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True to its title, Romantic Jazz is one of Jackie Gleason's jazzier efforts. His particular brand of mood music strikes a more brassy and swinging pose here, with occasional breaks for instrumental solos that, for the most part, seem tightly composed rather than improvised. Bobby Hackett's lyrical trumpet playing is often the draw on Gleason's albums, and Romantic Jazz is no exception. Sy Oliver wrote the arrangements and begins each piece with a wall of strings to suggest Gleason's usual moody treatment, then introduces the rhythm section and brass to create a sweet band sound with occasionally boisterous passages. The results are far more energetic than a typical mood music album. The two previously unreleased bonus tracks, "I'll Never Be the Same" and "Rain," are very different from the other cuts and prominently feature a mandolin. "Rain" is a particularly interesting arrangement, and it's hard to imagine why it was originally withheld from release. Romantic Jazz was Gleason's second-highest charting album, but isn't quite mood music or jazz -- it falls somewhere in between, with the potential to appeal to the audiences of both styles of music. ~ Greg Adams
#2 charting album from 1955 plus two unreleased tracks, 'I'll Never Be The Same' & 'Rain' for a total of 18 masterpieces of romantic jazz. Jackie Gleason Romantic Jazz Songs Romantic Jazz Review
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In addition to being an omnipresence during the golden age of television in the early '50s, Jackie Gleason also released a string of best selling albums featuring lush and romantically titled easy listening instrumentals for Capitol Records. On this CD version of the number five charting Jackie Gleason Presents Music to Remember Her, the original 16-track long-player is augmented with five additional songs including tracks from a rare 45, as well as one which remained previously unreleased. The ambiguous "presents" from the title might indicate the extent to which "the great one" had with the actual sounds on this release. However, the original album jacket -- which is reproduced inside the four-panel liner notes booklet -- proclaims "Gleason a gifted songwriter and conductor." Indeed, his composition "Marilyn" is included among the album's motif of songs named after girls. As so far as his skills with a baton, we'll just have to take their word for it. On a musical level, "Dinah," "Stella By Starlight," and "Tangerine" are actually ...
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Yes, it's that Jackie Gleason credited as "presenting" the 15 lushly orchestrated pop melodies on the suggestively titled (if not directly intentioned) Music to Change Her Mind (1956). However, to what extent "The Great One" was actually involved with the creation and/or creative processes remains up for debate. By the time this long player began ascending the charts in early 1956 -- where it eventually landed in the Top Ten -- Gleason had already issued four consecutive long players that had been met with comparable popular acclaim. Although their names don't grace the original LP jacket, the efforts of top arrangers such as Pete King and George Williams, as well as the unmistakable smooth tones of lead instrumentalist Bobby Hackett (trumpet), are aurally evident. The latter's relationship with Gleason can be traced back to the 1942 film Orchestra Wives, where the pair became castmates. While comparatively anonymous, the success of the ...
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Liner Note Author: Ed Osborne.
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Without argument, Frank Sinatra is the most iconic American singer of the 20th century. This whopping five-disc set issued by Reprise attempts to define Sinatra by performing in the place that seemingly defined him. It contains 61 never-before-issued performances of the singer in concert appearances in New York from the mid-'50s through to 1990. It also includes a DVD of a performance at Carnegie Hall, taped in 1980 with 16 more performances, for a total of 77 tracks. Disc One features radio broadcasts. Its first four cuts are taken from his appearance at the Tommy Dorsey Orchestra's 20th anniversary gig, broadcast from Manhattan Center ...
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Greg Cohen (bass marimba, bass); Larry Ham, Mark Shane (piano, organ); James Chirillo, Marty Grosz (guitar); Lee Hudson (bass); Klaus Suonsaari (drums).
Known as a multi-talented/stylistic woodwindist, Robinson concentrates on the C-Melody saxophone for this CD, which makes it not only a rarity, but an event unto itself. He also showcases a four-pitch selection: organ based, string quartet flavored, straight-ahead swing, and guitar-oriented jams with either James Chirillo or Marty Grosz on four cuts apiece. Mark Shane and Larry Ham split keyboard duties, with Lee Hudson or Greg Cohen on bass, and occasionally Cohen plays a bass marimba originally owned by Sun Ra. On the lighter side is the solo laden, easily swung "Davenport Blues," the relaxed quartet take of "This Is No Laughing Matter," the quaint "For No Reason at All," and the old-timey, stride-based title track. With the strings the slowed torch song "Where Is Love?" is short and sweet with no solos, the quartet adds spice without being overbearing during "I'm Making Believe," and turns "Count Your Blessings" into a languid, heartfelt ice melter. Also in a classical/romantic vein is the serene 3/4 Saint Saens piano (Ham)/sax ballet "The Swan." The organ numbers provide the greatest contrast and offer Robinson a challenge to make the sounds mesh; in fact, the keyboard sounds more like a C-3. In this area are the classic ballad "Isfahan," the reverential organ- (Shane) based "Sweet Rhythm" with choppy, banjo-like chords from Grosz, the modern "Freedom Jazz Dance"-type Robinson original "C Here" with organ by Ham on top (no foot pedal bass), and a loping legato sax and subtle marimba lurking behind while stretched, long organ tones from Ham inform the ballad take on "Singin' the Blues." In an Earl Bostic tone, Rudy Wiedhoeft's '20s-era "Saxophone Blues" is an 8+ minute-long, blues-drenched, country-styled groove swing, with again Ham and Chirillo's single-line solo a highlight. The best swinger ...
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