Love - Clarke-Boland Big Band - Jazz Convention Volume II (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac
Campi told me. The opening track on that album, ' BoxWashington DC ', was like an explosion. I remember Ake Persson coming into the control room to hear the playback and saying, 'Gigi, put this band on the road for six weeks and we'll scare the shit out of everybody!
The feeling was electric. I remember Ake came into the office after we'd finished recording late one night and I told him I had some extra money to give him. He shook his head and said, 'No, we don't have to speak about money. I said, 'You mean you're not happy with the fee? You want more? I mean that I should be paying you for the privilege of playing in a motherfucking band like this after all these years.
What was especially important about Jazz is Universal was that it proved beyond a doubt that jazz was no longer the exclusive preserve of American musicians. Seven of the thirteen musicians in the band were European and their ability to hold their own with their American colleagues did no damage at all to the cause of winning a just measure of appreciation and recognition for some of the excellent European jazz musicians who were emerging.
An indication of how the band's enthusiasm for the music was as abundant as its musicianship is the fact that the album was recorded in just four hours! The key elements, according to Campi, were first of all the rhythm section: 'I knew when I heard Ken ny, Francy and Jimmy play together for the first time that I simply had to build a big band around them.
The third was the immaculate lead alto saxophone and brilliant, serpentine solo work of Derek Humble. And a fourth was the massive loyalty and surging enthusiasm of the big Swede, Ake Persson, who was an indefatigable champion of the band.
Ake was also a formidable trombonist. Nat Peck once said, 'Every time I sit down with him it's like I'm hearing him for the first time Thrilling! I've never worked with anyone who has stimulated me so much. Encouraged by the success of the Universal album, Gigi Campi decided to assemble an even bigger band for the next record date on 25, 26 and 27 January Then Ake Persson came to see Nat Peck, clutching an album. Nat was impressed.
Persson pointed out the name on the sleeve and they called Campi in Cologne. Campi, always responsive to enthusiasm, agreed to bring Johnson in from New York. During the session Keg did a pretty good job, but somehow, Peck and Persson thought, he wasn't quite matching his playing on the Evans album. After the first day's recording was over, Persson and Peck had drinks with Johnson. They told him how they'd heard him on the Gil Evans album.
I didn't play bass trombone on that album. I had to borrow the instrument for this date. But Ake and Nat took a year to break the news to Campi.
Talking to me about the album in November when I was preparing an article on the band for Down Beat, Ken ny Clarke said it was one of the most satisfying dates of his career.
He said:. The record is proof positive that there are as good musicians in Europe as there are in the States. I have never felt that the standard in Europe was much lower than in America. In Germanyit is just as high, even higher. I've worked around the studios in the States and I really think that music here in Europe is on a higher plane. That was the greatest band I ever played with in my life. I have never played in a band that was so inspirational and dynamic. It will never happen again in my lifetime.
But we can come pretty close. Reviewing the concert, the critic Love - Clarke-Boland Big Band - Jazz Convention Volume II (Vinyl the Mainzer Zeitung wrote:. The compositions and arrangements were excellent and the solos displayed a combination of vitality, a beautiful smoothness and command of musical range What strikes one after close listening is the classic harmony of the brilliant soli and tutti passages, played with elegance and confidence and distinguishing the band from all other big jazz ensembles.
For this album, LP, which featured Eddie 'Lockjaw' Davis as guest soloist, Boland wrote an arrangement based on ' Chinatown ' and called 'Sax no End'. Two roaring tutti choruses follow. This and similar notions of his come off a treat because he believes in them. Sax no End was a major landmark in the band's progress towards its ultimate corporate identity and it was followed by a number of other arrangements featuring saxophone solisuch as 'All the Things You Are', 'When Your Lover Has Gone', 'You Stepped out of a Dream', and many more.
Ronnie Scott remembers those soli passages only too well. But they were beautifully written and sounded marvellous.
After about the first four times, he never had to look at the part. Certainly the arrangement made a big impression and was always a favourite at live performances. But perhaps the most remarkable thing about the Sax no End album was that all seven titles were recorded in seven hours. Between and the CBBB recorded a series of fine albums, including Faces, Latin Kaleidoscope with Phil Woods Fellini and Off Limits for the MPS label which were excellent showcases for the arranging and compositional talents of Francy Boland and for the band's exceptional 'togetherness'.
The band broke attendance records at the club and, says Campi, only then did the musicians really feel the full extent of the power of which they were capable. To have the opportunity of playing together night after night for two weeks made it possible to achieve a rapport and a mutuality of feeling that even this intuitively integrated band had not equaled hitherto. By this time the CBBB had an additional drummer. Recruiting a second drummer for a band that has Ken ny Clarke in its rhythm section would seem to be setting a new standard in futility.
But it worked. British drummer Ken ny Clare, a noted session musician, with excellent technique and good reading ability, had first come into the band as a sub when Klook had other commitments. He handled the job so well that he was taken on the 'permanent staff. Whenever it was suggested to Klook there was one drummer too many in the band, he vigorously disagreed.
Two drum-heads, he argued, are better than one. It came about because of my teaching. From my experience with students. I thought that maybe drummers can play together without being noisy or confusing. So I tried it out at the Selmer school in Paris and found it worked well.
Between the two of us, I think that Ken ny and I can play anything in the world He is someone who thinks exactly the same way I do about drumming. He's one of the most intelligent drummers I've ever met We're two soul brothers. I would suggest that this may be another example of Ken ny's tendency to retrospective rationalization. It would have been disastrous otherwise.
Ken ny Clare recalled his first gig with the band when he talked to Crescendo's Tony Brown in May He had made a good impression and was asked by Gigi Campi to play alongside Klook on the next date. I could do sundry percussion. Then one number was a Turkish march thing and I played snare drum. When it was played back it sounded very much together, like one drummer.
They talked it over. Next time I came, would I bring my drums as well? See if we could make it with both of us playing. There is no doubt that driving the CBBB took a lot of energy and endurance and the addition of Clare not only added to the rhythmic foundation but also spread the heavy percussion load. Playing along with the greatest drummer in the world was a pretty intimidating experience for Clare. He once told me of the first gig with Klook in Ostend in when the dual drumming exercise became a nightmare.
The drums were fighting each other. He left the theatre after the rehearsal full of gloom and depression and decided that the best thing to do for the sake of the band would be to slip silently away. He shrugged resignedly, walked around the town for a couple of hours, then finally made his way back to the theatre for the concert.
I just couldn't believe it! And that was the beginning of a beautiful percussion friendship. From then on, Clare became an integral part of the rhythm section and missed only one gig with the band. Strangely enough, Clare said he was never able to play the same away from the band. I'm one of them. When I'm with him, I can play that way without even thinking about it. As soon as I'm away from him, I can't do it any more. True to character, Klook gave every encouragement to Ken ny Clare and undoubtedly one of the important reasons why they worked so well together was that they had such a warm relationship off the stage, as well as on.
British drummer Frank King, reviewing the two Polydor albums that resulted from the Scott engagement, wrote in Crescendo: 'The perception and telepathy between Ken ny Clarke and Ken ny Clare is magnificent. They have such a fantastic togetherness that in places it is miraculous. Gigi Campi had to miss the first week of the engagement, but when he walked into the club on the Monday of the second week, Johnny Griffin told him, 'Gigi, you're gonna hear some shit tonight!
For Ronnie Scott those two weeks were undoubtedly one of the major highlights in the history of the club, as well as being musically inspirational. It was really one of the greatest musical experiences of my life. It was a real battle of the bands, he said. And after a Paris concert in that same month, Jacques B. Hess of Le Monde wrote:. The CBBB is a triumph, at the highest level of talent and professionalism.
Clarke managed astonishingly well with some difficult scores, especially considering that six of the eight tunes recorded were new to her. Of course the Pat Metheny group is known as much for its exceptional ability to sound like more than just five or six players in addition to its ability to handle complex time signatures and rhythms. The rhythm section here does this concept justice.
Clark Terry and Johnny Hodges are quite simply amazing here as if this should come as a surprise to anyone? This is a tribute album with remarkable honesty and passion.
His arrangements are uniformly excellent and with virtually everyone in the band an outstanding soloist, there are plenty of great moments here. The saxophone section is also awesome with five great soloists and the rhythm section comprised of former Herman herdsmen Lynn Seaton, Dave Ratajcak, Joel Weiskopf sizzles.
The band swings hard and plays with great precision. The soloists are all excellent with saxophonists Lanny Morgan, Don Menza, and Joe Farrell along with trumpeters Don Rader Don Ellis and of course Maynard blowing great jazz MF on both trumpet and valve trombone in addition to the high stuff. This is one of the great Hard Bop-inspired big bands of all time.
Maynard is not to be believed on many of the cuts here! Leading the trumpet section is the one and only Lyn Biviano hot off the Buddy Rich band! For sheer enjoyment excitement, this is a must-have for Maynard fans!
In my humble opinion, one of the greatest musical performances by a big band ever recorded would have to be Emily on this CD. Neal Hefti — Neal Hefti and his Pops Orchestra : A jewel fromthis album represents the absolute timelessness of great writing and playing. Dig the four flutes! I firmly believe if you love big bands, you will love this album. Woody Herman — My Kind of Broadway : This is by far one of the greatest swinging big band albums of all time.
The band plays with powerhouse road-chops and driving swing! Many of the old guard dropped in to Carnegie Hall and came to play! From start to finish this album is a gas! The sheer joy emanating from the live audience lets you know that this was one very special evening of big band jazz music.
This is by far one of the finest examples of big band jazz music period! The sound of the band is incredible. This is truly the way this music is supposed to sound!
This is a desert-island disc for sure. This is a testament to the incredible musicality of the band members many of whom have had 20 years of tenure with this band.
The lead trumpet playing of Carl Saunders is on par with his great jazz soloing, and Frank Szabo is no slouch Album). Throw in Don Rader and Bob Summers and you have yourself a helluva trumpet section. Hamilton drives this band with no less than what we have come to expect from this consummate professional. Everyone knows they are always the epitome of originality and taste. His three originals and six arrangements are all keepers here of course.
Any jazz program anywhere would benefit a great deal anytime by including some Bill Holman! There are somewhere around 20 to 25 Thad Jones arrangements that are in most if not all college university jazz libraries around the world. There are 42 charts to choose from in this collection and they are all played at the highest possible level of musicianship. This is the first Thad Mel album that highlighted the amazing lead playing of Jon Faddis. This band sounds so good it should be illegal!
This is a tribute to Pops that shines. Outstanding soloing by Warren Gale, Quinn Davis, and Dick Shearer along with the amazing drumming of John The Baron Von Ohlen are highlights, but also pay attention to Love - Clarke-Boland Big Band - Jazz Convention Volume II (Vinyl super-clean brass releases cut-offs and phenomenal dynamic range Kenton trademarks, LP.
The band recorded live in the studio LP had to lay down each complete side of the LP from start to finish onto the master this means there were maybe seconds between tunes and no opportunity to over-dub even if an error occurred in the last measure of the last tune of the side.
They would have had to re-record the whole side. Talk about pressure! This double album also features some of the tastiest big band writing, section playing, and soloing you are ever going to hear.
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