Reference: DCD 112
Bar code: 8427328441124
Special Collector's Edition
· Complete Sessions
· Original artwork and liner notes
· Hi-Fi Recordings
· Newly Remastered
01. Me And My Shadow
02. Blue Prelude
03. Bernie´s Tune
04. Everytime I Fall In Love
05. Remember Me
06. Bye Bye Blackbird
08. Let A Smile Be Your Umbrella
09. Ooh Baby It Scares Me
10. There´ll Be Some Changes Made
11. You´re Blase
12. All´s Well That Ends Well
15. Lonesome Road
16. If I´m Lucky
17. Between The Devil And The Deep
18. Come Rain Or Come Shine
19. When The Blues Come On
23. It´S Mine After All
24. Blue Prelude
Tracks #1-12, from the Dawn DLP-1112
"The 4 Most -Sing The Arrangements of Joe Derise"
Tracks #13-24, from the Dawn DLP-1103
"Bob Stewart -Sings With the Mat Mathews' Quintet"
All tracks recorded in New York City, 1956
24-Bit · High Resolution Remastering
"The first half of this CD consists of a previously released Dawn album from 1956 called The 4 Most Sing The Arrangements of Joe Derise. The 4 Most was a vocal group quartet that consisted of Al Evans, Chuck Sedacca, Joe Derise and Marv Falcon, supported here by an octet that included Dick Sherman, Gene Quill, Al Cohn, Hank Jones, and others. The 4 Most's style was very reminiscent of the Four Freshmen/Hi-Lo school of jazz vocal harmony, and especially close to the upper range that the Hi-Lo's often highlighted. On the dozen titles from this group, there are several occasions for solo features, including a scatted Bernie's Tune, Let A Smile Be Your Umbrella, and Bye Bye Blackbird.
In 1956, singer Bob Stewart and the members of the Mat Mathews Quintet recorded twelve tracks at the New Jersey studio of Rudy Van Gelder. Let's Talk About Love, originally released on the Dawn label, has now been digitally remastered and licensed to Fresh Sound Records as the second part of this reissue (now called simply Bob Stewart). Listening to this music, now just short of fifty years old, one hears a first-rate jazz crooner. Stewart's voice has deepened since this recording, as his 1990s albums, largely on his own VWC label, attest; his sound here could be compared to that of Mel Torme or Dick Haymes.
These twelve songs are notable for Stewart's comfortable vocals as well as the performances of the other musicians, among whom the most prominent voice is Herbie Mann's flute. The short playing time is average for the era. Most of the tunes are ballads with rather well-worn (by now) titles like Come Rain or Come Shine, Between the Devil and the Deep Blue Sea, and Avalon. Two of the songs were co-written by producer Chuck Darwin with Mat Mathews (It's Mine After All) and Cohn (Al?) (When the Blues Come On). The album concludes with the Gordon Jenkins' Blue Prelude.
Bob Stewart shows a real compatibility with the music, making these songs come alive with feeling. They may now be regarded as being saloon or lounge vehicles, but I'd prefer to regard this as a collection of expressive performances by someone who wasn't hesitant about bringing a jazz sensibility to these individual tunes. It is a shame that Stewart had to wait 34 years to record his subsequent album in 1990."
Michael P. Gladstone -All About Jazz