Take 6 and is the only vocal offering on a predominantly instrumental CD; "Never Enough" is the only time the album ventures into outright funk (as opposed to jazz-funk or soul-jazz). That's How We Roll is not an album that was recorded with jazz purists in mind, and at the same time, there is way too much improvisation for the smooth jazz crowd. But this is an enjoyable outing if one is seriously into big-band jazz and also has a strong appreciation of soul and funk.
AllMusic Review by Alex Henderson

Artist                    Credit


Rick Shaw Bass (Acoustic), Bass (Electric)
Marcus Miller Bass (Electric), Featured Artist
Jay Mason Clarinet (Bass), Sax (Baritone)
Sal Lozano Clarinet, Featured Artist, Flute, Flute (Alto), Piccolo, Sax (Alto)
Jeff Driskill Clarinet, Featured Artist, Flute, Sax (Tenor)
Brian Scanlon Clarinet, Featured Artist, Flute, Sax (Tenor)
Gordon Goodwin Composer, Executive Producer, Featured Artist, Hammond B3, Liner Notes, Piano, Producer, Sax (Tenor)
Bernie Dresel Drums
Eric Marienthal Featured Artist, Flute, Sax (Alto), Sax (Soprano)
Andrew Synowiec Featured Artist, Guitar
Gerald Albright Featured Artist, Sax (Alto)
Dave Koz Featured Artist, Sax (Alto)
Andrew Martin Featured Artist, Trombone
Charlie Morillas Featured Artist, Trombone
Francisco Torres Featured Artist, Trombone
Craig Ware Featured Artist, Trombone
Wayne Bergeron Featured Artist, Trumpet
Brad Dutz Percussion
Gordon Goodwin's Big Phat Band Primary Artist
Dan Savant Producer, Trumpet
Kevin Garren Sax (Alto)
Craig Gosnell Trombone
Daniel Fornero Trumpet
Willie Murillo Trumpet
Bob Summers Trumpet

TITO PUENTE - Un Poco Loco

For his 97th recording as a leader, instead of welcoming a guest to his Concord Picante date as he usually did during this era, Tito Puente augments his octet on a few selections with a full big band. Puente, who solos on timbales, marimba, vibes and the timbalito, performs a wide-ranging set that perfectly combines bop-oriented jazz with heated Latin music. Among the many highlights are Bud Powell's "Un Poco Loco" (a natural to be turned into Afro-Cuban jazz), his own "Machito Forever," "Killer Joe" and "Swinging Shepherd Blues (Goes Latin)." A strong effort which, as with all of Tito Puente's Concord Picante recordings, is easily recommended to fans of the style.

CHARLES MINGUS BIG BAND - Live in Time

NUMBER 29

Having exhausted most of the late bassist's best-known songs, the Mingus Big Band emphasizes obscurities (such as "Sue's Changes," "Children's Hour of Dream" and "Chair in the Sky"), along with later-period work, on their third release, Live in Time, a double CD. The orchestra really digs into the complex material, and they perform Mingus' almost impossible-to-play originals with joy, swing and constant excitement. Among the many all-stars on this fascinating and highly enjoyable set (all of whom are featured) are trumpeters Randy Brecker, Philip Harper and Ryan Kisor, trombonists Frank Lacy, Robin Eubanks and Britt Woodman, altoists Gary Bartz and Steve Slagle, Seamus Blake, Mark Shim and John Stubblefield on tenors, Ronnie Cuber or Gary Smulyan on baritone and Kenny Drew Jr. or John Hicks on piano. The gloriously overcrowded ensembles, the explosive solos and the spirit of Mingus are three of the many reasons to acquire this memorable effort.
AllMusic Review by Scott Yanow

Artist Credit
Steve Slagle Arranger, Assistant Engineer, Guest Artist, Sax (Alto), Sax (Soprano)
Charles Mingus Arranger, Composer
Andy McKee Bass
Adam Cruz Drums
Gary Bartz Guest Artist, Sax (Alto)
Seamus Blake Guest Artist, Sax (Tenor)
Conrad Herwig Guest Artist, Trombone
Randy Brecker Guest Artist, Trumpet
Ryan Kisor Guest Artist, Trumpet
Mark Shim Guest Artist
Gary Smulyan Guest Artist
Kenny Drew, Jr. Piano
John Hicks Piano
Ronnie Cuber Sax (Baritone)
Mark Isham Sax (Tenor)
John Stubblefield Sax (Tenor)
Frank Lacy Trombone, Vocals
Robin Eubanks Trombone
Britt Woodman Trombone
Earl Gardner Trumpet
Philip Harper Trumpet
Alex Sipiagin Trumpet

ILLINOIS JACQUET AND HIS BIG BAND - Jacquet's Got It!

The Illinois Jacquet big band has been together on a part-time basis for over a decade, yet this is still its only recording. Fortunately, it is a very good one, displaying its leader's love for hard-swinging and exciting performances. The featured sidemen include trombonist Frank Lacy, trumpeters Irv Stokes and Jon Faddis, clarinetist Rudy Rutherford and pianist Richard Wyands, but the great tenor's solos and the exuberant sound of the ensembles are most notable. With arrangements by Wild Bill Davis, Eddie Barefield and Phil Wilson, the highlights include "Tickletoe," "Stompin' at the Savoy" and "Three Buckets of Jive"; in reality, all eight selections are rewarding. Recommended.
AllMusic Review by Scott Yanow


Artist Credit
Illinois Jacquet Arranger, Composer, Leader, Performer, Primary Artist, Sax (Tenor), Soloist
Eddie Barefield Arranger, Composer, Sax (Tenor)
Milt Hinton Bass
Joey Cavaseno Clarinet, Sax (Alto), Soloist
Rudy Rutherford Clarinet, Sax (Baritone), Soloist
Duffy Jackson Drums, Soloist
Richard Wyands Piano, Soloist
Illinois Jacquet & His Big Band Primary Artist
Illinois Jacquet & Big Band Primary Artist
Alex Karas Production Coordination
Marshall Royal Sax (Alto), Soloist
Babe Clarke Sax (Tenor)
Art Baron Soloist, Trombone
Frank Lacy Soloist, Trombone
Jon Faddis Soloist, Trumpet
Irv Stokes Soloist, Trumpet
Freddy Joiner Trombone
Fred Jointer Trombone
Kiane Zawadi Trombone
Johnny Grimes Trumpet
Henry Scott Trumpet

HARRY CONNICK JR BIG BAND LIVE

ANGUILLA

An exciting rendition of "Anguilla" by the Harry Connick Jr orchestra.
Featuring solos by Craig Klein (trombone con plunger), Dan Miller (trumpet), Roger Ingram (trumpet), Ned Goold (tenor saxophone) and Connick himself at the piano.
Exciting big band jazz!

BILLY MAY - Plays For Fancy Dancing

She Reminds Me Of You

Billy May And His Orchestra, Hollywood, CA, July 19, 1955: 
Conrad Gozzo, John Best, Uan Rasey, Manny Klein (tp)
Murray McEachern, Tommy Pederson, Ed Kusby (tb) Si Zentner (b-tb)
Vince DeRosa (fhr)
Clarence Karella (tu)
Skeets Herfurt (cl,as) Wilbur Schwartz (cl,as,fl) Ted Nash (cl,ts,b-cl) Chuck Gentry (bar,b-cl) Jules Jacobs (oboe,ts)
Paul Smith (p) Ann Stockton (harp) Al Hendrickson (bj,g) Joe Mondragon (b) Alvin Stoller (d) Lou Singer (perc) Billy May (ldr,arr)

PHIL KELLY - Ballet Of The Bouncing Beagles

Top Fuel Pete Vs the Trav-ski.

In league with his local big-band colleagues, drummer/composer (and onetime Tonight Show arranger) Phil Kelly's second album since a Grammy nomination for Convergence Zone figures heavily with references to music past as well as a handful of nice fresh ideas. The album opens in pure jump jazz form with "Play Tonic Buds" -- and just maybe a hint of the old Tonight Show theme. The push slows down a fair amount with the subtle but carefully loping "Limehouse Blues," then walks the line between Sunday afternoon jazz and Latin-flared jazz with the title track. A bit of New Orleans creeps into "Ewe Doo on Bubbas Shoux" and there is an overly relaxed approach to a lazy afternoon in "Rainshadow," along with a tribute to North Texas writing via dropped chord progressions. "B D Bunz" takes in bits of soul-jazz and Quincy Jones scoring in equal measure; Latin is tried more directly in "Estos Frijoles Causa Me Falta Pasar a los Vientos," with something of Dizzy Gillespie's blaring approach to Afro-Cuban stylings in the arrangement; and "Grover" stands as a straightforward piece of smooth jazz in tribute to Grover Washington, Jr., though there are touches and idioms from other pieces of jazz history hidden away (was that a horn riff from Head Hunters?). The album ends with a relative bang, moving back to more stereotypical big-band jump again (just as it started) and blasting its way through a frantic seven minutes of solos and group hits before collapsing into a final musical heap. The album has a little bit of everything, but never carries one form quite long enough to sound coherent. Outstanding playing and fine compositions all around, just perhaps in need of some reordering.
AllMusic Review by Adam Greenberg  

Artist              Credit
Dave Captein   Bass (Acoustic), Bass (Electric)
Pete Brewer  Clarinet, Clarinet (Bass), Sax (Tenor)
Phil Kelly Composer, Primary Artist
Gary Hobbs Drums
Grant Geissman Guitar
Pat Coil Keyboards
Brad Allison Lead, Trumpet
Paul Baron Lead, Trumpet
John Bryant Percussion
Ron Snider Percussion
Travis Ranney Sax (Alto), Sax (Soprano), Sax (Tenor)
Jerry Dodgion Sax (Alto)
Bill Ramsay Sax (Baritone)
Pete Christlieb Sax (Tenor)
Jim Coile Sax (Tenor)
Nelson Bell Trombone (Bass), Tuba
Dan Marcus Trombone
Gary Shutes Trombone
Vern Sielert Dektet Trumpet
Jay "Bird" Thomas Trumpet

PETE RUGOLO - Brass In Hi Fi

MY MOTHER'S EYES

https://youtu.be/b-CYzu88x60

Brass In Hi-Fi :1956
Pete Candoli, Don Fagerquist, Maynard Ferguson, Ray Linn (tp)
Milt Bernhart, Herbie Harper, Frank Rosolino (tb) George Roberts (b-tb)
John Cave, Vince DeRosa, John Graas (fhr)
Clarence Karella (tu)
Andre Previn (p)
Barney Kessel (g)
Joe Mondragon (b)
 Shelly Manne (d)
Larry Bunker (perc)
Pete Rugolo (arr,cond)

SI ZENTNER - Waltz in Jazz Time

WILLOW WEEP FOR ME

This superb reissue of two fine albums on one CD features excellent sound and good art reproduction, and at a competitive price. Si Zentner was one of the leading exponents of swing music -- which was supposedly dead -- in the 1960s, and this CD fully explains his popularity. Combining his excellent band with Liberty Records' superior recording facilities, he generated music that, if dated for its time, still forced itself to be heard and found its audience. There's no annotation but the music sounds so good that this oversight can be forgiven, especially as the original (albeit U.K.) cover art, front and

SCOTT WHITFIELD - The Minute Game

SPLAT

An enthusiastic and skilled trombonist, arranger-composer and singer, Scott Whitfield can always be counted on to provide musical excitement. This big band album, utilizing some of his favorite West Coast players, has an emphasis on heated material with six of the ten songs being Whitfield originals. Hank Mobley's "This I Dig of You" features tenor solos and trade-offs by Roger Neumann, Rusty Higgins and Ray Hermann, while Whitfield's "Splat" has Bryant Byers, Gary Tole and the leader all taking trombone solos. Other selections include a jazz waltz version of Lee Morgan's classic "Ceora," two vocal numbers for Whitfield ("City Butterfly" and "Moonlight In Vermont") and an explosive "Hiccups" which has a memorable Larry E. Williams trumpet solo. Fans of modern straight-ahead big bands will definitely want this exciting release.

AllMusic Review by Scott Yanow

Artist Credit

Scott Whitfield Arranger, Audio Production, Composer, Leader, Member of Attributed Artist, Muted Trombone, Primary Artist, Producer, Soloist, Trombone, Vocals

Jennifer Leitham Bass, Member of Attributed Artist

Roger Neumann Clarinet (Bass), Member of Attributed Artist, Sax (Baritone), Sax (Tenor), Soloist

Rusty Higgins Clarinet, Flute, Member of Attributed Artist, Sax (Alto), Sax (Tenor), Soloist

Ray Herrmann Clarinet, Flute, Member of Attributed Artist, Sax (Tenor), Soloist

Tom Ranier Clarinet, Member of Attributed Artist, Piano

Kendall Kay Drums, Member of Attributed Artist

Roger Ingram Flugelhorn, Melody Arrangement, Member of Attributed Artist, Trumpet

Larry E. Williams Flugelhorn, Melody Arrangement, Trumpet

Anne King Flugelhorn, Member of Attributed Artist, Trumpet

Larry Williams Flugelhorn, Member of Attributed Artist, Trumpet

Anna King Flugelhorn, Trumpet

Gary Tole Member of Attributed Artist, Session Photographer, Soloist, Trombone

Bryant Byers Member of Attributed Artist, Soloist, Trombone (Bass)

Richard Bullock Member of Attributed Artist, Trombone (Bass)

Scott Whitfield Jazz Orchestra West Primary Artist

COUNT BASIE - Cherokee

CHEROKEE

PETE McGUINNESS JAZZ ORCHESTRA - Strength In Numbers

For the second album as leader of his jazz orchestra, New York-based Pete McGuinness says he has "returned to [his] roots," fashioning a series of dapper themes that embody his forward-looking point of view while swinging in the grand tradition of such legendary ensembles as Basie, Herman, Thad Jones and others. When someone like Bill Holman says (as he does) "wonderful writing," the tendency is to sit up and take notice. One keynote that's immediately clear is that Holman is, as usual, spot on, and that McGuinness ranks high among the jazz world's most skillful contemporary composer / arrangers, one who doubles on trombone and trebles as band singer (more about that anon).

Without sacrificing any of his deeply personal convictions, McGuinness has managed to produce an album that should appeal to those who savor music that is shrewd and sophisticated as well as to others who lean toward buoyancy and power. That's no easy task, and there aren't many bands or bandleaders who could make it work. McGuinness does so by blending big-band dynamism with structural finesse, as on his engaging bows to Basie ("The Swagger"), Jones ("Nasty Blues") and especially friend and mentor Bob Brookmeyer ("The Send-Off"). His deft use of harmony and color is everywhere exceptional. Among the other highlights is McGuinness' clever arrangement of Stephen Foster's ballad "Beautiful Dreamer," recast as a snappy samba that underscores intrepid solos by soprano saxophonist Dave Pietro and pianist Mike Holober.

McGuinness wrote the lyrical "Trixie's Little Girl" for his late mother, the Latin-tempered "Spellbound" as an homage (no kidding) to Claude Debussy and Billy Strayhorn. McGuinness' expressive trombone is showcased on the graceful "Bittersweet," as it is on "Trixie's Little Girl." Other soloists (all splendid) are trombonists Mark Patterson and Matt Haviland, tenors Tom Christensen and Jason Rigby, baritone Dave Reikenberg, bass trombonist Jeff Nelson, alto Marc Phaneuf, trumpeters Chris Rogers and Bill Mobley, bassist Andy Eulau and drummer Scott Neumann. The three remaining numbers (or two, as the standard "You Don't Know What Love Is" is repeated in a shorter "radio version") are the ones on which McGuinness sings, and the most courteous observation that can be made is that one of the perks of leading a big band is that you can sing if you want to and no one will demur. That's not to say that you should. Aside from those minor missteps, however, Strength in Numbers is entirely pleasurable and persuasive.
By JACK BOWERS

Personnel: Pete McGuinness: composer, arranger, leader, trombone, vocals (2, 7, 10); Jon Owens: trumpet; Tony Kadlek: trumpet; Bill Mobley: trumpet; Chris Rogers: trumpet; Dave Pietro: alto, soprano sax, flute; Marc Phaneuf: alto sax, flute; Tom Christensen: tenor sax, flute; Jason Rigby: tenor, soprano sax, clarinet; Dave Reikenberg: baritone sax, bass clarinet; Bruce Eidem: trombone; Mark Patterson: trombone; Matt Haviland: trombone; Jeff Nelson: bass trombone; Mike Holober: piano; Andy Eulau: bass; Scott Neumann: drums.

COUNT BASIE with VI REDD

Redd is the daughter of New Orleans jazz drummer and Clef Club co-founder Alton Redd and Mattie Redd (née Thomas).[3] She was born in Los Angeles. She was deeply influenced during her formative years by her father, who was one of the leading figures on the Central Avenue jazz scene. Another important musical mentor was her paternal great aunt Alma Hightower.[2][4]

After working for the Board of Education from 1957 to 1960, Redd returned to jazz. She played in Las Vegas in 1962, toured with Earl Hines in 1964 and led a group in San Francisco in the mid-1960s with her husband, drummer Richie Goldberg. During this time, Redd also worked with Max Roach. While active, she toured as far as Japan, London (including an unprecedented 10 weeks at Ronnie Scott's), Sweden, Spain and Paris. In 1969, she settled in Los Angeles where she played locally while also working as an educator.[1][5] She led albums for United Artists (1962) and Atco (1962–63). Her 1963 album Lady Soul features many prominent jazz figures of the day, including Bill Perkins, Jennell Hawkins, Barney Kessel, Leroy Vinnegar, Leroy Harrison, Dick Hyman, Paul Griffin, Bucky Pizzarelli, Ben Tucker and Dave Bailey. The liner notes are by Leonard Feather.[6][7]

Redd graduated from California State University, Los Angeles, and earned a teaching certificate from University of Southern California. She taught and lectured for many years from the '70s onward upon returning to Los Angeles.[2][5] She served on the music advisory panel of the National Endowment for the Arts in the late 1970s.[8][9] In 1989 she received the Lifetime Achievement Award from the Los Angeles Jazz Society.[10] In 2001 she received the Mary Lou Williams Women in Jazz Award from the Kennedy Center.[11]

COUNT BASIE - This Time By Basie

I Can't Stop Loving You

Three decades after the fact, people looking at releases like This Time by Basie would tend to dismiss it as pandering, Count Basie doing a "pops"-type outing -- the cheesy cover art even emphasized the songs over Basie and his band. Nothing could be further from the truth, however -- this 16-song release reveals a wonderful body of work, and deserves to be better known. For starters, This Time by Basie swings, smooth and easy but taut, or hot and heavy. From Sonny Payne's understated cymbal intro to "This Could Be the Start of Something Big" to the bluesier notes of "One Mint Julep," Basie and company sound like they're enjoying themselves, whether elegantly stretching out on "I Left My Heart in San Francisco" or "Moon River," or soaring into the air on the hotter numbers -- one of the more surprising covers here is "Walk Don't Run," which even works in a big-band arrangement. Highlights amid all of this surprising splendor include Marshall Royal's alto sax on "What Kind of Fool Am I" and Frank Foster's tenor sax on "Something Big." Quincy Jones arranged and conducted This Time by Basie, and the record was successful, returning the Count to the pop charts on the eve of the British Invasion. The last five songs here are drawn from Pop Goes the Basie, a 1965 album arranged and conducted by Billy Byers, and produced by Teddy Reig -- the playing is as good as the companion work on numbers like "The Hucklebuck." Their version of Roy Orbison's "Oh, Pretty Woman" is a big-band blues rendition of the song (sung by Leon Thomas) that buries the original's grand operatic romantic sensibilities in a posed soulfulness. "Oh Soul Mio" (highlight by Al Grey's trombone work), "Shangri-La" and "At Long Last Love" (both prominently featuring Eddie "Lockjaw" Davis) come off better -- the last number could've come off of any of Basie's best post-1951 albums. The remixing from the original three-track studio masters has yielded an especially clean sound with vivid stereo separation, enhancing the solos (check out Davis' on "At Long Last Love") and the overall ensemble
AllMusic Review by Bruce Eder


Artist Credit
Billy Byers Arranger, Composer, Conductor
Quincy Jones Arranger, Conductor
Buddy Catlett Bass
Wyatt Ruther Bass
Charlie Fowlkes Clarinet (Bass), Flute, Sax (Baritone)
Marshall Royal Clarinet, Sax (Alto)
Frank Foster Clarinet, Sax (Tenor)
Louie Bellson Drums
Sonny Payne Drums
Eric Dixon Flute, Sax (Tenor)
Freddie Green Guitar
Marc Crawford Liner Notes
Leonard Feather Liner Notes
Count Basie Orchestra Performer, Primary Artist
Eddie "Lockjaw" Davis Reeds
Frank Wess Sax (Tenor)
Henderson Chambers Trombone
Henry Coker Trombone
Urbie Green Trombone
Albert T. Grey Trombone
Bill Hughes Trombone
Grover Mitchell Trombone
Benny Powell Trombone
Gordon Thomas Trombone
Al Aarons Trumpet
Sonny Cohn Trumpet
Wallace Davenport Trumpet
Thad Jones Trumpet
Sam Noto Trumpet