Bob Dorough & Bill Takas - Beginning to See the Light

Styles: Vocal And Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 45:58
Size: 105,9 MB
Art: Front

(2:39) 1. Simon Smith and the Dancing Bear
(5:48) 2. Better Than Anything
(6:58) 3. I'm Beginning to See the Light
(5:25) 4. A Hundred Years from Today
(2:53) 5. I'm Hip
(4:44) 6. Nothing Like You
(3:41) 7. Small Day Tomorrow
(4:52) 8. Norwegian Wood
(3:51) 9. Because We're Kids
(5:01) 10. I've Got Just About Everything

This CD reissue from Bob Dorough's label Laissez-Faire reissues a 1976 appearance at Concerts by the Sea. The pianist-vocalist performs duets with bassist Bill Takas that range from a couple of children's songs ("Simon Smith and the Dancing Bear" and Dr. Seuss' "Because We're Kids") to remakes of such "hits" as "Better than anything," "I'm Hip" and "I've Got Just About Everything." In general this concert gives one a good all-round picture of Dorough's singing and piano talents; an acquired taste that is worth developing. By Scott Yanow
https://www.allmusic.com/album/beginning-to-see-the-light-mw0000964246


Personnel: Bass – Bill Takas; Piano, Vocals – Bob Dorough

Beginning to See the Light

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Roseanna Vitro - Sing a Song of Bird

Styles: Vocal
File: MP3@320K/s
Time: 60:35
Size: 139,7 MB
Art: Front

(4:55) 1. People Chase
(5:14) 2. The Scatter
(3:21) 3. Bird’s Song
(4:42) 4. Parker’s Mood
(5:22) 5. Grapple With The Apple
(4:49) 6. Audubon’s New Bluebird
(4:43) 7. Sheila, Jazz Child
(6:43) 8. Quasimodo
(4:31) 9. Now’s The Time
(6:17) 10. Yardbird Suite
(4:27) 11. Ko Ko / Cherokee
(5:26) 12. These Foolish Things

Vocalist Roseanna Vitro is a favorite among jazz aficionados and musicians alike. That’s why Cedar Walton has said, “Roseanna Vitro, one of my favorite vocalists, sings with a great feeling for jazz. Her readings on major compositions are monumental.” Her outsized talents and passion for the music are matched only by the generosity of her spirit, which shines beautifully on her newest recording Sing a Song of Bird, a celebration of the great and inimitable Charlie Parker. Vitro conceived this project driven by a desire to develop new lyrics to Parker tunes. She chose to share the microphone with three of her mentors, bebop jazz legends Sheila Jordan, Bob Dorough, and Marion Cowings, each of whom take solo turns with their soulful interpretations of several compositions by Bird. Sing a Song of Bird has taken a long time to come to fruition. It was recorded in two sessions, the first in 2017 and the second in 2021.

Vitro had seen Jordan many times on the New York City jazz scene. She has held Jordan in the highest regard, not only for her singing, but also who she is as a person. Vitro says, “I love everything about Sheila. She is a shining example for young or older jazz singers all over the world. She treats everyone with love and dignity, plus she proudly carries the soul and spirit of Charlie Parker's music.” Vitro and Dorough are both natives of Arkansas. They first met in 1998, when they were inducted into the Arkansas Jazz Hall of Fame. They soon became friends, and Vitro recorded his song “Nothing Like You” on her 1994 release, Softly. But she had never worked with Dorough, nor had she worked with Jordan. So Vitro conceived of the Bird album as a way to share the stage with two of her favorite artists.

Jordan and Dorough were thrilled with the opportunity to appear on the same bill with each other and Vitro, and the chemistry was apparent right from their first gig at the Deerhead Inn in the Poconos. Vitro relates the story of one of their last gigs, “Bob was such a beautiful soul. We were scheduled to do a show at Kitano in New York, but Bob pulled out. He was very ill with cancer and was going into hospice. It was terrible news. The show was booked and I had already hired a replacement, when I got call from Bob asking me if I still wanted him to do the show because he didn’t die and they kicked him out of hospice. He showed up and was amazing.”

Because Dorough’s health was failing, Vitro quickly organized a session to document his vocalese to Parker’s “Bluebird” and lyrics to “Red Cross.” Vitro is known as one of the premier interpreters of lyrics, and her concept for the album was to sing several Bird tunes with fresh lyrics. She and her husband Paul Wickliffe, who is also a master recording engineer and producer of this album, wrote new lyrics to some tunes, as did Dorough and Jordan. Vitro relates, “I flipped when I first heard Bob’s masterpiece, ‘Audubon's New Bluebird.’ Bob had started writing the lyrics years ago, but never got around to finishing. Although he had wanted to finalize them for years, making the album was the impetus he needed to finally complete them. He was 94 years young when he finished the lyrics and recorded with us. It was worth the wait.”

Vitro assembled some of the top East Coast musicians for the first session, including Mark Gross on alto saxophone, who is featured on two Grammy- winning albums of Dave Holland, pianist Jason Teborek, prolific bassist Dean Johnson, and veteran jazz drummer Bill Goodwin, well-known for 30 years with Phil Woods. Unfortunately, the album was put on hold after Bob Dorough’s passing, in addition to many life changes, including Covid-19. When it looked like the worst of the pandemic was behind us, Vitro arranged for a second session with a new band. She brought on board an old friend, jazz singer Marion Cowings, a master of scat and vocal technique. Vitro says, “Jon Hendricks loved Marion. He possesses an extraordinary voice, interpreting bebop music with clear diction and heart.”

She also added famed saxophonist Gary Bartz to the mix. Bartz’s history with McCoy Tyner plus his compositions and recordings are well- known in the jazz world. Also in the band are two-time Grammy winner, pianist Alan Broadbent, and swingin’ drummer Alvester Garnett. Bassist Dean Johnson, who appears on the first session, completes the band. Vitro opens the album with “People Chase,” based on “Steeplechase,” with a tale of how the “human race is like a horse race” written by Paul Wickliffe. Vitro and Dorough trade scats on “The Scatter,” with new lyrics by Dorough sung to Bird’s “Red Cross.” “Bird’s Song” (“Relaxin’ at Camarillo”) by Sheila Jordan, is a history of Bird and the musicians who were on the scene. Jordan sang with Bird and her singing on the tune is a master class in bebop phrasing. Cowing’s rich, baritone voice breathes new life into “Parker’s Mood,” with the original lyrics by King Pleasure.

“Audubon's New Bluebird,” based on “Bluebird,” is a prime example of the wit, personality, and immense songwriting talents of Dorough. Vitro finally gets her chance to perform with Jordan on “Sheila, Jazz Child,” based on “Cheryl” with the original first verse lyrics by Gary Brocks, followed by Wickliffe’s ending two verses. On “Quasimodo,” Jordan adds her own original lyrics that describe how important Bird’s music has been to her. Vitro takes a solo turn on “Grapple with the Apple,” based on “Scrapple From the Apple,” re-imagined as a bossa nova with Wickliffe’s lyrics about a New Yorker flying to the beach to escape the madness. Cowings really swings on “Now’s the Time,” singing Jon Hendricks’ well-known lyrics with one verse by Eddie Jefferson.

Vitro sings Bird lyrics to “Yardbird Suite.” “Koko/Cherokee” is an instrumental tune featuring the magnificent Gary Bartz. Vitro saved “These Foolish Things” for the closer. Although it’s not a Charlie Parker tune, she wanted to sing these beautiful lyrics with Bob and Sheila. This song speaks to the joy and love they shared together in this special moment. It is a unique and memorable recording with three legends singing together.

Sing a Song of Bird is a special recording that goes beyond being a mere tribute album – it’s legacy. Dorough was 94 and Jordan was 89 when they recorded the heartfelt stories from their lives. Their status as jazz legends is uncontested. Dorough is no longer with us, but Jordan is still going strong, with a busy schedule and performances around the world. Marion Cowings may be heard for the first time here, but we’re sure it won’t be the last. And, of course, we are very lucky to have Roseanna Vitro still making music and dedicated to exploring new avenues of creativity, as she will for years to come. https://www.allaboutjazz.com/news/famed-vocalist-roseanna-vitro-releases-sing-a-song-of-bird-feat-sheila-jordan-bob-dorough-marion-cowings

Featuring Sheila Jordan, Bob Dorough, Marion Cowings, Gary Bartz, Mark Gross

Sing a Song of Bird

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Bob Dorough - Live at the Deer Head Inn

Styles: Vocal And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 59:13
Size: 136,1 MB
Art: Front

(0:18)  1. Announcement by Denny Carrig
(5:58)  2. The Touch of Your Lips
(7:50)  3. Flamingo
(5:45)  4. Learnin' the Blues
(4:47)  5. Casanova's Lament
(5:48)  6. Wily Wily Woman
(2:59)  7. Alfie
(6:28)  8. It's Bound to End in Tears
(8:07)  9. The Sweetest Sounds
(5:38) 10. Summer Solstice
(5:30) 11. Devil May Care

The oldest continuously running jazz club in America isn’t in New York, Chicago or New Orleans but in the Delaware Water Gap of Pennsylvania, where for nearly seven decades the Deer Head Inn has hosted everyone from Stan Getz to Keith Jarrett. If the Deer Head can claim a resident headliner, it is surely Bob Dorough, who, nearing 94, still makes regular appearances. This particular set, featuring trio-mates Steve Berger (guitar) and Pat O’Leary (bass), plus two special guests, was captured on Dec. 12, 2015, Dorough’s 92nd birthday. Dorough’s rank among the sharpest songwriters of his (or any) generation is beyond question, as is his prowess as a pianist. As a singer he is utterly unique, a peerless blend of grit and charm, imps dancing with angels. And Dorough is superb at shaping set lists, as evidenced here with a marvellous intermingling of Richard Rodgers, Bacharach and David, Ray Noble, Jack Teagarden and originals familiar (“Devil May Care”), new (the beautifully contemplative “Summer Solstice”), witty (“Wily Wily Woman”) and sly (“It’s Bound to End in Tears,” co-written with the equally crafty Fran Landesman). Ever the gentleman, Dorough leaves plenty of room for laudable contributions from across the bandstand, including daughter Aralee’s keenly navigated, three-and-a-half-minute flute intro to “Flamingo,” thoughtful solos from O’Leary and Berger on Rodgers’ wishful “The Sweetest Sounds” and, on harmonica, Larry Fink’s bluesy, mischievous propulsion of “Wily Wily Woman.”~ Christopher Loudon https://jazztimes.com/reviews/vox/bob-dorough-live-deer-head/

Personnel:  Bob Dorough - piano, vocals;  Steve Berger - guitar;  Pat O'Leary - bass;  Aralee Dorough - flute;  Larry Fink - harmonica.

Live at the Deer Head Inn

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Bob Dorough - Devil May Care

Styles: Vocal And Piano Jazz
Year: 1956
File: MP3@320K/s
Time: 48:06
Size: 110,6 MB
Art: Front

(4:19)  1. Old Devil Moon
(2:55)  2. It Could Happen To You
(2:40)  3. I Had The Craziest Dream
(4:20)  4. You're The Dangerous Type
(4:07)  5. Owl
(3:25)  6. Polka Dots and Moonbeams
(4:56)  7. Yardbird Suite
(3:00)  8. Baltimore Oriole
(2:55)  9. I Don't Mind
(2:52) 10. Devil May Care
(4:02) 11. Midnight Sun
(3:16) 12. Johnny One Note
(5:14) 13. Yardbird Suite (alt. take)

Vocalist-pianist-lyricist Bob Dorough's first record as a leader is a pretty definitive set . Assisted by his longtime bassist Bill Takas, drummer Jerry Segal and sometimes trumpeter Warren Fitzgerald and vibraphonist Jack Hitchcock, Dorough performs near-classic renditions of such songs as "Old Devil Moon," "Yardbird Suite," "Baltimore Oriole," "Devil May Care" and "Johnny One Note." Recommended. [Originally released in 1956, Devil May Care was reissued on CD on 2005 and contains bonus tracks.] ~ Scott Yanow https://www.allmusic.com/album/devil-may-care-mw0000192982

Personnel: Bob Dorough (vocals, piano); Warren Fitzgerald (trumpet); Jack Hitchcock (vibraphone); Bill Takus (bass); Jerry Segal (drums).

Devil May Care

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Sam Most - Sam Most Plays Bird, Bud, Monk & Miles

Styles: Clarinet Jazz
Year: 1957
File: MP3@320K/s
Time: 40:16
Size: 92,9 MB
Art: Front

(5:26)  1. Strictly Confidential
(3:42)  2. Half Nelson
(5:31)  3. 'Round Midnight
(3:56)  4. In Walked Bud
(6:04)  5. Serpent's Tooth
(3:45)  6. Celia
(4:12)  7. Confirmation
(7:36)  8. Bluebird

One of the first great jazz flutists, a cool-toned tenor, and a fine (if infrequent) clarinetist, Sam Most was the younger brother of clarinetist Abe Most. He picked up early experience playing with the orchestras of Tommy Dorsey (1948), Boyd Raeburn, and Don Redman. By the time he led his first session (1953), Most was a brilliant flutist (among the first to sing through his flute) and he briefly had the jazz field to himself. 

Most recorded fine sessions for Prestige, Debut (reissued on Xanadu), Vanguard, and Bethlehem during 1953-1958, doubling on clarinet. He also worked in different settings with Chris Connor, Paul Quinichette, and Teddy Wilson. After playing with Buddy Rich's Orchestra (1959-1961), he moved to Los Angeles and became a studio musician. Sam Most worked with Red Norvo and Louie Bellson, gained some new prominence with his Xanadu recordings of 1976-1979, and became a local fixture in Los Angeles, sometimes playing in clubs with his brother. Most died of cancer in June 2013; he was 82 years old. ~ Scott Yanow  https://itunes.apple.com/us/album/sam-most-plays-bird-bud-monk-miles-remastered-2013/689372772

Personnel:  Sam Most - Clarinet;  David Schildkraut - Alto Saxophone, Tenor Saxophone;  Oscar Pettiford - Bass;  Tommy Potter - Bass;  Paul Motian - Drums;  Bob Dorough - Piano;  Dick Meldonian, Eddie Wasserman, Marty Flax - Tenor Saxophone, Bill Elton, Frank Rehak, Jim Dahl - Trombone;   Al Stewart, Charles Harmon, Don Stratton, Doug Mettome, Ed Reider, III - Trumpet

Sam Most Plays Bird, Bud, Monk & Miles

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Anne Phillips - Ballet Time

Styles: Vocal Jazz 
Year: 2007
File: MP3@320K/s
Time: 66:39
Size: 153,1 MB
Art: Front

(3:12)  1. Ballet Time
(5:32)  2. I Have the Feeling I've Been Here Before
(4:02)  3. I've Got Just About Everything
(4:43)  4. Here's to Life
(4:51)  5. In Your Own Sweet Way
(3:39)  6. Doubletalk
(3:16)  7. You Are There
(4:01)  8. Late Late Show
(3:44)  9. In the Days of Our Love
(4:57) 10. I Never Went Away
(3:12) 11. I Was Doing All Right
(5:37) 12. Embracable You
(5:53) 13. Romancing Ketchikan
(4:50) 14. New York Night Time Blues
(5:02) 15. Fried Bananas

Vocalist Anne Phillips may not be a familiar name to many jazz fans, though since she began her professional career in the early 1960s as a member of the Ray Charles Singers on the Perry Como Show, she has worked in many musical formats as a singer, composer, arranger, conductor and producer. This project was a special labor of love, as she recruited a number of old friends that she met along the way and recruited them to appear on one track apiece with her. Her engaging vocal duet with Bob Dorough (who complements their vocals with some lively piano) of his "I've Got Just About Everything" is a playful affair. Phillips lays a bit behind the beat effectively in spots in Dave Brubeck's loping treatment of his timeless "In Your Own Sweet Way," while she captures the nostalgic magic of pianist Dave Frishberg's lyrics in his ballad (with music by Johnny Mandel) "You Are There." Marian McPartland is on hand for her haunting ballad "In the Days of Our Love," with Phillips bringing out the essence of Peggy Lee's lyrics. Phillips' duet with tenor saxophonist Bob Kindred (her husband) of "Embraceable You" is full of humor, as is "Double Talk" a duet with organist Larry Goldings that has a campy lyric in the style of Annie Ross. There's never a dull moment in this delightful musical scrapbook. ~ Ken Dryden http://www.allmusic.com/album/ballet-time-mw0001225843

She sings with jazz greats Dave Brubeck, Marian McPartland, Roger Kellaway, Dave Frishberg, Bob Dorough and more...

Ballet Time

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Bob Dorough - Sunday at Iridium

Styles: Vocal And Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 69:59
Size: 160,6 MB
Art: Front

(0:51)  1. Welcome from Bob Dorough
(7:03)  2. You're the Dangerous Type
(4:15)  3. But for Now
(0:40)  4. Introducing the Band
(5:21)  5. You're Looking at Me
(0:26)  6. Introducing Joe Wilder
(4:34)  7. Sunday
(0:13)  8. Introducing The Bobettes
(3:51)  9. Comin' Home Baby
(0:34) 10. Introducing Schoolhouse Rock
(7:00) 11. Three Is a Magic Number
(4:30) 12. Baby Used to Be
(3:43) 13. How Could a Man Take Such a Fa
(0:21) 14. Introducing Daryl Sherman
(6:04) 15. Without Rhyme or Reason
(5:13) 16. Down St. Thomas Way
(6:09) 17. Ain't No Spoofin'
(0:23) 18. Introducing Electricity, Elect
(3:52) 19. Electricity, Electricity
(0:15) 20. Farewell from Bob
(4:34) 21. We'll Be Together Again

Welcome to the world of Bob Dorough, the oldest living hipster in jazz at age 81 (December 14, 2004). The singer/composer/pianist has been recording since 1956 and except for a brief flurry of attention with his compositions written for ABC-TV's Schoolhouse Rock from 1973-1985, he has remained largely unappreciated. When I first heard Dorough's vocal of Charlie Parker's "Yardbird Suite" on his debut Bethlehem album Devil May Care , it was a burst of energy and long-needed thank you to Bird for his musical contribution. When I first saw Dorough perform in late 1963, he opened for Miles Davis at the Village Vanguard in duet with bassist Bill Takas and seemed an anachronism more typical of the bohemian jazzman of the late 50s. However, over the decades Dorough has endured and thrived artistically. He has also become something of a cult figure in the Cabaret genre per his peformances and his own compositions or those co-written with such esteemed musicians as Fran Landesman, Blossom Dearie and Dave Frishberg. I enjoyed his live album with Dave Frishberg, Who's On First (Blue Note, 2000), although Dorough's tunes and piano were not quite as witty and prolific as Frishberg's. All that being said, it is a pleasure to hear this live performance at Manhattan's midtown jazz club, Iridium, where Bob Dorough and his friends entertain on most Sunday afternoons. Over the years, Dorough's voice has deepened and a bit of the Arkansas twang has lessened. Also, Dorough serves as a most affable host and provides well chosen and witty words to describe the music. Approximately 6 of the 21 tracks are brief spoken word opportunities. Dorough's group is a lively and swinging combo with Steve Gilmore on bass (normally with Phil Woods) the only known player. Veteran NYC trumpetman and recording artist Joe Wilder sits in on "Sunday" and "Ain't No Spoofin'" adding some good musical punch to the tunes. The latter is a Leroy Vinnegar melody and the title reflects one of the bassist's favorite expressions. Singer Daryl Sherman also shows up to duet and joins Dorough in a four-handed piano setting on "Without Rhyme or Reason." There is a reciprocal duet between the two on Sherman's latest album A Hundred Million Miracles (Arbors Records, 2004). There is also vocal assistance for the Bobettes (not to be confused with the late 1950s doo-wop femme group) who provide vocal backup on Dorough's pop hit "Comin' Home Baby" later popularized by Herbie Mann and Mel Torme. They also sing on "Electricity, Electricity." The songs on this album are largely Dorough originals with a few exceptions. In addition to the aforementioned "Sunday," Dorough closes with a poignant version of the Laine/Fischer standard "We'll Be Together Again" and features new lyrics to the Sonny Rollins-associated "St.Thomas" which is here retitled "Down St.Thomas Way." Bob Dorough's forte is his ability to compose incisive lounge songs in the style of the tunes popularized by the Nat King Cole Trio. In fact, when he performs Bobby Troup's "You're Looking At Me" on this album, the blend is perfect. Songs like "You're the Dangerous Type," "But For Now" and "Baby Used to Be" share, along with the work of Dave Frishberg, a treasure trove for singers and musicians for decades to come. The resulting album is greatly enchanced by the musicians. Steve Berger on guitar adds some lovely and swinging solo work in the manner of Russell Malone, and demonstrates a lyrical sense. Drummer Ed Ornowski provides just the right shading for percussion. All in all, this is a relaxed and fun session! ~ Michael P.Gladstone https://www.allaboutjazz.com/bob-dorough-sunday-at-iridium-by-michael-p-gladstone.php

Personnel: Bob Dorough, piano,vocals; Steve Berger, guitar; Steve Gilmore,bass; Ed Ornowski,drums with Special Guests: ;Joe Wilder,trumpet(7,17) Daryl Sherman, vocal and four-handed piano with Bob (15); The Bobettes:Laura Amico and Roslyn Hart,vocals(9,19)

Sunday at Iridium

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Hal Stein, Warren Fitzgerald - Hal Stein-Warren Fitzgerald Quintet

Bitrate: MP3@320K/s
Time: 78:27
Size: 179.6 MB
Styles: Bop, Modern Creative
Year: 2015
Art: Front

[4:30] 1. Bee Dee's Blues
[5:33] 2. Zounds
[4:45] 3. Have You Heard (The Latest Blues In Town)
[7:08] 4. Medley You Go To My Head
[4:59] 5. The Sarong Is New
[6:23] 6. Nan De Mo Nai
[5:22] 7. Choice Derby
[7:45] 8. This Love Of Mine
[5:16] 9. Do You Really Care
[4:59] 10. Twonky
[5:23] 11. Fitz' Tune
[5:47] 12. Cattin'
[5:44] 13. Just Friends
[4:47] 14. Bee Dee's Blues (Alternate Take)

Warren Fitzgerald (tp), Hal Stein (as, ts), Bob Dorough (p), Al Cotton (b), Paul Motian (d) Recorded at Rudy Van Gelder's Studio, Hackensack, New Jersey, July 19 (#1-7 & 14), 20 (#8-12), and August 31 (#13), 1955.

When he made his recording debut in 1955 - with an album that was destined to become a cult classic in Japan - Hal Stein was a 27-year-old alto and tenor saxophonist with a solid, big band background. Both he and his co-leader, trumpet player Warren Fitzgerald, another young musician, had just signed for the recently reactivated jazz label, Progressive Records, under the control of Joe Maggio, with Gus Grant in charge of a&r and as session supervisor.

The album revealed Stein as a competent, vigorous soloist, a Bird-molded altoist and a hard-school tenor out of Byas-Hawkins school, and Fitzgerald as a percussive trumpeter with a sharp-toned, rough-edged conception, though not a markedly individual soloist. But the most impressive contributors to the session were also to become the most widely known. Pianist Bob Dorough,later also celebrated as a singer and composer, delivered fluent, inventive solos and offered fine support in a rhythm section notable for the presence of the soon-to-be great and influential drummer, Paul Motian, with Al Cotton on bass.

Stein was to amass an impressive CV during his career, working with players as disparate and notable as Artie Shaw, Charles Mingus, Claude Thornhill and Phil Woods, and remained active until his death on April 28, 2008 in his home in Oakland, California, at the age of 79.

Hal Stein-Warren Fitzgerald Quintet

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Bob Dorough & Dave Frishberg - Who's On First

Bitrate: MP3@320K/s
Time: 56:53
Size: 130.2 MB
Styles: Bop, Vocal jazz
Year: 2000
Art: Front

[2:53] 1. Rockin' In Rhythm
[3:43] 2. Who's On First
[3:04] 3. Lookin' Good
[4:23] 4. Too Long In L.A
[2:42] 5. You Are There
[1:24] 6. Intro: The Underdog
[3:45] 7. The Underdog
[0:28] 8. Intro: Where You At
[3:46] 9. Where You At
[4:13] 10. Health Food Nut
[3:29] 11. Devil May Care
[4:57] 12. Nothing Like You
[3:21] 13. Hong Kong Blues
[1:29] 14. Intro: I'm Hip
[3:59] 15. I'm Hip
[5:00] 16. At The Saturday Dance
[4:09] 17. Conjunction Junction

Bob Dorough and Dave Frishberg (his co-leader on this CD) have a lot in common. Both are swinging pianists, likable vocalists that do not have conventional voices, and superb lyricists with very original wits. They only collaborated once before making this CD, writing "I'm Hip" back in 1965. In recent times Ruth Price of Los Angeles' Jazz Bakery persuaded the pair to perform as a duo and this live recording is the result. After an instrumental version of "Rockin' in Rhythm," Frishberg and Dorough perform a new classic by the former, "Who's on First," which deals with the difficulties of deciding who should perform first during their joint show! Frishberg "won" and he sings and plays the biting "Lookin' Good" which is about the advantages of being good-looking in this society. Other highlights of the delightful program include the touching "You Are There," "Where You At," Dorough's "Health Food Nut," "Hong Kong Blues," "Devil May Care," "Nothing Like You," and, of course, "I'm Hip." Frishberg and Dorough also perform their long overdue second collaboration, "At the Saturday Dance," and the set concludes with Dorough's catchy "Conjunction Function" from Schoolhouse Rock. This is a fun CD that lives up to its potential. ~Scott Yanow

Who's On First

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Bob Dorough, Bill Takas - Sing And Swing

Bitrate: MP3@320K/s
Time: 54:29
Size: 124.7 MB
Styles: Jazz vocals
Year: 1984/2011
Art: Front

[4:35] 1. Everything Happens To Me
[4:41] 2. Bijou, I'm Crazy For You
[7:49] 3. When Sunny Gets Blue
[4:56] 4. Be Careful, It's My Heart
[2:53] 5. It's Not Easy Being Green
[5:43] 6. Route 66
[5:07] 7. Moonlight In Vermont
[5:44] 8. Yardbird Suite
[7:15] 9. Quiet Nights
[5:42] 10. Better Than Anything

Bass – Bill Takas; Piano, Voice – Bob Dorough.

Although neglected and underexposed most of his life, Bob Dorough is an adventurous, risk-taking master of vocalese (the process of writing and singing lyrics to instrumental jazz solos) and scat singing who has directly or indirectly influenced Mark Murphy, Michael Franks, Mose Allison, and Kurt Elling. The Arkansas native started out on piano in the 1940s, then took up singing in the early '50s (when he played for boxer Sugar Ray Robinson, an entertainer at the time). From 1954-1955, Dorough lived in Paris, where he recorded with singer Blossom Dearie. The improviser launched his own recording career when he signed with Bethlehem in 1955 and recorded the excellent Devil May Care, which introduced the defiant title song and lyrics to Charlie Parker's "Yardbird Suite." But sadly, he recorded only sporadically after that. In 1962, Dorough co-wrote "Comin' Home Baby" (a hit for Mel Tormé) with Ben Tucker, and in 1966, he recorded his second album, Just About Everything, for Focus. In the early '70s, he began writing and directing the series of educational children's TV programs, Schoolhouse Rock. Though instructional material became his bread and butter, Dorough recorded obscure jazz dates for 52 Rue East, Orange Blue, Pinnacle, Boomdido, Laissez-Faire, and other tiny labels in the 1970s and 1980s. In 1997, a 73-year-old Dorough received some long-overdue attention from a major label when the Capitol-distributed Blue Note released Right on My Way Home. Too Much Coffee Man followed in the spring of 2000. His Sunday brunch residency at New York's Iridium club culminated in 2004's live offering Sunday at Iridium and, at a sprightly 82 years of age, Dorough traveled to England for a series of live dates. The tour culminated in a recording session that spawned the charming Small Day Tomorrow album in 2006. ~bio by Alex Henderson

Sing And Swing

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Bob Dorough - Too Much Coffee Man

Styles: Vocal And Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 53:52
Size: 123,9 MB
Art: Front

(3:57)  1. The Coffee Song
(3:52)  2. Wake Up Sally, It's Saturday
(4:19)  3. There's Never Been a Day
(5:58)  4. I've Got Just About Everything
(2:33)  5. Oklahoma Toad
(2:55)  6. Too Much Coffee Man
(5:14)  7. Fish for Supper
(4:04)  8. Marilyn, Queen of Lies
(4:57)  9. Yesterday, I Made Your Breakfa
(5:54) 10. Where Is the Song?
(5:35) 11. Love (Webster's Definition)
(4:28) 12. Late in the Century

Loaded with songs for the average guy or gal, Bob Dorough’s newest jazz album takes its name from an item we can all relate to readily. Hopefully, that particular medium constitutes only a minor role in our childhood reading development: the comic book. Too Much Coffee Man is the name of a comic book character. There’s a web site at www.tmcm.com . Dorough had written a jingle for Too Much Coffee Man’s creator, intended to serve as music for an animated television series. In a telephone conversation from his home in Eastern Pennsylvania last month, Dorough said, "He loved the jingle, so when I started my second Blue Note album, I told him that I’d be expanding that jingle into a full-length song. And he’s doing the artwork for the album’s cover." Too Much Coffee Man is due to be released early next month. Compared to his last album Right On My Way Home, Dorough says, "This one is more of a songbook, since most of the songs are my own. Some have a blues appeal. I’ve added an old Cootie Williams jazz song called "Fish for Supper." "Marilyn, Queen of Lies" is a re-recording from my first album. I wrote that one with Ann Landisman." Dorough’s first album, Devil May Care was recorded in 1956 and is the same one that a few years later caught the ear of Miles Davis. 

Articulating the lyrics in his usual crisp fashion, Dorough tells stories while ensuring that he’s supported musically. Long overlooked, Dorough’s piano playing makes a world of difference supporting his songs alongside bass and drums. The trio works out for much of the album, but some songs are backed by an expanded ensemble, adding guitar, alto saxophone, brass and/or percussion. "The Coffee Song" (They’ve Got A Lot Of Coffee in Brazil) takes on a big band sound with Phil Woods in the featured spotlight. He and Dorough work hand in glove for the four tracks on which Woods appears, and both share a bright and positive aura throughout. The title track a funky, jive number with two guitars, electric bass and organ – may be aimed at a younger audience, but its wigged-out attitude is one to which we can all relate. Dave Frishberg’s down home country lesson "Oklahoma Toad" serves to remind us that you have to get out once in a while and do some real work if you expect to see your next meal on time. Like Schoolhouse Rock, "Wake Up Sally, It’s Saturday" bounces with a deep tuba and rhythmic ride cymbal on what is clearly a jazz tune timeless and comfortable. Dorough’s piano interlude stands out and the piece serves to remind us that Saturday morning is a time to be at ease. Jamey Haddad’s extended drum solo punctuates Dorough’s romantic and positive "I’ve Got Just About Everything," to emphasize Joe Cohn’s guitar solo and Woods’ upbeat alto solo. Drawing from many styles, Too Much Coffee Man blends the exotic world beat feeling of "Marilyn, Queen of Lies," with the supple Brazilian rhythm of "The Coffee Song," and the romantic tango overtones of "Love." The album’s closing piece, a sweeping waltz, includes a vocal trio harmonizing with Dorough, offering wishes for a better world, without war, without intolerance, and without hate. There’s enough in this world to make us sad. Bob Dorough makes you feel good.~Jim Santella http://www.allaboutjazz.com/too-much-coffee-man-bob-dorough-blue-note-records-review-by-jim-santella.php

Personnel:  Bob Dorough- vocals, piano, electric piano, whistling;  Phil Woods- alto saxophone;  Ray Drummond, Steve Gilmore, Tony Marino- bass;  Billy Hart- drums;  Bill Goodwin- drums, percussion;  Jamey Haddad- drums, Hagimi Drum

Too Much Coffee Man

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London-Meader-Pramuk-Ross - Royal Bopsters Project

Bitrate: MP3@320K/s
Time: 61:47
Size: 141.4 MB
Styles: Vocalese, Group harmony vocals
Year: 2015
Art: Front

[4:35] 1. Music In The Air
[5:30] 2. On The Red Clay
[4:55] 3. Peace (Feat. Sheila Jordan)
[5:54] 4. Basheer, The Snake & The Mirror
[4:52] 5. Senor Blues (Feat. Mark Murphy)
[6:19] 6. Invitation
[4:13] 7. Bird Chasin'
[6:16] 8. Music Is Forever (Feat. Annie Ross)
[4:57] 9. Bebop Lives
[6:09] 10. Just Step Right Up
[4:21] 11. Nothing Like You Has Ever Seen Before (Feat. Bob Dorough)
[3:41] 12. Let's Fly

Amy London, Darmon Meader, Dylan Pramuk and Holli Ross: vocals; Steve Schmidt: piano; Sean Smith, Cameron Brown: bass; Steve Williams: drums; Steven Kroon: percussion; Roni Ben Hur: guitar; Mark Murphy, Bob Dorough; Jon Hendricks; Sheila Jordan; Annie Ross: vocals.

Central to this recording is vocalist Mark Murphy, who can only be considered in the same thought as Eddie Jefferson and King Pleasure in the field of vocalese. He is featured on 4 of the 12 selections on the disc, with the other "Royal Bopsters" showing up on one each. Murphy's contributions are the highlights of the release. He reprises his 1970 recording of Freddie Hubbard's "Red Clay" as "On the Red Clay." Murphy is in excellent voice. He also re-addresses his take on Horace Silver's "Senor Blues," which he sings with punch and vigor. Amy London provided be lyrics to Charlie Parker's "Chasin' the Bird" retitled "Bird Chasin'" which includes a spirited reading of passages from Jack Kerouac's On The Road, bringing the entire Beat theme to a full boil. The pinnacle of the recital occurs on a re-tooling of Murphy's interpretation of Miles Davis' "Boplicity" (presented here as "Bebop Lives") in cooperation with Holli Ross. It is exquisite.

This is not to short change the other royals. Arkansas Jazz Hall of Fame member Bob Doroough presents his "Nothing Like You has Every Been Seen Before" and remains vital in his early 90s as does Jon Hendricks on "Music in the Air." Shelia Jordan percolates on Horace Silver's "Peace," while the inestimable Annie Ross kills on "Music is Forever." This project unites a new voice in Jazz Quartet singing, whose ideas are fresh and plans are set. The project is well framed by excellent liner notes provided by New York City Music writer James Gavin, whose own Deep in a Dream remains the definitive cultural commentary on the life of trumpeter Chet Baker. If all musical projects could be this well programmed... ~C. Michael Bailey

Royal Bopsters Project

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Bob Dorough - Right On My Way Home

Styles: Vocal And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 53:23
Size: 122,8 MB
Art: Front

(5:36)  1. Moon River
(6:06)  2. Whatever Happened To Love Songs?
(3:22)  3. Right on My Way Home
(6:32)  4. Walk On
(4:32)  5. I Get the Neck of the Chicken
(4:54)  6. Zacherly
(4:43)  7. Something For Sidney
(5:58)  8. Hodges
(5:36)  9. Up Jumped A Bird
(6:00) 10. Spring Can Really Hang You Up the Most

As one of the key voices of Schoolhouse Rock, Bob Dorough acquired many fans, but no one ever knew his name. Even after the series ended, he was reluctant to pursue a full-fledged recording career, which made 1997's Right on My Way Home an album he recorded when he was 73 something of an event. It was one of the rare occasions that Dorough was able to demonstrate the depth and range of his talent. Like Mose Allison, he has a friendly, idiosyncratic variation on bluesy scat and bop that sounds equally at home on standards ("Moon River," "Spring Can Really Hang You Up the Most") or originals ("I Get the Neck of the Chicken," "Something for Sidney," "Up Jumped a Bird"). Some tastes might Dorough find a bit too cutesy, yet there's no denying that he can make a song his own, and Right on My Way Home is one of the best proofs of that statement. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/right-on-my-way-home-mw0000028948

Personnel: Bob Dorough (vocals, piano); Joe Lovano (soprano & tenor saxophones); Bill Takas, Christian McBride (bass); Grady Tate, Billy Hart (drums).

Right On My Way Home

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Bob Dorough - The Houston Branch

Styles: Vocal And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 58:29
Size: 134,5 MB
Art: Front

( 6:16)  1. Devil May Care
( 9:34)  2. All the Things You Are
( 2:31)  3. Yesterday
( 7:51)  4. Zingaro
( 7:23)  5. One Note Samba
( 1:56)  6. Over the Rainbow
( 6:21)  7. The Spoiler
( 6:13)  8. September Song
(10:21)  9. Django

Usually known for his jazz vocals and Schoolhouse Rock songs, Bob plays mostly here (there are two vocals) with flute & oboe (his daughter & son-in-law, of the Houston Symphony), sax, bass & drums  classical jazz. Amazingly enough, jazzman Bob Dorough's only child, Aralee Dorough, became a classical flutist. Nowadays she is the Principal Flutist of The Houston Symphony Orchestra. She is married to Colin Gatwood, second oboist of that orchestra and son of veteran oboist, Elden Gatwood, formerly of The Pittsburgh Symphony. However, Aralee, growing up in Bob's house, often took part in his various projects, including childrens' concerts, pop concerts, and even jazz concerts and also participated in Dorough's famous Schoolhouse Rock (ABC-TV), as singer and piccoloist. Furthermore, Colin is an admirer of jazz and well the kids wanted to record with their famous Dad. 

Thus came about this CD, "The Houston Branch," featuring the two on flute and oboe/english horn, along with three top Houstonian sidemen. It might be said to be a "crossover" record, with semi-classical treatments of standards, bossa novas, one composition by Aralee and one by Bob. There are only two Bob Dorough vocals (I wanted to emphasize the unusual instrumentation) but he wrote all the arrangements and it is very much a Bob Dorough outing. Try it you'll like it.  http://www.cdbaby.com/cd/dorough

The Houston Branch

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Bob Dorough - Small Day Tomorrow

Styles: Vocal And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 61:02
Size: 140,6 MB
Art: Front

(4:14)  1. Small Day Tomorrow
(5:25)  2. Marilyn, Queen of Lies
(6:44)  3. Antiquated Lore
(3:56)  4. Harry In the Night
(5:11)  5. The Winds of Heaven
(4:12)  6. Feet, Do Your Stuff
(3:31)  7. On Top of Mount Tipsey
(6:45)  8. New Song
(6:35)  9. The Ballad of the Sad Young Man
(4:12) 10. Nothing Like You (An Extravagant Love Story)
(5:06) 11. Never Had the Blues At All
(5:06) 12. Evenin' Wearies

At a party to celebrate his 100th birthday, pianist Eubie Blake, a glass of whiskey in one hand, a cigar in the other, is reported to have observed: "If I knew I was going to live this long, I'd have taken better care of myself." Way to go. (Blake died five days later but he'd made his point.) At 82, it sounds like Bob Dorough really has taken care of himself. He's lived in the fast lane since the '50s, but he whoops, hollers, soars and romances through this album like someone half his age, and attacks the piano with the same voracious gusto. It's a remarkable, still out there, high tide performance. Small Day Tomorrow is lifted further above the ordinary by its material. Subtitled Fran Landesman Revisited, the album features twelve top-drawer, mainly mid- to up-tempo songs, all with lyrics by New York-born cafe, cabaret, counter culture, and demi-monde queen Landesman (now 78 and based in London for many years). Some of the songs are well known, others less so. All are wonderful. Landesman's effortless hipness and expressive genius make her the jazz world's answer to Dorothy Parker, and her lyrics are treasures of elegance and insight. Dorough has collaborated with Landesman since the '50s, and he co-wrote "Small Day Tomorrow" and "Nothing Like You (An Extravagant Love Song)."

Dorough is brilliantly served by a demonic band Jamie Cullum's backline of Geoff Gascoyne (bass) and Sebastiaan de Krom (drums), unleashed and on the town, plus tenor saxophonist Derek Nash each of whom plays with electrifying energy and joie de vivre. Nash is massively enjoyable. A chameleon-like musician at home in a variety of styles, he here adopts, with complete conviction, the persona of a bar-walking throwback from the swing/rhythm & blues nexus of the '40s and '50s, fleet-footed, roaring or caressing as required, and totally undemanding of everything but your soul. Gascoyne's partner, Trudy Kerr, who duets ravishingly with Dorough on the bitter sweet "On Top Of Mount Tipsey," takes solo vocal on "Nothing Like You," which recently gained new currency when it was restored to Miles Davis' Sorcerer, in an inferior version sung too fast and too high by Dorough over an arrangement by Gil Evans. If this is old age, bring it on (but not yet). ~ Chris May  http://www.allaboutjazz.com/small-day-tomorrow-bob-dorough-candid-records-review-by-chris-may.php

Personnel: Bob Dorough: piano, vocals; Geoff Gascoyne: bass; Sebastiaan De Krom: drums; Derek Nash: tenor saxophone; Trudy Kerr: vocals (7,10).

Small Day Tomorrow

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Bob Dorough - Eulalia

Size: 108,0 MB
Time: 46:27
File: MP3 @ 320K/s
Released: 2014
Styles: Bebop, Vocal Jazz
Art: Front

01. Eulalia (Feat. Aralee) (3:40)
02. Love (Webster's Dictionary) (Feat. Aralee) (7:14)
03. Whatever Happened To Love Songs (Feat. Aralee) (5:16)
04. But For Now (Feat. Aralee) (4:50)
05. To Be Or Not To Be (Feat. Aralee) (8:00)
06. I've Got Just About Everything (Feat. Aralee (7:32)
07. A Few Days Of Glory (Feat. Aralee) (5:47)
08. Consummation (Feat. Aralee) (0:36)
09. Eulalia Reprise (Feat. Aralee) (3:27)

Pianist Bob Dorough is to the jazz repertoire what Loretta Lynn is to country music. Trained in jazz piano, Dorough is best known for his role as the music director of a national project in 1971, assigned to set the multiplication table to music which grew into the popular Saturday morning cartoon series Schoolhouse Rock. Some forty years later, Dorough maintains an infectious sprint in the cadence of his keys and a heartland-tempered twang in his vocal register. He puts all of himself into his music from the raw, craggy continence of his vocals to the polished, buoyant rustling of his keys.

A fusion of scripted chord movements and improvised phrasing, Dorough's latest release Eulalia from Merry Lane Records emphasizes the elasticity of the instruments and the keen reciprocation of the musicians on board to play off of one another. Dorough and his daughter Aralee demonstrate such active and reactive prowess between the piano and flute in the title track. The curvature of Aralee's flute gives the track shape and an organic texture while the keys incubate the piece in a sheath of bliss. The rippling waves of Thomas Hultén's trombone through "But For Now" pervade a Cab Calloway vibe supplemented by the sprinkling flare of the keys. The swinging romper "I've Got Just About Everything" is wreathe in the tweeting vibrations of the horns resonating a nostalgic glow that's reminiscent of Hoagy Carmichael, and counter-balanced by the spiritual ruminations of "A Few Days of Glory" featuring the soaring vocals of Tammie Bradley and the bluesy hues of the saxophone.

Pulsating with modern virility and wielding the crisp interplay of vintage bebop, Eulalia partners free-style with formulaic chord patterns harking back to the approach taken by the architects of '50s jazz. Liken to the way country music comes naturally to Loretta Lynn, spindling jazz idioms comes naturally to Dorough. The rawness of Dorough's vocals combined with polished instrumentation make for a personalized recording. ~by Susan Frances

Musicians:
Bob Dorough - piano, vocals, and arrangements; Steve Gilmore - acoustic bass; Herman Matthews - drums; Phil Woods - alto sax; Aralee Dorough - flute; Dennis Dotson - trumpet; Thomas Hultén - trombone and tuba; Warren Sneed - tenor and soprano sax; Keith Vivens - electric bass (Tracks 3 & 7); Ray Wilson - guitar; Mike Mizma - vibes and pandeiro (Track 2); Gary Mitchell, Jr. - choirmaster, vocals & Hammond B3 (Track 7); Tammie Bradley - vocals (Track 7)

Eulalia

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Daryl Sherman - A Hundred Million Miracles

Bitrate: 320K/s

Time: 61:26

Size: 140.7 MB

Styles: Jazz vocals

Year: 2006

Art: Front

[3:49] 1. Getting To Know You

[3:01] 2. How Was I To Know

[4:55] 3. You're Nearer

[2:56] 4. Ten Minutes Ago

[4:18] 5. Ev'rything I've Got

[5:50] 6. You Are Too Beautiful

[3:48] 7. A Hundred Million Miracles

[3:16] 8. Do I Hear A Waltz

[6:56] 9. Little Girl Blue

[5:09] 10. Sixteen Going On Seventeen

[7:34] 11. Bewitched, Bothered, And Bewildered

[2:40] 12. Do It The Hard Way

[3:53] 13. What's The Use Of Wond'rin'

[3:16] 14. This Can't Be Love

Listening to and enjoying the vocals of Daryl Sherman seems almost natural. She's talented, for sure, but it's the joy and sensitivity she instills in each song that impresses one. It doesn't hurt that Sherman has chosen to interpret the songs of Richard Rodgers on A Hundred Million Miracles, nor that she's enlisted the help of guitarists James Chirillo and Joe Cohn and bassist Boots Maleson. Her piano work and a number of guest appearances fill out the arrangements on an hour's worth of music from the classic American songbook. Sherman's rendition of "You Are Too Beautiful" is wonderfully underlined by Ruby Braff's cornet work, while her upbeat version of "Do I Hear a Waltz?" is accented by Chirillo's bouncy lead. She's joined on vocals by Bob Dorough for fun versions of "Everything I've Got Belongs to You" and "Sixteen Going on Seventeen." Even with high-profile support, though, Sherman's vocals remain the centerpiece of A Hundred Million Miracles. There's a lovely, seven-minute-plus "Bewitched, Bothered, and Bewildered," and the album closes with a cheerful "This Can't Be Love." As one might note from these two songs, even though the lyrics of Rodgers form the connecting thread, his writing partners -- like Lorenz Hart -- also deserve mention. A Hundred Million Miracles is beautifully realized and Sherman's singing is an absolute joy. ~ Ronnie D. Lankford, Jr.

Live Recording Recorded at Nola Studios, New York, New York on October 4-8, 2002.

Daryl Sherman (vocals, piano); Bob Dorough (vocals, piano); James Chirillo, Joe Cohn, Bucky Pizzarelli (guitar); Houston Person (tenor saxophone); Ruby Braff (cornet); Jim Gwin (drums).

A Hundred Million Miracles      

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