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3 x CD |
| 8.501 Ft
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| 1. CD tartalma: |
| 1. | Joycycle
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| 2. | The Lady Is A Tramp
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| 3. | The Goof And I
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| 4. | My Little Suede Shoes
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| 5. | Isn't It Romantic?
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| 6. | Not Really The Blues
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| 7. | Martians Go Home
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| 8. | My Heart Stood Still
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| 9. | Loaded
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| 10. | Oh! Play That Thing
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| 11. | Bill
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| 2. CD tartalma: |
| 1. | 12th Street Rag
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| 2. | The Lady In Red
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| 3. | Trickleydidlier
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| 4. | Solarization
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| 5. | That's What I'm Talkin' 'Bout
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| 6. | Michele's Meditation
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| 7. | Barbaro
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| 8. | Planetarium
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| 9. | Martians Come Back
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| 10. | March Of The Martians
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| 11. | Papouche
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| 12. | Martians Stay Home
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| 3. CD tartalma: |
| 1. | Peals
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| 2. | Lotus Bud
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| 3. | Easy
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| 4. | Amber Leaves
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| 5. | Hurricane Carol
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| 6. | Breezin' Along In The Trades
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| 7. | Marroned In A Monsoon
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| 8. | The Chinook That Melted My Heart
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| 9. | Prevailing On The Westerlies
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Jazz
CD 1
Recorded: Hollywood, September 10, 1954 (#1-4); March 1, 1955 (#5-11)
Shorty Rogers (tp)
Jimmy Giuffre (cl,ts,bars), Pete Jolly (p), Curtis Counce (b), Shelly Manne (d)
This CD holds the first recordings Shorty Rogers did fronting his own quintet the way it regularly appeared at the elegant Zardi's, the hottest Hollywood Jazz spot of the moment. After several months of playing, the Giants were fresh and ready to make their recording debut by cutting four tracks with RCA Victor in September 1954. Soon after the date, Shorty signed with Atlantic Records; its vice-president and producer Nesuhi Ertegun proudly said: "There exists in this group an instinctive affinity and rapport that can never be duplicated by a band assembled just for a recording session." Martians Go Home is probably the most representative composition of these early quintet sides; a gem of cohesive, subtle and inventive small-group playing.
Total time: 52 min.
CD 2
Recorded: Hollywood, March 1 & 3, 1955 (#1-6); October 21 & 26, 1955 (#7-10); November 3, 1955 (#11-12)
Shorty Rogers (tp)
Jimmy Giuffre (cl, ts, bars), Pete Jolly or Lou Levy (p), Curtis Counce or Ralph Peña (b), and Shelly Manne (d)
After the success of Martians Go Home, Shorty felt that a new Jazz tune in relation with Mars had to be added to his 2nd album for Atlantic. So Shorty put his Basie foot forward with the quintet on the invitational Martians Come Back. A provocative photo by William Claxton of Shorty with his head encased in a spaceman's helmet illustrated the album and became one of the most popular covers of the year. Although part of these quintet recordings were not released on LP until several years later, all of them sustain a high level of musicianship, a constantly pulsing rhythmic drive, thoughtful solos, and an outer space oriented spirit, as far as titles go: Solarization, Planetarium, and two more Martian sequels, March of the Martians, and a minor blues titled Martians Stay Home.
Total time: 60 min.
CD 3
Recorded: Hollywood, November 3, 1955 (#1-4); July 2, 1956 (#5-9)
Shorty Rogers (tp)
Jimmy Giuffre (cl, bars), Lou Levy (p), Ralph Peña (b), and Shelly Manne or Larry Bunker (d)
The four first sides on this CD were the last Shorty Rogers recorded with his quintet during his Atlantic interim before he returned to RCA Victor. Under his new contract with the Nipper label, and with Larry Bunker replacing Shelly Manne, he recorded a new album, Wherever the Five Winds Blow (tracks 5 to 9). The music is outstanding, with Shorty playing trumpet and fluegelhorn with a consistent feeling for form and a supple beat. Giuffre is at his best on his shy but warmly expressive and distinctive clarinet and his capable and authoritative tenor. The rhythm section sounds well integrated, with some burning solos by Levy. He attacks the piano with a percussive, blues-driven force that is a head-shaking gas. His pungent chordal sense also underlines the striking musical personality Lou projects.
Total time: 58 min.
Before these 1954-1956 quintet sides were produced, Shorty Rogers had already recorded some successful albums with both medium and large ensembles, and that is what established him as one of the most dynamic forces and leading exponents in the modern sounds of Jazz. It was in 1953 he formed his quintet to play the Hollywood Jazz club circuit, and it turned out as an amazing and innovative unit. Listening to these recordings, we fully agree with Nesuhi Ertegun when he said, "I know of few examples, in recent years, of such joy and skill in improvisation, of so much vigour and directness of expression, so much freedom and imagination and fun. It is difficult to conceive of musicians more at home in the climate of Jazz than the members of this quintet."
CONTAINING: 3 CDs + 16-pages booklet with rare and unpublished photos and liner notes by Jordi Pujol especially written for this project.
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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