Time: 46:34
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front
01. Sunday (3:18)
02. How About You (2:56)
03. Moonlight In Vermont (3:31)
04. This Heart Of Mine (2:29)
05. Laura (3:26)
06. What Is This Thing Called Love (3:14)
07. Just You, Just Me (2:56)
08. Full Rush In (3:09)
09. Spring Is Here (3:11)
10. I Got It Bad (And That Ain't Good) (4:15)
11. Jupiter (2:43)
12. Darn That Dream (3:24)
13. Beta Minus (1:53)
14. Memories Of You (3:31)
15. Three Little Words (2:32)
Glenn Zottola is a multi-instrumentalist inspired by some of the great jazz icons of our time. He conquered the trumpet, alto saxophone and tenor saxophone with equal mastery. His new album, “Triple Play” explores this versatile artist’s unquestioned musicianship of the three instruments that have defined his career.
The inspiring play of Charlie Parker, Miles Davis, Clifford Brown, Stan Getz, Zoot Sims and others, have left a mark on this artist. His story told here more accurately reflects the blending of the different styles and approaches that have guided the development of Zottola’s own personal and individual style. In demonstrating his unique approach to jazz standards that comprise the fabulous repertoire of this album.
As he has professed his favorite instrument has always been the trumpet. It is with a crisp performance on the horn of the Jule Styne/Ned Miller composition “Sunday,” that Zottola opens up the album sharing the stage and the music with Raney, Getz on tenor, bassist George Duvivier and the drums of Ed Shaughnessey. Written for the film Babes on Broadway, Burton Lane’s familiar “How About You?” is presented here in more of a duet-styled format between Zottola’s sprite tenor voice and guitarist Raney as the dynamic duo lobby one salvo after another at each other keeping the music intimate and exciting.
“Moonlight in Vermont” has Zottola accompanied by a beautiful string section and featured on an expressive alto saxophone voice resulting in a delicate, spacious and yet very accessible version of this immortal classic.
The other two string-arranged standards just as atmospheric as the above track are, the 1945 David Raskin song “Laura” and Eubie Blake’s incomparable “Memories of You”. The 1946 Harry Warren song “This Heart of Mine” has the trumpeter returning to the muted horn displaying quick finger-play on the valves with nice backup play from flautist Hal McKusick, then emerges with his formidable alto saxophone voice on the unforgettable 1929 popular Cole Porter song “What Is This Thing Called Love?”. On this track, Zottola is at his best trading 4s with bassist Milt Hinton as drummer Osie Johnson delivers marvelous brush work.
The trumpeter then belts out three superb trumpet sounds on the oft-recorded “Just You Just Me,” while the Rodgers and Hart standard “Spring Is Here,” and the Jimmy Raney original “Jupiter,” are both reimagined on the muted horn where Zottola projects some of the finesse power play he is known for. Accompanied well by Getz on the tenor and Mckusick on clarinet, Zottola’s quick-paced interpretation of the 1940 Johnny Mercer classic “Fools Rush In” has a decidedly West Coast/Art Pepper feel to the approach. Offered in a small combo format with terrific instrumental support by both McKusick flute and Raney’s soft guitar strings, Zottola’s alto sings a lofty tender song in a warm rendition of Duke Ellington’s love ballad “I Got It Bad (and That Ain’t Good).”
If you listen closely to the arrangement of the Jimmy Van Heusen signature piece “Darn That Dream,” - you will hear a delicate duet of sorts with two great saxophonists (Getz and Zottola) delivering equally enchanting solo moments in one of the highlights of the album. The other Raney original “Beta Minus,” provides the last special showcase for Zottola’s muted horn exhibiting the Davis harmonized-style trumpet play with a decidedly Zottolian twist by design. Harry Ruby’s 1930 song “Three Little Words,” is the album closer and not only does it provide feature moments for the saxophonist on tenor, but also showcases the steady piano lines from Don Abney, Raney’s guitar solo and Kenny Clarke’s splashy brushes which introduces the tune and continues throughout resulting in a classy climax to a wonderful display of light jazz.
Most professional musicians stake their claim to fame by association with one or two instruments of choice. While Glenn Zottola continues to profess his preference for the trumpet over other wind instruments, Triple Play perhaps makes a musical statement that one cannot judge or assume that an artist’s entire career can only be assessed by the performance delivered on any single instrument. There have been few, if any in jazz history that have been able to double on various instruments to the degree and at the level Zottola continues to maintain. As documented quite well here, Zottola is a gifted trumpeter and saxophonist, a triple threat if you will, a world-class player who has spent a career performing with some of the best musicians on the planet. ~Edward Blanco
The inspiring play of Charlie Parker, Miles Davis, Clifford Brown, Stan Getz, Zoot Sims and others, have left a mark on this artist. His story told here more accurately reflects the blending of the different styles and approaches that have guided the development of Zottola’s own personal and individual style. In demonstrating his unique approach to jazz standards that comprise the fabulous repertoire of this album.
As he has professed his favorite instrument has always been the trumpet. It is with a crisp performance on the horn of the Jule Styne/Ned Miller composition “Sunday,” that Zottola opens up the album sharing the stage and the music with Raney, Getz on tenor, bassist George Duvivier and the drums of Ed Shaughnessey. Written for the film Babes on Broadway, Burton Lane’s familiar “How About You?” is presented here in more of a duet-styled format between Zottola’s sprite tenor voice and guitarist Raney as the dynamic duo lobby one salvo after another at each other keeping the music intimate and exciting.
“Moonlight in Vermont” has Zottola accompanied by a beautiful string section and featured on an expressive alto saxophone voice resulting in a delicate, spacious and yet very accessible version of this immortal classic.
The other two string-arranged standards just as atmospheric as the above track are, the 1945 David Raskin song “Laura” and Eubie Blake’s incomparable “Memories of You”. The 1946 Harry Warren song “This Heart of Mine” has the trumpeter returning to the muted horn displaying quick finger-play on the valves with nice backup play from flautist Hal McKusick, then emerges with his formidable alto saxophone voice on the unforgettable 1929 popular Cole Porter song “What Is This Thing Called Love?”. On this track, Zottola is at his best trading 4s with bassist Milt Hinton as drummer Osie Johnson delivers marvelous brush work.
The trumpeter then belts out three superb trumpet sounds on the oft-recorded “Just You Just Me,” while the Rodgers and Hart standard “Spring Is Here,” and the Jimmy Raney original “Jupiter,” are both reimagined on the muted horn where Zottola projects some of the finesse power play he is known for. Accompanied well by Getz on the tenor and Mckusick on clarinet, Zottola’s quick-paced interpretation of the 1940 Johnny Mercer classic “Fools Rush In” has a decidedly West Coast/Art Pepper feel to the approach. Offered in a small combo format with terrific instrumental support by both McKusick flute and Raney’s soft guitar strings, Zottola’s alto sings a lofty tender song in a warm rendition of Duke Ellington’s love ballad “I Got It Bad (and That Ain’t Good).”
If you listen closely to the arrangement of the Jimmy Van Heusen signature piece “Darn That Dream,” - you will hear a delicate duet of sorts with two great saxophonists (Getz and Zottola) delivering equally enchanting solo moments in one of the highlights of the album. The other Raney original “Beta Minus,” provides the last special showcase for Zottola’s muted horn exhibiting the Davis harmonized-style trumpet play with a decidedly Zottolian twist by design. Harry Ruby’s 1930 song “Three Little Words,” is the album closer and not only does it provide feature moments for the saxophonist on tenor, but also showcases the steady piano lines from Don Abney, Raney’s guitar solo and Kenny Clarke’s splashy brushes which introduces the tune and continues throughout resulting in a classy climax to a wonderful display of light jazz.
Most professional musicians stake their claim to fame by association with one or two instruments of choice. While Glenn Zottola continues to profess his preference for the trumpet over other wind instruments, Triple Play perhaps makes a musical statement that one cannot judge or assume that an artist’s entire career can only be assessed by the performance delivered on any single instrument. There have been few, if any in jazz history that have been able to double on various instruments to the degree and at the level Zottola continues to maintain. As documented quite well here, Zottola is a gifted trumpeter and saxophonist, a triple threat if you will, a world-class player who has spent a career performing with some of the best musicians on the planet. ~Edward Blanco
Triple Play
