  |
|
|
 |
|
CD |
| 4.341 Ft
|
|
| 1. | Isn't It Romantic
|
| 2. | Trickley Didlier
|
| 3. | Oh Play That Thing
|
| 4. | Not Really the Blues
|
| 5. | Martians Go Home
|
| 6. | My Heart Stood Still
|
| 7. | Michele's Meditation
|
| 8. | That's What I'm Talkin' 'Bout
|
Jazz
Recorded: March 1955, Hollywood, California
Shorty Rogers - Trumpet
Curtis Counce - Bass
Jimmy Giuffre - Clarinet, Reeds (Multiple), Sax (Baritone), Sax (Tenor)
Pete Jolly - Piano
Shelly Manne - Drums
On this CD reissue of Shorty Rogers' 1955 release, "The Swinging Mr. Rogers," he is backed by Jimmy Giuffre on clarinet and sax, Pete Jolly on piano, Curtis Counce on bass and Shelly Manne on drums.
* John Palladino - Engineer
* Nesuhi Ertegun - Liner Notes, Supervisor
* William Claxton - Cover Photo
This Lp has one of trumpeter Shorty Rogers' finest small group sessions of the 1950's; fortunately the music has been reissued by Mosaic on CD in a box set. Rogers, Jimmy Giuffre (on clarinet, tenor and baritone), pianist Pete Jolly, bassist Curtis Counce and drummer Shelly Manne are the epitome of cool on a well-rounded and consistently interesting set. Highlights including "Isn't It Romantic," "Trickleydidlier," "Not Really The Blues" and Rogers' "hit" "Martians Go Home."
---Scott Yanow, All Music Guide
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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
