| | George Garzone Quart Hey Why Don't We Play? CD - Import George Garzone Quart Discography of CDs
Hey Why Don't We Play? Music George Garzone Quart Hey Why Don't We Play? Songs | 1. | Hey open up |
| 2. | On the trail |
| 3. | Mack the knife |
| 4. | Recess |
| 5. | mingus I knew, The |
| 6. | Estate |
| 7. | What is this thing called love |
| 8. | Finale |
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Hey Why Don't We Play? Review
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Recorded between 1952 & 1959. Includes liner notes by Fred Cohn.
It's obvious from a moment's thought that Fred Astaire's finest hour occurred in the movie studio, not the recording studio. And while Astaire's musical career was fine indeed, his best performances date from the '30s, when "Night and Day" or "Top Hat, White Tie and Tails" weren't pop standards but a pair of magical, effervescent songs just unleashed on the public. Fred Astaire's Finest Hour, the Verve collection, consists of recordings from a pair of '50s dates that have ...
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At 27, this amazingly versatile jazz trumpeter has a resumé that leads to huge expectations. His ensemble work has encompassed Ravi Coltrane, Roy Hargrove, Ralph Peterson, Cassandra Wilson, Greg Osby, and the Mingus Big Band. Pelt topped the 2003 Down Beat magazine annual critics poll for Rising Star on Trumpet, and the Jazz Journalist Association selected him as one of the Best Emerging Stars in Jazz. On his debut for the Maxjazz Horn Series, he brings along luminaries Mulgrew Miller, Peter Washington, and Lewis Nash, but it's clear he could be jamming with a bunch of no-names and be equally as emotional and engaging. The joy here comes from the unexpected fluctuations in tone and vibe from track to track. Charles Mingus' "Weird Nightmare" is given a lyrical, reflective twist, backed by a film score-lush orchestra. Just as one is settling into dreamscape mode, Pelt goes bop, swinging cool and funky over his understated trio on "Excerent" and going even wilder on the quick-grooving "Take Me in Your Arms." On "502 Blues (Drinkin' & Drivin')," he chills ...
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There have been several Georgie Fame compilations over the past decade, but it is this one on Raven that boils all of it down to the essence of his contribution to the Brit R&B beat-crazy scene of the 1960s and early '70s. Here are the singles, the hits, the near misses, and the worthy album cuts compiled to show the audacity, imagination, and wild, swinging toughness of Fame. Fame's earliest influences were Fats Domino and Little Richard, but by the time he cut his first album, Rhythm and Blues at the Flamingo, live at Great Britain's notorious jazz club, he was deeply under the sway of Mose Allison's Back Country Suite. And does that ever come across here. Fame was raw, in the moment, and always presenting his tracks with a slightly out of control feel. The 28 cuts here range from the jumping R&B of "Yeh Yeh" and Allison's classic "Work Song" to his stellar read of Titus Turner's "Get On the Right Track," a smoky version of Milt Jackson's "Bluesology," a deeply soulful take on the John Mayall/Jon Mark groover "Something," and the catchy pop ditty "The Ballad of Bonnie and Clyde," which reached number seven on the American charts. (It didn't hurt that the tune came out at the same time as the infamous movie starring Warren Beatty and Faye Dunaway.) All of these are in the first half of the set and recorded before 1967! But Fame could croon, too, as evidenced by this beautiful version of Little Willie John's "Need Your Love So Bad," with strings. The camped-up R&B move on Willie Dixon's "Seventh Son" takes Allison's version a step further, his horn-heavy rolling stroll on Bob Dylan's "Down Along the Cove," with a female backing chorus, completely reinvents the tune, and his jazzed-up New Orleans groove consciousness does the same on "I'll Be Your Baby Tonight." In all, this is an indispensable collection for anyone seeking to get acquainted with Fame outside of his work with Van Morrison or interested in the finger-poppin' ...
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