Phil Woods Quintet With Jon Eardley Mad About The Boy (1954)

One of the best living alto saxophone players, Phil Woods returned to Venus Records for the first time in six years with his star-studded quintet which includes Brian Lynch and Bill Charlap. Recorded in 2008, Ballads & Blues also represents Woods' first composer's songbook dedicated to Billy Strayhorn. Choosing predominantly slow and medium tempos, Woods shines with his big, warm and expressive tone, soulful blues feel and wailing melancholy. The supporting cast is also superb. This album will be remembered as one of Woods' best.

A die-hard bopper, alto saxophonist Phil Woods nonetheless manages to push the boundaries of straight-ahead hard bop on Souvenirs. As far as the '90s go, this is one of Woods' best. This version of Woods' quintet, most notably featuring trumpeter Brian Lynch, is a solid entity with much forward momentum. Lynch, a member of Art Blakey's last Jazz Messengers lineup, is easily one the best trumpeters around, displaying a knack for interesting note choices and lines that border on the progressive. Woods sounds thoroughly engaged throughout, attacking each tune with his characteristic fire.

The Phil Woods Quintet shines on this collection of standards from the movies, but their fresh approach to each of these very familiar songs is what makes this release special.

In contrast to most actor/actresses-turned-vocalists, there's nothing to joke about on this album - no Golden Throats candidates, except maybe the title track. For starters, Shepherd has a solid jazz ensemble backing her up, led by Stan Getz and arranged by Oscar Neves, and gives us a very enjoyable jazz-flavored record. She takes the Fred Astaire approach to singing, not denying that she has a limited range but working carefully within that range and even using those limitations to her advantage. Getz's solos perfectly complement Shepherd's voice, and she stretches out ravishingly on "This Masquerade," "I'm Old Fashioned" is a sexy torch number in her hands, without a trace of campiness, "Speak Low" soars subtly and elegantly, and the opening number, Ginastera's "Triste," is a sophisticated piece of concert music and a triumph for her as well.