Customer Reviews

Vocalese

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This is an incredible album. I could swear it came out earlier than 87, because I remember being at Bodine HS in Philly. I remember going down to the old THIRD STREET JAZZ to buy it in Vinyl. Was 87 ALL that long ago ? -- And besides, a CLASSIC Jazz album done in the '80s ? Well, this one belongs in any true Jazz affecianado's library. - - Here's why got the album... I was a huge Eddie Jefferson fan. Eddie Jefferson was the Godfather of Vocalese -- the art of ascribing lyrics to often humorous high speed heavy swinging bebop solos, which is what this album was about... I heard cuts on our now half defunct Jazz radio station and ran out and got it. Each and every song on the album made an impression on me and made me want to go out and hunt down the instrumental versions, so the impact of the album carried on for years... To that extent I think this album is not only great for straight ahead Jazz (as well as TRANSFER fans) but it would be a great gift to any friends you have who are just getting into Jazz, even children who might be dazzled by the TRANSFER's vocal acrobatics or for those unfortunate who actually think Kenny G is a gifted "Jazz" soloist (ROFL). - If I'm not mistaken this was also the album that introduced Bobby McFerrin to the public at large via his brilliant performance of NIGHT IN TUNISIA. - - I also remember many great musicians (who would pass within a few years) also doing cameos on the album. - - Anyway, listen to the samples, then get this album, but dont forget to listen to the people who it paid tribute too as well. LAMBERT HENDRIX AND ROSS, KING PLEASURE and EDDIE JEFFERSON especially - - also check out the MARK MURPHY anthology.

This doesn't have to be your favorite MT record. You don't even have to like Manhattan Transfer or approve of the notion that verbalizing inspired solos by jazz instrumental artists is "creative." What remains indisputable is the sheer technical aplomb, the stunning virtuosity, the singular if not unthinkable success of this "grandiose" project. I can't think of anything in the realm of any genre of vocal ensemble music that is at once as bold in concept, challenging in design, impressive in achievement as this recording.

Manhattan Transfer has now been performing for an amazing 36 years (26 for Cheryl Bentyne), and it's doubtful they'll ever top "Vocalese," the dazzling recording on which they manage to execute John Hendricks' Joycean transcriptions of Clifford Brown-Sonny Rollins' solos without missing a beat. So demanding is the program of this particular set that I would have imagined some "creative" studio editing was responsible for the final product. Imagine again. (The live concert filmed in Japan is living proof of the utter technical precision of the group not to mention its showmanship and stage-savvy choreography.)

The highlights are Sonny Rollin's "Airegin" and, my personal favorite, Clifford Brown's "Joy Spring" (retitled "Sing Joy Spring"), though Thad Jones' "To You" bears testimony to the rising star of its trumpeter-composer. The "solos" of each of the four members are no less extraordinary than the lightning fast unisons and harmonic passages.

Some fans of jazz have traditionally dissed groups like Manhattan Transfer (or Lambert, Hendricks & Ross or the Four Freshmen) on the grounds that it's less jazz than "copy cat" music performed by non-musicians (i.e. vocalists). Bassist Charles Mingus was perhaps the most outspoken critic of such attempts to "transcribe" jazz into "vocalese." Whether or not these four exceptional singers are jazz musicians or jazz "ambassadors," all I know is that they've given me pleasure and inspired me to return to the originals.

The group has had a tremendous run, but before they run out of transfers and pull into the last station, I hope they record some more jazz transcriptions--preferably Mingus tunes like "Goodbye, Pork Pie Hat," "Fables of Faubus," "Pithecanthropus Erectus," and "Better Git It in Your Soul." (I can hear Mingus tap dancing in his grave.)

I would have to say that this CD came along at a time in my life when I really needed it. I find that all the tracks are ones that I sing in my head often after I listen to this CD. "Sing Joy Spring" would be, if one had to choose, the one track I play over and over. Other tracks such as "Blee Blop Blues", "To You", "Move", and "Killer Joe" are notable tracks as well. If one had to buy only one CD that truly represented this group, this CD would be in the running according to this reviewer.

My favorite Manhattan Transfer tune of all time is not on this album, and not on "The Best of" album, either; it's Basie's "Corner Pocket" from "Mecca for Moderns." But overall, this is the most even, balanced Transfer album of all. Jon Hendricks wrote some terrific words for the Transfer to sing, and the group really shows their chops on tunes like "Sing Joy Spring", "Move" and "Bennie Bailey." If you can find it, check out this album on video; the Transfer did a hilarious send-up of "The Lucy Show" on "Blee Blop Blues." Cheryl Bentine does a dead-on of Lucy. Overall, highly recommended for fans of this genre.

I remember going to a Manhattan Transfer concert in 1995 (8 years after the release of this album) and repeatedly wherever I went I overheard people praising this album as THE Manhattan Transfer album.

I agree. It simply is THE best of it's kind. I think it won TONS of Grammy's the vocal arrangements are top notch.

If you don't have a "sophisticated" ear it'll grow on you, if you do, there are endless listening hours ahead of you to catch all the nuances of this recording. No doubt about it, this CD proved that TMT was the greatest vocal group of all time!

Like so many here, the memory of getting this 20 years ago on tape then stays with me. I was very new to Jazz other than the classic initial bop sides back then. Now looking back on these recordings, and having heard most of the instrumental cuts these songs are modeled on is that this is a great contribution to improvisation and jazz, great solos taken, not simply great solos and arrangements copied. Also, I think the added words contribute to the jazziness, the memory,and the entire discourse of the tunes. After all, Jazz is more openly a discourse than much else, where one version, one solo even, of a song does not exist independently but only in dialog with the rest of the recordings and versions. The words here add to the general perception of these tunes that we all have, and I am sure soloists whether instrumental or vocal are talking with them too.

To put it more succintly: Manhatten Transfer is just an excellent Jazz group producing great Jazz arrangements and great solos. That they do happen to sing is not just a good trick, but their voices just happen to be their instruments.

In this album they proved that they knew how to put words on a jazz solos.And they did it so elegantly.When I first heard this,I was at a loss what to say,and got speechless for a while.This album is less poppish and less commercial,however, I must admit that this CD is the tribute to JOHN HENDRICKS.A MUST ITEM for all the fans of JAZZ CHORUS GROUPS.HIGHLY RECOMMENDED!
No one can escape being swept away by their awesome talents.

When I first heard Vocalese I admit I drowned in the amount of notes that are being played. After a few times it grew on me and took me by the horns. I played nothing but this CD for over half a year, and kept on hearing new things each and every time. It is an absolutely 'must-have' for every singer or musician in the area of vocal jazz. THis is the way to do it! They set the standard! You could compare it to Lamberts, Hendricks & Ross, but much tighter, more diversity, better arrangements, cleaner, better bands/orchestra's... just everything! My all-time favorite album!

Side One
1. That's Killer Joe - Manhattan Transfer, Golson, Benny
2. Rambo - Manhattan Transfer, Hendricks, Jon
3. Airegin - Manhattan Transfer, Rollins, Sonny
4. To You - Manhattan Transfer, Jones, Thad
5. Meet Benny Bailey - Manhattan Transfer, Hendricks, Jon
6. Another Night in Tunisia - Manhattan Transfer, Gillespie, Dizzy
Side Two
7. Ray's Rockhouse - Manhattan Transfer, Charles, Ray [1]
8. Blee Blop Blues - Manhattan Transfer, Basie, Count
9. I Remember Clifford - Manhattan Transfer, Golson, Benny
10. Sing Joy Spring - Manhattan Transfer, Brown, Clifford [Ja
11. Move - Manhattan Transfer, DeCosta, Denzil

During the period this album was recorded The Manhattan Transfer had been on one long winning streak since they released their album Extensions in 1979. Each successive album found them moving forward in terms of how the quartet blended swing,contemporary jazz-pop-funk and different other styles into their established sound. After all they'd already done this album really took everything to the most logical conclusion,or as much as The Manhattan Transfer had to do with logic since their MO,like all the best jazz singers is an environment of controlled creativity rather than either full emotionalism or plain logic. Their influences shine very strongly on this album,particularly Eddie Jefferson whose vocal style was the name of this album. All vocalese really ammounts to is a singer interpreting lyrics with vocal inflections and time signitures usually reserved for an instrumental soloist and since Jefferson wasn't alive at this point how appropriate was it that Jon Hendricks,another of the groups chief vocal influences was an honorary member (pictured on the rear cover with the group) as a singer and lyricist. Vocalese is usually very fast paced but is a very enjoyable and inspiring style of singing to listen to. There are definately other,earlier vocalese innovators one should explore but if an album like this gets you into it more power to you. Overall this album is comprised of injenction fueled,intelligently swinging jazz arrangements of "Rambo","Airegin","To You","Meet Benny Bailey","Blee Blop Blues","Oh Yes I Remember Clifford Brown","Sing Joy Spring" and "Move" featuring musicians the likes of Wayne Shorter,Alex Blake,James Moody and John Patitucci. With these eight of it's eleven songs such as they are this basically a very jazz oriented album much in the vein of the previous album Bop Doo Wop only showcasing their vocal style to a greater degree. Also present here are three of the more compelling contemporary styled pieces the group ever came out with. One is a wittily comic "electro/digital swing" style on the Quincy Jones classic "Killer Joe". Bobby McFerrin lends his own homegrown vocal talents in an acapella rendering called "Another Night In Tunisia" whereas "Ray's Rock House" blends a classic jazzy blues number with the modern electro funk style that was actually a direct descendant of that original style. It really brings front and center the idea of connectivity in music that the most successful of jazz,vocal and instrumental can achieve at their very best of abilities. There would be more wonderful roads for this group to follow in the future but this was A specific place in their career and something of a peak at this particular point. It also was innovative in the sense of how vocal groups,even today can choose or not choose to be creative and inventive in the music they are interpreting.