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| 5.000 Ft
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| 1. | Seems Like Old Times
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| 2. | There Is No Greater Love
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| 3. | Invitation
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| 4. | Christy's Dance
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| 5. | Fascinating Rhythm
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| 6. | Yesterday's ardenias
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| 7. | Food For Thought
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| 8. | Betwixt And Between
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| 9. | I'm Getting Sentimental Over You
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| 10. | Back On Track
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| 11. | The Wind
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| 12. | Star Eyes
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Jazz
Recorded at Fox Fire Studio, Van Nuys, California, December 13 & 14, 1997
Lennie Niehaus (as)
Bill Perkins (s,cl), Frank Strazzeri (p), Tom Warrington (b), Joe LaBarbera (d), Jack Nimitz
Even back in the 1950s when he was most active as an alto saxophonist, Lennie Niehaus' writing abilities tended to take precedence over his playing. Niehaus did not play all that much (certainly not on records) from the early 1960s on, but in the mid- to late 1990s, he once again became a more active performer. His original style was quite intact, but he had also continued to evolve with time. Niehaus is heard on this enjoyable CD at the peak of his playing powers. For the set, Niehaus, veteran tenor saxophonist Bill Perkins (switching on a song apiece to baritone and bass clarinet), baritonist Jack Nimitz (on six of the dozen tunes), pianist Frank Strazzeri, bassist Tom Warrington and drummer Joe Labarbera perform four of the leader's originals and often-surprising renditions of eight standards. As outlined by Doug Ramsey in his fine liner notes, the two (or three) saxophonists often phrase together as one. Niehaus' own solos are friendly yet quite advanced, and his arrangements and frameworks tend to avoid predictability. Highlights include the title cut, "Invitation," "Yesterday's Gardenias" and "Star Eyes." Easily recommended.
--- Scott Yanow, All Music Guide
Lennie Niehaus
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Jun 11, 1929 in St. Louis, MO
Genre: Jazz
Styles: Bop, Cool, Mainstream Jazz, Film Music
An excellent altoist and jazz arranger in the 1950s (most notably for Stan Kenton), Lennie Niehaus in more recent times won fame for his work scoring the music for Clint Eastwood films. After graduating from college, Niehaus played alto and occasionally wrote for Kenton (1951-1952) before being drafted for the Army (1952-1954). Upon his discharge, Kenton welcomed Niehaus back and he worked for the bandleader on and off for the rest of the decade. Niehaus, who led and played alto on six albums between 1954-1957 (five for Contemporary), had a cool tone a bit reminiscent of Lee Konitz. By the 1960s, his playing had gone by the wayside as Niehaus concentrated on writing for films. Although he largely left jazz at that time, his work on Play Misty for Me, and particularly Bird for Clint Eastwood, allowed one to once again admire his jazz writing.
---Scott Yanow, All Music Guide |
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