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| 6.800 Ft
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| 1. | I've Never Been in Love Before
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| 2. | Casa de Luz
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| 3. | Down With Love
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| 4. | Paul's Pal
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| 5. | Spring Will Be a Little Late This Year
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| 6. | Morning Fun
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| 7. | Martians Go Home
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| 8. | I Hadn't Anyone Till You
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| 9. | Time Was
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| 10. | Popo
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| 11. | If I Were a Bell
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| 12. | What Is This Thing Called Love?
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| 13. | What Is This Thing Called Love? [Alternate Take]
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Jazz / Cool
Recorded: 1962
Amos Trice Piano
David Dyson Bass
Gary LeFebvre Sax (Tenor)
Gary Peacock Bass
Harold Land Sax (Tenor)
Jeri Southern Performer
John Jungklaus Digital Remastering
Larry Bunker Drums
Leon Pettus Drums
Mike Wofford Piano
Peter Jacobson Liner Notes
Shorty Rogers Photography, Flugelhorn, Trumpet
Thomas Gramuglia Digital Remastering
Vil Vohler Producer, Session Producer
The first of four CD's taken from radio transcriptions used in the show "The Navy Swings" features trumpeter/flugelhornist Shorty Rogers playing with two versions of his quintets in 1962, just prior to him greatly de-emphasizing his playing in favor of full-time writing for the studios. The 13 selections generally clock in around three minutes so the cool bop performances are quite concise. Jeri Southern has three warm vocals and Rogers shares the frontline with either Harold Land or Gary Lefebvre on tenors. The results are not quite essential but will be enjoyed by Shorty's fans; highlights include "Paul's Pal," "Martian's Go Home," "Popo" and two versions of "What Is This Thing Called Love." ~ 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
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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