Tommy Shepard & Richard Wess: Shepard's Flock / Music She Digs The Most auf CD

Tommy Shepard & Richard Wess

Shepard's Flock / Music She Digs The Most

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

Lieferzeit beträgt mind. 4 Wochen
(soweit verfügbar beim Lieferanten)

Aktueller Preis: EUR 13,99

Verlängerter Rückgabezeitraum bis 31. Januar 2026

Alle zur Rückgabe berechtigten Produkte, die zwischen dem 1. bis 31. Dezember 2025 gekauft wurden, können bis zum 31. Januar 2026 zurückgegeben werden.

Versandkosten (United States of America): EUR 19,90

Label:: Fresh Sound
Aufnahmejahr ca.:: 1956-57
Artikelnummer:: 8693532
UPC/EAN:: 8427328609661
Erscheinungstermin:: 10.7.2018

*** 24Bit digitally remastered

When the dust from the collapse of the Swing Era settled, there were few big bands left that had survived. Yet, because they loved the swinging drive of a full-on jazz orchestra, a series of adventurous and unsung bandleaders optimistically organized some fine, but short-lived big and medium-sized orchestras that were packed with jazz and studio musicians, holding the flag of Swing high.

The band on Shepard’s Flock is - almost - an All-Star band. It was the debut album of trombonist Tommy Shepard, and the leader, naturally, is heavily featured on trombone, playing with the soft, velvety sound of Tommy Dorsey, his main influence. The memories of Dorsey’s band frequently illuminate the scene, as the musicians load through familiar material and some originals. The arrangements, which stress tight harmonic writing, are all by Manny Albam and Nat Pierce, except Darn That Dream and Stop! Look and Run! which were worked out by Al Cohn, and they all keep in a rolling, relaxed groove.

Music She Digs the Most is a well-organized series of sessions arranged and conducted by pianist Richard Wess. Wess has Cabin in the Sky all to himself, and he comes off as a flowing and sensitive player. Cohn, always blowing with taste and his handsome tone; Travis sounds great throughout, particularly on Lover Man, a moving and declarative solo vehicle for his horn. Rehak managed to express himself effectively, and Richard Wess’ writing on the heads is neat and spare, and helps the group achieve a nice big band feel.