If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
The jazz recorded on these three discs is bebop from the source. It is no mistake that Morgan is well versed in Charlie Parker's "Ornithology, having studied the doomed master closely in the late 1940s and early 1950s. On this recording alone are razor sharp treatments of "Confirmation and "Billie's Bounce as well as Tadd Dameron's "Hot House. Had Bird had the advantage of the superior recording environs found today, I would only hope he would sound as good as Morgan in this performance of "Confirmation. That alone is enough bebop to send one into a swoon. On the first two recordings from the Jazz Standard sessions are the para-Parker staples, "Old Folks, "Cherokee, and "Summertime.
Morgan's tone is incredibly virile and his intonation clear and precise. There is damn near nary a squeak or snort coming from his horn. His playing is near vibrato-less. "It's Only a Paper Moon is paper dry with a Zoot Sims lyricism, though tarter in tone. George Cables, who has in recent years suffered from poor health, sounds in outstanding form. Art Pepper favored him as a pianist, calling Cables, "Mr. Beautiful. Dexter Gordon was also partial to Cables' pianism. It is no surprise the simpatico the pianist shares with Morgan. Cables' sensitivity on ballads plays perfectly with Morgan's almost wounded tone on the same.
Bassist Curtis Lundy solos robustly while the irrepressible Billy Hart keeps perfect time. Night in the Life is a welcome addition to the Morgan catalog. Hopefully there will be a complete Live at the Jazz Standard box in the future.
Track Listing: Confirmation; On Green Dolphin Street; Half Nelson; Hot House; Billie's Bounce; It's Only A Paper Moon.
Personnel: Frank Morgan: alto saxophone; George Cables: piano; Curtis Lundy: bass; Billy Hart: drums.
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!