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Urban Still Life is New York to the core with a cast of the City's main characters. Multi-reedist Lou Caputo (a NYC name, for sure) has put together a big-little band and fueled it with engaging arrangements (by band members) of jazz standards. In this respect, this recording is not unlike Miles Davis' Birth of the Cool in that both recordings emphasize the role of the arranger in the preparation of charts for larger jazz orchestras. In fact, included here is John Carisi's "Israel" from the Birth of the Cool Sessions.
The outcome is a collection of brash big band pieces that jump out, grab you by the throat, and yell, "Listen Here!" "In Walked Bud" is a powerhouse, like Mingus' "Song With Orange/Nostalgia in Times Square." There is a Bossa shade to Wes Montgomery's "Road Song" and Mario Bauza's "Mambo Inn." Charlie Parker's complex "Chi Chi" comes off without a hitch in this large ensemble setting. This superb big band outing will be enjoyable to even the most fussy listener.
For more information, visit Lou Caputo on the web.
Track Listing: In Walked Bud; Road Song; Israel; Song With Orange/Nostalgia In Times Square; Mambo Inn;
Somewhere In The Night; Johnny Come Lately; Sometime Ago; Chi Chi; Chelsea Bridge; Raunchy
Rita; On Green Dolphin Street.
Personnel: Lou Caputo--alto, baritone, soprano saxophones, clarinet; John Eckert, Jon Owens, Bill Mobley,
Ben Bierman--trumpets; Roy Agee, Debra Weisz, Gary Valente--trombones; Jack Jeffers, Dale
Turk--bass trombone, tuba; Virginia Mayhew, Frank Vicari--saxophones; Roberta Piket, Howard
Williams, Bill Whited--piano; John Dooley, Brian Glassman--bass; Joe Carbone, Ed Cherry--
guitar; Rudy Petschauer, Bobby Sanabria, Ashley Schaefer--percussion.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...