Описание CD

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  Исполнитель(и) :
   Manne, Shelly  (Drums)
◄◄◄        ►►►

  Наименование CD :
   The West Coast Sound. Vol. 1



Год издания : 2006/1992

Компания звукозаписи : Contemporary, OJC

Музыкальный стиль : West Coast Jazz, Cool, Hard Bop

Время звучания : 37:19

Код CD : CONTEMPORARY OJCCD-152-2 (C-3507)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Small Orchestra - Contemporary)      

Shelly Manne & His Men

Recorded at Contemporary's studio in Los Angeles; April 6, 1953 (tracks #2, 5, 6, 9), July 20, 1953 (tracks #4, 7, 11, 12), and September 13, 1955 (tracks #1, 3, 8, 10).

Tracks #1, 3, 8, 10 previously unreleased.

Digital remastering, 1988 (Fantasy Studios, Berkeley).

Drummer Shelly Manne's first sessions for Contemporary contain plenty of definitive examples of West Coast jazz. This CD has four titles apiece from a 1953 septet date with altoist Art Pepper, Bob Cooper on tenor, baritonist Jimmy Giuffre, and valve trombonist Bob Enevoldsen, four from a few months later with Bud Shank in Pepper's place, and four other songs from 1955 when Manne headed a septet with altoist Joe Maini and Bill Holman on tenor in addition to Giuffre and Enevoldsen. With arrangements by Marty Paich (who plays piano on the first two dates), Giuffre, Shorty Rogers, Bill Russo, Holman, and Enevoldsen, the music has plenty of variety yet defines the era, ranging from Russo's "Sweets" (a tribute to trumpeter Harry "Sweets" Edison), Giuffre's "Fugue," and the Latin folk tune "La Mucura" to updated charts on older swing tunes. Highly recommended and proof (if any is really needed) that West Coast jazz was far from bloodless.

All Music Guide

========= from the cover ==========

The West Coast, with its jazz workshops and experi- mental groups, is becoming an increasingly important center of modern jazz. A new school, headed by Shorty Rogers, Jimmy Giuffre, Shelly Manne and other famous modern jazzmen, is at work in the Los Angeles area. One of the most significant elements in their approach is the elevation of the composer-arranger to equal status with the solo improviser.

Aside from obvious differences of temperament and technique, the writers whose original material is here performed by Shelly's group, reveal certain common influences; they represent personal expressions of the same musical climate.

Today's young writer is thoroughly familiar with classical music, especially when it's contemporary. He has had academic training, and is probably pursuing advanced studies in composition, either in a conservatory or with a well-known teacher. He wants to find ways of uniting elements of classical music with jazz. He is extremely articulate harmonically; he feels jazz needs a form and a discipline it cannot achieve without composition, and that a jam-session type of totally improvised music is no longer satisfactory. He wants a proper balance between the arranged and improvised parts, the improvisation always being closely related to his composition and springing directly from it; in this fashion he feels jazz will have a structure that was missing before.

From the jazz tradition he accepts much and rejects much. He isn't interested in forms of music he considers harmonically too elementary, but he is always attracted by rhythmic vitality and inventiveness, and his main objective is to incorporate the infinitely varied rhythms and timbres of jazz with the harmonic richness of modern classical music. His masters, then, are as much Bartok or Schoenberg as Count Basie or Charlie Parker.

He is a new kind of composer, who doesn't accept abritrary separations between jazz and classical music, who strongly feels he is writing modern music, open to all musical currents, whatever their source. He doesn't want his music to be categorized, because his interests and training aren't; he wants to stand or fall as a composer.

At This Late Date, the fact that Shelly Manne is one of the greatest drummers in jazz is scarcely a secret. He won Down Beat's poll five straight years, won the last Metronome poll, has played in many famous bands, and every aspiring drummer studies his style. [Shelly continued his poll winning in 1954 with Down Beat and 1955 with Metronome, which also picked him as a "Musician of the Year."] It is less generally known that Shelly is intensely concerned with all current directions in music, classical as well as jazz, and that he has become a central figure in the West Coast experimental modern school whose work is represented in this set.

Shelly was born in New York City, June 11, 1920, and grew up in a musical family. His father, a drummer-tympanist, opposed Shelly's desire to become a drummer and bought him a saxophone, which Shelly didn't like and didn't play. By the time he was able to convince his father he should trade his sax for a set of drums, he was 18. Within a few months, he was a professional. He joined the union, and his first job was on a boat to Europe, as drummer in the dance band. Between trips, he spent all his time on 52nd Street and in Harlem, listening and learning. He was soon a familiar figure in these places, and famous musicians began to ask him to sit in. Among drummers, he admired Jo Jones and especially Dave Tough.

One night in 1939, while sitting in at Kelly's Stables with Kenny Watts and his Kilowatts (who played Basie arrangements on kazoos and rhythm), he was heard by Ray McKinley, who recommended him to Bobby Byrnes. After eight months with Byrnes' big band, he took Dave Tough's place with Joe Marsala when Tough joined Benny Goodman. A series of big band jobs followed: Bob Aster, Raymond Scott, Will Bradley (replacing Ray McKinley), Les Brown; then, 3 1/2 years in the Armed Forces. Stationed in New York part of the time, he recorded with small groups led by Dizzy Gillespie, Coleman Hawkins, Ben Webster and others. After his discharge and a few jobs on 52'nd Street, Shelly joined Stan Kenton for an association which was to make him famous. Three times in the following years, Kenton broke up his band, and Shelly played with Charlie Ventura, Jazz at the Philharmonic and Woody Herman, rejoining Kenton each time the band reformed.

After his many years on the road, Shelly left Kenton in 1951 and has lived in Southern California ever since, playing in movie studios, for radio shows, in night clubs (The Lighthouse in Hermosa Beach, The Haig in Los Angeles), and teaching. [From 1953-1955 he co-fronted a group with Shorty Rogers. In November, 1955 Shelly formed his own group which has recorded a 12" long-playing set for Contemporary, C3516. He toured the country with this group in the Spring and early Summer of 1956. Shelly continues to be active in films, his most important work to date was on Otto Preminger's production The Man With The Golden Ann where he played the drum sequences for Frank Sinatra and also served as technical advisor to Mr. Preminger.]

The Music For this set was composed and arranged by Bill Russo, Shorty Rogers, Marty Paich and Jimmy Giuffre. [Two arrangements by Bill Holman and one each by Bob Enevoldsen and Marty Paich were recorded at the third session of September 13, 1955.]

Russo, who is best-known for his contributions to the Stan Kenton book, composed Gazelle and Sweets and arranged You and the Night and the Music. Gazelle, the most complex of the three, is developed along contrapuntal lines; it combines carefully orchestrated ensemble parts and driving improvisations with striking effect. Sweets is dedicated to Harry Edison, one of the stars of Count Basie's band in the late Thirties. A simpler, looser treatment of an up-tempo number, it has the rhythmic impact of swing music at its best, with typically modern harmonic touches added. You and the Night and the Music is a modern version of the Dietz-Schwartz favorite.

Shorty Rogers is a leader and trumpet player, as well as brilliant innovator in modern sounds. La Mucura (The Water Jug), a Latin-American folk tune, has unusual excitement and brightness, and uses both Afro-Cuban and jazz rhythms. Mallets was conceived by Shorty as a dialogue between drums and band. It was composed especially for Shelly Manne, who, as the title indicates, uses mallets throughout. Afrodesia, featuring Bud Shank's alto, is an exotic slow ballad, one of the few Shorty has written.

You're My Thrill, another tune popular in the Thirties, introduces pianist Marty Paich as a gifted arranger in the modern idiom. [Paich who has been extremely successful as an arranger since he did You're My Thrill, also wrote the arrangement for Summer Night.]

Jimmy Giuffre's Fugue is an interesting experimental piece in which the influence of the modern classical masters is immediately evident; yet, the musical language is Giuffre's own, bringing together, as it does, seemingly divergent traditions. Fugue is atonal, every instrument has its own line, and even the rhythm section, instead of providing a steady beat, has distinct melodic parts played by the piano, bass and drums.

[Bob Enevoldsen, who played valve trombone on all the sessions, is a gifted writer, as well as a talented instrumentalist. He contributed the extremely appealing arrangement of You're Getting To Be A Habit With Me.

[Of Bill Holman, Shelly says "A wonderful tenor man and accepted as one of jazz' great writers." He has done many Stan Kenton arrangements. For this album he arranged Spring Is Here and Shelly's own composition, Grasshopper.]

- Nesuhi Ertegun


  Соисполнители :

Art Pepper (Alt Saxophone)
Bill Holman (Tenor Saxophone)
Bob Cooper (Tenor Saxophone)
Bob Enevoldsen (Trombone)
Bud Shank (Alt Saxophone)
Curtis Counce (Bass)
Jimmy Giuffre (Baritone Saxophone)
Joe Maini (Alt Saxophone)
Joe Mondragon (Bass)
Marty Paich (Piano)
Ralph Pena (Bass)
Russ Freeman {piano} (Piano)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Grasshopper         0:02:52 Manne
   2 La Murcura         0:03:05 Traditional
   3 Summer Night         0:03:20 Dubin, Warren
   4 Afrodesia         0:03:32 Rogers
   5 You And The Night And The Music         0:03:13 Dietz, Schwartz
   6 Gazzelle         0:03:01 Russo
   7 Sweets         0:02:55 -"-
   8 Spring Is Here     T       0:02:45 Hart, Rodgers
   9 Mallets         0:03:28 Rogers
   10 You're Getting To Be A Habit With Me     T       0:03:16 Dubin, Warren
   11 You're My Thrill     T       0:03:06 Lane, Washington
   12 Fugue         0:02:46 Giuffre

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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