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| Mosaic Select 31 - Woody Herman |
| Woody Herman |
| első megjelenés éve: 2007 |
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| (2009)
[ LIMITED ]
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3 x CD |
| 8.839 Ft
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| 1. CD tartalma: |
| 1. | Mo-lasses [A] Arranged by Nat Pierce
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| 2. | Blues For J.P. [A] Arranged by Nat Pierce
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| 3. | Don't Get Around Much Anymore [A] Arranged by Nat Pierce
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| 4. | Tunin' In [A] Arranged by Nat Pierce
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| 5. | Sister Sadie [A] Arranged by Nat Pierce
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| 6. | Sig Ep [A] Arranged by Jack Gale
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| 7. | It's A Lonesome Old Town [A] Arranged by Tommy Newsome
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| 8. | Camel Walk [A] Arranged by Bill Chase
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| 9. | Moon River [A] Arranged by Nat Pierce
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| 10. | Hallelujah Time [C] Arranged by Nat Pierce
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| 11. | Deep Purple [C] Arranged by Nat Pierce
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| 12. | Jazz Hoot [C] Arranged by Bill Holman
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| 13. | A Taste of Honey [C] Arranged by Bill Chase
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| 14. | Satin Doll [C] Arranged by Nat Pierce
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| 15. | After You've Gone [C] Arranged by Bill Holman
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| 16. | The Strut [C] Arranged by Bob HAmmer
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| 17. | My Wish [C] Arranged by Nat Pierce
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| 18. | Cousins [C] Arranged by John Coppola
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| 2. CD tartalma: |
| 1. | That's Where It Is [B] Arranged by Nat Pierce
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| 2. | Watermelon Man [B] Arranged by Nat Pierce
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| 3. | Body And Soul [B] Arranged by Nat Pierce
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| 4. | Better Get It In Your Soul [B] Arranged by Bob Hammer
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| 5. | Jazz Me Blues [B] Arranged by Nat Pierce
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| 6. | El Toro Grande [B] Arranged by Bill Chase
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| 7. | Days Of Wine And Roses [B] Arranged by Nat Pierce
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| 8. | Caldonia [B]
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| 9. | Wailin' In The Woodshed [B] Arranged by Gene Roland
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| 10. | The Good Earth [B] Arranged by Neal Hefti
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| 11. | Sidewalks Of Cuba [B] Arranged by Ralph Burns
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| 12. | I Can't Get Started [B] Arranged by Ralph Burns
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| 13. | Bijou [B] Arranged by Ralph Burns
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| 14. | Apple Honey [B] Arranged by Ralph Burns
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| 3. CD tartalma: |
| 1. | The Good Life [D] Arranged by Nat Pierce
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| 2. | Bedroom Eyes [D] Arranged by Nat Pierce
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| 3. | The Things We Said Today [D] Arranged by Bob Hammer
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| 4. | Just Squeeze Me [D] Arranged by Bill Holman
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| 5. | What Kind Of Fool Am I ? [D] Arranged by Nat Pierce
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| 6. | Dr. Wong's Bag [D] Arranged by Nat Pierce
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| 7. | Everybody Loves Somebody [D] Arranged by Nat Pierce
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| 8. | Wa-Wa Blues [D] Arranged by Phil Wilson
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| 9. | Dear John C [D] Arranged by Bob Hammer
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| 10. | Blue Monk [D] Arranged by Nat Pierce
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| 11. | You Dirty Dog [D] Arranged by Nat Pierce
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| 12. | Pour House Blues [D] Arranged by Nat Pierce
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Jazz
(A) Bill Chase, Ziggy Harrell, Dave Gale, Gerry Lamy, Paul Fontaine (tp); Jack Gale, Phil Wilson, Eddie Morgan (tb); Woody Herman (cl,as,vcl); Sal Nistico, Larry Cavelli, Gordon Brisker (ts); Gene Allen (bari); Nat Pierce (p); Chuck Andrus (b); Jake Hanna (d).
Recorded at Capitol Studios, New York, October 15 & 16, 1962
Recording engineer: Frank Abbey
"Moon River" originally issued on Philips 45-22396
All other tracks originally issued on WOODY HERMAN 1963 (Philips PHS 600-065)
(B) Bill Chase, Billy Hunt, Dave Gale, Gerry Lamy, Paul Fontaine (tp); Bob Rudolph, Phil Wilson, Henry Southall (tb); Woody Herman (cl,as,vcl); Sal Nistico, Bobby Jones, Bill Perkins (ts); Frank Hittner (bari) ; Nat Pierce (p); Chuck Andrus (b); Jake Hanna (d).
Recorded live at "Basin Street West", Hollywood, May, 19, 20 & 21, 1963
Recording engineer: Wally Heider
The first 8 tracks of disc two were originally issued on ENCORE (Philips PHS 600-092)
The last 6 tracks of disc two were originally issued on WOODY'S BIG BAND GOODIES (Philips PHS 600-171)
(C) Bill Chase, Billy Hunt, Danny Nolan, Gerry Lamy, Paul Fontaine (tp); Kenny Wenzel, Phil Wilson, Henry Southall (tb); Woody Herman (cl,as,vcl); Sal Nistico, Carmen Leggio, Jack Stevens (ts); Nick Brignola (bari); Nat Pierce (p); Chuck Andrus (b); Jake Hanna (d).
Recorded at A & R Studios, New York, November 20, 22 & 23, 1963
Recording engineer: Phil Ramone
All tracks originally issued on WOODY HERMAN 1964 (Philips PHS 600-118)
(D) Bill Chase, Billy Hunt, Larry Ford, Gerry Lamy, Dusko Goykovich (tp); Phil Wilson, Bob Stroup, Henry Southall (tb); Woody Herman (cl,as,vcl); Andy McGhee, Gary Klein, Raoul Romero (ts); Tom Anastas (bari); Nat Pierce (p); Chuck Andrus (b); Jake Hanna (d), Joe Carroll (vcl).
Recorded live at "Harrah's Club",Lake Tahoe, Nevada, September 9, 1964
Recording engineer: Wally Heider
The first 9 tracks of disc three were originally issued on THE SWINGING HERMAN HERD RECORDED LIVE (Philips PHS 600-131)
The last 3 tracks of disc three were originally issued on WOODY'S BIG BAND GOODIES (Philips PHS 600-171)
Original sessions produced by Jack Tracy.
Produced for release by Michael Cuscuna
Tape transfers: Ellen Fitton
Mastered using 24-bit technology by Malcolm Addey
"The Phillips recordings of Woody Herman, spanning the mid 1960s, are considered by many to be the greatest of all the Herman Herds with stellar soloists including Sal Nistico, Phil Wilson, Bill Chase and Jake Hanna."
Limited Edition: 5000 copies
What Big Band Swing Should Be
There are great bands and then there are phenomenal bands. The "Swinging Herd" that Woody Herman led during the mid 1960s is one of those bands. Collectively it possessed remarkable power. Individually, the soloists were imaginatively progressive. In total, it seemed like there was never another band like it.
Herman's soloists capture us like a deer in the headlights. The sheer energy of trumpeter Bill Chase, the tremendous drive of Phil Wilson's trombone and the unbelievable Sal Nistico (especially on a live version of "Apple Honey") is nothing short of breathtaking.
The albums included are "Woody Herman - 1963", Woody Herman: 1964", "Encore", "The Swinging Herman Herd Recorded Live" and the classic "Woody's Big Band Goodies". The liner notes to the original albums by Ralph J. Gleason, Willis Connover, and Leonard Feather convey the raw excitement of this once-in-a-lifetime band.
Woody Herman
Active Decades: '30s, '40s, '50s, '60s, '70s and '80s
Born: May 16, 1913 in Milwaukee, WI
Died: Oct 29, 1987 in Los Angeles, CA
Genre: Jazz
Styles: Big Band, Cool, Swing
A fine swing clarinetist, an altoist whose sound was influenced by Johnny Hodges, a good soprano saxophonist, and a spirited blues vocalist, Woody Herman's greatest significance to jazz was as the leader of a long line of big bands. He always encouraged young talent and, more than practically any bandleader from the swing era, kept his repertoire quite modern. Although Herman was always stuck performing a few of his older hits (he played "Four Brothers" and "Early Autumn" nightly for nearly 40 years), he much preferred to play and create new music.
Woody Herman began performing as a child, singing in vaudeville. He started playing saxophone when he was 11, and four years later he was a professional musician. He picked up early experience playing with the big bands of Tom Gerun, Harry Sosnik, and Gus Arnheim, and then in 1934, he joined the Isham Jones orchestra. He recorded often with Jones, and when the veteran bandleader decided to break up his orchestra in 1936, Herman formed one of his own out of the remaining nucleus. The great majority of the early Herman recordings feature the bandleader as a ballad vocalist, but it was the instrumentals that caught on, leading to his group being known as "the Band That Plays the Blues." Woody Herman's theme "At the Woodchopper's Ball" became his first hit (1939). Herman's early group was actually a minor outfit with a Dixieland feel to many of the looser pieces and fine vocals contributed by Mary Ann McCall, in addition to Herman. They recorded very frequently for Decca, and for a period had the female trumpeter/singer Billie Rogers as one of its main attractions.
By 1943, the Woody Herman Orchestra was beginning to take its first steps into becoming the Herd (later renamed the First Herd). Herman had recorded an advanced Dizzy Gillespie arrangement ("Down Under") the year before, and during 1943, Herman's band became influenced by Duke Ellington; in fact, Johnny Hodges and Ben Webster made guest appearances on some recordings. It was a gradual process, but by the end of 1944, Woody Herman had what was essentially a brand new orchestra. It was a wild, good-time band with screaming ensembles (propelled by first trumpeter Pete Candoli), major soloists in trombonist Bill Harris and tenorman Flip Phillips, and a rhythm section pushed by bassist/cheerleader Chubby Jackson and drummer Dave Tough. In 1945 (with new trumpeters in Sonny Berman and Conte Candoli), the First Herd was considered the most exciting new big band in jazz. Several of the arrangements of Ralph Burns and Neal Hefti are considered classics, and such Herman favorites entered the book as "Apple Honey," "Caldonia," "Northwest Passage," "Bijou" (Harris' memorable if eccentric feature), and the nutty "Your Father's Mustache." Even Igor Stravinsky was impressed, and he wrote "Ebony Concerto" for the orchestra to perform in 1946. Unfortunately, family troubles caused Woody Herman to break up the big band at the height of its success in late 1946; it was the only one of his orchestras to really make much money. Herman recorded a bit in the interim, and then, by mid-1947, had a new orchestra, the Second Herd, which was also soon known as the Four Brothers band. With the three cool-toned tenors of Stan Getz, Zoot Sims, and Herbie Steward (who a year later was replaced by Al Cohn) and baritonist Serge Chaloff forming the nucleus, this orchestra had a different sound than its more extroverted predecessor, but it could also generate excitement of its own. Trumpeter/arranger Shorty Rogers and eventually Bill Harris returned from the earlier outfit, and with Mary Ann McCall back as a vocalist, the group had a great deal of potential. But, despite such popular numbers as Jimmy Giuffre's "Four Brothers," "The Goof and I," and "Early Autumn" (the latter ballad made Getz into a star), the band struggled financially. Before its collapse in 1949, such other musicians as Gene Ammons, Lou Levy, Oscar Pettiford, Terry Gibbs, and Shelly Manne made important contributions.
Next up for Woody Herman was the Third Herd, which was similar to the Second except that it generally played at danceable tempos and was a bit more conservative. Herman kept that band together during much of 1950-1956, even having his own Mars label for a period; Conte Candoli, Al Cohn, Dave McKenna, Phil Urso, Don Fagerquist, Carl Fontana, Dick Hafer, Bill Perkins, Nat Pierce, Dick Collins, and Richie Kamuca were among the many sidemen. After some short-lived small groups (including a sextet with Nat Adderley and Charlie Byrd), Herman's New Thundering Herd was a hit at the 1959 Monterey Jazz Festival. He was able to lead a big band successfully throughout the 1960s, featuring such soloists as high-note trumpeter Bill Chase, trombonist Phil Wilson, the reliable Nat Pierce, and the exciting tenor of Sal Nistico. Always open to newer styles, Woody Herman's bop-ish unit gradually became more rock-oriented as he utilized his young sidemen's arrangements, often of current pop tunes (starting in 1968 with an album titled Light My Fire). Not all of his albums from this era worked, but one always admired Herman's open-minded attitude. As one of only four surviving jazz-oriented bandleaders from the swing era (along with Duke Ellington, Count Basie, and Stan Kenton) who was still touring the world with a big band, Herman welcomed such new talent in the 1970s as Greg Herbert, Andy Laverne, Joe Beck, Alan Broadbent, and Frank Tiberi. He also recorded with Chick Corea, had a reunion with Flip Phillips, and celebrated his 40th anniversary as a leader with a notable 1976 Carnegie Hall concert.
Woody Herman returned to emphasizing straight-ahead jazz by the late '70s. By then, he was being hounded by the IRS due to an incompetent manager from the 1960s not paying thousands of dollars of taxes out of the sidemen's salaries. Herman, who might very well have taken it easy, was forced to keep on touring and working constantly into his old age. He managed to put on a cheerful face to the public, celebrating his 50th anniversary as a bandleader in 1986. However, his health was starting to fail, and he gradually delegated most of his duties to Frank Tiberi before his death in 1987. Tiberi continued to lead a Woody Herman Orchestra on a part-time basis but it never had the opportunity to record. Fortunately, Herman was well documented throughout all phases of his career, and his major contributions are still greatly appreciated.
---Scott Yanow, All Music Guide |
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