'Goodbye for Bill Evans'
'Steps to the Desert: Modern Jazz Versions of Favorite'
What The Critics Say
When Shelly Manne recorded Steps to the Desert in 1962, John Coltrane was among the most controversial musicians in jazz. Some people praised Coltrane's modal innovations; others detested his post-bop work and even went so far as to describe it as "anti-jazz" (which is simply ridiculous). Arguably, Steps to the Desert is Manne's way of acknowledging the influential saxophonist; the CD has a modal orientation, and it indicates that the Los Angeles-based drummer was paying close attention to Coltrane in the early '60s. Not that Steps to the Desert is actually meant to be a tribute to the influential saxman -- if Coltrane (or for that matter, Miles Davis or Yusef Lateef) showed Manne the possibilities of modal jazz, he certainly embraces it on his own terms. Steps to the Desert finds Manne and five other West Coast jazzmen (including trumpeter/flugelhornist Shorty Rogers, tenor saxman Teddy Edwards, vibist/pianist Victor Feldman, guitarist Al Viola and bassist Monty Budwig) providing post-bop interpretations of songs that have some type of Jewish connection, and the material ranges from traditional favorites like "Hava Nagila," "Yossel, Yossel" (also known as "Joseph, Joseph") and "Zamar Nodad" to Ernest Gold's "Exodus" (which a hit for French vocalist Edith Piaf). Coltrane never recorded an album with a Jewish theme; he did, however, show a strong appreciation of modal music from India, the Middle East and North Africa, and Jewish music is certainly part of the modal family. If Coltrane had decided to record a bunch of Yiddish and Israeli songs, they probably would have worked as well for him as they work for Manne on Steps to the Desert -- which is among the most intriguing and memorable sessions that he recorded in the early '60s. ~ Alex Henderson, All Music Guide
'Shelly Manne & His Men Play Peter Gunn'
What The Critics Say
Henry Mancini's writing for Peter Gunn was quite significant, for it was the first regular television series to utilize jazz as an integral part of its score. Half a year after the show debuted, drummer Shelly Manne, the members of his quintet (trumpeter Conte Candoli, altoist Herb Geller, pianist Russ Freeman, and bassist Monty Budwig), and guest vibraphonist Victor Feldman (doubling on marimba) interpreted the Peter Gunn theme and nine selections from the show, including "Dreamsville." The enjoyable music (originally made for the Contemporary label) was reissued as a CD via the Original Jazz Classics imprint. Mancini encouraged Manne to use the songs as vehicles for extended solos, and the results are swinging, standing apart from the show. Candoli and particularly Geller are in top form on this fairly memorable effort. ~ Scott Yanow, All Music Guide
'Vol. 4: Swinging Sounds'
What The Critics Say
This early edition of Shelly Manne & His Men is a well-integrated unit featuring the light-toned trumpet of Stu Williamson, the cool but hard-driving altoist Charlie Mariano, pianist Russ Freeman and bassist Leroy Vinnegar in addition to the drummer/leader. The excellent quintet plays one original apiece from each musician except Vinnegar in addition to Bud Powell's "Un Poco Loco," Sonny Rollins' "Doxy," the standard "Bernie's Tune" and their closing theme, Bill Holman's "A Gem from Tiffany." ~ Scott Yanow, All Music Guide
'Live 1956 & 1957'
'Double Piano Jazz Quartet at Carmelo's, Vol. 2'
'Double Piano Jazz Quartet at Carmelo's, Vol. 1'
What The Critics Say
An unusual 1980 session with drummer Shelly Manne heading a group that includes pianists Bill May and Alan Broadbent and bassist Chuck Domanico, but no brass, reeds, or woodwinds. Manne's crisp, steady drumming teams with Domanico's consistent bass to set the rhythmic foundation, while pianists May and Broadbent alternate solos and interact, complement, or contrast with Manne and Domanico. ~ Ron Wynn, All Music Guide
What The Critics Say
One of the least interesting groups that drummer Shelly Manne led can be heard on this long out-of-print Mainstream LP. Manne tried hard to keep his mind open to the avant-garde and free jazz during this era but his septet (comprised of trumpeter Gary Barone, John Gross on tenor, pianist Mike Wofford, guitarist John Morell, bassist Jeffry Castleman and percussionist Brian Moffatt) only had one distinctive soloist (Wofford) and the group originals (by Wofford and Morell) are uncomfortable and immediately forgettable. Despite a few good solos, this is one of the weaker Shelly Manne albums. ~ Scott Yanow, All Music Guide
What The Critics Say
Seven months before his death, drummer Shelly Manne was still in apparently good health for this trio outing with pianist Frank Collett and bassist Monty Budwig, Manne's next-to-last record. Collett has long been an underrated pianist and the LP is a fine outing for him. Highlights of the straightahead set include Miles Davis's "Solar," "Good Bait," "All of You" and a "French Medley" comprised of "Where Is Your Heart" (from "Moulin Rouge") and "La Vie En Rose." Tasteful and swinging music. ~ Scott Yanow, All Music Guide
What The Critics Say
This CD reissue brings back one of the oldest recordings ever issued by the Concord label, a set that was already nine years old when it debuted. Drummer Shelly Manne heads a strong quintet comprised of trumpeter Conte Candoli, altoist Frank Strozier (who doubles on flute), pianist Mike Wofford and bassist Monty Budwig. Although the musicians are all associated with the West Coast hard bop tradition, there are plenty of moments during this stimulating set when they make it obvious that they had been listening with some interest to some of the avant-garde players, allowing the new innovations to open up their styles a bit. The fresh material (two standards and a pair of originals apiece by Strozier, Wofford and pianist Jimmy Rowles) inspire the soloists and the music is not at all predictable. Worth investigating. ~ Scott Yanow, All Music Guide
