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| 4.401 Ft
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| 1. | Eternal Licks & Grooves
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| 2. | Claire de Lune
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| 3. | Mirror Images
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| 4. | Guiding Star
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| 5. | Invitation
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| 6. | I'm Old Fashioned
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| 7. | Appearing in Cleveland
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Jazz
Bob Florence - Arranger, Liner Notes, Piano, Soloist
Alexander Isles - Soloist, Trombone
Billy Kerr - Clarinet, Sax (Tenor), Woodwind
Bob Carr - Baritone, E Flat Clarinet, Soloist, Woodwind
Bob McChesney - Soloist, Trombone
Carl Saunders - Guest Appearance, Soloist, Trumpet
Charles Loper - Trombone
Craig Gosnell - Trombone (Bass)
Don Shelton - Alto, Clarinet, Soloist, Soprano, Woodwind
Jeff Driskill - Clarinet, Sax (Tenor), Soloist, Woodwind
Kim Richmond - Alto, Clarinet, Soloist, Soprano, Woodwind
Larry Koonse - Guitar, Soloist
Larry Lunetta - Flugelhorn, Trumpet
Lee Thornberg - Flugelhorn, Trumpet
Pete DeSiena - Flugelhorn, Trumpet
Peter Erskine - Drums, Guest Appearance, Soloist
Ron Stout - Flugelhorn, Soloist, Trumpet
Scott Whitfield - Guest Appearance, Soloist, Trombone
Steve Huffsteter - Flugelhorn, Soloist, Trumpet
Tom Peterson - Clarinet, Sax (Tenor), Soloist, Woodwind
Trey Henry - Bass, Soloist
* Ken Poston - Author, Liner Notes
Bob Florence has built a reputation as a solid arranger and composer who has amassed quite a discography that extended nearly a half-century by the time this studio recording was made in the spring of 2006. Leading an all-star West Coast-based big band sprinkled with a few guest soloists, the pianist starts things off with his imaginative "Eternal Licks & Grooves," an IAJE-commissioned work saluting Count Basie that utilizes a repeated lick from Basie's "One O'Clock Jump" but not in a traditional swing setting. Claude Debussy's French Impressionist work "Claire de Lune" seems like a brand new composition after Florence applies his master strokes on the charts for his band, transforming it from a quiet ballad to an upbeat cooker. Branislaw Kaper's "Invitation" is a favorite of singers and instrumentalists alike, typically played in a bossa nova setting; Florence's approach is more reserved, gaining steam gradually and providing an excellent solo showcase for tenor saxophonist Jeff Driskill and trumpeter Steve Huffsteter. Finally, "Appearing in Cleveland" serves as a finale, saluting bandleader Stan Kenton and incorporating several of his most famous compositions in aFlorence's imaginative extended suite. Highly recommended! This CD was nominated in 2007 for a Grammy award as Best Large Jazz Ensemble Album.
---Ken Dryden, All Music Guide
Bob Florence
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: May 20, 1932 in Los Angeles, CA
Died: May 15, 2008 in Los Angeles, CA
Genre: Jazz
Styles: Post-Bop
As a longtime staff arranger for Liberty Records, Bob Florence wrote some of the most innovative and challenging charts in postwar jazz--in many respects a man out of time, he possessed a particular brilliance for large ensemble arrangements in the tradition of Duke Ellington, although the commercial vogue for big band jazz had long since passed. Born May 30, 1932 in Los Angeles, Florence was a child prodigy who took his first piano lesson at the age of three--he abandoned classical studies in favor of jazz and pop while attending Los Angeles City College, assembling a band with classmates and future studio aces Tommy Tedesco, Herb Geller and Dennis Budimir. At a friend's suggestion Florence shifted the group's practices to the Hollywood Musician's Union local rehearsal hall, launching a weekly session that quickly drew myriad players from across the southern California jazz scene, all vying for a spot in the lineup. Upon graduating Florence signed on with guitarist Alvino Rey, followed by a stints arranging for bandleaders Harry James and Les Brown--in 1958, he led his first session for Era, The Meet the Bob Florence Trio, followed a year later by his first big band date, The Name Band. From 1959 to 1964 Florence collaborated with Si Zentner, arranging the trombonist's 1960 smash "Up a Lazy River"--the single was the last commercial gasp of the big band era, a shift further underscored the following year when Florence and Zentner backed space-age pop maestro Martin Denny on the classic Exotica Suite.
The commercial and creative success of the Zentner and Denny sessions convinced Liberty A&R director Dave Pell to hire Florence for a full-time staff gig, and in the years to follow he arranged numerous recordings for the label spanning from vocalist Vic Dana to west coast jazz great Bud Shank to bossa nova giant Sergio Mendes. Even the most pop-oriented dates benefited greatly from Florence's uncommonly luminous and intricate arrangements, and in 1964 he was given the chance to record his own LP, the acclaimed Here and Now!, which won praise from Thelonious Monk during a Blindfold Test interview published in -Downbeat. Pet Project, a collection of songs popularized by singer Petula Clark, followed in 1967. Florence supplemented his studio work with arrangements for Dean Martin and Red Skelton's television variety shows, and Hollywood dominated even more of his focus in the decade to follow--he also spent the first half of the Seventies serving as the musical director for singer Vikki Carr, a position he later held for Julie Andrews as well. But Florence never turned his back completely on jazz, and in 1978 he signed to the Trend label to release the album Live at Concerts by the Sea, the first in a series of critically-heralded contemporary big band efforts. Over the years the group (dubbed the Limited Edition in 1982) served as a launching pad for a number of first-call L.A. session players, and in 2000 the LP Serendipity 18 won the Grammy for Best Jazz Performance by a Large Ensemble. Florence died of pneumonia on May 15, 2008, two weeks shy of his 76th birthday.
---Jason Ankeny, All Music Guide |
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