Gerald Wilson And His Orchestra - The Chronological Classics: 1946-1954 (2007)
BAND/ARTIST: Gerald Wilson And His Orchestra
- Title: The Chronological Classics: 1946-1954
- Year Of Release: 2007
- Label: Classics[1444]
- Genre: Jazz, Big Band
- Quality: FLAC (image + .cue,log,scans)
- Total Time: 68:07
- Total Size: 240 MB(+3%)
- WebSite: Album Preview
Tracklist
01. Et-ta (3:09)
02. Pensive Melody (3:01)
03. The Saint (3:12)
04. The Moors (3:12)
05. My Last Affair (2:58)
06. Dissonance in Blues (3:02)
07. What a Fool I Was (3:06)
08. Va-ance (3:06)
09. S'mada (2:55)
10. The Black Rose (3:06)
11. Guarachi-Guaro - Part 1 (3:00)
12. Guarachi-Guaro - Part 2 (3:08)
13. Mambo Mexicano - Part 1 (2:00)
14. Mambo Mexicano - Part 2 (2:19)
15. Algerian Fantasy - Part 1 (2:40)
16. Algerian Fantasy - Part 2 (3:25)
17. Lotus Land - Part 1 (2:45)
18. Lotus Land - Part 2 (3:05)
19. Theme (2:41)
20. Since We Said Goodbye (2:56)
21. Romance (3:12)
22. Bull Fighter (2:50)
23. Black Rose (3:20)
After leaving Detroit and arriving in Los Angeles, Gerald Wilson formed his first big band in 1944. By 1946 he was firmly established as a fine trumpet player, arranger, and composer, and was developing a style fit not only for modern jazz, but also eventually film scores. The dramatics apropos for both formats is evident on this second installment of Wilson's chronological recordings for the Classics reissue label, culled from recordings originally on the Black & White, United Artists, Excelsior, Federal, King, and Audio Lab labels. There are five different mid-sized orchestras with musicians from L.A., all quite literate and displaying different areas of expertise, and Wilson writes with each player's individual sound in mind. Of course they work as a unified whole, and you get to hear a lot of Wilson's trumpet work. The Black & White sessions from 1946 have the band swinging very hard on the happy bop-bop "Et-ta," while hoppin' and barkin' for "The Saint." The opposite slow side is shown on "Pensive Mood" and the sad, dreary "The Moors." These tracks feature then-young trombonist, composer, and arranger Melba Liston, who of course would go on to great acclaim. Recordings from 1947 for United Artists and Excelsior feature vocalist Dan Grissom, showcased on two ballads, displaying a large range and somewhat effeminate style, and there's a finger-snappin' group vocal with Grissom, Liston, and Trummy Young, "Va-ance," that approaches the territory of the Modernaires. Four more for Excelsior in 1949 reveal Wilson moving into film noir, hinted at by the spy movie piece "Dissonance in Blues" from the 1947 cuts, but more pronounced here. Wilson is assertive on his horn, and ramps up the dramatic tension on the stairstep motif of "The Black Rose" while also offering an expanded version of "Guarachi-Guaro," the second section infusing expansive oboe and flute. Here the outstanding West Coast alto saxophonist Buddy Collette also enters the fray. Jumping up to 1954, Wilson offers up three two-part pieces all prominently showcasing the exotic vibrato flute sound of Bill Green -- the hot and spicy "Mambo Mexicano," dynamic up-and-down desert dune caravan-ish "Algerian Fantasy," and slow-as-sunset "Lotus Land." These are much more provocative, but in addition, the band is loaded with all-stars like trumpeter Clark Terry, trombonist Britt Woodman, tenor saxophonists Paul Gonsalves and Teddy Edwards, and a very young Jerry Dodgion on alto sax. These cuts use pronounced world music elements in a way that Duke Ellington hinted at, and all are exuberant and levitating. The remaining pieces are the contradictory titled hard bopper "Romance," Khachaturian's famous Spanish classical ballad "Bull Fighter," and a different "Black Rose" (unknown author) than the one written by Wilson heard earlier on the CD. This collection really drives home how this group, unique unto itself, was able to stretch stereotypical big-band jazz and take it into a new arena, fueled by the vast imagination of Gerald Wilson. The only unsolved mystery: unattributed credits about various clearly audible Latin percussionists who are never identified.
01. Et-ta (3:09)
02. Pensive Melody (3:01)
03. The Saint (3:12)
04. The Moors (3:12)
05. My Last Affair (2:58)
06. Dissonance in Blues (3:02)
07. What a Fool I Was (3:06)
08. Va-ance (3:06)
09. S'mada (2:55)
10. The Black Rose (3:06)
11. Guarachi-Guaro - Part 1 (3:00)
12. Guarachi-Guaro - Part 2 (3:08)
13. Mambo Mexicano - Part 1 (2:00)
14. Mambo Mexicano - Part 2 (2:19)
15. Algerian Fantasy - Part 1 (2:40)
16. Algerian Fantasy - Part 2 (3:25)
17. Lotus Land - Part 1 (2:45)
18. Lotus Land - Part 2 (3:05)
19. Theme (2:41)
20. Since We Said Goodbye (2:56)
21. Romance (3:12)
22. Bull Fighter (2:50)
23. Black Rose (3:20)
After leaving Detroit and arriving in Los Angeles, Gerald Wilson formed his first big band in 1944. By 1946 he was firmly established as a fine trumpet player, arranger, and composer, and was developing a style fit not only for modern jazz, but also eventually film scores. The dramatics apropos for both formats is evident on this second installment of Wilson's chronological recordings for the Classics reissue label, culled from recordings originally on the Black & White, United Artists, Excelsior, Federal, King, and Audio Lab labels. There are five different mid-sized orchestras with musicians from L.A., all quite literate and displaying different areas of expertise, and Wilson writes with each player's individual sound in mind. Of course they work as a unified whole, and you get to hear a lot of Wilson's trumpet work. The Black & White sessions from 1946 have the band swinging very hard on the happy bop-bop "Et-ta," while hoppin' and barkin' for "The Saint." The opposite slow side is shown on "Pensive Mood" and the sad, dreary "The Moors." These tracks feature then-young trombonist, composer, and arranger Melba Liston, who of course would go on to great acclaim. Recordings from 1947 for United Artists and Excelsior feature vocalist Dan Grissom, showcased on two ballads, displaying a large range and somewhat effeminate style, and there's a finger-snappin' group vocal with Grissom, Liston, and Trummy Young, "Va-ance," that approaches the territory of the Modernaires. Four more for Excelsior in 1949 reveal Wilson moving into film noir, hinted at by the spy movie piece "Dissonance in Blues" from the 1947 cuts, but more pronounced here. Wilson is assertive on his horn, and ramps up the dramatic tension on the stairstep motif of "The Black Rose" while also offering an expanded version of "Guarachi-Guaro," the second section infusing expansive oboe and flute. Here the outstanding West Coast alto saxophonist Buddy Collette also enters the fray. Jumping up to 1954, Wilson offers up three two-part pieces all prominently showcasing the exotic vibrato flute sound of Bill Green -- the hot and spicy "Mambo Mexicano," dynamic up-and-down desert dune caravan-ish "Algerian Fantasy," and slow-as-sunset "Lotus Land." These are much more provocative, but in addition, the band is loaded with all-stars like trumpeter Clark Terry, trombonist Britt Woodman, tenor saxophonists Paul Gonsalves and Teddy Edwards, and a very young Jerry Dodgion on alto sax. These cuts use pronounced world music elements in a way that Duke Ellington hinted at, and all are exuberant and levitating. The remaining pieces are the contradictory titled hard bopper "Romance," Khachaturian's famous Spanish classical ballad "Bull Fighter," and a different "Black Rose" (unknown author) than the one written by Wilson heard earlier on the CD. This collection really drives home how this group, unique unto itself, was able to stretch stereotypical big-band jazz and take it into a new arena, fueled by the vast imagination of Gerald Wilson. The only unsolved mystery: unattributed credits about various clearly audible Latin percussionists who are never identified.
Jazz | FLAC / APE | CD-Rip
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