Time: 32:23
Size: 74.2 MB
Styles: Latin jazz
Year: 2014
Art: Front
[6:38] 1. Manteca
[4:55] 2. The Girl From Ipanema
[4:34] 3. Makin' Whoopee
[3:31] 4. What A Difference A Day Makes
[3:05] 5. What Kind Of Fool Am I
[6:27] 6. Lover Man
[3:10] 7. Miami Latin Beat
Bass: Wyatt Ruther; Conga Drums: Isauro Hernández; Drums : Rufus Jones; Piano: Noahwell Cruz; Sax & Flute: Bobby Platter; Singer: Ricardo Reyes; Trombone: Al Grey; Trumpet: Wallace Davenport.
Al Gray served in some of the most renowned jazz formations of the 40s and 50s, from Bennie Carter, Jimmie Lunceford, and Lionel Hampton to the energetic orchestras of Dizzy Gillespie or Count Basie. Al Gray also led some adventures, along with saxophonists Bruce Mitchell and Jimmy Forrest, and in recent years appeared alongside venerable musicians such as Buddy Tate or endorsing his son Mike, trombonist like him.
The laughing Al Gray was fundamental to the gestation of the bebop in the 40, endowing the rigid trombone with the energy and vividness that had imposed Charlie Parker with his style. Al Gray is undoubtedly one of the best trombonists of the "middle ages" of jazz, both because of the strong vibrations that bring his instrument, and because of the wealth of musical ideas, always very concentrated in the essential, exempt phrasing Of rhetoric. In fact, Al Gray made his debut with the Benny Carter Orchestra in 1945, and this circumstance allowed him to demonstrate from the beginning his qualities as a soloist, thanks to Carter who granted much space to the musicians of his band. This made certain natural qualities in Gray were refined, which together with his strong attack and an innate rhythmic sensitivity in the field of "swing" made him a very interesting musician. With Carter he used the excellent arrangements of this one. (Translated from Spanish.)
Al Gray served in some of the most renowned jazz formations of the 40s and 50s, from Bennie Carter, Jimmie Lunceford, and Lionel Hampton to the energetic orchestras of Dizzy Gillespie or Count Basie. Al Gray also led some adventures, along with saxophonists Bruce Mitchell and Jimmy Forrest, and in recent years appeared alongside venerable musicians such as Buddy Tate or endorsing his son Mike, trombonist like him.
The laughing Al Gray was fundamental to the gestation of the bebop in the 40, endowing the rigid trombone with the energy and vividness that had imposed Charlie Parker with his style. Al Gray is undoubtedly one of the best trombonists of the "middle ages" of jazz, both because of the strong vibrations that bring his instrument, and because of the wealth of musical ideas, always very concentrated in the essential, exempt phrasing Of rhetoric. In fact, Al Gray made his debut with the Benny Carter Orchestra in 1945, and this circumstance allowed him to demonstrate from the beginning his qualities as a soloist, thanks to Carter who granted much space to the musicians of his band. This made certain natural qualities in Gray were refined, which together with his strong attack and an innate rhythmic sensitivity in the field of "swing" made him a very interesting musician. With Carter he used the excellent arrangements of this one. (Translated from Spanish.)
Jam Session Goes Latin