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glennzottola's Reviews
![Bossa, Bonfá and Black Orpheus: a Tribute To Stan Getz [CD]](https://bestbuy.ugc.bazaarvoice.com/profiles/3545w/static/noimage70.gif)
Customer Rating
5
Review in All About Jazz
on June 17, 2014
Posted by: glennzottola
from oxnard, ca
Glenn Zottola: The Bossa Nova Story, Glenn Zottola, Salutes Stan Getz (2014)
By EDWARD BLANCO, Published: June 6, 2014 | 282 views
Glenn Zottola: The Bossa Nova Story, Glenn Zottola, Salutes Stan Getz Trumpeter and saxophonist Glenn Zottola has been a serious part of the music business for more than four decades, recording thirty albums as a sideman and leader as well as adding Broadway and TV show musician to his resume. In 2014, Zottola decided to embark on the tribute circle recording a series of homage albums for the Classic Jazz Records label such as (Clifford Brown Remembered (Classic Jazz Records, 2014), Reflections of Charlie Parker (Classic Jazz Records, 2014) and now, The Bossa Nova Story, Glenn Zottola, Salutes Stan Getz. The album is a combine tribute to Getz’s involvement in the bossa nova, the music of Antonio Carlos Jobim, and Brazilian jazz in general. The result of course, is a warm and beautiful portrait of the bossa style from the perspective of the tenor saxophone and the everlasting influence Stan Getz left on the music.
Glenn Zottola: The Bossa Nova Story, Glenn Zottola, Salutes Stan Getz Trumpeter and saxophonist Glenn Zottola has been a serious part of the music business for more than four decades, recording thirty albums as a sideman and leader as well as adding Broadway and TV show musician to his resume. In 2014, Zottola decided to embark on the tribute circle recording a series of homage albums for the Classic Jazz Records label such as (Clifford Brown Remembered (Classic Jazz Records, 2014), Reflections of Charlie Parker (Classic Jazz Records, 2014) and now, The Bossa Nova Story, Glenn Zottola, Salutes Stan Getz. The album is a combine tribute to Getz’s involvement in the bossa nova, the music of Antonio Carlos Jobim, and Brazilian jazz in general. The result of course, is a warm and beautiful portrait of the bossa style from the perspective of the tenor saxophone and the everlasting influence Stan Getz left on the music.
The world first learned of the samba and bossa nova from the 1959 film Black Orpheus by French director Marcel Camus where the original sound track had a Luiz Bonfa composition “Manha de Carnival” represented on this album as simply “Black Orpheus.” The album starts off with the Orpheus song led by a gorgeous introduction from Argentinian guitarist Marcelo Berestovoy leading to Zottola’s masterful solos on the piece. There have been many interpretations of Jobim’s signature piece, “The Girl from Ipanema” but somehow, Zottola’s Getz’s impersonation, along with Tom Hartman’s string arrangements, elevates this one to elite status. On the fiftieth anniversary of this classic and the twentieth anniversary of Jobim’s passing, this seemed a perfect inclusion to The Bossa Nova Story.
The gorgeous homage rolls right along with delightful treatments of such classics as “Gentle Rain,” “Once I Loved” and Zottola’s superb interpretation of Jobim’s “One Note Samba” equally as enchanting as the famous Getz instrumental rendition. Other memorable Jobim classic such as “Dindi,” Meditation,” and “Triste,” are all presented with the saxophonist leading the way with tasteful accompaniment from a stellar group and a delightful string section. Also Included in this tribute album are non-bossa standards like Cole Porter’s “I Concentrate on You,” and the Robert Wright/George Forrest classic “Baubles, Bangles and Beads”—both transformed into bossa songs on the Grammy—nominated Francis Albert Sinatra & Antonio Carlos Jobim (Reprise, 1967) recording.
The program end as it began with delicious interpretation of another Bonfa standard “Samba de Orfeu” where the saxophonist’s high flying solos are splendidly supported by guitarist Berestovoy with a little help from percussionist Emiliano Almeida capping off a memorable taste of Brazil. As tribute albums go, Glenn Zottola’s The Bossa Nova Story tells a tale of a jazz icon whose saxophone changed the music and of a musical style that changed the world. The great Stan Getz and Antonio Carlos Jobim are no doubt, smiling from heaven after hearing Zottola’s graceful treatment of their enduring music, well done!
Track Listing: Black Orpheus; The Girl From Ipanema; Gentle Rain; One Note Samba; Once I Loved; Dindi; Baubles, Bangles and Beads; Meditiation; Triste; I Concentrate On You; Samba de Orfeu.
Personnel: Glenn Zottola: tenor saxophone; Marcelo Berestovoy: guitar; Jamieson Trotter: piano; Tom Lerner: bass; Joe Dougherty: drums; Emiliano Almeida: percussion; Tom Hartman: string arrangements.
Record Label: Classic Jazz Records
What's great about it: beautiful Bossa Nova
I would recommend this to a friend!
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![Clifford Brown Remembered [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/2507/25070293_sa.jpg)
Posted by: glennzottola
from oxnard, ca
Glenn Zottola: Clifford Brown Remembered (2014)
By NICHOLAS F. MONDELLO, Published: May 6, 2014 | 1,150 views
Glenn Zottola: Clifford Brown Remembered The trumpet is a cruel—yet loving—mistress. It can announce the slightest executional blemish, instantly betraying its player's most sincere efforts, while also allowing its lover to express every possible nuance and emotion. The greatest Masters of the instrument in jazz—Louis Armstrong, Miles Davis, Chet Baker and others—all could brilliantly deliver expressive emotion. Of those in the trumpet's pantheon, Clifford Brown, by virtue of his genius and enhanced by his mythology, stands out. Any attempt by a trumpeter to emulate Clifford would have all the risk of a tightrope walk across Niagara Falls.
Glenn Zottola: Clifford Brown Remembered The trumpet is a cruel—yet loving—mistress. It can announce the slightest executional blemish, instantly betraying its player's most sincere efforts, while also allowing its lover to express every possible nuance and emotion. The greatest Masters of the instrument in jazz—Louis Armstrong, Miles Davis, Chet Baker and others—all could brilliantly deliver expressive emotion. Of those in the trumpet's pantheon, Clifford Brown, by virtue of his genius and enhanced by his mythology, stands out. Any attempt by a trumpeter to emulate Clifford would have all the risk of a tightrope walk across Niagara Falls.
With Clifford Brown Remembered, trumpeter Glenn Zottola takes up the Herculean task of playing tribute to Brownie in the most extraordinary manner. He's taken the classic Clifford Brown with Strings recording (EmArcy, 1955) and, deploying his own formidable talents, recreated the recording in a musical salute. And, he's done it marvelously.
The dozen selections (with an added cover of Dinah Washington's recording of Benny Golson's, threnody, "I Remember Clifford")—were originally drawn primarily from the GAS ("Yesterdays," "Embraceable You,""Stardust") and are performed here in the same sequence as the 1955 recording. Zottola, well-respected as a mainstream and swing performer, interprets the Brown ballad performances with reverence and interpretive artistry. His lush sound is warm and inviting, and nearly as resonant as his idol's. He possesses a fine vocalist's sense of phrasing and lyric savvy. While there may be understandable comparisons to the original, Zottola's ease of playing, technical and articulation skills, and superlative dynamic control make this recording shine.
Incredibly, in this recording, Zottola re-creates the legendary session performing it completely from memory, interpreting Clifford's playing by ear. The original string charts (by Neal Hefti) were transcribed by Mark Stallings and are superbly performed. Given that the original recording was done in 1955, the music's beauty withstands time's test and glows yet again.
Rarely does a performer rise to a level of excellence as that of the artist that he or she salutes. Zottola certainly comes close. Be that so, while Clifford Brown remains to this day, nearly 60 years after his tragic death, an influential voice in jazz trumpet, the adulation that is performed here is indeed apropos. Glenn Zottola portrays himself not only an adoring acolyte, but a superlative and sensitive trumpet artist in his own right. And, just as Brownie did, Zottola certainly speaks.
Track Listing: Yesterdays, Laura, What's New?, Blue Moon, Can't Help Lovin' Dat Man of Mine,Embraceable You, Willow Weep for Me, Memories of You, Smoke Gets in Your Eyes, Portrait of Jenny, Where or When, Stardust, I Remember Clifford.
Personnel: Glenn Zottola: trumpet.
Record Label: Classic Jazz Records
What's great about it: Beautiful Music
I would recommend this to a friend!
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![The Bechet Legacy: Birch Hall Concerts Live [LP] - VINYL](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/2347/23476743_sa.jpg)
Customer Rating
5
All About Jazz Review
on June 16, 2014
Posted by: glennzottola
from oxnard, ca
NICHOLAS F. MONDELLO,
Published: May 1, 2013
Published: May 1, 2013
Every so often a jewel of a recording is unearthed, prompting the obligatory question: “Why not sooner?” This wonderfully energetic, swinging effort is a treasure of an example.
“The Bechet Legacy,” with woodwind artist Bob Wilber and trumpeter Glenn Zottola up front, delivers significant homage toSidney Bechet and to the Golden Era of hot jazz. The double-CD set, recorded live in England over three decades ago, is a home run of Ruthian swing.
Somewhat overshadowed by his contemporary, Louis Armstrong‘s own legacy, saxophonist and clarinetist Sidney Bechet played a pivotal role in the development of the art form both here in the U.S. and as a longer-term resident and performer in Europe. His is the robust saxophone root of the tree that would eventually sprout Johnny Hodges(a Bechet student), Coleman Hawkins, and Charlie Parker.
Delivering an array of Swing Era standards from Bechet’s and others’ pens, Wilber, (a protégé of Bechet’s) and Zottola soar through the selections with enormous vigor. There’s significant swing across the two session dates where the musical magnificence—and joy—never ceases.
Legacy leader, Wilber, of World’s Greatest Jazz Band fame, swings heavy on both soprano and clarinet. His improvised lines burst with chops, innovation and expression. He’s got a gorgeous sound on both axes and is no “vibrato cornball” on either. Partner Zottola, a scion of Zottola trumpet mouthpiece fame, has all of the Armstrong vocabulary in his wheelhouse. He’s got a vibrant sound, chops galore and swings at a level that would send other trumpeters to the woodshed. Like Pops, he uses the upper register shrewdly to fire up his solo forays. These are two stellar musicians performing with the ultimate respect for the tradition at hand.
The selections include tunes associated with Bechet, Armstrong, Ellington and others (“China Boy,” “Lady Be Good,” “Memories of You). Supported by a cooking rhythm section of pianist, Mark Shane, drummer Butch Miles, guitarist Mike Peters and bassist, Len Skeat (and a vocal by Mrs. Bob Wilber, Pug Horton), this legacy creates its own.
There’s a timeless element to this wonderful music. With so much of today’s jazz over-intellectualized and sterile, Wilber, Zottola and team deliver a vivid, swinging exposure to a timeless musical tradition in a romp.
Track Listing: CD-1: Oh, Lady Be Good; Down in Honky Tonk Town; Coal Cart Blues; Egyptian Fantasy; Lazy Blues; Summertime; The Mooche; Daydream; Si Tu Voi Ma Mare; Dans Le Rue D’Antibes; I Keep Calling Your Name; Sweet Lorraine CD-2: I Let A Song Go Out of My Heart; China Boy; I Got It Bad and That Ain’t Good; Just One of Those Things; Polka Dot Stomp; Happiness Is Just A Thing Called Joe; Dear Old Southland; Promenade Aux Champs- Elysees; Georgia Cabin; Memories of You; Swing That Music.
Personnel: Bob Wilber: soprano saxophone, clarinet; Glenn Zottola: trumpet; Mark Shane: piano; Mike Peter: guitar, banjo; Len Skeat: bass; Butch Miles: drums; Pug Horton: vocals.
What's great about it: great classic jazz
I would recommend this to a friend!
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![Reflections of Charlie Parker [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/2508/25085252_sa.jpg)
Customer Rating
5
All About Jazz Review
on June 16, 2014
Posted by: glennzottola
from oxnard, ca
Glenn Zottola: Reflections Of Charlie Parker
By GEANNINE REID, Published: May 10, 2014 | 2,657 views
By GEANNINE REID, Published: May 10, 2014 | 2,657 views
Zottola hasn't recorded as a leader in a number of years, but true to his individuality and self-determination, Zottola has returned to recording with a new approach for his CD project, adding a different twist. "I feel I'm ready to enter another stage of my career. I tried to do something a little more ambitious, with an orchestra, including strings and full horn section." Zottola's Reflections of Charlie Parker is the result of that goal and this tribute does a fine job of capturing the essence of Charlie Parker's feeling in the music (mainly in the style of the 1949 recording, Charlie Parker with Strings, on the Clef label). Zottola creates an intimate setting with arrangements that will give the listener another angle of exploration of these well love selections.
Five of the ten standards on Reflections of Charlie Parker are orchestrated with a full string and horn section in lush, lyrical, graceful arrangements and are the perfect backdrop to Zottola's creative bop disciplined blowing. Bird recorded his project with a full string section and an oboe, Zottola has a full horn section and a full string section, yielding a fresh full sound. A live recording at the Apollo Theater, New York City in 1951 of Bird covering "What Is This Thing Called Love?" with a string and horn backing and Bird also recorded "I'm In The Mood For Love" in the studio with strings. Both of these tracks are on Reflections of Charlie Parker and listening to Bird's approach to playing the songs and then Zottola's version, one can really hear that Zottola has captured the inner essence of the feeling that Parker was able to create, which is not an easy accomplishment! The intimate nature of the setting allows Zottola to express a romantic sensibility and fresh perspective, while still maintaining a sophisticated bebop approach to the American Popular Songbook.
On "Moonlight in Vermont," Zottola's warm alto captures the spirit of Bird's unique rhythmic and harmonic lines without cliché imitation or 'licks.' Zottola's playing is full of fresh angles to the bebop language; lagging slightly behind the beat for some phrases, high accented notes are derived from the melody with complex melodic lines underneath, a rhythmic feeling that falls into double time and a high use of chromatic embellishments all without ever losing the sense of swing and melodic continuity. The orchestration is full and supportive of Zottola's melodic explorations through the harmonies while the backing lines have multiple layers and counterpoints; they never distract the listener from Zottola. Zottola explains, "This album is not a re-creation of anything Charlie Parker did which would be pretentious and silly on my part. Bob Wilber once told me Charlie Parker was the last great swing player and true enough if you listen to his early recordings with Jay McShann, you will hear he is straight out of the Lester Young school. I did many festivals with Jay and spoke to him about Charlie Parker who was in his teens when he played in Jay's band. Actually there is a Charlie Parker solo where he quotes the entire intro to Louis Armstrong's ground breaking "West End Blues" from the 1920s, so his roots go back for sure and Charlie Parker was one of the great improvisers of the 20th century along with Louis Armstrong in my opinion. What I would like to pay tribute to is how he "culled together" everything before him, making it work in whatever setting he was in, putting a glorious final stamp on what was the Golden Age of Jazz that started with Louis Armstrong in the 1920s and ended with Parker in 1950 which was the great Renaissance in Jazz that sadly America has still not acknowledged. Most important to me is "Bird's" aesthetic and beauty in everything he played whether it was fast or slow and that comes from the soul which is so evident in his string album. Just listen to his ground breaking intro on "Just Friends" on his string album, total aesthetic beauty."
Reflections of Charlie Parker is not just slow ballads, Zottola has wisely placed a few mid-tempo swingers in to add tempo variety; "Oh, Lady Be Good!," "I May Be Wrong," "What is This Thing Called Love" and "Three Little Words" and he has also chosen to scale down the ensemble to just a quintet. "Oh, Lady Be Good!," "Embraceable You," "I May Be Wrong" and "Three Little Words" are presented in a quintet format with Don Abney on piano, Jimmy Raney on guitar, Oscar Pettiford on bass and Kenny Clarke on drums. "What is This Thing Called Love" has Nat Peirce on piano, Barry Galbraith on guitar, Milt Hinton on bass and Osie Johnson on drums. "What is This Thing Called Love" has a wonderful chorus of Zottola and Hinton trading fours and Raney's guitar solo on "Three Little Words" is a treat to hear (ending the CD on a mid-up tempo swinger). Zottola's soloing on each track is deeply steeped in the bebop tradition, but highly melodic and always swinging. Zottola speaks further about his thoughts about Parker, "Also, Charlie Parker in many ways took Jazz from the dance hall to the concert hall. The two major influences for me in creating my own jazz style was Louis Armstrong and Charlie Parker, the alpha and omega in jazz in my opinion. Miles Davis summarized jazz in two names Louis Armstrong and Charlie Parker. If you just listen and get the concept of how Louis Armstrong and Charlie Parker approached music as improvisers in a 'general sense' it will organically seep into your own style and that is all I did. Basically with this tribute I just wanted to acknowledge Charlie Parker in my own way for pointing the way for all of us." Reflections of Charlie Parker is highly recommended, you won't be disappointed on this one!
Track Listing: Moonlight in Vermont; Oh Lady Be Good!; It Might As Well Be Spring; In The Wee Small Hours of the Morning; What Is This Thing Called Love?; I'm In The Mood For Love; Embraceable You; Smoke Gets In Your Eyes; I May Be Wrong (But I Think You're Wonderful!); Three Little Words.
Personnel: Glenn Zottola: trumpet, saxophones; Don Abney: piano; Jimmy Raney: guitar; Oscar Pettiford: bass; Kenny Clarke: drums; Nat Pierce: piano; Barry Galbraith: guitar; Milt Hinton: bass; Osie Johnson: drums.
Record Label: Classic Jazz Records
What's great about it: Great Jazz
I would recommend this to a friend!
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Customer Rating
5
ALL About Jazz Review
on June 16, 2014
Posted by: glennzottola
from oxnard, ca
Glenn Zottola: Clifford Brown Remembered (2014)
By NICHOLAS F. MONDELLO, Published: May 6, 2014 | 1,147 views
Glenn Zottola: Clifford Brown Remembered The trumpet is a cruel—yet loving—mistress. It can announce the slightest executional blemish, instantly betraying its player's most sincere efforts, while also allowing its lover to express every possible nuance and emotion. The greatest Masters of the instrument in jazz—Louis Armstrong, Miles Davis, Chet Baker and others—all could brilliantly deliver expressive emotion. Of those in the trumpet's pantheon, Clifford Brown, by virtue of his genius and enhanced by his mythology, stands out. Any attempt by a trumpeter to emulate Clifford would have all the risk of a tightrope walk across Niagara Falls.
Glenn Zottola: Clifford Brown Remembered The trumpet is a cruel—yet loving—mistress. It can announce the slightest executional blemish, instantly betraying its player's most sincere efforts, while also allowing its lover to express every possible nuance and emotion. The greatest Masters of the instrument in jazz—Louis Armstrong, Miles Davis, Chet Baker and others—all could brilliantly deliver expressive emotion. Of those in the trumpet's pantheon, Clifford Brown, by virtue of his genius and enhanced by his mythology, stands out. Any attempt by a trumpeter to emulate Clifford would have all the risk of a tightrope walk across Niagara Falls.
With Clifford Brown Remembered, trumpeter Glenn Zottola takes up the Herculean task of playing tribute to Brownie in the most extraordinary manner. He's taken the classic Clifford Brown with Strings recording (EmArcy, 1955) and, deploying his own formidable talents, recreated the recording in a musical salute. And, he's done it marvelously.
The dozen selections (with an added cover of Dinah Washington's recording of Benny Golson's, threnody, "I Remember Clifford")—were originally drawn primarily from the GAS ("Yesterdays," "Embraceable You,""Stardust") and are performed here in the same sequence as the 1955 recording. Zottola, well-respected as a mainstream and swing performer, interprets the Brown ballad performances with reverence and interpretive artistry. His lush sound is warm and inviting, and nearly as resonant as his idol's. He possesses a fine vocalist's sense of phrasing and lyric savvy. While there may be understandable comparisons to the original, Zottola's ease of playing, technical and articulation skills, and superlative dynamic control make this recording shine.
Incredibly, in this recording, Zottola re-creates the legendary session performing it completely from memory, interpreting Clifford's playing by ear. The original string charts (by Neal Hefti) were transcribed by Mark Stallings and are superbly performed. Given that the original recording was done in 1955, the music's beauty withstands time's test and glows yet again.
Rarely does a performer rise to a level of excellence as that of the artist that he or she salutes. Zottola certainly comes close. Be that so, while Clifford Brown remains to this day, nearly 60 years after his tragic death, an influential voice in jazz trumpet, the adulation that is performed here is indeed apropos. Glenn Zottola portrays himself not only an adoring acolyte, but a superlative and sensitive trumpet artist in his own right. And, just as Brownie did, Zottola certainly speaks.
Track Listing: Yesterdays, Laura, What's New?, Blue Moon, Can't Help Lovin' Dat Man of Mine,Embraceable You, Willow Weep for Me, Memories of You, Smoke Gets in Your Eyes, Portrait of Jenny, Where or When, Stardust, I Remember Clifford.
Personnel: Glenn Zottola: trumpet.
Re
What's great about it: Beautiful !!!
I would recommend this to a friend!
(click to see the video)
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![A Jazz Life: Glenn Zottola's Story [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/2508/25085243_sa.jpg)
Posted by: glennzottola
from oxnard, ca
This album contains selections from my last 53 years in jazz over 50 albums with tracks with Chick Corea , Peggy Lee , Steve Allen , Maxine Sullivan , Milt Hinton , Zoot Sims and many more jazz legends. Enjoy !
What's great about it: great jazz
I would recommend this to a friend!
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