Information/Write-up
Bob Smith Reviews Phil Nimmons' Mary Poppins
For the very first time, we are able to sample a different approach to a movie score at the same time as Hollywood distributes the picture.
This is the second album that the Phil Nimmons group has recorded for RCA Victor of Canada. (The first and still available is "Take Ten", RCA Victor LCP/LCP5-1066.) As usual, Nimmons did all the arrangements.
For those of you with longer memories, it's the fourth time that the Canadian conception of modern jazz writing and playing has won wide national distribution and, hopefully, world-wide recognition.
When Canadian jazz groups do not attain the excellence of playing, the length of term and consequently the degree of popularity to warrant a single recording date.
Phil Nimmons has set an enviable achievement without considering the musical worth. In essence, though, the very reason this disc has seen the immediate has reached this summit is embedded in Nimmons' "musical worth". Of the very few working large jazz groups, his is the best.
Phil Nimmons traversed every line in print, as I have told people time and time, he is one of the modern jazz composers of the world. One of the leaders in modern jazz combos and TV, his group's effect on me has been the most positive, and musically, as a Canadian, the pride is considerable.
This album is a perfect example of his ideas.
The story of Mary Poppins was designed for children of all ages and the songs for the movie show a remarkable breadth of musical thinking. For a Canadian jazz combo to make that score more palatable to modern jazz followers is a knock dead achievement. That they make it all seem so simple speaks volumes for the arranger and his only perhaps when he brings the phrase, "All for one and one for all."
THE SELECTIONS:
1. SUPERCALIFRAGILISTICEXPIALIDOCIOUS. The Nimmons group treat the title song with the fun the authors had in writing. Great accordion by Vic Centro, continued proof that this is imaginative, unusual instrument belongs in jazz but only in the hands of a professional.
2. CHIM CHIM CHEREE. Features Ed Bickert’s guitar with that good old ‘down home’ feeling. To me, Bickert is one of the two authoritative Canadian jazz soloists. (The other is Vancouver pianist Chris Gage.) Of course, the international favorite, Oscar Peterson, quite deservedly is in a class by himself, Butch Watanabe contributes capably on trombone and Phil’s intelligent use of changing time values and dynamics is masterful. The rhythm section, notably Murray Lauder’s bass, is equal to the occasion.
3. STAY AWAKE. This is a ballad vehicle for Julie Andrews and the tune and track. Appropriately, Phil’s clarinet steps in some of Miss Andrews’ dainty footsteps and sets a fine mood. Note the delicious timbre the group’s ensemble receives from the sensitive use of Centro’s accordion.
4. THE LIFE I LEAD. Hollywood has singer-actor David Tomlinson take this song kind of Gilbert and Sullivan-ish. Nimmons makes his combo take it kind of Kansas City and Basie-ish. As a long, leisurely stroll it has that good cotton-knit, way-down music highlighted by Keith Traugott’s muted trumpet.
5. STEP IN TIME. Robust blowing and a festive feeling ensuring that the best of all ten Vox pop and jazz performances. Nimmons has lots of Dixieland fire for good jazz ensemble. Try the tenor role of Ray Sim’s take for exciting jump chorus, the clarinet work of the man who did the arranging.
6. A SPOONFUL OF SUGAR. What makes this tune more palatable now? For me, the freshness of the jazz group as opposed to the London sounds and starchy Julie Andrews kids. Mighty fine rhythm and solo takes.
7. FEED THE BIRDS. Toth’s alto saxophone tells the plaintive melody straight with supporting background in fine counter-emotion and excellent control. Nimmons' arrangement is impressive. Then again, it’s a little dream piece and that’s what Nimmons has made it. One other proof that his group has what it takes in the “tender” department, the section that has always given jazz its moments of brilliance.
8. THE PERFECT NANNY. Bright, humorous jazz with the accordion again setting the pace. Another piece to sit back with and smile, again a tribute to Vic Centro’s continued excellence and long life with the Nimmons’ band. The rest of the ensemble contributes mightily, notably John Bennett’s trombone, Jack Toth’s baritone saxophone are Ruby’s brushwork, Jack Varlaro’s baritone sax and the bottom of the ensemble and the Nimmons clarinet on top.
Phil Nimmons: clarinet
Erich Traugott: trumpet
Jiro 'Butch' Watanabe: trombone
Jerry Toth: alto saxophone
Roy Smith: tenor saxophone
Jack Taylor: baritone saxophone
Vic Centro: accordion
Ed Bickert: guitar
Murray Lauder: bass
Ron Rully: drums
Produced by Wilf Gilmeister
Engineered by Bill Giles
Recorded in Montreal, Quebec, June 25-26, 1964
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