Phil Woods Albums (94)
'The Children's Suite'
Release Date 4/14/2009
Tracks 14
Label Jazzed Media
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What The Critics Say
Phil Woods looked at his children's book collection many decades ago, and was inspired by the writings of A.A. Milne to the point of producing this tribute to Winnie the Pooh, Christopher Robin, and friends with musicians from New York City and the Delaware Water Gap, PA area he calls home. He struggled for decades to obtain the legal rights to musically interpret Milne's verses. Some of the tracks are narrated, many others use a string section and a horn complement, while vocalists Vicki Doney and Bob Dorough sing the lyrics with the innocence and wide-eyed fascination only young kids possess. As it is in theory a suite, the storylines work from beginning to end, effectively telling tales of childhood, adolescence, and fantasy. Vicki Doney's higher pitched, girlish voice is perfect for these stories of growing up, questioning everything and wondering why. Veteran saxophonists Tom Hamilton (tenor and clarinet,) Roger Rosenberg (baritone and bass clarinet) Nelson Hill (alto and flute,) trombonist and co-collaborator Rick Chamberlain, and Woods (alto sax exclusively) add bright colors to the songs, and effusively solo. The longtime rhythm section of Woods with bassist Steve Gilmore and drummer Bill Goodwin are here, with Eric Doney on piano, all sounding solid as per usual. The big-band jazz shuffle "The Good Little Girl" kicks off the suite, a cute song with Vicki Doney curious about why she can't be just a little mischievous, followed by the stringy ballad "Come Out with Me," where she acts on this come hither attitude. "Sneezles" is one of several whimsical recitations by the British actor and Milne family confidante Peter Dennis, with Eric Doney in duet, sometimes counterpointed and circus-like during "Waiting at the Window," starting with a statement of "The Friend" before moving into the Pooh tale "Us Two" over ten minutes, or saying good night on "In the Dark" before the restless bedtime cautionary tale "The End." Woods is more conductor than performer, but his visceral solos always perk things up, especially for "Buttercup Days," a song of pure nostalgia and reminiscence with a solo as purely blues derived as only the master alto saxophonist can play it. There is a relaxed, reflective mood that dominates the proceedings when the string quartet steps forward, with "Down by the Pond" the most interactive, as they and Vicki Doney play together. Dorough is in his Schoolhouse Rock element for the bluesy "Pinkle Purr," and works alongside Vicki Doney for several numbers, the shuffling "The Morning Walk" most poignant with the swinging big band. A recording for specific taste, and not for every bop fan who idolizes Woods, it is nonetheless a heartfelt project that reminds us of the child that remains inside, no matter your age. Partial proceeds in the selling of this recording will go to a good cause, the Pocono Transitional Housing (P.A.T.H) project. ~ Michael G. Nastos, All Music Guide
What The Critics Say
At the time this recording was made in the spring of 2006, the DePaul University Jazz Ensemble was one of the top college jazz bands. With tight ensembles and inspired solos by its members, the big band is heard live at the Jazz Showcase in Chicago, directed by veteran educator Bob Lark, who is also a fine trumpeter and flugelhornist. The band backs veteran alto saxophonist Phil Woods on the first seven selections, a musician who knows a potent group when he hears it. Woods is obviously very familiar with the songs, most of which he has played for decades, including standards like "It's You or No One" (played in a breezy post-bop setting while retaining the flavor of an Irish jig), pieces from his days with Quincy Jones (including the Count Basie-like swinger "Stockholm Sweetnin'"), plus Jim McNeely's challenging "Rosenwind," which also showcases a fiery solo by trumpeter Dan Jonas. But with or without Woods' presence, the DePaul University Jazz Ensemble leaves the lasting impression that its future alumni will make important contributions to the bands they join in the future. ~ Ken Dryden, All Music Guide
'Blues for New Orleans'
Release Date 1/1/2007
Tracks 9
Label Philology
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What The Critics Say
One of the benefits of Phil Woods' association with Paolo Piangiarelli's Philology label is that it has given him an opportunity to collaborate with a number of European-based musicians with whom he might not have otherwise had the opportunity to make a record. The first meeting between the alto saxophonist and guitarist Irio De Paula in 2000 for the label, titled Encontro, was an inspired date and this 2005 follow-up session is as well. Drawing mostly from a mix of standards and well-known jazz compositions, Woods and De Paula obviously regained their earlier chemistry shortly after reuniting in the studio. Although many of the tracks run eight to nine minutes and it is just the two of them with no additional accompanists, Woods and De Paula never run out of ideas or overstay their welcome. Some highlights include the playful "Honeysuckle Rose," the intricate "Nuages" (with a lush solo introduction by De Paula), the delightful bossa nova setting of "Night and Day," and the passionate, extended workout of "Tenderly." Woods and De Paula improvised the spirited"Blues for New Orleans," named in honor of the devastated Crescent City, which had been nearly destroyed by Hurricane Katrina just a few weeks before the recording session. ~ Ken Dryden, All Music Guide
'The Gershwin Affair'
Release Date 1/1/2007
Tracks 17
Label Philology
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What The Critics Say
Phil Woods looks forward to every trip to Italy, as producer Paolo Piangiarelli treats him like a valued houseguest who is an old friend. The Philology label owner also makes sure that the alto saxophonist is always joined in the studio by some of Europe's very best jazz musicians; for this 2005 session, it is Woods' reunion with the brilliant pianist Franco D'Andrea. The two discs are filled with favorites from the vast George Gershwin songbook, nearly all of which have been played on countless jazz record dates over the decades. Yet with a pair of veterans joining forces like Woods and D'Andrea, they continue to find new facets for their improvisations within these timeless standards, while never losing sight of the melody. The pianist's dissonant introduction of "I've Got Rhythm" sets up an adventurous flight for the duo, while "Lady be Good" also seems in danger of overexposure, but their jaunty approach keeps it fresh as well. The two songs that aren't by Gershwin still fit the mood of the day. "Do You Know What It Means to Miss New Orleans?" was no doubt inspired by the devastating Hurricane Katrina that hit the Crescent City only weeks before the recording session; Woods' delightful solo is full of spirit and sneaks in a few quotes, including a brief snatch of "Things Ain't What They Used to Be." The old warhorse "St. Louis Blues" is putty in D'Andrea's hands as he takes it in atypical post-bop directions. Highly recommended. ~ Ken Dryden, All Music Guide
'Alive and Well in Paris'
Release Date 9/25/2006
Tracks 5
Label Toshiba EMI
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What The Critics Say
Phil Woods & His European Rhythm Machine was a brilliant though short-lived quartet that made a handful of albums between 1968 and 1973, though most of them are long out of print. Happily, this early studio effort, with pianist George Gruntz, bassist Henri Texier, and drummer Daniel Humair, has been reissued in Japan by Toshiba-EMI, all of whom provide first-rate rhythmic support and make the most of their solos. The leader's "And When We Are Young" was written in tribute to Senator Robert Kennedy, who was gunned down by a cowardly assassin in the spring of 1968 in the midst of Kennedy's celebration of his presidential primary victory in California. The piece begins with a mournful dirge before cutting loose with some wailing post-bop. "Alive and Well" is a miniature, bursting with energy from start to finish. The latter half of the session focuses upon works written by other jazz musicians. The lightening unison runs by Woods and Gruntz are only an introductory teaser to Eddie Harris' "Freedom Jazz Dance"; this up-tempo rendition would quickly wear out anyone trying to keep up with it on the dancefloor. Likewise, Woods' interpretation of Oliver Nelson's landmark work "Stolen Moments" is a tad faster than the composer's famous version; Woods' alto sax almost seems like a clarinet in the softly played lower passages, and Texier's solo is a gem. A brief sign off of Sonny Rollins' "Doxy" wraps this highly recommended CD. ~ Ken Dryden, All Music Guide
'Phil Woods & the Japanese Rhythm Machine'
Release Date 8/21/2006
Tracks 4
Label BMG Japan
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'New Phil Woods Album'
Release Date 8/21/2006
Tracks 8
Label BMG Japan
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What The Critics Say
Phil Woods desired to put together a large ensemble for this ambitious 1975 album, expanding his quartet (Mike Mellilo, Steve Gilmore, and Bill Goodwin) to a large orchestra with the addition of brass and strings. Although the results are somewhat uneven and occasionally dated, there's a lot of great music within this LP. Woods' medley of Billy Strayhorn's gorgeous ballad "Chelsea Bridge" and his own snappy tribute to the legendary star of Duke Ellington's orchestra, "Johnny Hodges," the latter featuring the leader on soprano sax, is easily the highlight of this release. Woods' alto sax solo on the timeless standard "Body and Soul" and the soprano sax feature of Rodgers & Hart's long-forgotten "Mimi" (from the film Love Me Tonight) also merit praise. Less memorable are Woods' extended "Sun Suite" and an interpretation of rocker Janis Ian's "At Seventeen." This LP is still fairly easy to find, although it has been out of print for decades, and it is worth picking up for serious fans of Phil Woods. ~ Ken Dryden, All Music Guide
What The Critics Say
This CD reissue brings back most of the earliest recording session by what would become Phil Woods' quintet. Unfortunately, four selections (including the 21 1/2 minute "Brazilian Affair") which were on the original two-LP set were left off of this release. Altoist Woods is joined by guitarist Harry Leahey, pianist Mike Melillo, bassist Steve Gilmore, drummer Bill Goodwin and percussionist Alyrio Lima for the live set. While Lima would soon depart and Leahey was only aboard for a second record, Gilmore and Goodwin spent over 20 years with Woods' group. Highlights of the high-quality modern bop date include "A Sleepin' Bee," "Bye Bye Baby" and a lengthy "Cheek To Cheek." But get the two-LP set if it can be found. ~ Scott Yanow, All Music Guide
What The Critics Say
At first glance, this LP by Phil Woods might appear to be a rather easily dismissed commercial affair, but just eyeballing a record jacket can be deceiving. Woods' conception of a large orchestra performing bossa novas was realized through his collaboration with Chris Gunning and his orchestra during a trip to England in 1976; what is surprising is that this recording, sometimes with strings and backing vocals, was done completely without any overdubs. Gunning and Woods both contributed arrangements and orchestrations. Another treat is hearing Woods on soprano sax, an instrument he has used sporadically on recordings, on both the opening track, "Canto de Ossanha (Let Go)," and Gunning's "Chaldean Prayer." Woods is also in top form on his main instrument, alto sax, which he plays on most of the rest of the tracks. Keyboardist Gordon Beck (who had previously worked with Phil Woods & His European Rhythm Machine), trumpeter Kenny Wheeler, and saxophonist Tony Coe are among the most notable names in the musicians present. Although both the strings and the backing vocals grow tiresome over time, the effort put into the production of this LP is still rather impressive. Not a likely candidate for reissue, but this long out of print record should still be relatively easy to find. ~ Ken Dryden, All Music Guide
What The Critics Say
At one of the memorable West Coast jazz festivals organized by Ken Poston, altoist Phil Woods was teamed with a specially assembled big band to perform the "Unheard Herd," selections played but not recorded by Woody Herman's Second Herd. Actually though, of the eight numbers that were performed, only three fit into that category, since four of the songs were recorded by Herman and "My Old Flame" is a feature for Woods with the rhythm section. No matter, for Woods plays brilliantly throughout, the band put together by trumpeter Ron Stout is excellent, and the many soloists, which include trumpeter Carl Saunders, Stout, the full sax section, trombonists Scott Whitfield and Andy Martin, and pianist Ross Tompkins, add a great deal to the music. There is plenty of good spirit both in the playing and the storytelling by Stout and Woods. Phil Woods' four-minute monologue is full of funny stories, including some involving Al Cohn and Gene Quill. Highly recommended. ~ Scott Yanow, All Music Guide
