| | Art Pepper Modern Jazz Classics CD Art Pepper Discography of CDs
 (1 Customer Review)
1950s;3 Bonus Tracks;W/Pete Candoli,Vince De Rosa &More
Personnel: Art Pepper (alto & tenor saxophones, clarinet); Marty Paich (arranger, conductor); Herb Geller, Bud Shank, Charlie Kennedy (alto saxophone); Bob Enevoldsen (tenor saxophone, valve trombone); Bill Perkins, Richie Kamuca (tenor saxophone); Med Flory (baritone saxophone); Pete Candoli, Jack Sheldon, Al Porcino (trumpet); Vince De Rosa (French horn); Dick Nash (trombone); Russ Freeman (piano); Joe Mondragon (bass); Mel Lewis (drums).
Recorded at Contemporary's Studio, Los Angeles, California on March 14 & 28 & May 12, 1959. Originally released on Contemporary (7568). Includes liner notes by Nat Hentoff.
The ubiquitous Bud Shank played on many of arranger Marty Paich's sessions, including this West Coast answer to BIRTH OF THE COOL. MODERN JAZZ CLASSICS is more accurately described as a brilliantly executed homage to bebop itself, with its fresh treatments of "Anthropology," "Round Midnight," and Denzil Best's "Move," which opened BOTC as well. Of course, it's most of all a showcase for Art Pepper, the greatest mainstream alto player since Charlie Parker. The arrangements themselves are brisk, energetic, and thoroughly in the tradition. Whatever else he was, Art Pepper was no romantic lyricist so there are no dreamscapes here, the kind Gil Evans might write. Marty Paich was a West Coast modernist of a different sort.
This is a true classic. Altoist Art Pepper is joined by an 11-piece band playing Marty Paich arrangements of a dozen jazz standards from the bop and cool jazz era. Trumpeter Jack Sheldon has a few solos, but the focus is very much on the altoist who is in peak form for this period. The CD reissue adds two additional versions of "Walkin'" and one of "Donna Lee" to the original program. Throughout, Pepper sounds quite inspired by Paich's charts which feature the band as an active part of the music rather than just in the background. Highlights of this highly enjoyable set include "Move," "Four Brothers," "Shaw Nuff," "Anthropology," and "Donna Lee," but there is not a single throwaway track to be heard. Essential music for all serious jazz collections. ~ Scott Yanow
Modern Jazz Classics Music Art Pepper Modern Jazz Classics Songs | 1. | Move |
| 2. | Groovin' High |
| 3. | Opus de Funk |
| 4. | 'Round Midnight |
| 5. | Four Brothers |
| 6. | Shaw 'Nuff |
| 7. | Bernie's Tune |
| 8. | Walkin' Shoes |
| 9. | Anthropology |
| 10. | Airegin |
| 11. | Walkin' |
| 12. | Donna Lee |
| 13. | Walkin' - (alternate take, bonus track) |
| 14. | Walkin' - (alternate take, bonus track) |
| 15. | Donna Lee - (alternate take, bonus track) |
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Modern Jazz Classics Music Modern Jazz Classics Music Review Buy Modern Jazz Classics CD Purchase Modern Jazz Classics CD To buy, Click on price to add to cart | Ella Fitzgerald Twelve Nights In Hollywood CDs (2009) Remastered; Box Set
Modern Jazz Classics
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Personnel: Herb Ellis (guitar); Lou Levy (piano); Gus Johnson, Stan Levey (drums).
Audio Mixer: Val Valentin.
Liner Note Authors: Harry Weinger; Richard Seidel.
Photographer: Chuck Stewart.
Originally released on Verve Records in 1961, ELLA IN HOLLYWOOD is a straightforward collection of 12 familiar standards mostly given very simple, pop-oriented arrangements. Songs tend to run well under four minutes (a gently swinging "Just In Time" clocks in just under two), with only a minimum of room for Fitzgerald to break into her legendary scatting. The main exception is the centerpiece track, a nine-minute take on the Duke Ellington standard "Take the A Train," that gives Fitzgerald ample room to stretch out vocally. Although fans of her scat work might be somewhat disappointed by this mainstream set, ELLA IN HOLLYWOOD serves to remind just how ...
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30 Classic Capitol & Reprise Hits On 1 CD.
Personnel: Dean Martin (vocals).
Liner Note Authors: Dean Martin; Deana Martin; Steven Van Zandt; Gail Martin Downey.
Dino: The Essential Dean Martin is an attempt by Capitol Records to fill up a single CD to the brim (30 tracks in nearly 78 minutes) with Dean Martin hits in the manner of the Beatles' 1. It's a welcome development from a label that was previously content to survey the same territory on the 1998 collection Greatest Hits: King of Cool, which contained only 16 tracks and ran less than 50 minutes. Martin put 36 recordings in the pop singles charts between 1949 and 1969, and 23 of them are found here. Of the four Top 40 hits not included, the most notable is the 1964 version of "You're Nobody Till Somebody Loves You." The collection does include the 1960 non-hit version of that song instead, a decision that probably was made to reduce the number of essentially similar arrangements heard on Martin's '60s singles for Reprise Records. After he hit number one with "Everybody Loves Somebody" in 1964 using a '50s rock & roll-style triplet rhythm he repeated the same approach several more times ("The Door Is Still Open to My Heart," "Send Me the Pillow You Dream On") before moving on to a pop-country style in such hits as "Houston." The compilers have broken up the same-sounding tracks with inventive sequencing, but reducing the repetition by one must have seemed like a good idea. Before the listener gets to this final phase ...
| | Dianne Reeves Good Night, & Good Luck CD (2005)
Modern Jazz Classics
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George Clooney's 2005 film Good Night, and Good Luck is set in New York City during the '50s, and the director decided the right music to go with the black-and-white cinematography was jazz. More specifically, current recordings from vocalist Dianne Reeves and a small combo featuring some silky smooth tenor and alto sax from Matt Catingub, Peter Martin on piano, and Jeff Hamilton on drums with Robert Hurst and Christoph Luty splitting bass duties. The tunes are mostly classic ballads and smoky standards (all picked by Clooney) that Reeves and the group handle with a satisfyingly light touch. She gives the songs plenty of emotion but never over-sings, lending the recording a very intimate feel. Also helping with that is the sound of the album as it's free from any modern studio trickery or gloss; in fact, much of the music on the soundtrack was recorded live during the shooting of the movie. Had Clooney chosen songs actually recorded in the '50s, the soundtrack may have been more authentic, but Reeves and her ...
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