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've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith. We hung out at my Aunt Kate's Soul Food restaurant in Harlem after the matinees at the Apollo where I listened to their stories. I knew I wanted to be a jazz musician from then on. My mother wanted me to play piano, but my Aunt bought me a guitar. I've been playing ever since.
At my mother's early prompting, I first sang Blue Velvet at my Catholic elementary school...and all the nuns came running in and asked me to sing again, so I knew I must have sounded pretty good. I've been singing ever since.
I met Tony Bennett in Miami and he inspired me to return to New York. He was a great mentor.
The best show I ever attended is mpossible to say, I've seen so many great shows. From Tony Bennett to Pat Martino, Return to Forever to Weather Report...I've seen some great performances.
My advice to new listeners is don't let jazz intimidate you, the music has something for every listener and it is our American gift to the world.