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Kérjen
árajánlatot! |
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| 1. | The Yodel
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| 2. | Sophisticated Savage
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| 3. | Never Can Say Goodbye
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| 4. | Chinatown
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| 5. | Arriverderci, Roma
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| 6. | Monk's Mood
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| 7. | Cold Duck Time
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| 8. | Sometimes It Snows in April
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| 9. | Just Squeeze Me (But Don't Tease Me)
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| 10. | Powerhouse
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| 11. | The Man in Me
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Jazz / Soul Jazz, Hard Bop, Jazz-Pop
Skip Heller - Arranger, Liner Notes, Producer, Guitar
Clint Fisher Engineer
Jay Roulston Trumpet
Joe Doria Organ, Associate Producer, Engineer
Joel Dorn Liner Notes
John Wicks Drums, Percussion
Kevin Calabro Associate Producer
Philippe Aubuchon Mastering
Robert Drasnin Clarinet, Sax (Alto), Flute
Stan Ridgway Harmonica, Vocals
Reconvening about two months after their first gig together, Skip Heller and DOSE add reed player Robert Drasnin for Heller's debut on Joel Dorn's Hyena label. Fakebook is a throwback to the great organ/guitar albums of the '60s; covering pop tunes and standards in an easy, swinging fashion. In fact, things get off to a strong start with a Grant Green/Big John Patton tune called "The Yodel," which features some fantastic clarinet work from Drasnin. Les Baxter's "Sophisticated Savage" is a chance for Heller to show off his arranging skills, as well as a great vehicle for Joe Doria on organ. Drasnin moves to alto and highlights a smokey version of "Chinatown" and Ellington's "(Just) Squeeze Me." Actually, Drasnin is something of a revelation on this album, with crisp, coherent soloing, fabulous phrasing and a bright, clear tone on both alto and clarinet. Joe Doria is ultra-attentive on organ, with interesting solos, great comping and wicked basslines (check the pedal work on Eddie Harris' "Cold Duck Time"). John Wicks' playing is also excellent, supporting the songs while spurring on the soloists. And what of guitarist/band leader, Skip Heller? It's his show, but he doesn't set himself up as the star; this is a band. His soloing is concise and to the point, never losing sight of the melody. And like all great band leaders, Heller knows the strengths of his players, and chooses material that plays to those strengths. Overall, the song selection is excellent. Many of these tunes, especially "Never Can Say Goodbye" and "Sometimes It Snows in April," remind us that great songs are anchored in great melodies, and that's a special craft in itself (just try getting those tunes out of your head after hearing them). Only the last tune breaks the flow, where it's just Skip on guitar with Stan Ridgeway on harmonica and vocals, covering a Bob Dylan tune. It's not bad at all, it just seems as though it belongs on a different album. Fakebook is neither earth-shattering or ground-breaking. It is, however, a wonderful celebration of great songs and great musicians, and in these days of pro-tooled recordings and manufactured images, that's refreshing in itself. ~ Sean Westergaard, All Music Guide
Skip Heller
Active Decades: '90s and '00s
Genre: Jazz
Styles: Swing, Alternative Pop/Rock, Jazz-Pop, Exotica, Soundtracks, Bakersfield Sound, Film Music, Alternative/Indie Rock
Fred Steven Heller, known to the music world as Skip Heller, is one of the Los Angeles country and roots-music scene's most interesting and complex players. Known as "America's most confusing country singer," Heller was born in Philadelphia on October 4, 1965 to an Italian mother and Jewish father. The oldest of three, Heller began his musical odyssey when he saw John Hartford perform on Glen Campbell's television show, and Michael Nesmith became one of the infamous Monkees. The young Heller decided that their jobs were more fun than his dad's bus-driving gig.
He spent his formative years listening to anything and everything, an aspect of his music that is reflected in the eclectic nature of his work, revealing that no two Heller projects are alike. He was deeply influenced by Floyd Tillman, Merle Haggard, Roy Nichols, Bill Evans, Johnny "Guitar" Watson, and a host of other contemporary artists from many different genres. While in high school, he was a member of numerous garage and wedding bands. This led to jazz gigs and the formation of his own rockabilly band. He continued to play around his hometown after college, finally landing a publishing deal and eventually a small record contract with Gladman Records that resulted in his first release in 1992, Fallen Hand of Love. Hailed by local critics for his stellar guitar style and journalistic approach to songwriting, Heller was considered to be one of the top up-and-comers around Philly.
A second project followed in 1993. Again on the Gladman label, Moon Country was equally well received. In that same year, Heller hooked up with fellow player D.J. Bonebrake and formed a quartet; their efforts were recorded on the Dionysus Records release One More Midnight.
Heller's success as a musician and recording artist allowed him to expand his horizons. Educated and literate, he moved to Los Angeles in 1995, where he served as Les Baxter's score librarian and publicist while working as the reissue producer of Les Baxter: The Lost Episode on Dionysus. Thus another aspect of Heller's artistry became apparent as he not only worked with Baxter, but also other artists in various capacities. (Heller feels a tremendous responsibilty to older artists and has dedicated himself to working with them as much as possible.)
As a producer and arranger, Heller's move to the West Coast was profitable. Working with rockabilly legends Ray Campi and Sammy Masters propelled him forward. He was in demand both in front of and behind the boards, and toured with Yma Sumac, as well as serving as a sideman on the Rosie FloresRay Campi CD A Little Bit of Heartache. In 1997, he released Lonely Town, on the TRG Records label. In 1998, Heller released St. Christopher's Arms on Rounder/Mouthpiece and continued his studio work with artists as diverse as bluesman Big Jay McNeely and young rockabilly filly Dee Lannon. He also formed a working relationship with fellow jazz buff John Gilmore.
A multi-instrumentalist, Heller plays guitar, keyboards and bass. He has proven to be invaluable as an arranger, orchestrator and teacher. He moonlights as a music journalist, paying special attention to avant-garde, Jewish, and roots music. He lives in Los Angeles with his wife and is often in the company of pals like Dave Alvin, Chris Gaffney, Katy Moffatt, and other locals who have come to respect this most baffling of country singers.
--- Jana Pendragon, All Music Guide |
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