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CD |
| 4.001 Ft
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| 1. | Martians Come Back
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| 2. | Astral Alley
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| 3. | Lotus Bud
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| 4. | Dickie's Dream
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| 5. | Papouche
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| 6. | Serenade in Sweets
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| 7. | Planetarium
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| 8. | Chant of the Cosmos
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| 9. | Blues Way Up There
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| 10. | Blues Way Down There
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| 11. | Solarization
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| 12. | Pixieland
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| 13. | Wail of Two Cities
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| 14. | Baklava Bridge
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| 15. | March of the Martians
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Jazz
2 LPs on 1 CD:
* MARTIANS COME BACK (1956)
* WAY UP THERE (1957)
MARTIANS COME BACK:
Shorty Rogers (trumpet, flugelhorn)
Bud Shank (alto saxophone); Jimmy Giuffre (tenor & baritone saxophones, clarinet); Harry Edison, Conte Candoli, Pete Candoli, Don Fagerquist (trumpet); Johnny Graas (French horn); Bob Enevoldsen (trombone); Paul Sarmento (tuba); Lou Levy, Earl Gray, Pete Cera (piano); Barney Kessel (guitar); Ralph Pena, Leroy Vinnegar (bass); Shelly Manne (drums).
WAY UP THERE:
Shorty Rogers (trumpet, flugelhorn)
Bud Shank (alto saxophone); Jimmy Giuffre (tenor & baritone saxophones, clarinet); Harry Edison, Pete Candoli, Conte Candoli, Don Fagerquist (trumpet); Johnny Graas (French horn); Bob Enevoldsen (valve trombone); Paul Sarmento (tuba); Pete Cera, Pete Jolly, Earl Gray, Lou Levy (piano); Barney Kessel (guitar); Leroy Vinnegar, Curtis Counce, Ralph Pena (bass); Shelly Manne (drums)
Shorty Rogers was one of the brightest lights of the West Coast cool jazz scene in the 1950s and '60s, and these two albums--MARTIANS, COME BACK! and WAY UP THERE, from '56 and '57, respectively--are both excellent representations of his impressive talent. In addition to his skills as a trumpeter (which are considerable), Rogers was also a noteworthy arranger, and the charts for these sessions bear his unique mixture of old-school swing sensibility (Rogers came up playing with Woody Herman's orchestra) and the subtle, Miles Davis-influenced sound of small-group cool.
Rogers's charts are curious and inventive (he writes arrangements for such instruments as French horn, tuba, trombone, and reeds, for instance), and the cast of talent he assembles is equally admirable. Drummer Shelly Manne, clarinetist Jimmy Giuffre, and guitarist Barney Kessel are only some of the luminaries on hand here. With its combination of laid-back '50s sophistication and bounce from the golden age of swing, it's hard to go wrong with this twofer.
Includes liner notes by John S. Wilson and Jack Tracy.
Better known for his arranging, Shorty Rogers was also a trumpeter whose style practically defined cool jazz. Rogers rose to fame as a member of Woody Herman's First and Second Herds as well as Stan Kenton's Innovations Orchestra. In the '50s he founded his own group, the Giants. Personnel on these powerful albums include Jimmy Giuffre, Lou Levy, Shelly Manne, Harry Edison, Leroy Vinnegar and Conte Candoli.
Count Basie swing meets the Gil Evans cool school -- that's an apt description of the art of trumpeter, composer, and arranger Shorty Rogers, a kingpin of the West Coast scene during the 1950s and early '60s. On this compilation pairing a release from 1956 with another from 1957, the Basie-Evans influences are clear, along with Rogers' own manifold talents. The CD provides a good overview of Rogers' work in the company of a who's who of West Coast jazz, playing arrangements for trumpet section and rhythm, quintet, and brass and winds with rhythm. The Basie touch comes across in the airy bounce that energizes the smaller-group settings. Evans' influence is revealed in the arrangements for trombone, tuba, French horn, trumpet, reeds, and rhythm. On these, Rogers taps into instrumentation and voicings similar to those used by Evans on Miles Davis' Birth of the Cool sessions. The rhythm sections are impeccable throughout the 15 tracks. The fluid, precise, and utterly swinging Shelly Manne is on drums. Lou Levy, Earl Grey, Pete Jolly, and Pete Cera alternate on piano. Ralph Pena, Leroy Vinnegar, and Curtis Counce share bass duties. The preponderance of trumpet players on a few tracks is a bit monotonous. All, including Rogers, are masters, but their brilliance as individuals is diffused when they are lined up five deep for back-to-back solos. More distinctive and satisfying is the refreshing Bird-lite sound of Bud Shank on alto, Jimmy Giuffre's truly cool clarinet, and the handful of flawless solos from guitarist Barney Kessel.
---Jim Todd, 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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