Rocky Cole (vcl, p), Deno Kannes (vcl), Al Cohn, Zoot Sims, Frank Socolow (ts), Steve Pearlow (bs), Bob Enevoldsen (v-tb, arr), Ronny Lang (fl, as), Fred Katz (cello), Marty Paich, Jimmy Rowles (p), Howard Roberts (g), Carson Smith (b), Larry Bunker (d)
Reference: FSR V202 CD
Bar code: 8427328642026
The Best Voices Time Forgot
Collectible Albums by Top Male Vocalists
· Collector's Edition
· 2 Original LPs on 1 CD
· Original Cover Art, Liner Notes
· Complete Personnel Details
· Stereo / Mono Recordings
· Newly Remastered in 24-Bit
Smooth & Rocky
Rocky Cole was equipped with something rare, a refreshingly different originality. His piano playing is always inventive and exuberant, in a captivating way, and although his voice isn’t particularly elegant, filled with a rich, resonant vibrato, or exuding sticky sentimentality, it is no less magnetic. His unique delivery sets him apart, but then, everything Rocky did musically is characterized by his individualistic styling. Smoot & Rocky was Rocky Cole’s debut album and he wisely surrounded himself with an orchestra of adroit and gifted musicians arranged by Al Cohn, which features the unforgettable sound of the ‘four brothers’ –three tenor and one baritone saxes, which first came into prominence in the famed Woody Herman Third Herd aggregation. This ‘four brothers’ sound is made up here of Al Cohn, Zoot Sims and Frankie Socolow playing tenor sax and Steve Pearlow on baritone sax. In these recordings the highly effective sax section, along with Rocky’s voice and piano styling created a new sound you will often want to return to and enjoy.
The Kid from Salt Lake City
Deno Kannes, a product and resident of the state of Utah, was a young singer in the musical story-telling tradition of such as Frank Sinatra and Jackie Paris. Kannes approached material much like a jazz instrumentalist, in the sense that he related his phrasing to the musical as well as the verbal content of a song, bringing forth musicality and vocal drama, hand in hand. In truth, it was his phrasing and awareness of sound which enabled him to marry well with his jazz accompaniment, rather than functioning as a hopeful alien on foreign ground. Much to his profit, Deno recorded The Kid from Salt Lake City in Hollywood, surrounding himself with some of the coast’s finest jazz musicians, with guitarist Howard Roberts playing an especially persuasive role. Most importantly, Bob Enevoldsen’s arrangements are functional and reflect an understanding for Deno vocalist’s needs.
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