Gerald Wilson - Theme for Monterey

Styles: Jazz, Big Band

Year: 1998

File: MP3@320K/s

Time: 63:26

Size: 145,5 MB

Art: Front

( 6:30)  1. Romance

(12:18)  2. Lyons' Roar

( 9:31)  3. The Lone Cypress

( 8:50)  4. Spanish Bay

( 6:53)  5. Cooking on Cannery Row

(13:29)  6. Summertime

( 5:51)  7. Anthropology

In 1997, bandleader/arranger Gerald Wilson was commissioned by the Monterey Jazz Festival to write an original piece to be performed at that year's festival. Wilson's goal was to compose a melody that the audience would leave the venue singing to themselves. He succeeded by casting his "Theme for Monterey" in five different styles, with his big band interpreting the theme in a variety of moods as a ballad, a Latin romp, a medium-tempo piece and a shouting conclusion. His memorable five-part suite has solos by his son, guitarist Anthony Wilson, trumpeter Oscar Brashear, pianist Brian O'Rourke, trombonist George Bohanon, trumpeter Carl Saunders, Randall Willis on tenor, and others. Also on this CD are a couple pieces commissioned by the Ira and Leonore Gershwin Foundation, reworkings of "Summertime" and "Anthropology." Wilson was proud that he was able to give five-part harmonies to every melody note in the latter piece (Charlie Parker's original based on "I Got Rhythm"). Highly recommended. ~ Scott Yanow http://www.allmusic.com/album/theme-for-monterey-mw0000037123

Personnel: Gerald Wilson - arranger, conductor;  Ron Barrows, Oscar Brashear, Carl Saunders, Snooky Young – trumpet;  Leslie Benedict, George Bohanon, Isaac Smith – trombone;  Louis Taylor - soprano saxophone;  Scott Mayo - soprano saxophone, alto saxophone, tenor saxophone;  Randall Willis - alto saxophone, tenor saxophone;  Carl Randall - tenor saxophone;  Jack Nimitz - baritone saxophone;  Brian O'Rourke – piano;  Eric Veliotes, Anthony Wilson – guitar;  Trey Henry – bass;  Mel Lee - drums

Theme for Monterey

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Carl Saunders - Be Bop Big Band

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 77:36
Size: 179,1 MB
Art: Front

(6:31)  1. Compilation
(8:20)  2. Love Dance
(3:39)  3. Emily
(8:36)  4. I'm All For You
(8:08)  5. Perceptive Hindsight
(6:38)  6. Never Always
(5:42)  7. Some Bones Of Contention
(5:19)  8. Strike Out The Band
(5:10)  9. Autumn In New York
(6:34) 10. Dearly Befuddled
(5:07) 11. An Apple For Christa
(7:48) 12. Baby Blues

I'd best take care when reviewing this album by trumpet maestro Carl Saunders, as I could run short of laudatory adjectives before the appraisal has been completed. For those who are unfamiliar with his c.v., Saunders has been enriching big-band trumpet sections for more than four decades, having cut his teeth with the renowned Stan Kenton Orchestra while still a teen-ager in 1960. The pedigree is immaculate too; Carl's mother, Gail Sherwood, once sang with Kenton, and his uncle, Bobby Sherwood, was a well-known bandleader in the '40s. While Saunders has presided over a number of bands in his hometown of Las Vegas, he has recorded only twice before as leader, and never with an ensemble that is in any way comparable to this one. Saunders has made a lot of friends in the music business, and with friends like these one is able to put together a big band so proficient and powerful that it can easily blow almost any adversary out of the water. But no orchestra is better than its charts, and here Saunders scores another coup with the inclusion of half a dozen incontestably brilliant compositions and arrangements by his long-time friend and mentor, the late Herbie Phillips, to whom the album is dedicated. To them Saunders adds three of his own ("I'm All for You," "Never Always," "Baby Blues"), Ivan Lins' "Love Dance" and the beauteous standards "Emily" (a tour de force for the superb young trombonist Andy Martin) and "Autumn in New York" (showcasing Saunders' mind-blowing trumpet). Phillips was fond of clever titles, and his tunes include "Perceptive Hindsight," "Some Bones of Contention" (the "'bones" in question belonging to Martin and Bob McChesney), "Strike Out the Band," "Dearly Befuddled" and "An Apple for Christa" (for the late teacher-turned-astronaut Christa McAuliffe). Phillips also wrote the sunny opener, "Compilation," which serves to introduce another of the band's stellar improvisers, veteran alto saxophonist Lanny Morgan, whose fiery deposition complements those by Saunders, McChesney, tenor Jerry Pinter and pianist Christian Jacob. Saunders is featured on trumpet and flugel on "Love Dance," on trumpet (with Morgan) on "I'm All for You," but he's not the only member of that section to make the spotlight his own. Ron Stout is bright and agile on "Hindsight" and "Never Always," Bobby Shew smooth and steady on "Strike Out the Band," Bob Summers quick and expressive on "Christa" before Saunders returns to close the show with a typically eloquent discourse on "Baby Blues." Other soloists of note include tenor Doug Webb ("Hindsight," "Dearly Befuddled"), alto Brian Scanlon ("Never Always") and bassist Kevin Axt ("Baby Blues"). Well, we're nearing the end of the review and have a few adjectives left, so we may as well use some of them now. Awesome. Spectacular. Breathtaking. Sublime. Be Bop Big Band is all of that and more. Simply put, one of the most memorable big-band albums in recent memory, one that should not be passed over by anyone who admires the genre. ~ Jack Bowers https://www.allaboutjazz.com/be-bop-big-band-carl-saunders-sea-breeze-jazz-review-by-jack-bowers.php

Personnel: Carl Saunders,Frank Szabo,Bobby Shew,Ron Stout,Bob Summers,Scott Englebright,trumpet; Charlie Loper, Andy Martin, Bob McChesney, trombone; Pete Brockman, Sam Cernuto, bass trombone; Lanny Morgan, Brian Scanlon, alto sax; Jerry Pinter, Doug Webb, tenor sax; Bob Efford, baritone sax; Christian Jacob, piano; Kevin Axt, bass; Santo Savino, drums.

Be Bop Big Band

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Stan Kenton - Adventures In Jazz

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 53:15
Size: 122,7 MB
Art: Front

(5:33)  1. Turtle Talk
(5:50)  2. Stairway To The Stars
(4:29)  3. Limehouse Blues
(4:25)  4. Malaguena
(3:37)  5. Misty
(6:45)  6. Waltz Of The Prophets
(5:20)  7. Body And Soul
(5:17)  8. It Might As Well Be Spring
(6:32)  9. Waltz Of The Prophets (First Version)
(5:24) 10. Body And Soul (First Version)

This is one of the finest albums ever recorded by the remarkable Stan Kenton Orchestra. It features two compositions by the composer/trombonist/drummer Dee Barton, "Turtle Talk" and "Waltz of the Prophets," that are among the best-known works from the Kenton library. Barton later went on to fame (like those other Kenton stalwarts, Pete Rugolo and Lennie Niehaus) as a composer for films such as Clint Eastwood's Play Misty for Me. The CD includes a well-known version of the song "Misty," but the arrangement is by Gene Roland, not Dee Barton. "Misty" showcases the incredible mellophonium work of Ray Starling, undoubtedly the finest soloist who ever mastered that notoriously difficult brass instrument. Another featured soloist is Sam Donahue, a deep-throated tenor player in the Vido Musso tradition, who provides a stratospherically high solo on his own arrangement of "Body and Soul." An alternative version of "Body and Soul" (along with another version of "Waltz of the Prophets") is included as a CD bonus, but it lacks the polish of the take included on the original LP. The composer/arranger Bill Holman is represented by two of his best charts: "Stairway to the Stars," a tour de force arrangement of the standard featuring the alto of Gabe Baltazar; and the big production arrangement of Lecuona's "Malaguena," an arrangement that was a staple of Kenton concerts and clinics in the 1960s and 1970s. Aficionados of Stan Kenton's band won't want to be without this CD. This is Kenton at the peak of his power, leading a dynamite collection of soloists and sidemen during the last glory days of the travelling big bands. ~ William Grim https://www.allaboutjazz.com/adventures-in-jazz-stan-kenton-capitol-records-review-by-william-grim.php

Personnel:  Stan Kenton, piano;  Jim Amlotte, trombone;  Buddy Arnold, tenor sax;  Gabe Baltazar, alto sax;  Norman Baltazar, trumpet;  Dee Barton, trombone;  Bob Behrendt, trumpet;  Allan Beutler, baritone & bass saxes;  Bud Brisbois, trumpet;  Dwight Carver, mellophonium;  Sam Donahue, tenor sax; Wayne Dunstan, bass sax;  Bob Fitzpatrick, trombone; Marvin Holladay, baritone sax;  Joel Kaye, baritone & bass saxes;  Keith LaMotte, mellophonium;  Jerry Lestock McKenzie, drums;  Red Mitchell, bass;  Bud Parker, trombone;  Paul Renzi, tenpr sax;  Bob Rolfe, trumpet;  Carl Saunders, mellophonium;  Pat Senatore, bass;  Dalton Smith, trumpet;  Jack Spurlock, trombone;  Marvin Stamm, trumpet;  Ray Starling, mellophonium;  Dave Wheeler, bass trombone, tuba

Adventures In Jazz

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Denise Donatelli - What Lies Within

Bitrate: MP3@320K/s
Time: 58:19
Size: 133.5 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[3:17] 1. My Shining Hour
[5:15] 2. Sails (Velas Icadas)
[6:29] 3. Crystal Silence
[4:41] 4. I Love It When You Dance That Way
[6:17] 5. We'll Be Together Again
[7:24] 6. Like An Old Song
[3:51] 7. Beloved (Daahoud)
[5:22] 8. Four Walls
[4:25] 9. Be Cool
[4:53] 10. Make This City Ours Tonight
[6:19] 11. This Lament

Denise Donatelli: vocals; Bob Sheppard: soprano saxophone (3), alto saxophone (2,4), tenor saxophone (1,6,7), flute and alto flute (3); Carl Saunders: trumpet (4,9), flugelhorn (4); Geoffry Keezer: piano, marimba (6), vibraphone (9), percussion( 4,6); Carlos Del Rosario: organ (8), Viennese gong (6); Peter Sprague: guitar (1,2,4,7,8,10); Hamilton Price: bass (1-10); Marvin "Smitty" Smith: drums (1-10); Alex Acuna: percussion (2,8); Giovanna Clayton: cello (8).

It is refreshing indeed to hear a lovely voice fronting a superb cast of musicians, and then combining to forge one exceptional recording, which is what Los Angeles-based singer Denise Donatelli has done in What Lies Within. As she voices the lyrics of Harold Arlen's "My Shining Hour"—the opening tune in a selection of eleven uncommon standards—the words "this will be my shining hour," should refer to the magical performance on an album that may well be her finest hour of studio work yet. Not content to be seen as just another "chick singer" among the plethora of female jazz vocalists releasing albums these days, Donatelli distinguishes this recording by the assemblage of musical talent, and the guidance from pianist/producer Geoffrey Keezer who also produced the album. The singer is backed up by some of the best West Coast musicians performing in L.A. such as saxophone great Bob Sheppard, trumpeter Carl Saunders, percussionist Alex Acuna and guitarist Peter Sprague to name a few.

Suffice to say, What Lies Within is one splendid recording of elegant light jazz vocals from Denise Donatelli; a jazz singer who belongs in the upper echelon of modern jazz vocalist. Her performance, along with the accompaniment from an ensemble of first-call players makes this a first-rate recording. ~Edward Blanco

What Lies Within mc
What Lies Within zippy

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Bob Florence Limited Edition - Eternal Licks and Grooves

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 70:23
Size: 161,9 MB
Art: Front

(14:03)  1. Eternal Licks And Grooves
( 6:15)  2. Claire De Lune
( 8:08)  3. Mirror Images
( 6:34)  4. Guiding Star
(12:15)  5. Invitation
( 9:30)  6. I'm Old Fashioned
(13:34)  7. Appearing In Cleveland

In a world of unrestrained hyperbole, where competent athletes are superstars and slim, attractive women supermodels, words like awesome, spectacular, phenomenal, superlative and breathtaking are too often over-used and undeserved. But not in this case. On Eternal Licks and Grooves, the Bob Florence Limited Edition is awesome, its soloists spectacular, guest artists Carl Saunders, Scott Whitfield and Peter Erskine phenomenal, Florence's piano playing superlative, his compositions and arrangements breathtaking. Florence, who recently turned seventy-five, has recorded more than a dozen big-band albums starting with Name Band 1959 (Carlton) and this may well be the best one yet. That's not hype; simply a fact. From "Eternal Licks and Grooves, commissioned to honor Count Basie, through "Appearing in Cleveland, his memorable salute to Stan Kenton, Florence operates with the unerring skill of a master surgeon, scrupulously appraising whole themes or fragments thereof and carefully splicing them together as only he can to produce fresh and exciting musical expositions. About his buoyant arrangement of "Claire de Lune, Florence writes, "When I do an arrangement of a standard composition, I become the composer, an assertion that applies not only to Claude Debussy's classic work but to Bronislaw Kaper's "Invitation and Jerome Kern / Johnny Mercer's "I'm Old Fashioned, each of which glistens in Florence's capable hands. Besides "Grooves and "Cleveland, Florence wrote "Mirror Images and co-wrote "Guiding Star with Fred Manley.

Florence puts Whitfield to work immediately, and the trombonist responds with a blistering solo on "Grooves, complementing thermal statements by guitarist Larry Koonse, tenor Tom Peterson, trumpeter Larry Lunetta and drummer Erskine (who kicks the band relentlessly throughout). Florence's exquisite solo piano introduces "Claire de Lune, on which trumpeter Saunders is typically astonishing, even inserting a brief quote from "Autumn Serenade (if there's a better all-around trumpeter playing today, I've yet to hear him). The melodious "Mirror Images (denoting Duke Ellington and Billy Strayhorn) features Don Shelton's sensuous soprano sax, the lovely ballad "Guiding Star Bob Carr's supple baritone sax and Bob McChesney's satiny trombone. As on "Claire de Lune, Florence adroitly states the melody on "Invitation and "Old Fashioned before gently but persistently taking the standards where he wants them to go. Florence, tenor Jeff Driskill, trumpeter Steve Huffsteter and bassist Trey Henry are showcased on the former, trombonist Alex Iles and alto Kim Richmond on the latter (Richmond's amiable solo is especially charming). The inspired soloists on "Cleveland are Florence, Koonse, baritone Bob Efford and trumpeter Ron Stout. Truth be told, there's neither a weak spot nor false note on the album. At the risk of sounding, well, hyperbolic, one could easily make the case that Eternal Licks and Grooves is an unequivocal masterpiece. In the end, however, that's up to each listener to decide. ~ Jack Bowers https://www.allaboutjazz.com/eternal-licks-and-grooves-bob-florence-mama-records-review-by-jack-bowers.php

Personnel: Bob Florence: composer, arranger, piano; Pete DeSiena: trumpet, flugelhorn; Lee Thornburg: trumpet, flugelhorn; Larry Lunetta: trumpet, flugelhorn; Steve Huffsteter: trumpet, flugelhorn; Ron Stout: trumpet, flugelhorn; Don Shelton: alto, soprano sax, clarinet; Kim Richmond: alto, soprano sax, clarinet; Jeff Driskill: tenor sax, clarinet; Tom Peterson: tenor sax, clarinet; Billy Kerr: tenor sax, clarinet; Bob Efford: baritone sax, bass clarinet; Bob Carr: baritone sax, e flat contra alto clarinet; Charlie Loper: trombone; Alex Iles: trombone; Bob McChesney: trombone; Craig Gosnell: bass trombone; Larry Koonse: guitar; Trey Henry: bass. Guests: Peter Erskine: drums; Carl Saunders: trumpet; Scott Whitfield: trombone.

Eternal Licks and Grooves

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Scott Whitfield - New Jazz Standards (Volume 2)

Styles: Trombone Jazz
Year: 2016
File: MP3@320K/s
Time: 75:15
Size: 173,7 MB
Art: Front

(6:07)  1. Prudence
(6:30)  2. More Wine
(5:46)  3. Big Darlin
(6:14)  4. Melodocity
(6:24)  5. I Remember Thad
(5:49)  6. B Squad Blues
(6:13)  7. Gamma Count
(6:21)  8. Lolly's Folly
(6:50)  9. Juarez
(6:07) 10. Another Tune for Bernie
(5:53) 11. Last Night's Samba
(6:54) 12. Symphonky Blues

On New Jazz Standards, Volume 2 (yes, the title may seem a tad optimistic at first glance; more about that later), trombonist Scott Whitfield leads a well-honed quartet playing the music of Carl Saunders. If the name Carl Saunders is new to you, he is quite simply one of the finest jazz trumpeters you've never heard and he may well be one of the best composers too. As for Whitfield, Saunders' personal choice to preside over this album, he is one of the Los Angeles area's foremost jazz trombonists, one who has led big bands on both coasts, played with a number of others, recorded ten albums as a leader and more than fifty as a sideman while "doubling" as a vocalist with wife Ginger Berglund and teaching at San Jose State University. If that sounds like a heavy schedule, it is and as you will hear, for good reason. When Saunders isn't playing trumpet in some group or other which, it must be said, isn't often and when he has free time during gigs, he writes. And writes prolifically. In fact, Saunders recently assembled more than three hundred of his compositions in book form and published it as New Jazz Standards, hence the name of this album, Volume 1 of which featured the late flutist Sam Most (Summit Records 630). 

Most was a master craftsman, as is Whitfield. Few contemporary trombonists can match Whitfield's clarity of tone or technical dexterity, traits that bring to mind such past masters as Carl Fontana, Urbie Green, Bill Harris and Jimmy Cleveland. And as for improvisation and flat-out swinging, he sets the bar high there as well. Saunders not only chose his helmsman well, he gave him a backup crew that is second to none, anchored by timekeeper par excellence Peter Erskine and featuring the always-resourceful pianist Christian Jacob and metronomic bassist Kevin Axt.  As to Saunders' themes, they are consistently bright and charming. While the presence of any new jazz standards is for listeners to determine, there's no doubt that Saunders has a keen ear for captivating melodies and the ability to arrange them in a tasteful and harmonious musical context. Most of them aren't based on popular standards, a staple of many jazz composers, but created out of whole cloth using only Saunders' fertile imagination as groundwork. The results are never less than admirable and often brilliant, ranging from ballads to blues, Latin to funk and straight-ahead swing. To add variety, Whitfield is overdubbed on four tracks to form a trombone choir. He and the quartet are superb, as are Saunders' prospective New Jazz Standards, which await only the auspicious verdict of an impartial jury. ~ Jack Bowers https://www.allaboutjazz.com/new-jazz-standards-volume-2-scott-whitfield-summit-records-review-by-jack-bowers.php

Personnel: Scott Whitfield: trombone;  Christian Jacob: piano;  Kevin Axt: bass;  Peter Erskine: drums;  Carl Saunders: composer, arranger.

New Jazz Standards (Volume 2)

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The Frank Capp Juggernaut - Play It Again Sam

Styles: Jazz, Bop
Year: 1997
File: MP3@320K/s
Time: 55:01
Size: 129,2 MB
Art: Front

(3:09)  1. The Heat's On
(6:35)  2. Warm Breeze
(6:07)  3. Ja-Da
(3:48)  4. Sweet Georgia Brown
(2:17)  5. Katy
(3:32)  6. Wind Machine
(3:46)  7. Soft As Velvet
(3:15)  8. Ya Gotta Try
(6:16)  9. Freckle Face
(4:16) 10. Satin 'N' Glass
(6:46) 11. 88 Basie Street
(5:06) 12. Night Flight

On the one hand, the music on this set, which features the Frank Capp Juggernaut performing a dozen Sammy Nestico arrangements, is quite predictable. After all, the Juggernaut's playing has always been based on the style of Count Basie, so its interpretations of Nestico's music (ten of the 12 songs are his) is very much in the Basie tradition. But on the other hand, the enthusiasm of the band, the high musicianship and the many exciting solos make this into a very enjoyable performance that all fans of swinging big bands will want. Among the many top soloists are trumpeters Conte Candoli, Carl Saunders, Bob Summers and Bill Berry, trombonists Andy Martin and Thurman Green, pianist Gerry Wiggins and the tenors of Pete Christlieb and Rickey Woodard. In fact, on "88 Basie Street," all 18 musicians in the orchestra get four-bars apiece. Other highlights include "The Heat's On," "Wind Machine," "Ya Gotta Try" and "Freckle Face."~ Scott Yanow http://www.allmusic.com/album/play-it-again-sam-mw0000096900

Personnel: Frank Capp (drums); Barry Zweig, John Pisano (guitar); Jackie Kelso, Steve Wilkerson (alto saxophone); Pete Christlieb, Rickey Woodard (tenor saxophone); Bob Efford (baritone saxophone); Conte Candoli, Bill Berry , Frank Szabo, Bob Summers, Carl Saunders (trumpet); George Bohannon, Dana Hughes, Alan Kaplan, Andy Martin , Thurman Green, Wendell Kelly (trombone); Gerry Wiggins (piano).

Play It Again Sam

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The H2 Big Band - It Could Happen

Styles: Jazz, Vocal, Big Band
Year: 2015
File: MP3@320K/s
Time: 67:39
Size: 161,9 MB
Art: Front

(6:59)  1. Hocus Pocus
(6:55)  2. Black Lace Freudian Slip
(6:41)  3. C.P. You
(5:34)  4. The Look of Love
(6:30)  5. It Could Happen To You
(7:45)  6. The Healing Hymn
(5:19)  7. I Like You
(5:45)  8. Lynda B
(5:15)  9. B in C
(5:22) 10. Autobiography
(5:31) 11. You Go To My Head

As Shakespeare wrote, "That which we call a rose by any other name would smell as sweet." Who would dare argue with that? The point is that It Could Happen,the second recording by the H2 Big Band, is performed by a world-class ensemble. It's just not the H2 Big Band, which essentially remained home in Colorado save for its co-leaders, trumpeter Al Hood and pianist Dave Hanson. This is in fact a group of Los Angeles-based studio musicians and their kin masquerading as the H2 Big Band, and, make no mistake, doing a spot-on impersonation (in other words, smelling like a rose). And technically, as Hood and Hanson are present and accounted for, it is the H2 ensemble, or at least a close cousin thereof. As Shakespeare wrote . . .  To be fair (and accurate), one other member of the "regular" H2 Big Band is in the lineup: alto saxophonist Rich Chiaraluce who does his best to keep pace with trumpeter par excellence Carl Saunders on the memorable Johnny Burke / Jimmy van Heusen standard "It Could Happen to You," from which the album derives its name. Hanson wrote all the charts, and they are as bright and engaging as any big-band arrangements you're likely to encounter. He also composed three of the album's conclusive instrumental highlights "C.P. You," "Lynda B" and "B in C." The full band performs on eight tracks, smaller groups on the other three. A string section is added on "The Look of Love" and "Autobiography."

Even with so many thoroughbreds in the stable, the leaders apparently felt the band needed some extra horsepower (not true), so the well-known vocalist Rene Marie was enlisted to lend her talents to four numbers: Burt Bacharach / Hal David's "The Look of Love" and three of her own compositions, "Black Lace Freudian Slip," "I Like You" and "Autobiography." She's fine, in an unpretentious sort of way; enunciates clearly, respects a lyric and sings on-key. Rene Marie fares best on the fast-paced "I Like You," perhaps because it's the most charming of the four tunes on which she appears (enriched by Hanson's sharp arrangement). The "C.P." in Hanson's "C.P. You" is Cole Porter, the song his variation on Porter's standard "All of You." "Lynda B" is Hanson's salute to comic artist Lynda Barry, the bluesy "B in C" a tune originally written in the key of B but, Hanson notes, "a lot easier to play in C." The closing number is yet another high spot: Hanson's superb arrangement of the standard "You Go to My Head," with solo to match by alto Gary Foster.  Hanson, bassist Chuck Berghofer and drummer Joe LaBarbera comprise an unflagging rhythm section, and there are inspired solos along the way by Hood (featured on Jeff Jenkins' "Healing Hymn"), trombonists Andy Martin and Bob McChesney, tenors Rob Lockart and Brandon Fields, trumpeter Ron Stout and guitarist Larry Koonse. Even without their "regular" band, co-leaders Hanson and Hood have produced another unequivocal winner. Could they do any less? It Could Happen, but don't bet on it. ~ Jack Bowers https://www.allaboutjazz.com/it-could-happen-al-hood-dave-hanson-origin-records-review-by-jack-bowers.php
 

Personnel: Jeff Tower: conductor;  Al Hood: co-leader, trumpet, flugelhorn;  Dave Hanson: co-leader, piano, synthesizer;  Wayne Bergeron: trumpet;  Carl Saunders: trumpet; Ron Stout: trumpet;  Gary Foster: alto sax, flute, clarinet; Rich Chiaraluce: alto sax, flute;  Rob Lockart: tenor sax, flute;  Brandon Fields: tenor sax, flute;  Adam Schroeder: baritone sax, bass clarinet;  Bob Sheppard: saxophones (1);  Andy Martin: trombone;  Bob McChesney: trombone;  Alex Iles: trombone;  Bill Reichenbach: bass trombone;  Larry Koonse: guitar (3, 4, 9, 10);  Chuck Berghofer: bass; Joe LaBarbera: drums; Luis Conte: percussion (4). Strings (tracks 4, 10) – Robert Peterson: violin; Jerry Hilera: violin; Ed Persi: viola; John Acosta: cello. Special Guest – Rene Marie: vocals (2, 4, 7, 10).

It Could Happen

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Phil Woods, Carl Saunders - Play Henry Mancini

Styles: Saxophone And Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 74:57
Size: 172,3 MB
Art: Front

(7:15)  1. The Pink Panther
(6:21)  2. Lightly
(4:39)  3. Walkin' Bass
(6:46)  4. Soldier In The Rain
(6:20)  5. Free And Easy
(4:47)  6. Fallout!
(5:36)  7. Goofin' At The Coffee House
(6:38)  8. Dreamsville
(5:39)  9. Mr. Lucky
(5:19) 10. Sorta Blue
(5:56) 11. A Quiet Gass
(9:35) 12. Two For The Road

Yes, it's "The Pink Panther," "Mr. Lucky" and "Two for the Road," but if anyone can take the late film/television composer Henry Mancini's quasi-jazz and make it swing like a willow in a windstorm, it's two old (well, oldish ) masters like alto saxophonist Phil Woods and trumpeter Carl Saunders. And swing they do, as does the unsung but abundantly talented Denver-based rhythm section of pianist Jeff Jenkins, bassist Ken Walker and drummer Paul Romaine. It's readily apparent that the quintet is having a marvelous time digging into Mancini's themes, seven of which are from the television series Peter Gunn (but not the well-known title song). Besides the roguish "Panther," the others include the principal motifs from the films "Two for the Road" and 'soldier in the Rain." Although Mancini wrote with the masses in mind, he had a fondness for jazz that was often reflected in his music, some of the clearest evidence of which can be heard on "Walkin" Bass," "Fallout!," 'sorta Blue," "A Quiet Gass" and the loose-limbed, ultra-hip "Goofin' at the Coffee House." As Woods says in the liner notes, "[Mancini's] writing is in the tradition of Gershwin, Porter and Arlen hardly a shabby group with whom to be associated.

Mancini wrote beautiful music too (check out "Dreamsville," one of the album's many highlights, which includes gossamer solos by Saunders, on flugel, and Woods, or the lyrical and pensive "Two for the Road"). The theme from "Mr. Lucky" is invigorated by changing the tempo from leisurely to double-time and implanting explosive statements by the dynamic duo. "Gass," on the other hand, is, like "Goofin'," an unassuming swinger that seems to have been written with Jazz in mind, and Saunders and Woods take to it like the proverbial ducks to water. Whether you're a Mancini fan or never cared much for his music, you may be swiftly ensnared, as I was, by the unflagging artistry of Messrs. Woods and Saunders, who place their imposing and indelible stamp on a dozen of his charming compositions. This is the third album I've heard from Graham Carter's fairly new label, Jazzed Media, and every one has been a winner. ~ Jack Bowers http://www.allaboutjazz.com/play-henry-mancini-phil-woods-jazzed-media-review-by-jack-bowers.php

Personnel: Phil Woods, alto saxophone; Carl Saunders, trumpet, flugelhorn; Jeff Jenkins, piano; Ken Walker, bass; Paul Romaine, drums.

Play Henry Mancini

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Carl Saunders - Out Of The Blue

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 68:34
Size: 157,4 MB
Art: Front

(7:19)  1. Stella By Starlight
(5:48)  2. We'll Be Together Again
(5:03)  3. Prudence
(7:33)  4. Personas Gratus
(5:54)  5. Sad Happiness
(7:19)  6. I Should Care
(7:40)  7. Love for Sale
(9:18)  8. Haunted Heart
(5:51)  9. Minute Waltz
(6:42) 10. This Is the Blues

This CD could have been titled "It's About Time!" It is hard to believe that trumpeter Carl Saunders, a fixture in Los Angeles since he moved from Las Vegas in 1984, had never before led his own record date. A superb bop-based improviser whether featured in big bands, with the Dave Pell Octet, or in smaller combos, Saunders has long been in demand for jazz sessions. For this release, he is showcased in a quartet with pianist Roger Kellaway, bassist Buster Williams, and drummer Santo Savino; two numbers add the tenor of Jerry Pinter and trombonist Andy Martin. Saunders gets the opportunity to stretch out on four standards, five originals (either by him or Scott Tibbs), and best of all an unusual and exciting version of Chopin's Minute Waltz. Varying romps with ballads and showing off not only his creative ideas but his warm tone, Carl Saunders' maiden effort as a leader is quite impressive and highly recommended. ~ Scott Yanow http://www.allmusic.com/album/out-of-the-blue-mw0000613860

Personnel : Carl Saunders (trumpet, flugelhorn); Jerry Pinter (tenor saxophone); Andy Martin (trombone); Roger Kellaway (piano); Buster Williams (bass); Santo Savino (drums).

Out Of The Blue

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Carl Saunders - Eclecticism

Styles: Trumpet Jazz, Big Band
Year: 2000
File: MP3@320K/s
Time: 70:20
Size: 161,6 MB
Art: Front

(5:14)  1. Fascinating Rhythm
(7:22)  2. Reaching For You
(4:47)  3. Valtz Opus 64 #2
(9:07)  4. First Gift
(5:18)  5. The Surrey With The Fringe On Top
(5:21)  6. Last Night When We Were Young
(5:32)  7. The Price Of Admission
(5:26)  8. Pentiction
(7:15)  9. Night Reverie
(7:42) 10. Old Folks
(7:11) 11. Blues For The Common Man

There is one unequivocal reason to acquire this album, and it can be summarized in two words: Carl Saunders. If you’ve not yet heard this unsung master of the trumpet / flugelhorn, it’s time you did. And if you’ve already been introduced I needn’t say more, as no doubt the decision has already been made to lay your hands on a copy of his second album, Eclecticism. While I can’t honestly say that I was inflamed by the decision to pair Saunders with a string orchestra, his consummate artistry overshadows every digression including several out of the ordinary choices of material. 

What emerges is a near facsimile of “Carl Saunders meets the Metropole Orchestra,” although Carl didn’t have to travel to the Netherlands to record it. Some listeners may find the strings and French horns delightful; I’d prefer less strings, more Saunders. As is the fashion these days, Carl overdubs his trumpet on most tracks to become a one man “trumpet section,” a device that works quite well in spite of the recording’s often intemperate reverb. The rhythm section, even though submerged at times beneath the weight of the strings, is top drawer, and here we must append an asterisk to the “one unequivocal reason” for procuring the album, as there is an ancillary reason pianist Billy Childs, whose tasteful interludes always leave one nodding his (or her) head in earnest appreciation. Saunders and Childs comprise an harmonious team, each one as staunchly resourceful as he is technically precise. Saunders plays muted trumpet on Jackson Stock’s “Pentiction,” flugel on the standard “Old Folks” (arranged by Joe Lano). He wrote “Reaching for You,” “Blues for the Common Man” and adapted Frédéric Chopin’s “Valse Opus 64, #2” for trumpet, strings and rhythm. 

The date’s better known arrangers include Bob Florence (“Fascinatin’ Rhythm”), Bill Holman (“Surrey with the Fringe on Top”) and Clare Fischer (“Last Night When We Were Young’). Other original compositions are by Scott Tibbs (“The Price of Admission,” “Night Reverie”) and Larry Dominello (“First Gift”) who also arranged “Reaching for You.” As far as unalloyed Jazz is concerned, Saunders and Childs have some of their best moments on the curtain–raiser (“Fascinatin’ Rhythm”) and finale (“Blues for the Common Man”). Elsewhere, the strings tend to impede any decisive movement in that direction. Eclecticism, of course, means choosing the most suitable components from a number of sources or styles, and as a showcase for Saunders’ trumpet–playing acumen, this wide ranging album achieves its goal. On the other hand, one can’t help thinking that Saunders could have unloaded the strings, saved himself a substantial piece of change, and made an even better one with Childs, bassist Magnusson and drummer Savino. Maybe next time . . . ~ Jack Bowers  http://www.allaboutjazz.com/eclecticism-carl-saunders-snl-records-review-by-jack-bowers.php

Personnel: Carl Saunders, trumpet, flugelhorn; Richard Todd, David Duke, Beth Lano, French horn; Assa Dori (concertmaster), Murray Adler, Patricia Aiken, Armen Anassian, Becky Bunnell, Isabelle Daskoff, Armen Garabedian, Marilyn Harding, Tiffany Hu, Joe Ketendjian, Irma Neumann, Don Palmer, Anatoly Rosinsky, Rob Sanov, Olivia Tsui, Elizabeth Wilson, violin; Lynn Grants, Andrew Picken, Kazi Pitelka, Karie Prescott, viola; Maurice Grants, Armen Kasjikian, Richard Treat, Cecilia Tsan, cello; Billy Childs, piano; Bob Magnusson, bass; Dave Stone, arco bass; Santo Savino, drums; Don Williams, percussion.

Eclecticism

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Shirley Horn - You're My Thrill

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 46:21
Size: 123,3 MB
Art: Front

(4:47)  1. You're My Thrill
(2:37)  2. The Best Is Yet To Come
(5:06)  3. Solitary Moon
(2:59)  4. Sharing The Night With The Blues
(4:48)  5. I Got Lost In His Arms
(3:38)  6. The Rules Of The Road
(4:39)  7. My Heart Stood Still
(1:59)  8. You'd Better Love Me
(5:14)  9. The Very Thought Of You
(2:46) 10. Why Don't You Do Right
(7:44) 11. All Night Long

With the swanky midnight mood of their previous collaboration Here's to Life in mind, Shirley Horn and arranger Johnny Mandel go at it again a move that is sure to send her legions of latter-day fans into blissful orbit. This time, though, the six sophisticated string-laden ballads are interspersed with five relatively short, swinging numbers with just Horn, her trio, and various instrumental guests. As a result, you get a better balanced album, not weighted too much in one direction or another. Mandel's orchestrations are paragons of subtlety, sometimes creeping almost imperceptibly like a slow moving fog upon Horn's trio. Like his singer, Mandel respects the value of silence and space; they're a well matched pair, their different ideas of timing dovetail together neatly. Though some of us would have wanted Horn and her jazzmen to stretch out more on the small group tracks, they do serve effectively as breathers, or intermezzos, in between the languorous collaborations with Mandel. 

In lieu of the participation of Wynton Marsalis (who contributed to Here's to Life), Carl Saunders offers some soulful trumpet obbligato work on "Solitary Moon." Guitarist Russell Malone and bassist Brian Bromberg also appear on the small group tracks Malone even does a soft focused rockabilly thing on "Why Don't You Do Right?" while bassist Charles Ables and drummer Steve Williams stoke the rhythm in Horn's trio. Another worthy stylish outing for Horn. ~ Richard S.Ginell  http://www.allmusic.com/album/youre-my-thrill-mw0000000163

Personnel: Shirley Horn (vocals, piano); Russell Malone, Dorival Caymmi (guitar); Carl Saunders (trumpet); Alan Broadbent (piano); Steve Williams (drums, percussion); Steven Schaeffer (drums).

You're My Thrill

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The Carl Saunders Exploration - The Lost Bill Holman Charts

Bitrate: MP3@320K/s

Time: 53:44

Size: 123.0 MB

Styles: Straight ahead jazz, Big band

Year: 2007

Art: Front

[3:27] 1. Three Little Words

[5:51] 2. Ow

[4:01] 3. Mahogany Run

[5:41] 4. Primrose

[5:17] 5. Dearly Beloved

[7:04] 6. The Hook

[4:05] 7. We'll Be Together Again

[4:37] 8. All Too Soon

[4:07] 9. Doctor Deep

[3:43] 10. Hannibal

[5:45] 11. Scratch

The Bill Holman charts unearthed here by the Carl Saunders Exploration weren't so much "lost as overlooked hidden away for some two decades in a closet at the home of geologist/saxophonist Ted Richardson in Houston, Texas. On the other hand, as none of them had ever been recorded, they may accurately be described as "found.

The charts were written for Richardson's septet, which was disbanded in the mid-1980s before plans to record them could be carried out. Richardson took them home, where they stayed until he mentioned their existence to trumpeter Saunders, a member of Holman's big band since 1984. Saunders and Richardson soon agreed that the time had come to make them more widely known and set about ensuring that it was done. Looking for musicians who could apprehend Holman's music and make it sparkle, Saunders turned to the Holman band to enlist trombonist Andy Martin, baritone Bob Efford, pianist Christian Jacob and bassist Kevin Axt, added world-class tenor Pete Christlieb, versatile drummer Santo Savino from Las Vegas, and guest soloist Sam Most on flute and baritone.

What they have produced is a generous slice of contemporary small-group jazz that is so fresh, so invigorating, and swings so hard that it all but defies description. And to think we almost never heard these charts! Thank you, Carl; thank you, Ted; thank you, everyone else who took part in this stylish and thoroughly rewarding endeavor. Most of all, thank you, Bill Holman, for reaffirming your status as one of the preeminent composer/arrangers in the jazz idiom.

After neatly renovating the standard "Three Little Words, Holman places his purposeful stamp on Dizzy Gillespie's "Ow, Duke Ellington's "All Too Soon, the standards "Dearly Beloved and "We'll Be Together Again, Saunders' "The Hook (written especially for the occasion) and five of his inspired compositions. Each one is a textbook example of how such arrangements should be realized. As for the musicians, they are beyond reproach. Saunders solos brilliantly—no surprise there—as do Martin, Christlieb, Jacob, Most and Axt. Christlieb wails tenaciously on his feature, "Dearly Beloved, while Martin does the same on "We'll Be Together Again. In every instance, the front-liners are unerringly supported by the group's superlative rhythm section—Jacob, Axt and Savino.

A word of advice to big-band enthusiasts (and everyone else)—if there is one small-group recording to install on your radar screen this year, this is the one. If there were any justice (there isn't), The Lost Bill Holman Charts would earn every award to be had (including a Grammy) without breaking a sweat. ~Jack Bowers

Carl Saunders: trumpet, flugelhorn; Pete Christlieb: tenor sax; Bob Efford: baritone sax; Andy Martin: trombone; Christian Jacob: piano; Kevin Axt: bass; Santo Savino: drums. Guest soloist: Sam Most: flute, baritone sax.

The Lost Bill Holman Charts

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Bill Watrous, Pete Christlieb, Carl Saunders, The Gary Urwin Jazz Orchestra - A Beautiful Friendship

Size: 140,9 MB
Time: 60:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Big Band
Art: Front

01. A Beautiful Friendship (5:13)
02. Waltz For Debby (5:46)
03. Emmanuel (4:57)
04. Autumn Sojourn (5:39)
05. Guess I'll Hang My Tears Out To Dry (5:23)
06. It Could Happen To You (5:07)
07. The Gentle Rain (5:53)
08. Shaw 'nuff (6:42)
09. Look To The Sky (5:57)
10. Dear Mr. Florence (5:10)
11. Joy Spring (4:50)

"Combine the creative, swinging arragements of Gary Urwin, and his first-class Los Angeles big band with three superb soloist, and the result is "A Beautiful Friendship", a rwal gem. Trombonist Bill Watrous, tenor saxophonist Pete Christlieb, and trumpeter Carl Sanders are three of the greatest bop.based soloist in the world. Add to the set trumpeters Wayne Bergeron and Bobby Shew plus pianist Christian Jacob, and one has a CD that all straight-ahead jazz fans simply need to have" - Scott Yanow

A Beautiful Friendship

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