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Cornetist Warren Vache has been a mainstay of the New York jazz scene since the mid-1970s. He frequently appeared and recorded with Scott Hamilton's combo and developed a lengthy recording contract with Concord Records as well as appearing on the local club circuit. Vache is perhaps the prime mover in the stimulation of the continued interest and growth of post-war small combo swing and prior to his own groups worked with Benny Goodman and Kenny Davern. Most recently his continued work with Arbors and prolific past five years with Nagel-Heyer Records have been evident.
The quintet assembled for this session features frequent partner pianist Bill Charlap, who has attained stardom over the past few years as a pianist of choice insofar as lyricism and respect for the melody are concerned. Reedman Harry Allen plays tenor sax on four tracks. The rhythm is supplied by Dennis Irwin's bass and Eddie Locke's drums.
The twelve songs reflect largely entries from the Great American Songbook and the presentation is partially in a "society jazz" format. These tunes, like the opening "Close Your Eyes," are played in a straightforward swing style as Vache's beautifully shaped tones lead the way for the combo. The cornetist throws a musical bone to the bebop crowd with a tasty version of Charlie Parker's "Quasimodo," in which his horn takes on an almost puckish quality. Harry Allen, another Gotham favorite of many, is heard effectively on the title tune first stating the melody and then steping aside for Vache's similar reading. Allen's tenor solo shows his Getz-ian style and makes the most of it and he also gets a similar opportunity on the ballad "What's New?". Bill Charlap gets his share of well placed and effective solos on the album but is also an excellent feeder for the group. Vache gets a chance to vocalize on "Not Exactly Paris" to close the session.
Track Listing: Close Your Eyes, Too Late Now, Quasimodo, Lover Come Back to Me, Dream Dancing, Blue Lou, Some Other Time, You're A Lucky Guy, You're All The World To Me, What's New?, I'm Shooting High, Not Exactly Paris.
Personnel: Warren Vache, cornet, vocal; Harry Allen, tenor sax; Bill Charlap, piano; Dennis Irwin,bass; Eddie Locke,drums
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.