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| 4.060 Ft
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| 1. | America the Beautiful
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| 2. | Less Is More
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| 3. | New Dreams
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| 4. | Casa de Luz
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| 5. | Lotus Bud
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| 6. | Un Poco Loco
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| 7. | The Good News
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| 8. | Here's That Old Martian Again
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| 9. | Truly Truly
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| 10. | Fun
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Jazz
Shorty Rogers - Arranger, Flugelhorn, Producer, Trumpet
Bill Perkins - Recording Supervision, Sax (Baritone), Sax (Soprano), Sax (Tenor)
Bob Cooper - Sax (Tenor)
Bud Shank - Producer, Sax (Alto)
Conte Candoli - Trumpet
Larance Marable - Drums
Monty Budwig - Bass
Pete Jolly - Piano
* Alan Bates - Executive Producer
* David Keller - Producer
* James Mooney - Engineer, Recording
* Malcolm Walker - Design, Photography
* Nieves Pascua-Bates - Design
* Scott Gould - Assistant Engineer
* Victor Hall - Photography
- William Claxton - Cover Photo, Photography
The 1991 version of the Lighthouse All-Stars gave trumpeter Shorty Rogers and altoist Bud Shank top billing. For this Candid CD, Rogers supplied eight of the selections (including "Less Is More," "Lotus Bud," "Fun" and "Here's That Old Martian Again") and the band also stretched out on Bud Powell's "Un Poco Loco" and a Rogers' arrangement of "America The Beautiful." This was one of the final records for both Shorty and the great tenor Bob Cooper and overall it is a typically swinging, witty and beautiful effort. Also in fine form are trumpeter Conte Candoli, Bill Perkins (on baritone, tenor and soprano), pianist Pete Jolly, bassist Monty Budwig and drummer Larence Marable.
---Scott Yanow, All Music Guide
Shorty Rogers
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Apr 14, 1924 in Great Barrington, MA
Died: Nov 07, 1994 in Van Nuys, CA
Genre: Jazz
Styles: Big Band, Bop, Cool, Swing, Bossa Nova, West Coast Jazz, Afro-Cuban Jazz
A fine middle-register trumpeter whose style seemed to practically define "cool jazz," Shorty Rogers was actually more significant for his arranging, both in jazz and in the movie studios. After gaining early experience with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949), and somehow he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951), clearly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its course, Rogers settled in Los Angeles where he led his Giants (which ranged from a quintet to a nonet and a big band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios, helping greatly to bring jazz into the movies; his scores for The Wild One and The Man With the Golden Arm are particularly memorable. After 1962, Rogers stuck almost exclusively to writing for television and films, but in 1982 he began a comeback in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his own playing was not quite as strong as previously, he remained a welcome presence both in clubs and recordings.
---Scott Yanow, All Music Guide |
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