Customer Reviews

Verve Jazz Masters 52

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Maynard is not simply a great trumpet player because of his outstanding control of the high register. This album, composed of various works Maynard made in the 1950's coming from the albums Dimensions and Boy With Lots Of Brass, is great all-around jazz trumpet playing. Maynard's playing is fiery and energetic throughout and also has a lot of heart. Most of these songs were recorded when Maynard was a freelance musician in Los Angeles. The album opens with a tune he did with crazy saxophonists Ben Webster and Benny Carter called "King's Riff". There are a bunch of solos here but Maynard and Webster shine the most, even though Maynard sounds a bit unsure in parts (he was only twenty-three at this recording date). Then, it moves into a Willie Maiden chestnut called "Maiden Voyage" (not to be confused with Herbie Hancock's composition which became famous but was not made until a decade later). This tune is simply playful and fun, and Maynard solos in the upper register with intelligence and skill. On "Willie Nillie", Maynard picks up the valve trombone and solos on this pretty Maiden composition is a nice showcase for Maynard's trombone skill. Following is "Hymn To Her", which is one of my favorite tunes on this whole set. It's cool jazz at its finest, and listen to Maynard swing effectively in the lower register before jumping up high to end the tune. A great selection. "The Way You Look Tonight" is a popular standard and a great song. Maynard takes up most of the solo space with impressive bop playing. Another highlight is "Can't We Talk It Over?", which features trumpeters Pete Condoli and Shorty Rogers (I think). This is a great big band flavored ballad. The trumpet section is so tight. "Egad Martha" and "Dancing Nightly" are cool dance tunes with great saxophone work and heroic soloing from Maynard, along with "Pork Pie" and the slower "Dreamboat". On "The Lamp Is Low", Maynard plays more great valve trombone on a song based on a Ravel composition. The trumpet section is tight and Maynard plays great trombone. Lorraine Geller on piano quotes "Pop Goes the Weasel". On "Love Me Or Leave Me", they speed up the tune a bit and Maynard plays it effectively, and all the players sound good. Irene Kral (mother of Diana possibly?) sings "Moonlight In Vermont" beautifully, and Maynard takes a screaming solo in the middle after playing great lead trumpet, and somehow makes it sound appropriate. On "Easy to Love", a great Cole Porter standard, Maynard and the band swing and sound great, along with "Wildman", which has an Asian influence in its bop theme, and has a great shout chorus.

Overall on this album, it's obvious Maynard tried his best to avoid the upper register and show off his improvisational and melodic skills. This may be his most well-rounded album out right now. On some songs, he goes more for the style of a Clifford Brown than that of his own, but still manages to keep his own voice. Any jazz fan will love this album. Highly recommended.

Some great straight-ahead recordings made between December of '51 and August of '57 on the then EmArcy and Mercury labels. Aside from the first '51 recording most sets are freelance recordings MF made after leaving Stan Kenton's band in the summer of `53. MF starts showing a greater ease of blowing and more of his great versatility at improvisation and range, but more the former. On several tracks he takes a backseat while some fellow jazz legends play around the new old. Those legends include the likes of Ben Webster, Benny Carter, Gerald Wiggins, Russ Freeman, Bud Shank, Conte Condoli, Al Cohn and many others. If you've gotten tired of the `70's large band sound we all play in college, like I have, then you'll love these great classics.

This compilation album has to be some of the tastiest tracks released from his Mercury/EmArcy albums. I really wish they would release his complete albums from this time frame on CD, like "Boy With Lots Of Brass", "Dimensions", "Jam Session With Clifford Brown", "Maynard Ferguson Octet", "Around The Horn With Maynard Ferguson", and "Hollywood Party". I hope they release these albums! I can't wait to hear "Somewhere Over The Rainbow" on CD! This song just makes the paint peel off of the wall!!!!!

this cd presents an earlier maynard ferguson orchestra. it is a very cohesive band. it is cooler and less bursting than later maynard bands.the composers and arrangers are excellent - maiden, wilkens, and holman. vocalist, irene kral's version of 'moomlight in vermont' is breathtaking.

All the sessions on this Jazz Masters 52 Series CD were recorded in the 1950s. Maynard Ferguson had graduated from the Stan Kenton band and was now fronting his own collection of exceptional soloists and sidemen. Greats like Benny Carter, Bud Shank, Pete Candoli, Shelly Manne, Buddy Childers, Don Palladino, Willie Maiden, the list goes on and on. Maynard's tone was muscular and bright, his technique sharp and clean, and his considerable skills were expanding rapidly. Warp-speed bop. Lush ballads. Driving big band arrangements. Stratospheric solos. And if that's not enough, this CD also includes a sensitive version of "Moonlight In Vermont" sung by Irene Kral -- a sexy, sultry Irene Kral. If you like jazz in the 50s, if you like Maynard in the 50s, this is one you gotta have!

Russ Heitz, Sarasota, Florida, USA
Author of the newly released suspense novel, "Crosshairs"
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This is a wonderful compilation of Maynard's big band work throughout the 50s shortly after he left Kenton's orchestra. His sound all over the horn is huge! I've never heard a trumpeter who could play so full in all registers of the trumpet like MF does. My favorite chart is MOONLIGHT IN VERMONT. Irene Kral took this famous ballroom tune to new hights with her brilliant vocal range and enchanting tone. Maynard soars above the band well into the double register with pure romanticism. A must have album for novice and die hard MF listeners!