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| Portrait of Shorty |
| Shorty Rogers |
első megjelenés éve: 1998
42 perc |
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| (1998)
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CD |
| 5.919 Ft
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| 1. | Saturnian Sleigh Ride
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| 2. | Martians Lullaby
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| 3. | The Line Backer
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| 4. | Grand Slam
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| 5. | Play! Boy
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| 6. | A Geophysical Ear
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| 7. | Red Dog Play
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| 8. | Bluezies
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Jazz / Cool, West Coast Jazz, Jazz Instrument, Trumpet Jazz
Recorded in Los Angeles, 1957
Al Porcino Trumpet
Bill Holman Sax (Tenor), Saxophone
Bob Enevoldsen Trombone
Conrad Gozzo Trumpet
Conte Candoli Trumpet
Don Fagerquist Trumpet
Frank Rosolino Trombone
George Roberts Trombone
Harold G. Hagopian Reissue Producer, Producer
Harry Betts Trombone
Herb Geller Sax (Alto), Saxophone, Sax (Tenor)
Jack Montrose Sax (Tenor), Saxophone
Joshua Sherman Coordination
Lou Levy Piano
Monty Budwig Bass
Pepper Adams Sax (Baritone), Saxophone
Pete Candoli Trumpet
Richie Kamuca Sax (Tenor), Saxophone
Shorty Rogers Trumpet, Flugelhorn, Arranger, Leader
Stan Levey Drums
"This Portrait of Shorty is an unfinished portrait, of course, but no less pleasing because of it. Rogers called his big band “The Giants,” which is entirely appropriate, as he himself was widely recognized as one of the giants of the so–called West Coast school of “cool Jazz” that was born in the early ’50s and flourished for the next decade and beyond. While Portrait, recorded in 1957, gives a pretty fair representation of Shorty’s skills as big–band composer / arranger, it can’t compete with most of his other recordings of the period such as Short Stops, Shorty Courts the Count or The Wizard of Oz and Other Harold Arlen Songs. Still, as with anything Rogers devised, there’s plenty of cleverly contoured music to appreciate. And it must be said that no other trumpeter ever sounded exactly like Shorty, who had a lively and swinging language all his own. His voicings for the trumpet section were similarly unexampled, and made any Rogers arrangement almost immediately identifiable. He favored brief solos and seldom allowed space for more than a chorus, even by such renowned sidemen as Herb Geller, Richie Kamuca, Bill Holman, Jack Montrose, Pepper Adams, Sweets Edison, Conte Candoli, Frank Rosolino, Bob Enevoldsen or Lou Levy, all of whom appear on Portrait. Still, everything works, thanks to Shorty’s remarkable charts and the uncanny ability of his colleagues to speak volumes in only a few phrases. Rogers withdrew into the Hollywood studios in the early ’60s and didn’t reappear until 1983, when he and old friend Bud Shank recorded Yesterday, Today and Forever for Concord Records. Shorty and the Lighthouse All–Stars then regrouped for a couple of well–received albums before his death in November 1994 at age 70. Shorty Rogers was a true original, as one can readily hear on Portrait, which is recommended for its many virtues and in spite of its modest 41–minute playing time."
- Jack Bowers (www.allaboutjazz)
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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