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360 Degrees

Jay Thomas (ジェイ トーマス)

基本情報

ジャンル
:
カタログNo
:
HEPCD2060
組み枚数
:
1
レーベル
:
Hep
フォーマット
:
CD
クレジット
:

Bill Ramsay(Sax (Alto)),  Bill Ramsay(Sax (Tenor)),  Craig Hoyer(Piano),  Denney Goodhew(Clarinet),  Denney Goodhew(Sax (Baritone)),  Doug Miller(Bass),  Gary Shutes(Trombone),  Greg Schroeder(Trombone),  Jay Thomas(Sax (Alto)),  Jay Thomas(Sax (Soprano)),  Jay Thomas(Sax (Tenor)),  Jay Thomas(Trumpet),  John Bishop(Drums),  John Goforth(Sax (Alto)),  Jon Wikan(Drums),  Larry Fuller(Piano),  Phil Sparks(Bass),  Travis Shook(Piano),  Jay Thomas(Flugelhorn),  Jay Thomas(Flute (Alto)),  Bill Ramsay(Arranger),  Bob Meador(Engineer),  Jack Perciful(Arranger),  Jay Thomas(Arranger),  Jay Thomas(Producer),  Jim Knapp(Arranger),  Jon Wikan(Arranger),  Marvin Thomas(Producer),  Travis Shook(Arranger),  Bob Meador(Mixing),  Doug Ramsey(Liner Notes)

商品説明

Seattle's Jay Thomas is yet another fine player from the fertile Northwest jazz scene. He has decided to take on the daunting task of multi-instrumentalist, playing brass and reed instruments, following in the footsteps of Benny Carter and Ira Sullivan. The tunes selected for this session, and their arrangements, are crafted not only to highlight Thomas' instrumental virtuosity, but to show he is also at ease in a variety of jazz styles. His facility with the soprano sax is shown on Charlie Parker's infrequently played Cheryl. On trumpet, Thomas combines lyricism with bop on Kenny Dorham's A Waltz. There's excellent ensemble work on Wing Span and Blues for McVouty, revealing Thomas' West Coast music roots. These cuts are reminiscent of the style of any number of groups prominent on the coast during the '50s and '60s. Jimmy Rowles' Peacocks is given a lofty, haunting reading by Thomas' flute. Thomas' approach to this tune is much different than that taken by Rowles and Stan Getz on their 1975 collaboration. The liner notes credit a Thomas vocal on this cut, but there's no vocal by anybody. Post-bop is represented by the arrangement of Whims of Chambers, where Thomas switches to flugelhorn, followed by chamber group jazz on My Ideal. The blues get a workout on Thomas' own Blues for McVouty. Thomas suffers from a reed problem on All Too Soon, but not enough to detract from some fine baritone sax work by Denny Goodhew. The supporting cast of players ranges from very good to excellent. The unusually large cast of characters on a small group disc is explained by the fact that the album compiles three sessions recorded from 1990 to 1994. ~ Dave Nathan, All Music Guide

収録曲   

  • 01. Cheryl (05:05)
  • 02. Waltz (06:34)
  • 03. All Too Soon (04:43)
  • 04. Wingspan (05:06)
  • 05. Why Not (08:59)
  • 06. Aisha (02:34)
  • 07. Valse (04:35)
  • 08. Peacocks (06:19)
  • 09. Whims of Chambers (04:42)
  • 10. My Ideal (04:49)
  • 11. Blues for McVouty (Revisited) (07:53)
  • 12. Isfahan (04:11)

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Jay Thomas

Encouraged to pursue a musical career by a father who played jazz trumpet before turning to pharmacy, Jay Thomas has become a major multi-instrumentalist, equally at home on both brass and reeds. He started on trumpet, but while playing in dance bands that often had a tenor-trumpet front line requiring him to practice regularly with a tenor player, Thomas, on a whim, borrowed the sax and tried it

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