egroj world: Shorty Rogers & His Giants • Bossa Nova

Thursday, June 27, 2024

Shorty Rogers & His Giants • Bossa Nova



Biography by Scott Yanow
A fine middle-register trumpeter whose style seemed to practically define "cool jazz," Shorty Rogers was actually more significant for his arranging, both in jazz and in the movie studios. After gaining early experience with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949), and somehow he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951), clearly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its course, Rogers settled in Los Angeles where he led his Giants (which ranged from a quintet to a nonet and a big band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios, helping greatly to bring jazz into the movies; his scores for The Wild One and The Man With the Golden Arm are particularly memorable. After 1962, Rogers stuck almost exclusively to writing for television and films, but in 1982 he began a comeback in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his own playing was not quite as strong as previously, he remained a welcome presence both in clubs and recordings.
https://www.allmusic.com/artist/shorty-rogers-mn0000028646/biography

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Biografía de Scott Yanow
Un fino trompetista de registro medio cuyo estilo parecía definir prácticamente el "cool jazz", Shorty Rogers fue en realidad más significativo para sus arreglos, tanto en el jazz como en los estudios de cine. Después de adquirir una experiencia temprana con Will Bradley y Red Norvo y de servir en el ejército, Rogers saltó a la fama como miembro de la Primera y Segunda Manada de Woody Herman (1945-1946 y 1947-1949), y de alguna manera se las arregló para aportar algo de swing a la Stan Kenton Innovations Orchestra (1950-1951), disfrutando claramente de la escritura para los vuelos estratosféricos de Maynard Ferguson. Después de que esa asociación siguiera su curso, Rogers se estableció en Los Ángeles, donde dirigió a sus Gigantes (que iban desde un quinteto hasta un noneto y una big band) en una serie de gratificantes grabaciones de estilo jazzístico de la costa oeste y escribió para los estudios, ayudando en gran medida a llevar el jazz al cine; sus partituras para The Wild One y The Man With the Golden Arm son particularmente memorables. Después de 1962, Rogers se dedicó casi exclusivamente a escribir para la televisión y el cine, pero en 1982 comenzó un regreso al jazz. Rogers se reorganizó y dirigió el Lighthouse All-Stars y, aunque su forma de tocar no era tan fuerte como antes, siguió siendo una presencia bienvenida tanto en los clubes como en las grabaciones.
https://www.allmusic.com/artist/shorty-rogers-mn0000028646/biography

 
 
Tracks:
Samba Do Lorinho (Lorito's Samba)
Chega De Saudade (No More Sadness)
Samba Triste (Melancholy Samba)
Samba De Uma Nota So (One Note Samba)
Pao De Assucar (Sugar Loaf)
Samba Do Empashgi (Empashgi's Samba)
O Amor E A Rosa (Love Is A Rose)
So Voce (Only You)
Chora Tua Tristeza (Cry Your Sadness)
So Um Amor (Only One Love)
O Menino Desce O Morro (Little Boy Brown)
 

Credits:
Alto Saxophone – Bud Shank, Paul Horn
Bass – Joe Mondragon
Drums – Milt Holland, Shelly Manne
Flute – Bud Shank, Paul Horn
Guitar – Laurindo Almeida
Percussion – Chico Guerrero, Emil Richards
Piano – Pete Jolly
Sleeve Notes – Laurindo Almeida
Trombone – Kenneth Shroyer, Richard Leith
Vibraphone – Larry Bunker
Trumpet – Joe Burnett, Oliver Mitchell, Shorty Rogers
 
 
 




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