Search - Frank Rosolino;Carl Fontana :: Trombone Heaven, Vancouver, 1978

Only a broken heart could stop Frank

Jazzcat | Genoa, Italy Italy | 02/18/2008

(5 out of 5 stars)

"This is another gem from the vaults that will enrich a lot of precious Jazz collections like mine. I love Frank. Not that I don't consider Fontana. But I'm a Frank fan and I love this album from Uptown because it's another recording of his and another discovery of his past. The period is the seventies and the occasion is a concert he did in those days together wil Carl Fontana, another jazz legend and virtuoso of the instrument (so this is a LIVE recording). The rhythmn section is not made of particularly famous cats, but the guys played properly behind two greats that of course stole them the scene. It was their evening in the end. The program is based on common standards and Jazz originals all strechted out for more than ten minutes each. The evening opens with a ballad medley, Frank is on top of "Here's that rainy day", Carl takes the lead on "Stardust". You can appreciate the differences in their styles from this very first tune. I prefer Frank of course, but, well, my taste. Then a fast Thelonious Monk tune follows, a Frank old love, "Well you needn't", a tune he played a lot of times in his career. A tricky tune based on an alternation between two seven dominant chords and different dominant sevens runs in the bridge. A really challenging tune that the two play effortlessly. "All blues" is a Miles Davis blues in 6/8 time. Here the guys take it at relatively fast tempo. Then the program goes on with some standards, a fast "Just friends", the ballad medley "Laura/Embraceable you" and a at last the Dizzie Gillespie's tune "Ow" again a speeder. What can I say? If you love Frank you have to own this, the recording quality is ok and the music is great. Frank is in top form. If you don't know Frank or Fontana I can say that this is a great Jazz concert with two greats that interplay and challenge each other like few could do. It is not an essential album if you're only trying to own a decent Jazz collection. It is a great album instead for Frank lovers and Jazz enthusiasts that want to own those special unknown albums that are gems and that represent important chapters in the history of our music. The booklet is very well done and give us insights about Frank and Carl's lifes in their time to understand how they were as persons not only as top musicians. The title of this review refers to a phrase that is written inside the booklet regardin Frank's tragic end and his difficult personality.







"

A Unique Opportunity: Meeting of Saints

Samuel Chell | Kenosha,, WI United States | 06/06/2008

(5 out of 5 stars)

"It's hard to believe that at one time the two most popular musicians in America were trombone players (Miller and Dorsey). Since then the instrument has seen giant strides in the proficiency of its players yet been treated by the public as though it were an accordion or tonette. The attitude is that it's fine for parades or Dixieland tailgating but not to be taken more seriously. The only two exceptions I can think of at present are Steve Turre and Robin Eubanks, fine players who still occasionally manage to put out a CD under their own names.



But it's doubtful that any player will equal let alone surpass (Bill Watrous perhaps is closest) Rosolino and Fontana. Who knows what happened to Rosolino at the end? It may have been extraordinarily complex or as simple as the unbearable pain experienced by a peerless but poverty-line musician having to face the prospect of being unable to support his family barring acceptance of a minimum-wage factory job. All I know is that I'm not going to judge the man let alone the artist based on his incomprehensible moment of insanity (though it prompts me to increase my donations to the Brady fund).



Fontana is even scarcer on record that Rosolino. Yet I recall having a conversation with a major, high-profile trombone player (Phil Wilson) back in 1973 when he expressed his admiration of Carl Fontana above the others. Never has a listener had a better chance to compare the two, as well as appreciate the work of either player, than on this continually absorbing, even headshaking, display by both players. No arrangements--except the "extemporary" ones worked out during the course of play. (You can hear the two communicating verbally as well as musically.) To my ears, Rosolino is the flashier of the two; Fontana is crisper and cleaner, yet full of surprises and clever quotes. Rosolino integrates his slide more completely into the production of sound and rhythm; Fontana relies on what must be the fastest tongue possessed by a human being. Like some of today's tenor players whose altissimo register is so unlimited that the alto saxophone seems gratuitous, both Rosolino and Fontana take the instrument into areas previously thought to be the trumpet's sole domain.



I still love Teagarden, Lawrence Brown, Al Grey, and I consider J.J. Johnson the Miles Davis of the instrument. But these are the two guys who took the instrument to yet another level. I have yet to hear anyone capable of following them."

Slide virtuosos side by side

James A. Vedda | Alexandria, VA USA | 04/10/2008

(5 out of 5 stars)

"I've always felt that four jazz trombonists stand above all others in a class by themselves: Urbie Green, Bill Watrous, and the two gentlemen on this recording. All of them have had amazingly productive careers as soloists and sidemen; all have inspired generations of players with their impeccable technique and style.

This album treats us to 79 minutes of unrestrained improvisation by Rosolino, Fontana, and a fine Vancouver-based rhythm section. The moods range from beautifully interpreted ballads ("Here's That Rainy Day," "Stardust," "Laura," and "Embraceable You") to brisk tempos that give these slide wizards plenty of room to show off (Thelonious Monk's "Well, You Needn't," "Just Friends," and Dizzy Gillespie's "Ow"). These tracks set the gold standard for trombone jams.

The enclosed booklet has extensive liner notes that give a concise professional history of the two trombonists and some insight into their personalities. Fans of Rosolino will note that this set was recorded about three months before his untimely death.

The only flaws of this album are minor ones that can be expected from recordings of live performances. The balance isn't always perfect (sometimes the piano is too far in the background) and during "All Blues" you can hear the trombonists having a conversation while the piano is soloing. Despite these criticisms, this is a must-have CD for fans of these late, great artists and for jazz trombone enthusiasts in general."