Zoot Sims Leaping In CD

Leaping In Music

List Price	$12.98 (You save $3.23)
Category	Rock/Pop Albums, Jazz CDs, Jazz Instrument, Saxophone
Label	Image Entertainment
Orig Year	2006
All Time Sales Rank	317216
CD Universe Part number	7058661
Catalog number	73630
Discs	1
Release Date	Oct 17, 2006
Studio/Live	Studio
Mono/Stereo	Stereo

Leaping In Review

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Stan Kenton Kenton In Hi-Fi CD (1956)

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After years of big band experimentation, Stan Kenton seemed to settle into a more grounded groove on 1956's In Hi-Fi. To his credit, Kenton did keep things swinging before, even in the midst of high brow bombast like the string-laden, 39 piece Innovations in Modern Music orchestra and numerous jazz meets Stravinsky projects. This uncanny balance of flow and brains came out of Kenton's own tempered direction and fine contributions by the likes of arranger Pete Rugolo, trumpeter Shorty Rogers, alto saxophonist Art Pepper, and singers Anita O'Day and June Christy. Thanks to a seamless mix of dazzling charts and liberal doses of Lunceford and Ellington-inspired swing, the marriage certainly works on Kenton in Hi-Fi. Old hits like "Eager Beaver" and "Artistry In Boogie" sparkle in the warm glow of '50s stereo technology, while fiery renditions of "Lover" and "The Peanut Vendor" show the famous muscle of the Kenton band. With the stellar playing of tenor saxophonist Vido Musso, trumpeter Pete Candoli, and drummer Mel Lewis to look forward to, one can see why this album was not only one of Kenton's ...

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CHANGE was nominated for the 2000 Grammy Award for Best Jazz Instrumental Performance, Individual Or Group. "Wigwam" was nominated for the 2000 Grammy Award for Best Jazz Instrumental Solo. "Little Flamenco" was nominated for the 2000 Grammy Award for Best Instrumental Composition. At the outset of CHANGE, Chick Corea's first studio album with his group Origin, it is clear that he has made a transition from his electric fusion style to straight-ahead acoustic jazz. On the opening track "Wigwam," Corea's signature percussive piano style has been replaced by a marimba's wooden tones. Most Corea fans should know that the piano master began his career on the drums, and his natural love of the mallet instruments ...

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Although drummer Paul Motian gets the first billing on this CD (since he comes first alphabetically and is the best-known musician on the date), this set ...

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When people speak of Latin jazz, they're usually referring to a blend of bop and Afro-Cuban rhythms -- Cal Tjader, Dizzy Gillespie, Poncho Sanchez, and Mongo Santamaria are some of the names that immediately come to mind when one hears the term Latin jazz. But Latin music is vast; the cultural contributions of Latinos range from Mexican ranchera to Brazilian samba to Spanish flamenco to Argentinean tango. So technically, Latin jazz could be anything from bossa nova to Miles Davis' Sketches of Spain. Although everything on Chico Freeman's Oh, by the Way has some type of Latin influence, not all of the selections are Afro-Cuban-minded. Afro-Cuban rhythms are a high priority on this post-bop CD; the post-bop/Afro-Cuban fusion is especially appealing on "El Mensaje," "541," and "Old San Juan." But other times, saxophonist/pianist Freeman favors more of a post-bop/Spanish blend -- on "La Luna" and "Guitar," the saxman/pianist and his Guataca band demonstrate that post-bop and flamenco are an attractive, perfectly logical combination. Although most of selections are instrumental, Freeman features rapper Akil Dassan on "Mambo Rap" and "Business as Usual" (which almost sounds like Eminem hooking up with an Afro-Cuban band). The interesting thing is that Freeman uses Dassan in much the same way that saxophonist Bill Evans featured KC Flightt and Ahmed Best in the '90s; instead of being totally electronic, Freeman gives Dassan some honest to ...

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Terry Gibbs has left an indelible mark on the jazz world since 1947. With more than 65 albums to his credit and as the creator of over 300 compositions, the vibist continues to impress his fans with the addition of 52nd & Broadway: Songs of the Bebop Era to his repertoire. Gibbs pays homage to the jazz artists and their timeless standards with the accompaniment of an excellent rhythm section, a string section, and guest soloists James Moody, Nicholas Payton, Sam Most, and Tom Ranier. The 12-track recording opens with Monk's "Round Midnight," which Gibbs treats as a bossa nova. With two superior solos and sublime call and response from Gibbs on vibes and Payton on trumpet, this song is both reflective and buoyant. On Lester Young's blues "Jumping With Symphony Sid," tenor saxophonist master James Moody and Gibbs compliment each other with their bouncing bebop elements and share that personal quality so essential in great jazz. No homage to the Bebop Era would be complete without "Groovin' High," one of the signature songs from the time period. Great soloing from Gibbs, Payton, and Moody (now playing alto saxophone) makes this song a keeper. While Dizzy Gillespie and Charlie Parker played the song at a blazing tempo on most occasions, Gibbs' tempos get many different treatments. Further, his ability to swing pretty on "Night in Tunisia" is one more reason to cherish this rendition. One of the many highlights is his rendition of Billie Holiday's big hit "Lover Man," as an affecting ballad with additional colors from Sam Most's alto flute. 52nd & Broadway: Songs ...