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| 4.060 Ft
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| 1. | Indian Love Call
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| 2. | Quietly There
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| 3. | I Won't Send Roses
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| 4. | So Do I
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| 5. | Only Make Bellieve
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| 6. | Maybe Make Be There
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| 7. | Laura
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| 8. | Theme from the Bad and the Beautiful
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| 9. | Stockholm L.A.
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| 10. | I Can't Get Started
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| 11. | He Loves and She Loves
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| 12. | I Won't Cry
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| 13. | All the Things You Are
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| 14. | Alan's Song
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Jazz
Gene DiNovi - Piano, Solo Instrumental
Bobby Worth - Drums
Spike Robinson - Sax (Tenor)
Alastair Robertson - Producer
Gene DiNovi
Active Decades: '90s and '00s
Genre: Jazz
Styles: Swing
Major influences: Teddy Wilson, Mel Powell, Ellis Larkins, and Duke Ellington. As a precocious 15-year-old, Gene DiNovi worked in 1943 with bandleader Henry Jerome, who was at that time preparing to convert his Hal Kemp-styled dance band into a modern bop ensemble. DiNovi's transition from swing to bop manifested itself in recordings with Chicago-style clarinetist Joe Marsala and progressive clarinet/tenor man Aaron Sachs. In December of 1947, while working at the Three Deuces with guitarist Chuck Wayne, DiNovi was suddenly asked to back Lester Young on what was to be Prez's very last session for the Aladdin record label. Wayne was also invited, as were bassist Curly Russell and drummer Norman "Tiny" Kahn. The four titles recorded with Lester Young on December 29, 1947 give us what are perhaps the best examples of DiNovi's sound during these formative years. On September 9, 1948 DiNovi sat in with Benny Goodman & His Septet alongside Fats Navarro and Wardell Gray. What resulted was a lively version of Fats Waller's "Stealin' Apples." DiNovi stayed busy, gigging with tenor saxophonist Brew Moore and with clarinetists Buddy DeFranco and Artie Shaw. He also wrote the orchestral arrangement for bassist Chubby Jackson's "So Wrong." Beginning in 1950, DiNovi evolved into an accomplished accompanist for popular vocalists. If his presence behind Una Mae Carlisle with the Bob Chester band is historically interesting, the work he did with Peggy Lee, Tony Bennett, Thelma Carpenter, Lena Horne, Dinah Shore, and Carmen McRae shows him adapting to the times. Without compromising anybody's integrity, DiNovi solidified his ties to show business while continuing to play a vital supporting role in the evolution of jazz. Upon request, he wrote an arrangement for Lena Horne's version of Harold Arlen's "Out of This World" and it was Horne who introduced DiNovi to Billy Strayhorn, who eventually hooked him up with Duke Ellington. Since DiNovi became a predominately solo act during the '70s, he has distinguished himself as a gifted interpreter of the EllingtonStrayhorn songbook. During the late '90s DiNovi established an annual seven-day birthday tribute to Ellington in Toronto. Exceptionally adept and sensitive enough to handle music of great subtlety and depth, he deserves more honor and recognition than the world has given him over the years.
--- arwulf arwulf, All Music Guide
Spike Robinson
Active Decades: '80s and '90s
Born: Jan 16, 1930 in Kenosha, WI
Died: Oct 29, 2001
Genre: Jazz
Styles: Cool, Swing, Mainstream Jazz
Spike Robinson was just about the last major tenor stylist who played in the Four Brothers' cool-toned style popularized by Stan Getz, Zoot Sims, and Al Cohn. The remarkable part is that Robinson seemed to emerge fully formed in 1981 when he was already past 50. Originally he started on alto when he was 12 and, after being in the military, in 1950 Robinson played with some of England's top bop musicians, recording with them. However, after he returned to the U.S., Robinson got a degree in engineering and had a day job in Colorado for the next 30 years, just gigging on a part-time basis in local clubs on tenor. When he began playing music full-time in 1981, Robinson initially created a bit of a sensation. Spike Robinson continued swinging (often sounding close to Stan Getz) and recorded many excellent sets for Discovery, Capri, Concord, and particularly Hep. He passed away in fall 2001 at his home in Writtle in southern England at the age of 71.
---Scott Yanow, All Music Guide |
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