01. Tah-DUM! 5:45
02. Monster Rally 10:22
03. For You 7:45
04. Over Here 8:11
05. Interlude # 1 2:08
06. Lovely 4:47
07. Song, Sing, Sung 8:11
08. Interlude # 2 1:28
09. Elegy 9:25
10. Get Well Soon 7:33

Bob Brookmeyer – trombone
Marko Lackner, Oliver Leicht, Edgar Herzog, Paul Heller, Nils Van Haften – reeds
Sebastian Strempel, Aneel Soomary, Thorsten Benkenstein, Eckhard Baur, Torsten Maaб, Till Bronner – trumpet
Steve Trop, Christian Jaksjo – trombone
Edward Partyka, Anders Wiborg - bass trombone
Kris Goessens – piano
John Hollenbeck – drums

The strengths of Bob Brookmeyer's writing for large jazz ensembles have been well documented throughout his career. But the New Art Orchestra, which joins him for the third time on this Challenge CD, seems especially in tune to his demanding charts. None of these compositions is easily absorbed by the listener, as it takes time to catch the nuances of each piece. One special guest, trumpeter Till Bronner, was added to the ensemble for this recording. Among his features are the tense "Tah-DUM!," the fragile but gorgeous ballad "For You," and "Over Here," a sophisticated piece that defies labels. The leader's praise of the trumpeter's efforts is hardly hyperbole. "Song, Sing, Sung" is a haunting melody powered by John Hollenbeck's imaginative yet soft percussion and Kris Goessens' brilliant piano solo. Two works have special meaning for their creator. "Elegy" was written for a dying friend, a somber yet satisfying work honoring Earle Brown (also a composer), whose friendship obviously made a difference in the life of Brookmeyer and others. "Get Well Soon" was dedicated to another friend, Jan Horne, who was in the midst of a battle with cancer, yet this upbeat and in-your-face post-bop chart has absolutely nothing maudlin or subtle within it, sounding more like a hard battle in the process of being won. Though Brookmeyer's role is primarily as conductor, he still has the chops to play superb solos, as in the brief "Interlude No. 1" and "Interlude No. 2" with the rhythm section. Highly recommended. ---Ken Dryden, Rovi

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01. Rocky Scotch 4:40      
02. Under The Lilacs 5:07    
03. They Say It's Wonderful 5:49    
04. Potrezebie 4:49    
05. Revelation 5:46    
06. Star Eyes 4:29    			play
07. Nobody's Heart 4:25     		play
08. Loup-Garou 4:38

Personnel:
Bobby Brookmeyer- Valve Trombone, Piano
Teddy Charles- Vibraphone
Teddy Kotick- Bass
Mel Lewis- Drums
Ed Shaughnessy- Drums
Jimmy Raney- Guitar
Nancy Overton- Vocals

This CD reissue has four selections apiece from two different bands, both of which feature subtle interplay and cool tones. Bob Brookmeyer plays valve trombone and piano on two songs apiece with his 1955 quartet, a group also including guitarist Jimmy Raney, bassist Teddy Kotick and drummer Mel Lewis. The other half of this disc is actually led by vibraphonist Teddy Charles who features Brookmeyer on both of his instruments along with bassist Teddy Kotick and drummer Ed Shaughnessy; Nancy Overton takes a vocal on "Nobody's Heart." Although the overall set is not all that essential, the music is pleasing and reasonably creative. ---Scott Yanow. AMG.

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1.  Samba de Orfeu (Luiz Bonfa) 4:09
2.  Manha da Carnival (Luiz Bonfa) 4:32
3.  Blues Bossa Nova (Bob Brookmeyer) 4:12
4.  Qual E O Po (Gerson Goncalves/Joao Roberto Kelly) 3:29
5.  A Felicidade (Antonio Carlos Jobim) 3:15
6.  Mutiny on the Bounty (Bronislaw Kaper) 2:04
7.  Chara Tua Tristeza (Oscar Castro-Neves/Luvercy Florini) 4:13
8.  Colonel Bogey Bossa Nova (Kenneth J. Alford) 2:15
9.  Samba Para Dos (Lalo Schifrin) 10:06
10. What Kind Of Fool Am I (Leslie Bricusse/Anthony Newley) 3:03
11. I Get A Kick Out of You (Cole Porter) 3:34
12. Just One Of Those Things (Cole Porter) 3:20
13. Time After Time (Jule Styne/Sammy Cahn) 3:29
14. It's All Right With Me (Cole Porter) 2:31
15. My Funny Valentine (Richard Rodgers/Lorenz Hart) 2:01
16. But Not For Me (George Gershwin/Ira Gershwin) 3:06

Bob Brookmeyer (Trombone and Piano)
Lalo Schifrin (Piano) 9-16
Jim Hall (Guitar) 1-8
Jimmy Raney (Guitar)
Gary McFarland (Vibraphone) 1-8
Willie Bobo (Percussion) 1-8
Carmen Costa (Cabassa) 1-8
Jose Paulo (Tambourine, Percussion)
Leo Wright (Alto Saxophone, Flute) 9-16
Phil Woods (Alto Saxophone) 9-16
Jerome Richardson (Alto Saxophone) 9-16
Zoot Sims (Tenor Saxophone) 9-16
Al Cohn (Tenor Saxophone) 9-16
Romeo Penque (Bass Clarinet) 9-16
Danny Bank (Baritone Saxophone) 9-16
Frank Rehak (Trombone) 9-16
Carmelita Koehler (Cello) 9-16
Ben Tucker (Double Bass) 9-16
Dave Bailey (Drums) 9-16

Of course, when it comes to bossa nova strains everyone is familiar with the timeless sound of Stan Getz and Charlie Byrd, not to mention the critics’ contentions that after a few jazzy bossa records came out the rest of the lot were simply a retread of familiar territory. Close examination however shoots this myth right out of the water as there were many great Brazilian-inflected gems to come from the movement, including Zoot Sims’ Colpix sides, Coleman Hawkins’ deliciously melodic Desafinado and the Charlie Rouse Blue Note set Bossa Nova Bacchanal.

A native of Argentina, composer and pianist Lalo Schifrin had more than his share of work in the Afro-Cuban vein while working with Dizzy Gillespie, not to mention the arrangements he’d provide for bossa projects by the likes of Al Hirt and vocalist Pat Thomas. His own series of albums for Verve and producer Creed Taylor at the time made the most of Schifrin’s multi-faceted talents, but never quite so convincingly as on the 1963 set Samba Para Dos . In the company of valve trombonist Bob Brookmeyer (who incidentally had recorded his own enchanting interpretation of that “Latin tinge” a mere five months earlier with Trombone Jazz Samba ), Schifrin and his 13-piece ensemble exude warmth and inspiration in a program that never fails to satisfy in its own jubilant manner.

The centerpiece of this set is a ten-minute romp through the title track, with Brookmeyer blowing Schifrin’s catchy head and the seven-piece horn section nicely punctuating with a riff or two here and there. The textural nuances that Brookmeyer can obtain with the valve trombone perfectly fit the animated quality of Schifrin’s writing and the composer himself contributes a lengthy and incendiary solo that builds the intensity and comes to a ferocious climax before a restatement of the main theme.

The rest of the program is made up of standards from the jazz lexicon, yet Schifrin manages to give each piece a Latinized facelift that still retains the essential beauty of the original. “What Kind of Fool Am I” is quintessential Brookmeyer, with Leo Wright’s flute work providing the perfect counterpoint. Guitarist Jimmy Raney’s mellow timbre also blends nicely with the horns and while Phil Woods, Jerome Richardson, Zoot Sims, and the rest of the section never get solo space per se, they execute the charts with the appropriate joie de vivre.

Along with other classics, such as New Fantasy and Marquis de Sade, Samba Para Dos ranks among Schifrin’s finest recorded works to date. Jazzy, but undeniably global in its appeal, it’s the kind of record that only gets better with age and the fact that it still remains in reissue limbo is really a sin. And lest we forget to mention it, Brookmeyer fans will want to pick up on this one too, for the trombone legend puts down some of the most intensely lyrical work ever heard from a man who’s own early catalog is somewhat on the lean side. ---C. Andrew Hovan, allaboutjazz.com

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