  |
|
|
 |
|
CD |
| 4.731 Ft
|
|
| 1. | Brazilian Affair [Preludio]
|
| 2. | A Child's Blues
|
| 3. | Nothing But Soul
|
| 4. | Randi
|
| 5. | Before I Left
|
| 6. | Flowers
|
| 7. | Ol' Dude
|
| 8. | Songs For Sass
|
| 9. | Solitude
|
| 10. | Mother Time
|
Jazz
Alex Beltran Sax (Tenor), Flute
Andrew Hamilton Trombone
Bob Lark Producer, Mixing, Director, Mastering
Bryan Tipps Trombone
Chuck Parrish Trumpet, Flugelhorn
Corbin Andrick Flute, Sax (Alto)
Dan Steinman Mastering
Doug McGoldrick Photography
Drew Pierson Flute, Clarinet, Sax (Tenor)
Ethan Bulak Flugelhorn, Trumpet
Ira Gitler Liner Notes
Kazumasa Terashima Flugelhorn, Trumpet
Nick Mazzarella Sax (Alto)
Phil Woods Sax (Alto)
Rachel Levin Trombone
Scott Dickinson Flugelhorn, Trumpet
Terry Bartolotta Guitar
Thomas Miller Design, Mastering, Mixing, Engineer
This is the third CD Bob Lark and the DePaul University Jazz Ensemble have produced in tandem with either legendary alto saxophonist Phil Woods, pianist Jim McNeely, or both, in this case. Fronting a 20-piece student big band, Woods takes the lion's share of the solos, while his working quartet (McNeely, bassist Steve Gilmore, and drummer Bill Goodwin) are featured in total for three of the ten tracks. A few of the students do arrangements and get solos here and there, but it is more the collaborative process rather than showcasing individuals (excepting Woods) that makes these recordings come alive. The music is also made much in the spirit of Woods working with the Quincy Jones or Thad Jones-Mel Lewis Orchestras, in all instances with Woods as composer, many times as lead player, and as a fully integrated member of the large ensemble reading charts. The most familiar track is the swing/blues "Ol' Dude" that Woods did with tenor saxophone icon Budd Johnson, and in fact does feature several different student soloists, while the out-and-out bopper "Before I Left" via Scott Dickinson's arrangement is full of exciting unison playing and counterpoint lines, and has the solo vibraphonist Justin Thomas. The trickiest part of these types of projects is to create a sound that does not seem rote or stiff, and the participants for the most part are successful, especially considering it was documented in three separate recording sessions over an eight-month period. The selections featuring the small ensemble of Woods are more professional, as McNeely's innocent, modal waltz "A Child's Blues" and the full-blown "Mother Time" have a bite and grit only the vets can offer. As most of these types of recordings only appeal to the family and friends of the participants, this one should pan out to a broader audience, and should please the big fan base of Phil Woods, as well. ~ Michael G. Nastos, All Music Guide
Phil Woods
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Nov 02, 1931 in Springfield, MA
Genre: Jazz
Styles: Big Band, Opera, Bop, Post-Bop, Hard Bop, Mainstream Jazz, Progressive Jazz, Standards, Jazz Instrument, Saxophone Jazz
One of the true masters of the bop vocabulary, Phil Woods has had his own sound since the mid-'50s and stuck to his musical guns throughout a remarkably productive career. There has never been a doubt that he is one of the top alto saxophonists alive, and he has lost neither his enthusiasm nor his creativity through the years.
Woods' first alto was left to him by an uncle, and he started playing seriously when he was 12. He gigged and studied locally until 1948, when he moved to New York. Woods studied with Lennie Tristano, at the Manhattan School of Music, and at Juilliard, where he majored in clarinet. He worked with Charlie Barnet (1954), Jimmy Raney (1955), George Wallington, the Dizzy Gillespie Orchestra, Buddy Rich (1958-1959), Quincy Jones (1959-1961), and Benny Goodman (for BG's famous 1962 tour of the Soviet Union), but has mostly headed his own groups since 1955, including co-leadership of a combo with fellow altoist Gene Quill in the '50s logically known as "Phil & Quill." Woods, who married the late Charlie Parker's former wife Chan in the 1950s (and became the stepfather to singer Kim Parker), was sometimes thought of as "the new Bird" due to his brilliance in bop settings, but he never really sounded like a copy of Parker.
Woods popped up in a variety of settings in the 1960s -- on Benny Carter's classic Further Definitions record, touring Europe with the short-lived Thelonious Monk Nonet, and appearing on studio dates like the soundtracks to The Hustler and Blow Up. Always interested in jazz education (although he believes that there is no better way to learn jazz than to gig and travel constantly), Woods taught at an arts camp in Pennsylvania in the summers of 1964-1967. Discouraged with the jazz scene in the U.S., he moved to France in 1968. For the next few years, Woods led a very advanced group, the European Rhythm Machine, which leaned toward the avant-garde and included pianist George Gruntz. Their recordings still sound fresh and exciting today, although this venture would only be a detour in Woods' bebop life. In 1972, he returned to the U.S. and tried unsuccessfully to lead an electronic group that featured keyboardist Pete Robinson.
In 1973, Woods formed a quintet with pianist Mike Melillo, bassist Steve Gilmore, drummer Bill Goodwin, and guitarist Harry Leahey that had much greater success. Their recording Live at the Showboat officially launched the band, which today, after a few personnel changes, still tours the world. After Leahey left in 1978, it was known as the Phil Woods Quartet until trumpeter Tom Harrell (1983-1989) joined; his spot has since been assumed by trombonist Hal Crook (1989-1992) and trumpeter Brian Lynch. Pianist Melillo went out on his own in 1980, and his successors have been Hal Galper (1980-1990), Jim McNeely (1990-1995), and Bill Charlap; Gilmore and Goodwin have been with Woods since the group's start. Not just a bebop repertory band, Woods' ensembles have developed their own repertoire, taken plenty of chances, and stretched themselves while sticking to his straight-ahead path.
Woods contributed the famous alto solo to Billy Joel's hit recording of "Just the Way You Are" and has been one of Michel Legrand's favorite artists, guesting with Legrand on an occasional basis; he has made dozens of rewarding recordings himself through the years. He debuted as a leader in 1954 and has since recorded for Prestige, Savoy, RCA, Mode, Epic, Candid (the brilliant The Right of Swing in 1961), Impulse, MGM, Verve, Embryo, Testament, Muse, Omnisound, Enja, and Chesky, and has recorded with his QuintetQuartet for RCA, Gryphon, Adelphi, Clean Cuts, SeaBreeze (two sets adding Chris Swansen's inventive synthesizer to the band), Red, Antilles, Palo Alto, BlackHawk, Denon, and quite extensively for Concord. Some key sets include 1960's Rights of Swing on Candid, 1974's Musique Du Bois on 32 Jazz, 1981's Birds of a Feather from Antilles, and 2002's Americans Swinging in Paris from EMI.
An Italian label, Philogy (which has some broadcasts and live performances from Woods' bands), is named after the popular and still brilliant altoist. Still going strong well into the 21st century, Woods cut a live session with the Los Angeles Jazz Orchestra in 2005 that was released by Jazz Media in 2006. American Songbook, which features Woods' treatment of pop and jazz standards, appeared from Kind of Blue later that same year. In 2009, after years of attempting to secure the rights to interpret the work of writer A.A. Milne, Woods released Children's Suite -- a tribute to Milne's classic book Winnie the Pooh.
---Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
