Gary Smulyan - High Noon - The Jazz Soul Of Frankie Laine

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 70:50
Size: 165,1 MB
Art: Front

(6:17)  1. I'd Give My Life
(8:32)  2. High Noon
(7:21)  3. Torchin'
(6:51)  4. It Only Happens Once
(7:54)  5. Baby, Baby All The Time
(8:21)  6. When You're In Love
(6:28)  7. Put Yourself IN My Place, Baby
(6:38)  8. A Man Ain't Supposed To Cry
(6:31)  9. That Lucky Old Son
(5:52) 10. We'll Be Together Again

This tribute album by baritone saxophonist Gary Smulyan features his bebop-based nonet pulling inspiration from a 1956 album by pop singer Frankie Laine (1913-2007) and trumpeter Buck Clayton. As Laine's foray into jazz's '50s mainstream, Jazz Spectacular (Columbia) represented a piece of the singer's repertoire not as well-known as his pop music. It allowed him to interact with instrumentalists of the era who represented jazz authority and had little to do with themes such as "High Noon," "Mule Train," "Cool Water," "Rawhide," "Gunfight at the O.K. Corral" and the more recent "Blazing Saddles" and "3:10 to Yuma." Laine did not sing on the soundtrack for High Noon, but did record it as another of his Western-based hits.

On Smulyan's album, "High Noon" is hardly recognizable. While the ten songs come from a broad spectrum of Laine's career, each has been rearranged by Mark Masters to fit a nonet akin to that found on Miles Davis' The Birth of the Cool (Capitol, 1949), with similar instrumentation, a pervading blues quality and soulful soloing. Here, "High Noon"'s theme dances in and out of dense harmony and "gunfight" choruses traded between French horn and trombone, and alto sax and trumpet. On bass clarinet, Scott Robinson's lengthy intro clears the main street of town while Smulyan closes the piece with one big booming chorus after another. Laine wrote the lyrics for "A Man Ain't Supposed to Cry," "Torchin'" and "We'll Be Together Again," all which come with heavy blues overtones. Smulyan's horn sings like the original, his nonet providing plenty of jazz atmosphere, affixing a balance to the eclectic quality of Laine's emotional Italian-American crooning melded with whiplash cowboy stories. ~ Jim Santella  http://www.allaboutjazz.com/high-noon-the-jazz-soul-of-frankie-laine-gary-smulyan-reservoir-music-review-by-jim-santella.php
 

Personnel: Gary Smulyan: baritone saxophone; Mark Masters: arranger; Joe Magnarelli: trumpet; John Clark: French horn; Dick Oatts: alto saxophone; Scott Robinson: tenor saxophone, soprano saxophone, bass clarinet; John Fedchock: trombone; Pete Malinverni: piano; Andy McKee: bass; Steve Johns: drums.

High Noon: The Jazz Soul Of Frankie Laine

---

Linda Eder - By Myself: The Songs of Judy Garland

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 44:36
Size: 102,7 MB
Art: Front

(4:06)  1. By Myself
(3:33)  2. Almost Like Being In Love
(4:06)  3. Me And My Shadow
(2:58)  4. I'D Like To Hate Myself In The Morning
(4:35)  5. It Never Was You
(3:00)  6. Zing! Went The Strings Of My Heart
(5:22)  7. The Boy Next Door
(4:52)  8. The Rainbow's End
(4:33)  9. Do It Again
(2:53) 10. Rock-A-Bye Your Baby With A Dixie Melody
(4:33) 11. I'm Always Chasing Rainbows

If imitation is the best form of flattery then the legendary Judy Garland has a lot to smile about from wherever she is watching. Broadway's Linda Eder has been wowing crowds since her big break in 1990 with The Broadway production of Jekyll & Hyde which showcased what is now being called "The Voice". Having broken all the records in 1988's Star Search, this Brainerd, Minn. born gal is not intimated by a musical challenge. While Ms. Eder did have the luxury of having a Broadway composer, Frank Wildhorn, write beautiful tunes for his now ex-wife, Eder has proven through the years that she is a vocal force to be recognized as one of the great solo voices regardless of whose music she sings. Eder's aim in this new venture was not to "mimic the Garland style, which she adores, but rather to capture the strengths, the frailties, the heartfelt meaning of Judy's voice". She does so respectfully, graciously and wonderfully! With amazing power and the sweetest clarity Eder delivers 11 of Judy Garland's glorious songs via her new CD, some well known and others obviously beloved to both Eder and perhaps Garland. "It was all through osmosis," notes Linda. "I closely studied many of Judy's films and recordings. Judy's highs and lows were extreme and by following her so closely one felt as if you knew her. She was my first big musical influence and I consider it an honor to pay tribute to her".

The CD kicks off dramatically with the title song "By Myself". "I have been though a lot in the last few years, which has added layers to my life," admits Linda. This no doubt fuels the great emotion one can see and hear in her voice as she pierces her audiences heart with certain songs. Bringing the best of the best onboard to record with the London Symphony Orchestra on most tracks Eder painstakingly chose every song, every note over several months to create what she has called " classic Judy and also classic Linda in a swingin' dialog between singer and orchestra". It's an established fact that Linda Eder is one heck of a belter. Still, I feel this doesn't need to be proven as often as she does on this CD. I found myself turning the volume down more than a few times.  I also notice a pronounced vibrato that often underscores her voice that was not entirely to my liking. However, from Lerner & Lowe's "Almost Like Being In Love" to a most impressive version of "Rock-A-Bye Your Baby with a Dixie Melody," Eder has found the depth of Garland's persona and made it her own. Not every song and CD track fully accomplished this formidable task. "Me and My Shadow" seems to have an unusual mix of song and orchestra that creates an uneven tempo to an otherwise beautifully executed song. Also in the medley of "Stormy Weather" and "Man That Got Away" again the orchestration seems to drag more than I care for. One additional song not sung by Judy or written for her was included by songwriter Jack Murphy who has a long collaboration with Linda's musical career. "The Rainbows End" attempts to become the torch song of the 40's capturing the meaning of Garland's life as a singer and a singer's world in general. It simply doesn't fulfill its mission.

 Linda offers an incredibly seductive "Do It Again" which is wonderfully arranged. "It's All for You" is a song not chosen to be included in this CD collection and absolutely should be as it is lyrically simple and charming. "The Trolley Song" is a fun song and playfully well done. During the 'By Myself Concert' Linda includes two of her most popular songs "Vienna" written by Frank Wildhorn and the always rousing "Don't Rain On My Parade", which usually brings down the first act with a roar. Few people sing this as well as Barbra and Linda. My personal favorite medley was a combination of a brief intro of "Chasing Rainbows and a prayer-like "Over The Rainbow" with a gentle piano arrangement that stills the crowds and warms the heart. One can see, hear and feel the joy, the fun and the passion that has gone into this Garland project as it's obviously a labor of love for Linda Eder who has done an admirable job in re-creating a legend's legacy while making it her own very beautifully. https://www.broadwayworld.com/article/Linda-Eder-By-Myself-The-Songs-of-Judy-Garland-20051012

Personnel: Linda Eder (vocals); Carmine Lauri (violin); Aaron Heick, Dave Mann , David Andrew Mann, Aaron Heicke (alto saxophone); David Richenberg (baritone saxophone); Tony Kadleck, Bob Millikan (trumpet); George Flynn (bass trombone); David Finck (bass instrument); Mark McLean (drums); Lawrence Feldman (tenor saxophone); Jeremy Pelt, Randy Brecker, Barry Danielian, Glenn Drewes, Donald Downs (trumpet); Dan Levine , John Fedchock (trombone); Lee Musiker, Jeremy Roberts (piano); Clint DeGanon (drums)

By Myself: The Songs of Judy Garland

---

John Fedchock - Hit The Bricks

Styles: Trombone Jazz
Year: 2000
File: MP3@256K/s
Time: 62:18
Size: 114,6 MB
Art: Front

(5:59)  1. This Just In
(9:14)  2. Moon Alley
(6:24)  3. Steps En Trois (Giant Steps)
(8:48)  4. Twilight
(5:43)  5. Hit The Bricks
(6:10)  6. Cool Customer
(5:33)  7. I'm Thru With Love
(7:33)  8. Empty Promises
(6:51)  9. Brazilian Fantasy

His two big band albums are terrific. Now trombonist John Fedchock leads a quartet on a session that incorporates ballads with up-tempo romps and fresh originals with existing compositions. Three tracks add trumpet and tenor saxophone for a larger sound. The title track comes from Fedchock's vast experience, placing a big band chart in the hands of a sextet. Driving with a hard-nosed direction, the sextet covers the territory well. Kenny Barron's "Twilight" stands out as another high point of the album, with Fedchock's buttery trombone tone pushing a deliberate tempo. In 3/4 time, "Giant Steps" runs amok like a busy, intellectually occupied parody of "My Favorite Things." "Brazilian Fantasy" lays it out gently like a walk on the beach, while Fedchock's "Cool Customer," another session high point, lets loose with a Count Basie big band swing. Never one to pull any punches, John Fedchock has made a subtle change in direction while keeping the central focus of his music at its trombone-lover's best. ~ Jim Santella https://www.allaboutjazz.com/hit-the-bricks-john-fedchock-reservoir-music-review-by-jim-santella__1907.php

Personnel: John Fedchock- trombone, Scott Wendholt- trumpet (tracks 2,5, & 8 only), Chris Potter- tenor & soprano saxophones (tracks 2, 5, 8, & 9 only), Allen Farnham- piano, Rufus Reid- bass, Dave Ratajczak- drums, Adrian D Souza- percussion (track 9 only)

Hit The Bricks

---

John Fedchock New York Big Band - No Nonsense

Styles: Trombone Jazz
Year: 2002
File: MP3@256K/s
Time: 71:04
Size: 130,5 MB
Art: Front

( 7:34)  1. No Nonsense
( 7:23)  2. Big Bruiser
( 4:42)  3. Eclipse
( 7:25)  4. Caribbean Fire Dance
( 6:01)  5. Tricotism
( 7:28)  6. Brazilian Fantasy
( 6:49)  7. Eleven Nights
( 8:26)  8. Epistrophy
( 5:03)  9. Come Sunday
(10:08) 10. Blue After Two

By the time this review has been written and (I hope!) read, trombonist John Fedchock will be on the final leg of a seven-month-long world tour that has included stops in Sweden, Norway, South Africa and a number of cities here in the US. Before leaving, Fedchock and his star-laden New York Big Band gathered at Avatar Studios in the Big Apple to record their third album for Reservoir Records, and it's a corker from end to end. Fedchock, as good a writer as he is a player (trust me: that's plenty good), composed half of the ten selections on the suitably named No Nonsense and arranged everything else Freddie Hubbard's 'Eclipse,' Joe Henderson's 'Caribbean Fire Dance,' Oscar Pettiford's 'Tricotism,' Monk's 'Epistrophy,' Ellington's 'Come Sunday.' Fedchock keeps the listener engaged by introducing a wide variety of moods, styles and tempos, each clothed in a contemporary big-band wardrobe designed to bring out the best in the ensemble and its phalanx of world-class soloists. 'As a bandleader,' Fedchock says, 'it's a great luxury to have players of this caliber in my group.' That it is. The ensemble responds to every challenge with equal parts passion and poise, keeping the ship on an even keel while the rock-ribbed rhythm section, anchored by drummer Dave Ratajczak and including bassist Lynn Seaton and pianist Allen Farnham, takes care of business in the engine room. 

Everyone is tested immediately on the stormy 'No Nonsense' (solos by Farnham, tenor Rick Margitza, flugel Scott Wendholt and the leader). Fedchock also shows his mastery of the Basie-style shuffle ('Big Bruiser'), samba ('Brazilian Fantasy'), bossa ('Eleven Nights') and big-band blues ('Blue After Two'). There are two ballads, with Fedchock's lyrical trombone showcased on the graceful 'Eclipse,' Scott Robinson's muscular baritone on the soulful 'Come Sunday.' As all of the soloists are excellent one hesitates to single any of them out, but Seaton is notably impressive on 'Tricotism' and (uncredited) 'Blues for Two,' as are tenor Rich Perry on 'Big Bruiser,' Wendholt and alto Charles Pillow on 'Brazilian Fantasy'while Mark Vinci shines on alto flute ('Eleven Nights') and alto sax ('Blues for Two'). Others heard to good advantage are Margitza, Ratajczak and trumpeter Barry Ries (muted and open on the flashy 'Caribbean Fire Dance'), Ries again, this time on flugel ('Eleven Nights'), Pillow (soprano), Wendholt (flugel) and Perry ('Epistrophy'). Fedchock appears on every number except 'Brazilian Fantasy,' 'Epistrophy' and 'Come Sunday,' and each of his solos is a model of assertive craftsmanship and level-headed eloquence. No kidding, No Nonsense is assuredly the NYBB's finest album to date, remarkable in almost every respect, enhanced by topnotch recorded sound and a 71:09 playing time that speaks for itself. This is a review, not a critique, as there's really nothing here to criticize. ~ Jack Bowers https://www.allaboutjazz.com/no-nonsense-john-fedchock-reservoir-music-review-by-jack-bowers.php 
 

Personnel: John Fedchock, leader, arranger, trombone; Mark Vinci, alto, soprano sax, flute, alto flute; Charles Pillow, alto, soprano sax, clarinet; Rich Perry, tenor sax, flute; Rick Margitza, tenor sax; Scott Robinson, baritone sax; Tony Kadleck, Craig Johnson, Scott Wendholt, Barry Ries, trumpet, flugelhorn; Keith O Quinn, Clark Gayton, trombone; George Flynn, bass trombone; Allen Farnham, piano; Lynn Seaton, bass; Dave Ratajczak, drums; Bobby Sanabria (4), percussion.

No Nonsense

---

John Fedchock - New York Big Band

Styles: Trombone Jazz
Year: 1995
File: MP3@320K/s
Time: 74:51
Size: 174,3 MB
Art: Front

( 7:53)  1. Limehouse Blues
( 7:23)  2. The Grove City Groover
( 5:55)  3. La Parguera
( 4:29)  4. Ruby, My Dear
( 8:58)  5. Blues Du Jour
(11:46)  6. Caravan
( 4:34)  7. Nefertiti
( 5:55)  8. Louie's Cheese Party
( 7:57)  9. Nightshades
( 4:32) 10. My Foolish Heart
( 5:24) 11. Flintstoned

John Fedchock is best-known as a former trombonist and occasional arranger with Woody Herman's orchestra, but the release of this "Reservoir" set should also give him a reputation as an important big-band leader in his own right. Fedchock, who provided arrangements for all 11 selections (six jazz standards and five of his originals), gathered together quite an interesting variety of jazzmen for this date. Included among the personnel are many players who have led sessions of their own, including altoist Jon Gordon, Rick Margitza and Rich Perry on tenors, baritonist Scott Robinson, trumpeter Tim Hagans, and (on three numbers) percussionist Jerry Gonzalez. Fedchock's arrangements give his big band a unified group sound and leave plenty of room for the soloists. Among the highlights are a race through "Limehouse Blues" (which has a torrid tenor-baritone tradeoff by Perry and Robinson), a thoughtful feature for Tim Hagans on "Nefertiti," the heated tenor of Rick Margitza on "Caravan," altoist Mark Vinci's showcase on "My Foolish Heart," and the leader's many colorful trombone solos. This straight-ahead set (which also includes Fedchock's "Blues Du Jour," the calypso feel of "Louie's Cheese Party," and a slightly demented romp on the "Flintstones Theme" that is retitled "Flintstoned") is consistently swinging, enjoyable, and easily recommended. ~ Scott Yanow http://www.allmusic.com/album/new-york-big-band-mw0000183131

Personnel: John Fedchock (trombone); Jon Gordon (soprano saxophone, alto saxophone); Mark Vinci (alto saxophone); Rich Perry, Rick Margitza (tenor saxophone); Scott Robinson (baritone saxophone); Greg Gisbert, Tim Hagans, Barry Ries, Tony Kadleck (trumpet, flugelhorn); George Flynn , Keith O'Quinn, Clark Gayton (trombone); Joel Weiskopf (piano); Dave Ratajczak (drums); Jerry Gonzalez (percussion).

New York Big Band

---

John Fedchock New York Big Band - Like It Is

Bitrate: MP3@320K/s
Time: 69:56
Size: 160.1 MB
Styles: Big band
Year: 2015
Art: Front

[7:17] 1. You And The Night And The Music
[6:19] 2. Like It Is
[5:49] 3. Never Let Me Go
[7:04] 4. Just Sayin'
[8:25] 5. Ojos De Rojo
[7:39] 6. Hair Of The Dog
[7:52] 7. (Unknown) -Havana
[5:40] 8. Just Squeeze Me
[5:32] 9. For Heaven's Sake
[8:14] 10. Ten Thirty 30

John Fedchock: trombone; Mark Vinci: alto saxophone, flute; Charles Pillow: alto saxophone, soprano saxophone; Rich Perry: tenor saxophone; Walt Weiskopf: tenor saxophone; Gary Smulyan: baritone saxophone (1, 3, 4, 5, 6, 9); Scott Robinson: baritone saxophone (2, 7, 8, 10); Tony Kadleck: trumpet, flugelhorn; Craig Johnson: trumpet, flugelhorn; Scott Wendholt: trumpet, flugelhorn (2, 3, 5, 6, 7, 8, 20); John Bailey: trumpet, flugelhorn (1, 4, 9); Barry Ries: trumpet, flugelhorn; Keith O'Quinn: trombone; Clark Gayton: trombone; George Flynn: bass trombone; Allen Farnham: piano; Dick Sarpola: bass; Dave Ratajczak: drums; Bobby Sanabria: percussion (2, 5, 7).

Veteran trombonist and big band leader John Fedchock, has had a history of showcasing some of the finest contemporary ensemble music ever presented, and on the audacious Like It Is, keeps that tradition alive on the fifth album from his 16-piece New York Big Band. A group by the way, that has been around and swinging for over two decades boasting a personnel listing of all-stars and jazz luminaries which, have garnished the eventual Grammy nods with the four previous recordings. The inspiration for the album, may have been the desire to present large orchestrations with a respect and feel of the past big band voice augmented by an infusion of the modern approach to ensemble music, offering a terrific, propulsive and engaging big band sound "like it is" now!

Featured here are five Fedchock originals and five new dynamic arrangements of jazz standards from composers Arthur Schwartz and Ray Evans to Duke Ellington and Cedar Walton offering a blast from the past with a new twist, together with a percolating pop from the present essentially, affirming the main theme of the album. Drummer Dave Ratajczak introduces the sizzling opener "You and the Night and the Music," followed by solo moments from the leader, Mark Vinci on alto and Rich Perry on tenor saxophone turning the familiar melody into a challenge to discern but certainly accomplishing the goal of sounding new and vibrant.

The percussive beats of the title track has a Latin-tinge and features the great Charles Pillow on an alto solo accompanied by the hard-blowing trumpet of Barry Ries leading the band. Continuing with the Latin theme, Fedchock introduces a superb arrangement of Walton's classic "Ojos De Rojo" featuring pianist Allen Farnham doing his utmost to sound like a Latin jazz artist of note. Other players featured on this gyrating piece are all-stars Scott Wendholt on trumpet and the legendary baritone master, Gary Smulyan. While not a Latin jazz project, Fedchock does includes one more Latin-styled piece with the Afro-Cuban rhythms of "Havana," showcasing Bobby Sanabria's percussions and Vinci's voice on the flute.

The Evans classic composition "Never Let Me Go," allows Fedchock the opportunity to take center stage on his own recording as he offers a warm and intimate voice on the piece making it a trombone feature and the first soft balladic tune of the album. On the swinging side of the musical ledger you have the original "Just Sayin,'" the powerful-sounding "Just Squeeze Me," and the brassy hard-driving finale tune "Ten Thirty 30."

The Fedchock band has so many top-notch players providing stellar solo moments that it seems all deserve mention such as standouts like alto saxophonist Walt Weiskopf, baritone man Scott Robinson, bassist Dick Sarpola and Tony Kadleck among many others. Trombonist/band leader John Fedchock and his amazing New York Big Band turn in another special performance delivering a muscular sound in a finesse manner and in the finest tradition of big band music just Like It Is and should be. ~Edward Blanco

Like It Is

---

John Fedchock Quartet - Fluidity

Size: 163,7 MB
Time: 70:55
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Small Combo Jazz, Trombone Jazz
Art: Front

01. East Of The Sun (8:59)
02. Havana (8:19)
03. I Hear A Rhapsody (7:09)
04. Make Someone Happy (6:18)
05. Under The Radar (9:30)
06. Weaver Of Dreams (6:50)
07. The Days Of Wine And Roses (7:41)
08. I've Never Been In Love Before (8:58)
09. Homestretch (7:07)

Documenting a momentous live performance with his dynamic quartet, critically acclaimed trombonist John Fedchock showcases unique treatments of familiar standards coupled with two new Fedchock originals in this sensitive small group session. Beautifully played and wonderfully recorded, this recording captures the flow and interaction of a seasoned group of veterans in a remarkably intimate setting.

Featured Artists:
John Fedchock: trombone/John Toomey: piano/Jimmy Masters: bass/Dave Ratajczak: drums

Fluidity

---