I heartily agree this CD would be best enjoyed if the show had been seen in person. This review, though, is based off the CD alone.
Pro: Following the life of Peter Allan, the Boy From Oz is an undeniably enthusiastic rendering of his life, using songs Allan wrote. Con: This enthusiasm, however, does sometimes bleed over into happy "cheese." Many people have never heard of Peter Allan until now, and his music does have a somewhat dated sound (70s).
Note: If you don't like Liza Minnelli's voice in real life, you won't like how she's rendered here - it's pretty good! The same goes for the style. The Boy from Oz might be a bit like "Hair" - you either love it or hate it.
This CD is a collection made up from earlier records with typical trad jazz input for which Monty Sunshine is famed. However it is not just Monty Sunshine clarinet dominated, as all the musicians are superb with particularly forceful contributions from trombone, trumpet and banjo. There are opportunities for solos in addition to excellent ensemble playing, and though sometimes a little strained the music is always professional. There is a mixture of live and studio recordings, but all are equally well produced.
The choice of numbers is trad jazz inspired with everything from traditional pieces and spirituals to popular tunes and anything melodic in between. The first track is a German cradle song "Sleep My Little Prince" and immediately ... Read More:
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The CD opens with "St. Phillip Street Breakdown", a composition by George Lewis indicating inspiration and influence on Monty Sunshine. The clarinet playing is reminiscent of Lewis being scintillating at both high and low registers, and this opening leads into 72 minutes of easy listening sparkling jazz. Some tracks are studio recordings and some are live - all are excellent.
The CD's superb repertoire embraces traditional numbers arranged by Monty Sunshine such as "East Coast Trot", "Bugle Boy March" and "My Old Kentucky Home" where the talents of all musicians in the group are ably demonstrated, as with vintage numbers such as "Wolverine Blues", "Memphis Blues" and "Bourbon Street Parade", plus the clarinet test-piece "High Society", and powerful ... Read More:
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The CD opens with "St. Phillip Street Breakdown", a composition by George Lewis indicating inspiration and influence on Monty Sunshine. The clarinet playing is reminiscent of Lewis being scintillating at both high and low registers, and this opening leads into 72 minutes of easy listening sparkling jazz. Some tracks are studio recordings and some are live - all are excellent.
The CD's superb repertoire embraces traditional numbers arranged by Monty Sunshine such as "East Coast Trot", "Bugle Boy March" and "My Old Kentucky Home" where the talents of all musicians in the group are ably demonstrated, as with vintage numbers such as "Wolverine Blues", "Memphis Blues" and "Bourbon Street Parade", plus the clarinet test-piece "High Society", and powerful ... Read More:
>>More Details
The CD opens with "St. Phillip Street Breakdown", a composition by George Lewis indicating inspiration and influence on Monty Sunshine. The clarinet playing is reminiscent of Lewis being scintillating at both high and low registers, and this opening leads into 72 minutes of easy listening sparkling jazz. Some tracks are studio recordings and some are live - all are excellent.
The CD's superb repertoire embraces traditional numbers arranged by Monty Sunshine such as "East Coast Trot", "Bugle Boy March" and "My Old Kentucky Home" where the talents of all musicians in the group are ably demonstrated, as with vintage numbers such as "Wolverine Blues", "Memphis Blues" and "Bourbon Street Parade", plus the clarinet test-piece "High Society", and powerful ... Read More:
>>More Details
The CD opens with "St. Phillip Street Breakdown", a composition by George Lewis indicating inspiration and influence on Monty Sunshine. The clarinet playing is reminiscent of Lewis being scintillating at both high and low registers, and this opening leads into 72 minutes of easy listening sparkling jazz. Some tracks are studio recordings and some are live - all are excellent.
The CD's superb repertoire embraces traditional numbers arranged by Monty Sunshine such as "East Coast Trot", "Bugle Boy March" and "My Old Kentucky Home" where the talents of all musicians in the group are ably demonstrated, as with vintage numbers such as "Wolverine Blues", "Memphis Blues" and "Bourbon Street Parade", plus the clarinet test-piece "High Society", and powerful ... Read More:
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Listening for the first time to these tracks, cut thirty years ago, I felt a few powerful old reflexes stirring, Ken's music has always had that effect on people. They either love it or hate it. For his musicians, or at least for those of us who understand what he was at , the relationship with the man and his music was ambivalent frustration and euphoria went side by side. You loved it when things were going well, and hated it when things went wrong, for the same reason as before. Repeated defects could be eliminated in rehearsal. This was all part of the turbulence that was the essential Colyer make up . The only possible comparison in the jazz canon that one can think of is Charles Mingus, with his determination to make it happen " On the spot " and let ... Read More:
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George Lewis was a gifted and forceful clarinetist in the Johnny Dodds style. He stayed on in New Orleans after the closing of Storyville and the move of jazz to Chicago and beyond, and he was largely unknown until he played with Bunk Johnson as part of the revivalist movement in the early 1940s. The tracks for this superb CD were recorded in New Orleans in 1951 and 1953. The CD is in two halves having 6 tracks by a quartet with support for George Lewis's clarinet from piano, banjo and bass; and 6 tracks by a traditional band with trumpet and trombone joining George Lewis in the front line, and support from piano, banjo, bass and drums.
Revivalism implies that traditional jazz had at best been superceded, or had been lost, or even had died. This CD ... Read More:
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George Lewis was a gifted and forceful clarinetist in the Johnny Dodds style. He stayed on in New Orleans after the closing of Storyville and the move of jazz to Chicago and beyond, and he was largely unknown until he played with Bunk Johnson as part of the revivalist movement in the early 1940s. The tracks for this superb CD were recorded in New Orleans in 1951 and 1953. The CD is in two halves having 6 tracks by a quartet with support for George Lewis's clarinet from piano, banjo and bass; and 6 tracks by a traditional band with trumpet and trombone joining George Lewis in the front line, and support from piano, banjo, bass and drums.
Revivalism implies that traditional jazz had at best been superceded, or had been lost, or even had died. This CD ... Read More:
>>More Details
George Lewis was a gifted and forceful clarinetist in the Johnny Dodds style. He stayed on in New Orleans after the closing of Storyville and the move of jazz to Chicago and beyond, and he was largely unknown until he played with Bunk Johnson as part of the revivalist movement in the early 1940s. The tracks for this superb CD were recorded in New Orleans in 1951 and 1953. The CD is in two halves having 6 tracks by a quartet with support for George Lewis's clarinet from piano, banjo and bass; and 6 tracks by a traditional band with trumpet and trombone joining George Lewis in the front line, and support from piano, banjo, bass and drums.
Revivalism implies that traditional jazz had at best been superceded, or had been lost, or even had died. This CD ... Read More:
>>More Details