Joe Morello Albums (5)
What The Critics Say
Drummer Joe Morello is in prime form for this rare opportunity to record as a leader. Morello takes a drum solo on the "Mission: Impossible Theme" and shares a duet with bassist Gary Mazzaroppi on "Autumn Leaves"; he also propels the solid rhythm section, which includes pianist Greg Kogan, while Ralph Lalama contributes tenor solos very much in the vein of 1950s Sonny Rollins. The strong repertoire and a certain amount of variety make this CD into an enjoyable bop date. ~ Scott Yanow, All Music Guide
What The Critics Say
Following the disbanding of the Dave Brubeck Quartet in 1967, drummer Joe Morello had more opportunities to record as a leader, though this 1969 session isn't a particularly memorable one. Morello still has plenty of chops, though a overblown chart of Simon & Garfunkel's �The Sound of Silence" gives an immediate indication that there's trouble in store for jazz fans. The arrangements contributed by Bob Ojeda or Les Hooper also sound badly dated, whether mixing the leader with a string quartet (�Baroque") or laboring through the repetitious �The Beginning of Time" with uninspired brass, a piece that would have sounded perfect as a soundtrack to a mediocre detective film in the early 1970s. Morello's funky �I Don't Know" is little better. Two things are especially annoying about this record: the unaccredited, wheezy organ that sneaks in from time to time and the awkward fades used on some tracks. Anyone who enjoys the work of Joe Morello is advised to seek out his work with Dave Brubeck or Marian McPartland, or his solo albums for RCA Victor or DMP, instead of this disappointing release. ~ Ken Dryden, All Music Guide
What The Critics Say
Awe-inspiring, stirring, soothing. These words can best describe the adventurous music led by legendary drummer Joe Morello. Here in this recording are tracks breathing alive with flair and resonance. The songs of spontaneous beauty, some speedy and some relaxed, seem to soar off the spinning black record. Others, such as the romantic, sullen "Every Time We Say Goodbye," seem to possess a dreamy, ethereal quality, delighting young couples toward a romantic mood. In the song "Just in Time," Morello sets the pace with a dashing, daring timbre, giving Phil Woods the freedom to explore melodically creative territory on his lush-sounding alto sax. Woods has been regarded as one of the finest sax soloists in the post-bop era. Gary Burton also receives creative expression to expand the record's musical variety in the use of a merry-go-round-like vibraphone. "Every limit in jazz and popular music has been stretched and broken with the passing years. Technical skills have been sharpened; musicians have turned what was once dazzling virtuosity into the professional norm." These are the written words of music critic George Avakian, who sincerely expresses the fact that jazz as an art has evolved to enter new heights, a startling yet fascinating new frontier in its creative direction. Thanks are due to Morello, who toured with his musical compatriot Dave Brubeck and his quartet, playing to well-received crowds largely in the '60s. Morello, the percussionist that he is, gave the jazz and musical world new ground to explore, concerning the field of timbre and percussive measures. He improvs in everything, including 6/4, 3/4, and 5/4, in this collection of songs. Though present in the back of the group, his leadership provides tremendous drive and sweeping force, eagerly inspiring Woods and Burton to reach and express their musical senses. Gene Cherco adds the baritone flavor on his steady marching walking bass, while John Bunch displays sweeping melody notes sitting down at the piano. This record is compelling and free-spirited, giving listeners a delightful picture of some of the best in '60s jazz. ~ Shawn M. Haney, All Music Guide
What The Critics Say
Joe Morello was virtually unknown when he recorded this date for the Intro label in January of 1956. While he did have a handful of gigs with both Stan Kenton and Marian McPartland under his belt, it would be several months before his association with Dave Brubeck's classic quartet. Perhaps this fact was on the minds of the folks at Intro, because initial pressings of the album gave very little indication that Morello was, in fact, the session's leader. Instead, it was packaged rather like a jam session date in that Red Norvo, Art Pepper, Gerry Wiggins, and Morello all received equal billing on the front cover. Add to this a different title (Collections) printed on both the jacket and spine and it's a wonder people refer to it as The Joe Morello Sextet at all. Regardless, the most interesting performances on this record are by the similarly young Pepper, who appears on five of the album's ten tracks. Pepper sticks to alto sax on all but the appropriately titled original "Tenor Blooz," and delivers a meatier-than-expected tone for an alto player. Fine performances by both Norvo and Wiggins help make this a timeless West Coast jazz release. No real surprises here, but every track is a gem. Easily recommended for fans of the genre. [Five of these tracks, the ones featuring Pepper, were included in the 1976 Blue Note reissue Early Art, available on LP only.] ~ Brandon Burke, All Music Guide
What The Critics Say
Drummer Joe Morello's second date as a leader for DMP (and only third since 1962) uses the same lineup of musicians as the previous one: tenor saxophonist Ralph Lalama, pianist Greg Kogan and bassist Gary Mazzaroppi. Although a powerful drummer, Morello is mostly content to feature his sidemen, particularly the up-and-coming Lalama, whose style fits perfectly into late-1950s hard bop. Highlights of the often delightful bop set include "Paper Moon," "Bye Bye Blackbird," "Doxy" and "Take Five." ~ Scott Yanow, All Music Guide
