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| Swing is Here |
| Terry Gibbs |
| első megjelenés éve: 1960 |
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| (2009)
[ DIGIPACK ]
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CD |
| 3.726 Ft
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| 1. | The Song Is You
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| 2. | It Might as Well Be Swing
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| 3. | Dancing in the Dark
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| 4. | Moonglow
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| 5. | Bright Eyes
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| 6. | The Fat Man
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| 7. | My Reverie
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| 8. | Softly, As in a Morning Sunrise
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| 9. | Evil Eyes
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| 10. | Back Bay Shuffle
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| 11. | Bright Eyes
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| 12. | It Might as Well Be Spring
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| 13. | Softly, As in a Morning Sunrise
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Jazz / Bop, Latin Jazz
Terry Gibbs - Vibraphone
Al Cohn Producer
Al Porcino Trumpet, Leader
Andy Kman Production Coordination
Bill Holman Producer
Bill Perkins Sax (Tenor)
Bob Edmundson Trombone
Bobby Pring Trombone
Buddy Clark Bass
Charlie Kennedy Sax (Alto)
Conte Candoli Trumpet
Danny McCormack Cover Photo
Frank Rosolino Trombone
Harry Weinger Reissue Supervisor
Hollis King Art Direction
Isabelle Wong Design
Jack Schwartz Sax (Baritone)
Joe Maini Sax (Alto), Lead
John Audino Trumpet
Kevin Reeves Mastering
Lou Levy Piano
Manny Albam Producer
Marty Paich Producer
Med Flory Producer, Sax (Tenor)
Mel Lewis Drums
Merle Shore Art Direction
Ray Triscari Trumpet
Stu Williamson Trumpet
The title Swing Is Here would have been more appropriate for the 1930s instead of 1960 when this album was originally issued, and the big-band era had long since waned. Yet vibraphonist Terry Gibbs kept the home fires burning out in California with this exceptional orchestra of cool jazz giants playing a stack of standards and modern compositions by Bill Holman or Gibbs, and one look back with an Artie Shaw number. What is most interesting about these arrangements is that they are always different in emphasizing the fleet, dampened sound of Gibbs in contrast, apart from, or in tandem with the woodwinds and brass instruments. They also never get in each other's way, making for some delightful tonic music-making that reflects both the dance tradition and more modernized precepts of big-band music. Reflecting the style of the Count Basie band with a big helping of Woody Herman or Stan Kenton, the band leaps into "The Song Is You" as Gibbs plays the first melody line, then the band takes over, while the opposite ploy is utilized during "Dancing in the Dark." Holman's originals "Bright Eyes" and "Evil Eyes" are different from the rest and each other, the former a lively bop chart with jumping counterpoint saxes and brass, the latter led out by pianist Lou Levy and the horns, with Gibbs holding up the rear guard of the band. A 12-bar blues, "The Fat Man" has, over time, become a favorite Gibbs composition covered repeatedly by his bands, and here is the original recording. "It Might as Well Be Swing" is a cleverly modified title from the standard "It Might as Well Be Spring" but is closer to Duke Ellington's "Satin Doll" in its elegant, sophisticated imagery. Claude Debussy's "My Reverie," on the other hand, dismisses its composers early morning visage for a classic jazz sound that is truly the epitome signature style Gibbs portrays. The Artie Shaw tribute to Boston "Back Bay Shuffle" has drummer Mel Lewis codifying and extending Gene Krupa's bompity bomp rhythmic dance remarks in a danceable yet enlivened manner. There are some extraordinary musicians in the band, such as trumpeter and ostensible leader Al Porcino, "second" trumpeters Conte Candoli and Stu Williamson, trombonist Frank Rosolino (listed third on the depth chart), lead alto saxophonist Joe Maini, and Bill Perkins, and Med Flory on tenor saxes. Gibbs plays a lot on this album, a testament to his tenacity as a unique voice on his instrument, and a good example of how this well-defined music refused to die even though it fell out of favor due to sheer economics. Clocking in at under 35 minutes with no alternate takes or extra tracks, and out of print for decades prior to this CD reissue, it's a short, sweet item recommended at a bargain price. ~ Michael G. Nastos, All Music Guide
Terry Gibbs
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Oct 13, 1924 in New York, NY
Genre: Jazz
Styles: Adult Contemporary, Big Band, Bop, Latin Jazz, Swing, West Coast Jazz
One of the most hyper of all jazzmen (even his ballads are taken mostly double time), Terry Gibbs is a consistently exciting and competitive vibraphonist. As a xylophonist, he won an amateur contest when he was 12. After spending three years in the military during World War II, Gibbs played on 52nd Street, gigged with Tommy Dorsey (1946 and 1948), Chubby Jackson (touring Scandinavia during 1947-1948), Buddy Rich (1948), Woody Herman's Second Herd (1948-1949), and Benny Goodman (1950-1952). Gibbs settled in Los Angeles in 1957, worked in the studios, led jazz orchestras (his late-'50s version was called the Terry Gibbs Dream Band), was the musical director of The Steve Allen Show during the 1960s, and in the 1980s and '90s he teamed up in a quintet with Buddy DeFranco. Gibbs -- who recorded as a leader for Prestige, Savoy, Brunswick, EmArcy, Mercury, Verve, Time, Impulse, Dot, Xanadu, Jazz a La Carte, and Contemporary (among others) -- had such fine pianists as his sidemen through the years as Terry Pollard, Pete Jolly (on accordion in 1957), Alice McLeod (in 1963 before she became Alice Coltrane), and John Campbell.
--- Scott Yanow, All Music Guide |
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