タグ別アーカイブ: Brew Moore

ズート・シムズさんと一緒に「ブラインドフォールドテスト」

May 23,2020

ズート・シムズ(Zoot Sims)がダウンビート誌の名物コーナー「TheBlindfold Test」に登場しました。(1956年9月5日号)

レナード・フェザーが出題した10曲について、ズートのコメント(英語)を翻訳ソフト向けに1曲ずつテキストに変換し添付しました。

1. Chico Hamilton. Buddy-Boo (PacificJazz)

Buddy Collette, composer, arranger, tenor, That record moved me it was very nice. I’ll give that four stars. It’s Chico Hamilton’s group. I like all the solos and the instrumentation. The tenor sax player is pretty good in his own style.

2. Duane Tatro. Backlash (Contemporary)

Well, I’ll give it three stars for the way it was played, but that kind of arrangement doesn’t move me too much. I guess it tells a story, but I didn’t get any message from it. It sounds something like Jack Montrose–sometimes he writes like that.
I think some of this atonal music has value, but this particular side was unemotional to me, although it was played well.

3. Sonny Stitt. Sonny’s Bunny (Roost)

Quincy Jones, arranger; Jimmy Nottingham, trumpet; Hank Jones, piano; Stitt, alto. The tone quality on that record seemed strange. I like the solos, but the arrangement was nothing spectacular. It sounded like Dizzy with Phil Woods on alto. The piano was excellent. I’ll rate that 3.12.

4. Stan Kenton. Lover (Capitol)

Vido Musso, tenor; Milt Bernhart, trombone. Mass hysteria! This would be good for a show opener, but I wouldn’t buy the record. It was played well, though. I heard one something like this, but I don’t know if it’s the same one. Was it Stan Kenton? At first it sounded like Vido Musso-the tone is like Vido’s, but he plays differently. Give that three stars.

5. Eddie Sho. Day by Day (Bethlehem)

Shu, tenor and alto; Bobby Scott,piano. I have no idea who that was. Anyway, I didn’t like it too much. They didn’t seem to mean it-you know, the way they played at the beginning and the end. The piano was all right and the rhythm okay, but I didn’t like the way the tenor and the alto saxophonist phrased the way they ended their notes with that little dip. It sounded too floozy. Two stars.

 

6. Dave Brubeck. A Fine Romance(Columbia)

Paul Desmond, alto. That’s a nice, listenable record-it grooves pretty nicely. Paul Desmond plays well on that, but I thought he could have come in a little bit stronger at the end. That’s a good Brubeck record-give it three stars.

7. Brew Moore. I Want a Little Girl(Fantasy)

Moore, tenor; Johnny Marabuto, piano. It sounds a little like Brew MooreI’m not sure, though. It’s pretty good, and I like the tune. The tenor is a little out of tune with the piano. This was played in quite good taste, I thought, but the tenor player could have moved a little bit more and played around the melody. Two-and-a-half stars.

8. Sam Price. Jonah Whales the Blues(Jazztone)

Jonah Jones, trumpet; Pete Brown, alto; Vic Dickenson,trombone; Price, piano. Well, I like the opening trumpet on this. I don’t know if it’s two different trumpet players or not, but with the plunger it sounded good. It’s not the greatest rhythm and blues record I’ve ever heard in my life. The trombone solo was good, but there was a bad backing on it – it was hard to distinguish it from the rigamarole behind it.
The piano made it all right-I don’t know who it was. There was a good, happy feeling on the record most of the way. Two-and-a-half stars … Oh, it was Pete Brown on alto. I used to listen to him a lot when I was younger, and it’s good to hear him again.

9. Jazz Giants ’56. Gigantic Blues(Norgran)

Lester Young, tenor; Teddy Wilson, piano; Vic Dickenson, trombone; Roy Eldridge, trumpet; Jo Jones, drums. That was a strange ending. I’ve heard much better Roy Eldridge than on this record. I like him when he plays simpler and doesn’t try to do so much. Pres sounded great at the beginning, but he seemed to get hung on some certain sound in the last chorus.
The piano killed me-sounded like Teddy Wilson. It was Jo Jones on drums-he always comes through. I’m not sure who it was on trombone-it didn’t sound like Vic Dickenson to me, but it could have been. He played very well. It was a swinging record-give it three stars.

10. Woody Herman. Mulligan  Tawny(Columbia)

Jerry Coker, Bill Perkins, Dick Hafer, terors; Dick Collins, trumpet; Bill Holman, arranger.Nice arrangement-I thought it was Shorty Rogers at first. The tenor solo was good, and I think it was Dick Collins on trumpet. He was very good -nice, tasty tone. It was a good, swinging tune by the old Woodchopper. I’ll give it 2.72 stars.

 

The early Kai Winding(3)

July 10.2017

Photo above of Stan Kenton, Kai Winding, Eddie Safranski, Pete Rugolo, and Shelly Manne by Library of Congress

After he worked with Benny Goodman’s band, he joined Stan Kenton’s orchestra.

In those days Stan Kenton was looking for a featured trombonist.

The trombone section didn’t have an identifiable sound until that time.

Kai Winding gave it the unique sound that remained with the orchestra.

Photo by Wikipedia

Pete Rugolo wrote some terrific arrangements for trombone section.

In addition the leader employed excellent talents such as Eddie Safranski and Vido Musso and Shelly Manne  at that time.

Their sound had been leading to a permanent change in the Kenton sound.

When Kenton broke up in 1946, Kai decided to play with Charlie Ventura’s jazz combo.

Again after 18 months he left Charlie Ventura and joined Woody Herman for a short period.

Photo above of Charlie Ventura and Billy Bauer and Chubby Jackson by courtesy of Jazz Guitar’s Hidden Giant

Photo above of Woody Herman, Chubby Jackson, and Abraham Rosen by courtesy of Library of Congress(Gottlieb, William P. collection)

Then he moved to the 52nd Street area.

He formed his own combos which included Brew Moore and George Wallington.

When Chubby Jackson led a studio big band,he had his first sessions with J.J. Johnson.

Photo above of J.J.Johnson by amazon.com

Kai Winding はBenny Goodman’s bandを退団した後、Stan Kenton Orchestraに入団しました。
その当時Stan kentonはトロンボーンセクションのサウンドに満足しておらず、優秀なトロンボーン奏者を探していました。
Kai Winding の加入によって、Stan Kenton Orchestraに新しいサウンドが生まれました。
Kai Winding のソロ演奏を活かすために多くの曲が作曲され演奏されました。
Pete Rugoroはトロンボーンセクションを前面に出した素晴らしい編曲をStan Kenton Orchestraに提供しました。
加えて、同時期にEddie SafranskiやVido Musso、Shelly Manneなどの優秀な演奏家も在籍していました。
彼らはStan Kenton楽団のサウンドを大きく変化させました。
1946年、Stan Kentonが個人的な理由でバンドを解散すると、Kai Winding はCharlie Venturaのグループで演奏するようになりました。
そして1年半経過後、Woody Herman楽団に短期間でしたが加入しています。
その後、彼の活動の場所はNY52番街に移動しました。
初めて彼自身のコンボを Brew MooreやGeorge Wallingtonと共に結成しました。
そしてChubby Jacksonがレコーディンの為に big bandを編成した時に、J.J. Johnsonと初めて共演することになりました。

Here is Stan Kenton orchestra play “Artistry in Percussion”.

Here is Stan Kenton orchestra play “Artistry In Bolero”.

Here is Charlie Ventura with Kai Winding “East Of Suez”.
Charlie Ventura(ts), Kai Winding(tb),Lou Stein(p),Bob Carter(b),Shelly Manne(ds),Buddy Stewart(vo)   September 11,1947

Here is Kai Winding & His Sextet play “Bop City”.
Kai Winding (tb), Brew Moore (ts), Gerry Mulligan (bs), George Wallington (p), Curley Russell (b), Max Roach (d). NYC, April 1949.