Saturday, October 1, 2016

Howard Roberts - 1967 - Guilty!!

Howard Roberts 

01. Watch What Happens 1:59
02. Ode To Billie Joe 2:15
03. Triste 2:01
04. Can't Take My Eyes Off You 2:14
05. The Look Of Love 2:46
06. Yellow Days 2:17
07. Walk Tall (Baby, That's What I Need) 2:15
08. You And I 1:57
09. O Barquinho (Little Boat) 2:19
10. Wait Until Dark 2:46
11. Up, Up And Away 2:25

Howard Roberts - g
Dave Grusin - org
Chuck Berghofer - b
Al Hendrickson, Jack Marshall - g
John Guerin - dr
Paulo Fernando de Magalhaes, Larry Bunker - dr & perc
Claudio Miranda - perc & voc
Vic Feldman - el p & perc

The Sixties were perhaps the golden era for Hollywood studio musicians. In addition to the music produced for the television and film industry, the L.A. scene was burgeoning with popular musical groups. The record business was in the firm grip of a rock revolution inspired largely by the Beatles and scores of hopeful rock bands got record deals. It's even been rumored that many of the more traditional recording artists, who were rapidly becoming anachronisms, lost record contracts merely because of the vast amount of vinyl needed to accommodate the new era's rock acts. Because of this change a curious thing happened that created some strange bedfellows: a number of jazz artists began working as session players. It's no secret that many of the popular rock groups of the time were ghosted on vinyl by studio musicians. Once again, it was a matter of economics. Most jazzers could read charts well, were by definition inventive, and could nail an arrangement quickly. Studio time was expensive and using experienced players was simply cost effective. Howard Roberts was one of those jazz artists who found an abundance of work in the studios. He began playing professionally at age 13 in Phoenix and was working with Art Farmer by age 16. He was 20 in 1950, when he arrived in Los Angeles and began playing jam sessions and after-hours clubs. Shortly after that he was gigging with the Bobby Troup Quartet where he developed a chordal style of playing that helped spark a trend in which small groups used the guitar in lieu of a piano. By the late Fifties, he was one of the most sought-after players in town. He was open-minded and imaginative and his influence on the music scene was profound. He lent his instantly recognizable, bluesy though sophisticated style to countless pop records and was averaging 3000 sides a year covering dates from Elvis to the Electric Prunes. A cover story in the guitarist's bible Guitar Player Magazine called him a renaissance man - a sideman, soloist, educator and innovator. Fortunately, in the Mid-Sixties Howard got the call to record as a leader. That wise move by Capitol Records yielded a series of marvelous albums with jazzy treatments of some the era's most popular tunes. What you're holding now are two of the best examples. Jaunty-Jolly ! and Guilty !! were recorded in 1967 with Howard fronting such other Hollywood heavies as keyboardists Dave Grusin and Victor Feldman, drummer Shelley Manne, bassist Chuck Bergofer and fellow guitar aces Al Hendrickson, Bill Pitman and Jack Marshall...
Jim Carlon