Get Shorty

This gem of a disc shows Guitar Shorty (David Kearney) off on one of the highlights of his too-limited recorded efforts. He is one of the most flamboyant guitar players you will ever have the chance to see. His stage act was inspired by Guitar Slim, and he in turn inspired and influenced his stepbrother-in-law, a fellow by the name of Jimi Hendrix. This disc is filled with his searing blues guitar work. The only exception is the bouncy Mark "Kaz" Kasanoff tune "A Fool Who Wants to Stay," though Kasanoff is an associate producer of this disc (maybe that says enough). The rest will give you more than your fill of Shorty's inflammatory and slashing style of guitar licks, the very tight horn section arranged by Kasanoff augmenting him, and the solid musicians who are in the band that backs him…

Troy "Trombone Shorty" Andrews' third Verve album, Say That to Say This, might be the one he should have cut first. Backatown and For True - both produced by Galactic's Ben Ellman - were as steeped in rock and hip-hop as they were jazz and funk; they were actually very experimental records yet both charted and were well-received internationally. This date, co-produced with Raphael Saadiq, is a much more R&B-oriented recording - and proves a definite plus in a number of ways. Shorty's become much more disciplined, as revealed by this collection of groove-conscious soul and modern NOLA funk (and though it's more polished - having been recorded almost wholly in Hollywood - it is closer to what he does live). Things kick off with the title track, one of four instrumentals, led by Michael Ballard's whomping bassline…

Mavis Rivers meets Shorty Rogers - and the result is a hell of a swinging session that may well be the greatest record ever from this overlooked vocalist! Shorty brings a groove into play right from the start - one that pushes Rivers past her sometimes-trilling style, and into a mode that's rock-solid and soulful all the way through - very much in the same spirit that Marty Paich or Oliver Nelson might bring to their own great arrangements for a singer. Mavis has this way of keeping up with the groove while still being really expressive, especially in her vocal range - in that way that was the rising challenge of the 60s that only a handful of vocalists could do this well - very hip, mod, and adult.

Mavis Rivers meets Shorty Rogers - and the result is a hell of a swinging session that may well be the greatest record ever from this overlooked vocalist! Shorty brings a groove into play right from the start - one that pushes Rivers past her sometimes-trilling style, and into a mode that's rock-solid and soulful all the way through - very much in the same spirit that Marty Paich or Oliver Nelson might bring to their own great arrangements for a singer. Mavis has this way of keeping up with the groove while still being really expressive, especially in her vocal range - in that way that was the rising challenge of the 60s that only a handful of vocalists could do this well - very hip, mod, and adult.

Mavis Rivers meets Shorty Rogers - and the result is a hell of a swinging session that may well be the greatest record ever from this overlooked vocalist! Shorty brings a groove into play right from the start - one that pushes Rivers past her sometimes-trilling style, and into a mode that's rock-solid and soulful all the way through - very much in the same spirit that Marty Paich or Oliver Nelson might bring to their own great arrangements for a singer. Mavis has this way of keeping up with the groove while still being really expressive, especially in her vocal range - in that way that was the rising challenge of the 60s that only a handful of vocalists could do this well - very hip, mod, and adult.

Although somewhat overlooked in the jazz history books, vibraphonist Teddy Charles was for a period an important participant in the early Third Stream movement, using aspects of classical music to revitalize West Coast-style jazz. This CD reissue features trumpeter Shorty Rogers, tenor saxophonist Jimmy Giuffre, bassist Curtis Counce and drummer Shelly Manne on a couple of advanced originals (one apiece by Giuffre and Rogers) from 1953. After moving to New York, Charles teamed up for a short time with bassist Charles Mingus, performing six other numbers in a quartet with tenor saxophonist J.R. Monterose and drummer Gerry Segal. This session alternates cookers with sensitive ballads and is one of the better recorded showcases for Charles' vibes.