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Everybody's Boppin'
Everybody's Boppin'
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List Price: $6.99
Buy New: $2.95
You Save: $4.04 (58%)
Buy New/Used from $1.98

Avg. Customer Rating: 5.0 out of 5 stars(based on 10 reviews)
Sales Rank: 73729
Category: Music

Artist: Hendricks & Ross Lambert
Publisher: Sbme Special Mkts.
Studio: Sbme Special Mkts.
Manufacturer: Sbme Special Mkts.
Label: Sbme Special Mkts.
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5

MPN: 724692
UPC: 886972469225
EAN: 0886972469225
ASIN: B0012GN1IY

Release Date: March 1, 2008
Availability: Usually ships in 1-2 business days

Tracks:

  • Charleston Alley
  • Moanin'
  • Twisted
  • Bijou
  • Cloudburst
  • Centerpiece
  • Gimme That Wine
  • Sermonette
  • Summertime
  • Everybody's Boppin'
  • Home Cookin' [With the Ike Isaacs Trio]
  • Blue - Ike Isaacs Trio, Lambert, Hendricks & Ross
  • Come on Home [With the Ike Isaacs Trio]
  • Cotton Tail [With the Ike Isaacs Trio]
  • Midnight Indigo

Similar Items:

  • The Hottest New Group in Jazz
  • Sing a Song of Basie
  • Skylark
  • King Pleasure Sings/Annie Ross Sings
  • Freddie Freeloader

Customer Reviews:   Read 5 more reviews...

5 out of 5 stars The noble art of be-bop singing   June 15, 2009
If you like be-bop, jazz vocals, vocalese, Jon Hendricks and you haven't really met Lambert, Hendricks and Ross, or if you like Harry "Sweets" Edison (yes, he is here as well, making the deal even sweeter), this album is a golden opportunity!

There are few very spirited originals, but the backbone of the CD is the vocal reinterpetation of instrumental classics, mostly with the lyrics of one and only Jon Hendricks, the "James Joyce of Jive".... Beautifully recorded, swinging very hard with the rhythm section lead by Gildo Mahones (p), Lambert Hendricks and Ross prove that they are one of the true treasures of the second half of 20th century music. The liner notes by Jon Hendricks and bonus tracks recorded the following year (without Harry Edison) help this CD become one of essential items in my jazz collection....

"Everybody's Boppin" with some wild scatting is one of the highlights, but the wild delivery of (often zany lyrics)... WOW!



5 out of 5 stars Joyful and Wonderful!   November 8, 2008
This has been one of my favorite vocal perfomances for a couple of decades. The fun never lessens, everytime I listen it becomes even more enjoyable. This CD has nice clarity, and is a good reproduction. Hard to beat the entertainment value for the price.


5 out of 5 stars Love this Albumn   November 29, 2007
The vocals of Lambert, Hendricks, & Ross are extraordinary!! My mother used to play this albumn when I was a child & I had to get it for myself. Vocalists should make themselves familiar with this group. There is so much to learn from the trio.


5 out of 5 stars Still "Twisted" after alll these years!   January 10, 2007
As the infamous Phil Spector says, "Back to mono." I heard this "album" for the first time in about 1960. It is a enjoyable today as it was then. What a great team LHR was. Even though you get a flat monural sound out of this CD the voice, arrangements and musicians are as vital as ever. "Twisted" - "Cloudburst" - "Bijou" - "Moanin'" - "Gimme That Wine" - et al., listening to this was like dating an old girlfriend...one that you never realized how much you missed. dfs


5 out of 5 stars Vocal Lightning   January 5, 2006
This album, which was an early effort by the trio of Annie Ross, Dave Lambert and Jon Hendricks, was recorded in the 1950's. An experiment in the style that came to be known as "be-bop vocal", one critic dubbed L H & R "the James Joyce's of Jive" and described their sound as "vocal lightning".

Their vocal style represented the further development of a style actually invented by Eddie Jefferson and later refined by King Pleasure. In his landmark recording of Body and Soul, Jefferson based his vocal interpretation not on the actual lyrics, but wrote entirely new lyrics as a tribute to saxophonist Coleman Hawkins. The new lyrics matched the improvisations employed by Hawkins in his famous instrumental version ("Don't you know he was the king of the saxophone..."). King Pleasure copied the idea with his tribute to James Moody, using Moody's improvisation on I'm In The Mood For Love to create an entirely new vocal, with extra words added to compensate for the "stretch" in the melody wrought by Moody's improvisation.

Enter Annie Ross, who took a famous be-bop instrumental by the Saxophone great Wardell Gray (Twisted) and added lyrics that fit the title, designed specifically to match each note of Gray's original instrumental. The largely comic (comic enough to be commandeered by Bette Midler for her first album) result was a masterpiece of wit and ingenuity ("My analyst told me that I was right outta my head; the way he described it, he said I'd be better dead than `live - I didn't listen to his jive. I knew all along he was all wrong and I knew that he thought I was crazy but I'm not - oh no"). When she joined forces with Hendricks and Lambert, a great vocal group was born.

Their treatment of Miles Davis' famous improvisation of Summertime, from his landmark recording of Porgy and Bess, is particularly inspired, and may be the best track on the album. They stay close to the original lyrics, but fill in the improvised melody line with extra lyrics that actually enhance the original meaning of the song ("Summertime - summertime is on the way - and the livin' ain't bad - easy living every day...") while exactly matching the extra notes played by Davis in his improvised melody.

Their vocal improvisation on each and every track on this album is beyond cool. For an album that was recorded nearly fifty years ago, the treatments here are amazingly fresh and vital, and sound absolutely up-to-date. I guess good music is truly timeless. Their renditions of Bijou, Charlestown Alley and Moanin' swing so casually and neatly, but they come out blasting when necessary (such as their wonderfully rapid-fire delivery of Cloudburst). Sermonette will make you want to visit church, while Jon Hendricks alcoholic anthem, Gimme That Wine may be the wittiest piece of jazz ever written, and is guaranteed to make you smile.

Once digesting this album, listeners will want to next get a hold of their first effort, Sing a Song of Basie, in which they apply their vocal lightning to some of the Counts best-known tunes with equal sophistication and fun. Both albums are highly recommended.


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