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| The Fourth Dimension in Sound |
| Shorty Rogers |
| első megjelenés éve: 2005 |
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| (2005)
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CD |
| 3.801 Ft
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| 1. | One O'Clock Jump
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| 2. | Speak Low
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| 3. | Tonight
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| 4. | Lover
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| 5. | Marie
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| 6. | Kook-A-Ra-Cha Waltz
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| 7. | You're Just in Love
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| 8. | I'm Getting Sentimental over You
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| 9. | Stompin' at the Savoy
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| 10. | Baubles, Bangles and Beads
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| 11. | Taboo
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Jazz
Recorded: November 1961, Hollywood, California
Shorty Rogers - Director, Engineer, Flugelhorn, Leader, Producer, Trumpet
Bill Hood - Reeds
Bud Shank - Reeds
Buddy Collette - Reeds
Emil Richards - Vibraphone
George Roberts - Trombone
Joe Mondragon - Bass
Kenny Shroyer - Trombone
Paul Horn - Reeds
Pete Jolly - Piano
Red Mitchell - Bass
Shelly Manne - Drums
Shorty Rogers, jazzman par excellence, introduces all-star jazz musicians (including Shelly Manne, Buddy Collette, Bud Shank, Paul Horn, Bill Hood, Pete Jolly, Red Mitchell and others) into the world of exciting sound recording on this, a CD reissue of the first, and long out-of-print, jazz album in the Warner Bros. "Stereo Workshop Series." On it, Shorty and his compatriots tackle the fourth dimension in sound, adding to melody, harmony, and rhythm the element of spatial separation, as well as some split-second electronic changes induced by custom circuitry especially devised by The Stereo Workshop.
As was true of many records from the early 1960's, the emphasis on this out-of-print Lp (especially in the lengthy liner notes) is on the stereophonic sound rather than the music.Rogers (sticking to flugelhorn) leads a group that includes three reeds, trombonist Ken Shroyer, vibraphonist Emil Richards, pianist Pete Jolly, bassist Red Mitchell or Joe Mondragon on bass and drummer Shelly Manne. The music is better than the liner notes (which spend most of their time describing the sound) lets on but is not all that significant, emphasizing swing standards along with an occasional Latin novelty.
---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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