mike.holmes's Full Review: Couldn't Be Hotter by Manhattan Transfer
Since I first "discovered" The Manhattan Transfer in the early 70's, the group has been one of my favorites. Created in 1969, Transfer has had the same group of singers since 1979 when Cheryl Bentyne replaced Laurel Masse. The other 3 members of the group are Tim Hauser, Janis Siegel and Alan Paul. While the majority of their albums have been jazz oriented, they have "experimented" with some pop/rock albums that were not particularly inspiring.
When the group sticks to jazz and vocalese, their albums are excellent. A few of their greatest albums are:
Mecca For Moderns-1981 Atlantic
Vocalese-1985 Atlantic
Swing-1997 Atlantic
"Vocalese" is the art of writing lyrics to fit recorded instrumental solos. The method has been around since the 30's but found it's first great innovator in Eddie Jefferson. Vocalese became even more popular when Lambert, Hendricks and Ross perfected it in the 1950's. Manhattan Transfer and The New York Voices use vocalese extensively.
Joining "Transfer" on "Couldn't Be Hotter" are Wayne Johnson on guitar, Larry Kilmas on saxes, Yaron Gershovsky on keyboards (and music director), Tom Brechtlein on drums and Lewis Soloff on trumpet. I was privileged to see and hear Mr. Soloff in concert when he played with Blood, Sweat and Tears in 1969.
The album was recorded live at the Orchestra Hall in Toyko earlier this year. The Japanese audience was enthusiastic and the recording quality is excellent. The CD is accompanied by some excellent liner notes by Bob Blumenthal. This is Transfer's first CD for Telarc after a long career with Atlantic. With 16 songs and 77:32 minutes of music, the album is an great buy.
Here's my take on several of the songs:
1. OLD MAN MOSE-Armstrong 2:46
The CD starts off with a bang with an old Louis Armstrong original that has its roots in rousing gospel and ragtime music from the 20's. Houser "talks" many of the lyrics which are really non-sensical but entertaining.
2. SING MOTEN'S SWING-Benny Moten/Hendricks 3:43
Benny Moten was the leader of a band that included Count Basie as the pianist. When Moten died, Basie took over and included this Moten original in his book. Jon Hendricks added lyrics in the 50's and Transfer performs it beautifully. A piano solo starts the music and then true vocalese is employed. The ladies sing the trumpet parts the guys take the sax and trombone parts. This music is what I think of when I think about this group. Tremendous.
3. A-TISKET,A-TASKET-Fitzgerald 3:07
This was Ella's first big hit when she was with Chick Webb's big band of the 30's. For that reason, it has historical significance. Frankly, I never have liked the song because it pales in comparison to Ella's later work. However, Transfer sings the song with great gusto and one of the ladies throws in a fine imitation of a real trumpet solo. The song is a lot more swinging than earlier versions.
5. UP A LAZY RIVER--Arodin/Carmichael 5:39
Lew Soloff starts this classic off with a rousing trumpet solo that Louis would have been proud of. Alan Paul then sings a great solo while Soloff echos him. At about 2 minutes into the song, Paul and the group pick up the tempo and the style is in direct reference to Armstrong and Louie Prima. Soloff is given several bars of solo trumpet and he blows with tremendous power and verve. When I saw Soloff in 1969, he blew Miles Davis off the stage, not just with power but with musicianship. That's how great this guy is. As wonderful as Transfer is, Soloff's solos are a highlight of this CD.
6. DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS-Alter
This is a great contrast with the previous song. Janis Siegel (who has some great solo albums out) sings this beautiful standard backed by some gorgeous guitar work by Wayne Johnson. This song is the perfect example of beautiful music and great lyrics which are intelligent and moving. Johnson's playing reflects the romantic nature of the song. Nice combo.
7. STARS FELL ON ALABAMA-Parish/Perkins 4:33
Once again, Soloff takes the lead and Lord o'mighty can this cat play! Here the style is slow and steady and when Janis enters, her voice is remarkably like Ella's. I'm not sure she's trying to sound like Ella but she does. She and Lew are friends and their combatibility is excellent as they harmonize beautifully throughout the song. This is the type of song that you want to curl up with a loved one in front of a warm firm and just immerse yourself in the beauty.
10. CLOUDS-Reinhardt/Hendricks 7:51
Wayne Johnson plays the opening to one of the most beautiful songs ever written. Composed by Gypsy guitar great Django Reinhardt, Johnson plays very much in the style of that master. Jon Hendricks wrote the vocalese lyrics and the ensemble performs them in front of Johnson's guitar to perfection. This is a goosebump producer for yours truly. The incredible harmony of the singers in front of the plaintive guitar of Johnson is remarkable. Man, this is wonderful. Vocalese really can't be explained. It has to be listened to and this song is what vocalese is. Kilmas adds a fine soprano sax solo which trades fours with Johnson's guitar. Fantastic!
12. NOTHING COULD BE HOTTER THAN THAT--Lillian Armstrong
Wow! Swinging from the first note, this one was written by Louis's wife and adapted by Alan Paul for the group. Once again, this is volalese to perfection as each singer takes "an instrument" and sings the part with amazing ability. Kilmas plays a hot tenor sax solo, Soloff growls his solo on trumpet before blasting off into the upper register and then the group comes rocking back in. This music has the elements of jazz, R & B, early rock and swing. Mainly, it's just flat entertaining to the maximum degree. Louie and Lillian would have dug this.
15. TWILIGHT ZONE/TWILIGHT TONE-Hermann/Paul 4:15
Originally performed on the Extensions album from 1979, this was one of the group's first hits. Although performed in the style of the much-maligned "disco" music, there is so much energy here that it could wake the dead. Ron Serling's spoken intro to the great TV show is reproduced here by Paul and the original theme is given a double dose of electricity.
16. MY FOOLISH HEART-Ned Washington 8:25
This starts off in a slightly hokey fashion but quickly moves into the harmonic world of such groups as The Four Freshman. Alternating between solos and quartet work, this is absolutely beautiful. At the 3 minute mark, Lew Soloff again steps forward with a masterful muted trumpet solo. I know I've raved on and on about Mr. S but he should be a household name in the jazz world. This solo brought tears to my eyes with its heartbreaking beauty.
I have just hit a few of the highlights of this remarkable concert. We're lucky to have The Manhattan Transfer with us. Their musicianship is at the highest level and their showmanship is remarkable. FIVE STARS
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