SHORTY ROGERS & HIS GIANTS - A Rendezvous with Shorty Rogers & his Giants
Sounds of Yester Year DSOY2073
Shorty Rogers ( tpt ) Chet Baker ( tpt ) Bob Enevoldsen ( val tmb ) Art Pepper ( alto ) Wardell Gray
( tnr ) Gerry Mulligan ( bar ) Hampton Hawes ( pno ) JoeMôndragon ( bass ) Lawrence Marable
( drs ) June Christy ( vocal ) on two tracks
Recorded live at the Rendezvous Ballroom, Los Angeles, 28 September 1952
There were many versions of Shorty Roger’s Giants in the Fifties both large and small but this one is different in a number of ways, firstly it is a medium sized aggregation, secondly it is a location recording and thirdly there are a number of strangers in the line up.
Chet Baker is not usually amongst the Giants, Wardell Gray is a welcome addition but to my knowledge has never played with the group and that also applies to Gerry Mulligan, but despite that it is an impressive line up.
Shorty Rogers is not amongst the top trumpet players but he is a very good composer of memorable tunes and a great organiser. The programme is made up Shorty Roger’s originals and standard tunes ther are also three vocals by June Christy which give variety to the programme.
The album kicks off with I May be Wrong” and all the front line have a chance to solo with Wardell Gray coming up with an inventive and fluent solo and Art Pepper and Gerry Mulligan have an exchange of ideas but it is the pianist Hampton Hawes who is the star of the track both for his comping and his inventive solo. “Short Snort” which started out life as “Short Stop” last for over eleven minutes and again the soloists have a field day and a chance to stretch out.
“He’s Funny That Way” is June Christy’s best track despite some odd backing by Hampton Hawes which consisted of some heavy chords but June must be used to that having recorded a duet album with Stan Kenton at the piano. Hampton makes up for it with a dazzling solo on June’s final tune “ICan’t Believe That You’re In Love With Me”.
This is an interesting release with much variety and a wealth of fine solos by all concerned and also has an historical value of the period.
Reviewed by Roy Booth
Sounds of Yester Year DSOY2073
Shorty Rogers ( tpt ) Chet Baker ( tpt ) Bob Enevoldsen ( val tmb ) Art Pepper ( alto ) Wardell Gray
( tnr ) Gerry Mulligan ( bar ) Hampton Hawes ( pno ) JoeMôndragon ( bass ) Lawrence Marable
( drs ) June Christy ( vocal ) on two tracks
Recorded live at the Rendezvous Ballroom, Los Angeles, 28 September 1952
There were many versions of Shorty Roger’s Giants in the Fifties both large and small but this one is different in a number of ways, firstly it is a medium sized aggregation, secondly it is a location recording and thirdly there are a number of strangers in the line up.
Chet Baker is not usually amongst the Giants, Wardell Gray is a welcome addition but to my knowledge has never played with the group and that also applies to Gerry Mulligan, but despite that it is an impressive line up.
Shorty Rogers is not amongst the top trumpet players but he is a very good composer of memorable tunes and a great organiser. The programme is made up Shorty Roger’s originals and standard tunes ther are also three vocals by June Christy which give variety to the programme.
The album kicks off with I May be Wrong” and all the front line have a chance to solo with Wardell Gray coming up with an inventive and fluent solo and Art Pepper and Gerry Mulligan have an exchange of ideas but it is the pianist Hampton Hawes who is the star of the track both for his comping and his inventive solo. “Short Snort” which started out life as “Short Stop” last for over eleven minutes and again the soloists have a field day and a chance to stretch out.
“He’s Funny That Way” is June Christy’s best track despite some odd backing by Hampton Hawes which consisted of some heavy chords but June must be used to that having recorded a duet album with Stan Kenton at the piano. Hampton makes up for it with a dazzling solo on June’s final tune “ICan’t Believe That You’re In Love With Me”.
This is an interesting release with much variety and a wealth of fine solos by all concerned and also has an historical value of the period.
Reviewed by Roy Booth
