| | Tommy Newsom And His Octo-Pussycats CD Tommy Newsom Discography of CDs
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Personnel: Tommy Newsom (tenor saxophone); Tommy Newsom; Noriko Ueda (double bass); Karolina Strassmayer (flute, alto saxophone); Lisa Parrott (baritone saxophone); Warren Vaché (cornet); Wayne Andre (trombone); Derek Smith (piano); Sherrie Maricle (drums).
Audio Mixer: Jim Czak.
Liner Note Author: Floyd Levin.
Arranger: Tommy Newsom.
If you're over 35-years-old, chances are good that you remember Tommy Newsom (if at all) as the tenor saxophonist for the NBC Orchestra during the Johnny Carson years, and as that ensemble's stand-in conductor when Doc Severinsen wasn't around. The running joke on the show was that Newsom was so square -- he'd stand there quietly, hands clasped behind his back, a little smile on his face, while Johnny and Ed poked fun at him for his implacable Midwestern reserve. Those who bought that pose may be surprised by the fiery swing, fierce energy and uncompromising chops that Newsom brings to his recorded work -- there's nothing reticent or modest about his beautifully dancing composition "Titter Pipes" or his sturdily swinging arrangement of the Noël Coward tune "Poor Little Rich Girl." In fact, his arrangements are about as impressive as his playing and that of the rest of his octet -- though the best track of all is probably that wonderful "Titter Pipes," the sole original on what is otherwise a program of standards. The album's only less-than-stellar moment comes at the weak and out-of-tune flute solo on "Cinnamon and Clove." Highly recommended overall. ~ Rick AndersonJazzTimes (pp.82-83) - "They offer a delightful mainstream combination of well-crafted arrangements and first-class improvisations." Tommy Newsom And His Octo-Pussycats Music Tommy Newsom And His Octo-Pussycats Songs Tommy Newsom And His Octo-Pussycats Review
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Personnel includes: Peter Ecklund (cornet, bugle); Dan Block (alto & baritone saxophones, clarinet); Howard Johnson (tuba); Ken Peplowski (clarinet); Jay Ungar (violin); Warren Bernhardt (Fender Rhodes piano); Steve Cardenas (acoustic & electric guitars); Madeleine Peyroux (acoustic guitar); Peter Davis (electric guitar, banjo); Molly Mason, Frank Vignola (guitar); David Grisman (mandolin); Greg Cohen, Pete Toigo (bass); Gary Burke (drums).
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Photographer: Dave Davies.
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A veteran sit-in cornetist with various Dixieland bands and the backup groups of Leon Redbone, David Bromberg, and more recently Madeleine Peyroux, Ecklund's folk-derived swing is expressed through a variety of different combos on these 15 cuts, eight written by the leader. Some feature dual acoustic guitarists Peyroux and Steve Cardenas, others mandolinist David Grisman and guitarist Frank Vignola, with Marty Grosz (guitar), Dan Block (woodwinds) ...
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2-CD set covers two pieces by Anthony Braxton: "Composition 207" and "Composition 208," over 70 minutes long each. This colossal undertaking was recorded live with six reeds (Braxton, B. Evans, J. Fei, J. Moore, A. Vida, J.D. Parran), electric guitar (K.
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In New York City, the cabaret laws enacted in 1926 during Prohibition strictly forbade the gathering of more than three musicians and forbade the use of brass or percussion instruments, except in those few nightclubs that were specially licensed and regulated by the city. The laws were believed by many to be in part instruments for preventing the congregation of black people, and the mixing of races. Jazz was held as a culprit, a source of moral decadence, and the cabaret laws afforded the city the means to zone jazz into virtual extinction. The laws persisted on the books until 1988 when they were overturned on the grounds that they violated the constitutional right to free speech, as famously argued by Paul Chevigny. In the aftermath, myriad small jazz clubs flourished in a renaissance of jazz in New York. Smalls was notable among them.Smalls, and its successor in the present day, Fat Cat, were the brainchildren of quixotic jazz-lover Mitch Borden, who wanted to build a club that would serve the needs of jazz musicians and enthusiasts. Artists of special merit were featured regularly, receiving the rare opportunity to develop their repertoires and styles to maturity. During the day, musicians would come to Smalls to rehearse, some even sleeping there when they couldn't find housing. Each night, music flowed until dawn -- and the price was right. As word spread, Smalls developed into the social hub of the NY jazz scene. A steady stream of musicians from around the world came to listen ...
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