Bob BROOKMEYER - The Dual Role Of Bob Brookmeyer 1955

Bob BROOKMEYER - The Dual Role Of Bob Brookmeyer 1955
1992 Issue. OJCCD-1729-2

Jazz

This CD reissue has four selections apiece from two different bands, both of which feature subtle interplay and cool tones. Bob Brookmeyer plays valve trombone and piano on two songs apiece with his 1955 quartet, a group also including guitarist Jimmy Raney, bassist Teddy Kotick and drummer Mel Lewis. The other half of this disc is actually led by vibraphonist Teddy Charles who features Brookmeyer on both of his instruments along with bassist Teddy Kotick and drummer Ed Shaughnessy; Nancy Overton takes a vocal on "Nobody's Heart." Although the overall set is not all that essential, the music is pleasing and reasonably creative.
By Scott Yanow. AMG.
**
Bobby Brookmeyer- Valve Trombone, Piano
Teddy Charles- Vibraphone
Teddy Kotick- Bass
Mel Lewis- Drums
Ed Shaughnessy- Drums
Jimmy Raney- Guitar
Nancy Overton- Vocals 
**
01. Rocky Scotch 4:40     
02. Under The Lilacs 5:07   
03. They Say It's Wonderful 5:49   
04. Potrezebie 4:49   
05. Revelation 5:46   
06. Star Eyes 4:29   
07. Nobody's Heart 4:25    
08. Loup-Garou 4:38
**

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Bob BROOKMEYER - Holiday, Bob Brookmeyer Plays Piano 2000

Bob BROOKMEYER - Holiday, Bob Brookmeyer Plays Piano 2000

Jazz

Although Bob Brookmeyer played piano in addition to his regular instrument, valve trombone, while he was working with Jimmy Giuffre and in both the small and big bands led by Gerry Mulligan, as well as on other sessions, this is his first exclusive outing on the instrument since the recording of "The Ivory Hunters," his famous duo piano date with Bill Evans, some 40-plus years later. Producer Peter Larsen overcame Brookmeyer's numerous objections that he wasn't up to the task; the results are more than satisfying. With bassist Mads Vinding and drummer Alex Riel, he develops interesting approaches to half a dozen time-tested standards. "The Man I Love" is economical and occasionally dissonant, while his reworking of "I Thought About You" has a well-disguised introduction and later a Latin flavor as the rhythm section joins him. "I Should Care" is transformed into a troubled, somewhat darker setting, but he follows it up with a joyful, foot-tapping "Things Ain't What They Used to Be" that surely reflects the song's title; it comes out sounding like an original by Brookmeyer. As one of the top (and most under-appreciated) arrangers and appreciated composers at the dawn of the 21st century, Brookmeyer's originals stand up very well to close scrutiny. "Summer Song" is his brisk reworking of George Gershwin's well-known "Summertime." The pretty ballad "Pastoral" contrasts with his playful (and at first, deceptively simple) "Stupid Song," which builds from an initially repetitious two-note theme. Brookmeyer would never claim that he has the greatest chops on piano, but the way in which he makes use of his talent on the keyboard is of far more interest than the CDs by up-and-coming full-time pianists with great technique but little knowledge of what to do with it.
By Ken Dryden. AMG.
**
Bob Brookmeyer- Piano
Mads Vinding- Bass
Alex Riel- Drums
**
01. The Man I Love (Gershwin & Gershwin) 6:13
02. Summer Song (Brookmeyer) 6:40
03. It Could Happen to You (Burke, VanHeusen) 5:56
04. Holiday (Brookmeyer) 6:48
05. I Thought About You (Mercer, VanHeusen) 5:34
06. I Should Care (Cahn, Stordahl, Weston) 5:01
07. Things Ain't What They Used to Be (Ellington, Persons) 7:14
08. Pastoral (Brookmeyer) 6:39
09. Jan Likes (Brookmeyer) 4:53
10. Stupid Song (Brookmeyer) 4:50
11. Child Song (Brookmeyer) 5:51
12. It Might as Well Be Spring (Hammerstein, Rodgers) 8:00
**
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Bob BROOKMEYER - Trombone Jazz Samba 1962

Bob BROOKMEYER - Trombone Jazz Samba 1962

Jazz

Bob Brookmeyer was in the studio just a few months after Stan Getz and Charlie Byrd helped to launch the bossa nova craze in the United States with their hit LP Jazz Samba, but this extremely enjoyable LP didn't come close to matching the success of the earlier album; it may be because the valve trombone is not envisioned as a lush melodic instrument by the average jazz listener in comparison to the tenor sax. Brookmeyer's mellow solos are complemented by the presence of guitarists Jim Hall (who plays all of the solos) and Jimmy Raney, along with vibraphonist Gary McFarland and a trio of Latin percussionists, including Willie Bobo. Luiz Bonfá's "Samba de Orfeu" and "Manha de Carnaval" as well as Antonio Carlos Jobim's "A Felicidade" (all three of which have become standards within the genre) are given imaginative arrangements, but there are a few twists thrown in by the leader. Brookmeyer's catchy "Blues Bossa Nova" works very well, as do his loping bossa nova treatment of Bronislaw Kaper's theme from Mutiny on the Bounty and a hilarious brisk chart called "Colonel Bogey Bossa Nova," a reworking of the well-known song made famous by the film The Bridge on the River Kwai. Long out of print, this album deserves to be reissued by Verve — although there are hopefully some unissued tracks, as its brevity (under 28 minutes) is a handicap.
By Ken Dryden. AMG.
**
Carmen Costa- Drums [Cabassa]
Willie Bobo- Drums [Latin] 
Jim Hall , Jimmy Raney- Guitar
Bob Brookmeyer- Piano,Trombone
Jose Paulo- Tambourine
Gary McFarland- Vibraphone
**
A1   Samba De Orfeu 4:05
A2   Manha De Carnival 4:35
A3   Blues Bossa Nova 4:09
A4   Qual E O Po 3:30

B1   A Felicidade 3:12
B2   Theme From Muntiny On The Bounty 2:02
B3   Chara Tua Tristeza 4:11
B4   Colonel Bogey Bossa Nova (River Kwai Bossa Nova) 2:15
**
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Bob BROOKMEYER & Kenny WHEELER - Island 2002

Bob BROOKMEYER & Kenny WHEELER - Island 2002
Recorded at Mix One Studios, Boston, Massachusetts on September 27-29, 2002.

Jazz

Artist's House does it again with Island, a lovely session by Bob Brookmeyer, master composer and trombonist, and composer/flügelhorn giant Kenny Wheeler. With drummer John Hollenbeck, pianist Frank Carlberg, and bassist Jeremy Allen, the quintet creates a series of expansive yet pastoral jazz settings for the exploration at the margins without the edges. Make no mistake; aesthetically this is "beautiful" and deeply moving music. The level of composition here is the heist, and the articulation of these tonal and harmonic architectures is flawless. As for the interplay between Brookmeyer and Wheeler, go no further than Wheeler's stellar "114" for evidence, a song in which lines are played, tagged, and re-sung with nuanced gestural and textural differences as the rhythm section winds and shifts its way around time and space considerations. Likewise, Brookmeyer's lengthy "Island," with its contrapuntal elegance and impressionistic charm that allows Wheeler to state a melody as if it had left the room the day before, is hauntingly gorgeous. As Brookmeyer gradually enters into the discussion between Wheeler and the rhythm section and colors the ends of his lines with new extensions and codas, the entire track opens like a lily on Easter morning. Like Jimmy Giuffre's experiments with Jim Hall and those with Steve Swallow and Paul Bley, tonal exploration along tapered harmonic convergences is the stuff of masterful composition. That this music is played with such grace, elegance, and aplomb makes it a gift to be cherished and studied. In addition to the CD, the set comes with a bonus disc that contains MP3s and a DVD that features a video shoot of the session as well as interviews with all involved and lead sheets.
By Thom Jurek, All Music Guide.
**
Bob Brookmeyer- Trombone (Valve)
Kenny Wheeler- Valve Trombone,Trumpet,Flugelhorn
John Hollenbeck- Drums
Jeremy Allen- Bass
Frank Carlberg- Piano
**
01. Before the First Time (7:56)
02. 114 (7:29)
03. Where Do We Go from Here? (7:46)
04. Song for Kenny (9:44)
05. Upstairs With Beatrice (7:23)
06. Island (9:47)
07. Strange One (5:42)
**
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Bob BROOKMEYER - Get Well Soon 2003

Bob BROOKMEYER - Get Well Soon 2003

Jazz

The strengths of Bob Brookmeyer's writing for large jazz ensembles have been well documented throughout his career. But the New Art Orchestra, which joins him for the third time on this Challenge CD, seems especially in tune to his demanding charts. None of these compositions is easily absorbed by the listener, as it takes time to catch the nuances of each piece. One special guest, trumpeter Till Bronner, was added to the ensemble for this recording. Among his features are the tense "Tah-DUM!," the fragile but gorgeous ballad "For You," and "Over Here," a sophisticated piece that defies labels. The leader's praise of the trumpeter's efforts is hardly hyperbole. "Song, Sing, Sung" is a haunting melody powered by John Hollenbeck's imaginative yet soft percussion and Kris Goessens' brilliant piano solo. Two works have special meaning for their creator. "Elegy" was written for a dying friend, a somber yet satisfying work honoring Earle Brown (also a composer), whose friendship obviously made a difference in the life of Brookmeyer and others. "Get Well Soon" was dedicated to another friend, Jan Horne, who was in the midst of a battle with cancer, yet this upbeat and in-your-face post-bop chart has absolutely nothing maudlin or subtle within it, sounding more like a hard battle in the process of being won. Though Brookmeyer's role is primarily as conductor, he still has the chops to play superb solos, as in the brief "Interlude No. 1" and "Interlude No. 2" with the rhythm section. Highly recommended.
By Ken Dryden, All Music Guide.
**
The strengths of Bob Brookmeyer's writing for large jazz ensembles has been well documented throughout his career. But the New Art Orchestra, which joins him for the third time on this Challenge, seems especially in tune to his demanding charts. None of these compositions is easily absorbed by the listener, as it takes time to catch the nuances of each piece. One special guest, trumpeter Till Bronner, was added to the ensemble for this recording. Among his features are the tense "Tah DUM!," the fragile but gorgeous ballad "For You," and "Over Here," a sophisticated piece that defies labels. The leader's praise of the trumpeter's efforts is hardly hyperbole. "Song, Sing, Sung" is a haunting melody powered by John Hollenbeck's imaginative yet soft percussion and Kris Goessens' brilliant piano solo. Two works have special meaning for their creator. "Elegy" was written for a dying friend, a somber yet satisfying work honoring Earle Brown also a composer, whose friendship obviously made a difference in the life of Brookmeyer and others. "Get Well Soon" was dedicated to another friend, Jan Horne, who was in the midst of a battle with cancer, yet this upbeat and in your face post bop chart has absolutely nothing maudlin or subtle within it, sounding more like a hard battle in the process of being won. Though Brookmeyer's role is primarily as conductor, he still has the chops to play superb solos, as in the brief "Interlude No. 1" and "Interlude No. 2" with the rhythm section.
**
Steve Trop- Trombone
Paul Heller- Reeds
Edward Partyka- Trombone (Bass)
Nils Van Haften- Reeds
Kris Goessens- Piano
Anders Wiborg- Trombone (Bass)
Eckhard Baur- Trumpet
Christian Jaksjø- Trombone
Thorsten Benkenstein- Trumpet
Sebastian Strempel- Trumpet
Aneel Soomary- Trumpet
Ingmar Helker- Bass
Edgar Herzog- Reeds
Marko Lackner- Reeds
Oliver Leicht- Reeds
Torsten Maaß- Trumpet
Till Brönner- Trumpet, Guest Appearance, Soloist
John Hollenbeck- Drums
Bob Brookmeyer- Trombone, Composer, Liner Notes, Producer, Conductor
**
01. Tah dum (5:45)
02. Monster rally (10:22)
03. For you (7:45)
04. Over here (8:11)
05. Interlude  1 (2:08)
06. Lovely (4:46)
07. Song sing sung (8:10)
08. Interlude  2 (1:28)
09. Elegy (9:25)
10. Get well soon (7:33)
**
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Zoot SIMS & Bob BROOKMEYER - Morning Fun 1956

Zoot SIMS & Bob BROOKMEYER - Morning Fun 1956
(This Goes to Old Hippy Rick.)
Jazz

Although it claims on the back of this CD that the music was recorded in August 1956, discographies state February and that seems more logical since valve trombonist Bob Brookmeyer and tenor-saxophonist Zoot Sims did not team up for a very long period (although three records resulted from their valuable collaboration). With assistance from pianist John Williams, bassist Bill Crow and drummer Jo Jones, Sims and Brookmeyer are in fine form on such selections as a rollicking "The King," "Lullaby of the Leaves," a brief two-song ballad medley and Brookmeyer's "Whooeeeee!" Sims takes a rare (and fairly effective) vocal on "I Can't Get Started." Recommended, as is the other Black Lion Zoot Sims CD from the same period, Tonite's Music Today.
By Scott Yanow, All Music Guide.
**
Bob Brookmeyer- (Trombone Valve),
Hank Jones- (Piano),
Jo Jones- (Drums), 
Bill Crow- (Bass),
Zoot Sims (Tenor Sax,Vocals).
**
01. The King Count Basie Bob Brookmeyer, Zoot Sims (4:44)
02. Lullaby of the Leaves Joe Young, Bernice Petkere Bob Brookmeyer, Zoot Sims (5:16)
03. I Can't Get Started Vernon Duke, Ira Gershwin Bob Brookmeyer, Zoot Sims (4:40)
04. Snake Eyes Al Cohn Bob Brookmeyer, Zoot Sims (4:03)
05. Morning Fun Al Cohn, Zoot Sims Bob Brookmeyer, Zoot Sims (5:07)
06. Whoooeeeee! Bob Brookmeyer Bob Brookmeyer, Zoot Sims (5:10)
07. Someone to Watch over Me/My Old Flame George Gershwin, Ira Gershwin, Arthur Johnston, Sam Coslow Bob Brookmeyer, Zoot Sims (4:16)
08. Box Cars Al Cohn Bob Brookmeyer, Zoot Sims (5:24)
**
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Bob BROOKMEYER - Kansas City Revisited 1958

Bob BROOKMEYER - Kansas City Revisited 1958

Jazz

Born 19 December 1929, Kansas City, Missouri, USA. Although he began his career as a pianist, it was when he took up the valve trombone in the early 50s that Brookmeyer began attracting serious attention. In 1953 he joined Gerry Mulligan, making numerous concert appearances and recordings, all of which demonstrated his considerable technical ability. His precise playing fitted well into Mulligan's rather thoughtful approach. He worked with Clark Terry in the early 60s and also played in the Thad Jones-Mel Lewis big band. A gifted arranger for both small and big bands, Brookmeyer also composes, but it is as a player that he has made his chief contribution. Based in Europe since the late 70s, Brookmeyer continues to maintain a busy recording schedule.
**
Cool jazz meets swing on this valuable but long out-of-print LP. Valve trombonist Bob Brookmeyer, tenors Al Cohn and Paul Quinichette, pianist Nat Pierce, guitarist Jim Hall, bassist Addison Farmer and drummer Osie Johnson perform four songs associated with the late-'30s Count Basie Orchestra plus a couple of numbers ("A Blues" and "Travlin' Light") that are sung by the underrated vocalist Big Miller who was making his recording debut at the time. This memorable set is long overdue to be reissued on CD.
By Scott Yanow, All Music Guide.
**
A very unusual session -- especially considering Bob Brookmeyer's more modernist modes of the 50s! This album has Bob going back to roots you might not guess that he had -- picking up bits of a Kansas City sound that (as he tells in the liner notes) clearly inspired him in the early days, and which is presented here surprisingly well by a septet that includes Bob on valve trombone, Al Cohn and Paul Quinichette on tenor, Nat Pierce on piano, Jim Hall on guitar, Addison Farmer on bass, and Osie Johnson on drums -- all playing long and lean on some real Basie-styled numbers. Quinichette's presence really sets the tone for the record, and seems to pull out earthy qualities in the other players that we didn't even know they had -- and on 2 numbers, Big Miller delivers some bluesy vocals as well. Titles include "Jumping At The Woodside", "A Blues", "Blue & Sentimental", and "Moten Swing". (Red label pressing with the deep groove. Cover has light staining on the back near the bottom seam.)  From Dusty Groove.
**
Clarence "Big" Miller- Vocals (2 & 5)
Bob Brookmeyer- Trombone (Valve)
Addison Farmer- Bass
Jim Hall- Guitar
Osie Johnson- Drums
Nat Pierce- Piano
Paul Quinichette- Tenor Sax
**
01. Jumping At The Woodside (Basie) 8:00
02. A Blues (Miller) 8:05
03. Blue & Sentimental (Basie, Livingstone, David) 6:52
04. Doggin' Around  (Battle, Evans) 8:40
05. Travelin' Light (Young, Mundy, Mercer) 3:33
06. Moten Swing  (Moten, Moten) 10:10
**
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Bob BROOKMEYER - Bob Brookmeyer & Friends 1964

Bob BROOKMEYER - Bob Brookmeyer & Friends  1964
Recorded in New York on May 26-27, 1964

Jazz

This album is beautiful. Who would of thought that this pairing would work so well. You got an East Coast rhythm section, (Herbie Hancock, Ron Carter, Elvin Jones), West Coast horns, (Brookmeyer, Stan Getz) and a midwest vibraphonist, (Gary Burton in one of his early and few appearences as a sideman.)
The reviewer who thought this album was commercial represents everything thats wrong with most jazz listeners and musicians. There's nothing commercial at all about the first track. Because it's in a major key?
It's almost like a folk song, soulful and groovy. And nothing else on the album is really very commercial at all. This is jazz! And jazz at it's best.
I recommend this to anybody who likes great music. Don't be fooled by people who don't know what they're talking about, and who are afraid to listen to anything that's not bebop.
By Chris Covais.
**
I waited years for "Bob Brookmeyer and Friends" to get reissued, and when Sony pulled all of their infamous copy-protected, virus-attracting CDs, I was nervous that I would never have a chance to hear this album. Thankfully, Sony has produced new discs without the notorious software, and I have finally been able to purchase and listen to "Friends." Well it was probably inevitable that after all the hype and drama surrounding this title, I would be in for a let down. Don't get me wrong this is a solid session. Recorded in 1964, it features the incredible lineup of Brookmeyer, Stan Getz, Herbie Hancock, Ron Carter, Elvin Jones, and (then) newcomer Gary Burton. Unfortunately, in my opinion, the whole doesn't equal the sum of the parts. From the opening bars of "Jive Hoot," I could tell the emphasis here was more on a commercial sound than an experimental, modern one. Brookmeyer's arrangements and compositions surprisingly favor a more conventional and accessible approach. The playing throughout is subdued, and even Getz only simmers in a setting best suited to his style. (Come to think of it, '64 was when another Getz disappointment was made -- "Stan Getz & Bill Evans.") Of course, this approach really stymies the rhythm trio, particularly Jones who is pushed back in the mix. Even Tony Bennett, making a guest appearance on "Day Dream," one of three bonus tracks not on the original vinyl, can't save the day. Overall, this "Friend" is not tried and true, but instead a bit of the fair-weather variety.
By Michael B. Richman.
**
For this 1964 session, Stan Getz brings his working band into the studio with his old costar Bob Brookmeyer, the trombonist and arranger. Getz's group at the time was made up of Herbie Hancock, Ron Carter, Elvin Jones and Gary Burton, so every moment of it is a sublime meeting of '50s cool and '60s post-bop. Tony Bennett (probably touring with Getz at the time), guest croons on a lovely reading of Ellington's "Day Dream."
By Nick Dedina.Rhapsody.
This somewhat obscure session was reissued on LP by Columbia in 1980. Valve trombonist Bob Brookmeyer and tenor-great Stan Getz (who had played together regularly a decade prior) had a reunion for this date, performing five standards and three Brookmeyer originals. The young rhythm section (pianist Herbie Hancock, vibraphonist Gary Burton, bassist Ron Carter, and drummer Elvin Jones) uplifts what would have been a fairly conventional (although high quality) bop date.
By Scott Yanow.AMG.
**
Bob Brookmeyer-  Trombone (Valve)
Gary Burton-  Vibraphone
Ron Carter-  Bass
Stan Getz-  Tenor Sax
Herbie Hancock-  Piano
Elvin Jones-  Drums
**
01.  Jive Hoot  Brookmeyer  4:43
02.  Misty  Garner  5:18
03.  The Wrinkle  Brookmeyer  5:21
04.  Bracket  Brookmeyer  4:59
05.  Skylark  Carmichael, Mercer  5:02
06.  Sometime Ago  Mihanovich  4:05
07.  I've Grown Accustomed to Her Face  Lerner, Loewe  5:05
08.  Who Cares  Gershwin, Gershwin  7:04
09.  Day Dream   Ellington, Latouche ...  5:21
10.  Time for Two   Rosner  3:39
11.  Pretty Girl   Brookmeyer  4:50
**
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