Grammy Entry – Glenn Zottola “Just Friends”

My record label just informed me they submitted my most recent album to the Grammy’s in 2 categories best jazz album and best improvised solo for “Just Friends”. I don’t have high hopes regarding the Grammy’s as the music i love is not in Vogue and that is totally o.k. as that is not why i did this album. My statement in the liner notes below is why i did this album and it was truly a labor of love:)
About this album :
Charlie Parker has been referred to as the Mozart of Jazz. He had a tremendous love for Classical Music and In 1949 jazz history was made when Charlie Parker went into the studio and recorded an album with strings the first time any jazz player had recorded with strings. There were 2 sessions released on 10 inch LPs one in 1949 with 6 songs and another session in 1950 with 8 songs. These 9 songs are culled from both sessions. Much like my earlier Clifford Brown album this album is truly from my heart and what a joy to be able to re-visit this historic recording. These are all my own solos with Charlie Parkers “spirit” in mind using transcriptions of the original arrangements from those sessions. I simply just wanted to see what it would of felt like had I walked in the studio that eventful day. Of course having Charlie Parker open the door and point the way is priceless. Another thing I loved about this album was how it displayed the romantic side of Charlie Parker and his aesthetic and melodic beauty and I wanted to attempt to get that across in my playing. I want to thank Irv Kratka the president of Classic Jazz records for giving me the opportunity to do this project and I hope you enjoy it as much as I enjoyed doing it.
Glenn Zottola
Available on iTunes, Amazon , CD Baby , Target , Barnes and Noble and MVDShop.com

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Glenn Zottola’s Career and Albums

I have been so fortunate to record these 15 albums (my bucket list) these last 4 years since coming out of retirement on all 3 instruments in all the styles of music i truly love which makes a career total of 55 albums. I just found out every album and every track of these recent albums has been distributed to you tube. My work is done and i feel very fulfilled and I sincerely thank all the jazz legends , fans , friends and listeners who made this journey all worth it.

National Endowment Of The Arts Award Nomination

I want to publicly thank acclaimed jazz writer and historian Nick Mondello on writing this new bio on my career and nominating me for the National Endowment Of The Arts Award In Washington DC.

National Endowment Of The Arts Award Bio 2016 by Nick Mondello :
In a genre where biographies are filled with achievements, anecdotes, awards, and career ups and downfalls, multi-instrumentalist, musical director and all-around savant, Glenn Zottola possesses certainly one of the most unique. The scion of a musical family – Glenn’s father, Frank arranged for Claude Thornhill, was a legendary trumpet mouthpiece-maker, and later owned a jazz nightclub – Glenn began playing trumpet at age three. Soon, he was playing along with his gifted pianist Mother and developing his legendary “ear,” arguably one of the best in the biz. That playing experience and aural skill alone would later set Zottola apart from musician mortals and draw the respect of swingmaster Benny Goodman and others.
At 9 he was playing with youth orchestras and at 13 was a three-time winner on Ted Mack’s Original Amateur Hour and did a nationwide Mack tour with other winners. He was also a featured performer at the Zottola jazz nightclub, playing in a melodically embellished style that was reminiscent of Louis Armstrong. At 17, Glenn, whose reputation as a hard- swinging improviser was resonating, hit the road with the Glenn Miller Band, then under clarinetist Buddy DeFranco’s leadership. A stint with Lionel Hampton’s Band followed, as well as a non-stop series of performances with the A-List of popular music: Frank Sinatra, Peggy Lee, Mel Tormé and many others. As was the case throughout his career, Zottola was always “Mr. Swinging” and in the utmost demand. It wasn’t long before Broadway beckoned and Glenn’s beautiful tone was regularly heard from the band-pits of “Evita,” “Barnum,” “Annie” and “Chicago.”
Benny Goodman was notorious for employing only the most accomplished and swinging musicians. It was a Goodman’s request that Zottola soon joined and toured with the Goodman ensemble. Zottola’s awesome technical ability, as well as his impeccable swing moved Goodman to such an extent that he considered Glenn one of his best, if not the best, trumpeter ever in his employ.
As savvy an entrepreneur as a musician, Zottola then launched his own musical production company which employed over 70 musicians and presented over 300 gigs per year throughout the East. One of his associates at the time was legendary drummer Bobby Rosengarden. But, being a soloist by his very nature, Glenn soon chose to move back into the solo spotlight. He formed his own groups (both small and big band), recorded scores of celebrated albums, and toured the world, performing with Gerry Mulligan, Chick Corea, Milt Hinton, Bob Wilber, Count Basie, Frank Sinatra, Tony Bennett and just about every name in Leonard Feather’s Encyclopedia of Jazz.
What is also testament to Zottola’s unique musical brilliance – he’s never taken a lesson and, while he can read music, plays predominantly by ear – is the fact that, having a lifelong interest and love for the instruments’ sound and lyric beauty, he taught himself to play both alto and tenor saxophones – and to develop said horns at such a level of proficiency that his performances and saxophone recordings on those instruments (and trumpet, of course) have been critically lauded in DownBeat, All About Jazz, et al, and they have submitted for Grammy® nominations.
Zottola, never one to rest on laurels, soon became performer and Musical Director for actress/vocalist, Suzanne Somers television show. With Suzanne, Zottola’s “baton” and three horns also traveled the world’s foremost musical venues “just doing his ‘Glenn’ thing,” as Sommers would state. Glenn’s ability to blend his tone, lyricism and sense of swing, as well as guide the performances was heralded.
Over the last few years, Zottola, a firebrand of energy has recorded over 14 celebrated albums, many on trumpet and others on alto or tenor saxophone. While great multi-instrumentalists are not unique in the jazz world, no one performer has played at the complete proficiency on all three of those specific instruments, as well as been a musical director and businessman. Lately, Zottola, always one to “give back,” has begun to share his abundant expertise by way of interviews, Master Classes and clinics throughout the world.
The Glenn Zottola saga continues to evolve to this day with multiple exciting projects in the works. It has been a “Jazz Life” of depth, accomplishment, class, and above all – swing.

National Endowment Of The Arts Bio 2016 by Nick Mondello

In a genre where biographies are filled with achievements, anecdotes, awards, and career ups and downfalls, multi-instrumentalist, musical director and all-around savant, Glenn Zottola possesses certainly one of the most unique. The scion of a musical family – Glenn’s father, Frank arranged for Claude Thornhill, was a legendary trumpet mouthpiece-maker, and later owned a jazz nightclub – Glenn began playing trumpet at age three. Soon, he was playing along with his gifted pianist Mother and developing his legendary “ear,” arguably one of the best in the biz. That playing experience and aural skill alone would later set Zottola apart from musician mortals and draw the respect of swingmaster Benny Goodman and others.
At 9 he was playing with youth orchestras and at 13 was a three-time winner on Ted Mack’s Original Amateur Hour and did a nationwide Mack tour with other winners. He was also a featured performer at the Zottola jazz nightclub, playing in a melodically embellished style that was reminiscent of Louis Armstrong. At 17, Glenn, whose reputation as a hard- swinging improviser was resonating, hit the road with the Glenn Miller Band, then under clarinetist Buddy DeFranco’s leadership. A stint with Lionel Hampton’s Band followed, as well as a non-stop series of performances with the A-List of popular music: Frank Sinatra, Peggy Lee, Mel Tormé and many others. As was the case throughout his career, Zottola was always “Mr. Swinging” and in the utmost demand. It wasn’t long before Broadway beckoned and Glenn’s beautiful tone was regularly heard from the band-pits of “Evita,” “Barnum,” “Annie” and “Chicago.”
Benny Goodman was notorious for employing only the most accomplished and swinging musicians. It was a Goodman’s request that Zottola soon joined and toured with the Goodman ensemble. Zottola’s awesome technical ability, as well as his impeccable swing moved Goodman to such an extent that he considered Glenn one of his best, if not the best, trumpeter ever in his employ.
As savvy an entrepreneur as a musician, Zottola then launched his own musical production company which employed over 70 musicians and presented over 300 gigs per year throughout the East. One of his associates at the time was legendary drummer Bobby Rosengarden. But, being a soloist by his very nature, Glenn soon chose to move back into the solo spotlight. He formed his own groups (both small and big band), recorded scores of celebrated albums, and toured the world, performing with Gerry Mulligan, Chick Corea, Milt Hinton, Bob Wilber, Count Basie, Frank Sinatra, Tony Bennett and just about every name in Leonard Feather’s Encyclopedia of Jazz.
What is also testament to Zottola’s unique musical brilliance – he’s never taken a lesson and, while he can read music, plays predominantly by ear – is the fact that, having a lifelong interest and love for the instruments’ sound and lyric beauty, he taught himself to play both alto and tenor saxophones – and to develop said horns at such a level of proficiency that his performances and saxophone recordings on those instruments (and trumpet, of course) have been critically lauded in DownBeat, All About Jazz, et al, and they have submitted for Grammy® nominations.
Zottola, never one to rest on laurels, soon became performer and Musical Director for actress/vocalist, Suzanne Somers television show. With Suzanne, Zottola’s “baton” and three horns also traveled the world’s foremost musical venues “just doing his ‘Glenn’ thing,” as Sommers would state. Glenn’s ability to blend his tone, lyricism and sense of swing, as well as guide the performances was heralded.
Over the last few years, Zottola, a firebrand of energy has recorded over 14 celebrated albums, many on trumpet and others on alto or tenor saxophone. While great multi-instrumentalists are not unique in the jazz world, no one performer has played at the complete proficiency on all three of those specific instruments, as well as been a musical director and businessman. Lately, Zottola, always one to “give back,” has begun to share his abundant expertise by way of interviews, Master Classes and clinics throughout the world.
The Glenn Zottola saga continues to evolve to this day with multiple exciting projects in the works. It has been a “Jazz Life” of depth, accomplishment, class, and above all – swing.

Glenn Zottola “Summertime”

Published on Oct 5, 2015

Classic Jazz Records – Glenn Zottola “Charlie Parker with Strings Revisited” by Jazz Writer Nick Mondello

Musical genius has little regard for boundaries, whether those limits are stylistic, tempo, ensemble format, or, in this example, historical precedent. Expanding on that hypothesis, when an artist such as Glenn Zottola steps into the impossible-to-wear musical Florsheims of Charlie Parker, as he does so effortlessly here, he risks everything in a zero-sum game of musical Russian roulette. The emulation is a Herculean task, a pas de deux with the Devil fraught with musical and possible critical peril.
Here, Zottola, a multi-instrumentalist and musical savant if there ever was one, places himself in a musical Lion’s Den and performs his personal stylistic renderings of Parker’s classic string sessions of 1949 and 1950. The result is a portrait of both Parker’s enormous abilities and impact on jazz to this day and also Zottola’s incredible ability to perform brilliantly at such a level of precision and artistry.
The recording features Zottola playing nine cuts from Bird’s epic Mercury Records sessions along with impeccable orchestral transcriptions of the original Jimmy Carroll and Joe Lipman arrangements. If that weren’t enough of a feat, Zottola plays here entirely by ear and sans sheet music. Shrewdly, Zottola does not “cop” Parker’s original improvisations. He doesn’t have to. His interpretations are musically rich, inventive and, while they shade Parker’s style and technique, they are obviously not an attempt to play Bird’s licks. One gets the immediate impression that Zottola could do that if he foolishly so desired. He’s that good getting around the horn.
There’s a very famous photograph, a close-up of Bird’s fingers gingerly grasping his alto in an almost amorous manner as his musical magic poured out. I’d bet the house that Glenn Zottola probably holds his axe in a similar way since the result here is the same.

Available on iTunes, CD Baby , Target , Barnes and Noble and innercityjazz.com

Glenn Zottola “This Heart Of Mine”

I met Miles Davis when I was 13 years old at Birdland in NYC. He was there with his historic sextet with John Coltrane and Cannonball Adderley. This album is half with all star small group and half orchestra ala Gil Evans concentrating on Miles work in the 50s that changed jazz and my life. My good friend Chick Corea was a great sounding board while recording this album which is heartwarming as he worked so much with Miles. I opened the album with this Harry Warren song “This Heart Of Mine”.

Available on iTunes, Target, Amazon, CD Baby , Barnes and Noble and innercityjazz.com

New Release – Glenn Zottola “Prisoner Of Love

 

Classic Jazz Records – Glenn Zottola “Come Fly With Me” by Jazz Writer Nick Mondello.

As portrayed in Chuck Granata’s fascinating “fly-in-the-studio” book, “Sessions with Sinatra – Frank Sinatra and the Art of Recording” (A Cappella Books/Chicago Review Press, 2004) the Master would always enter the studio ready to record with a fervent desire to nail first takes. The orchestra, whether under the baton of Nelson Riddle, Gordon Jenkins, “Q,” et al, would have been rehearsed and collectively primed for the business at hand.
With “Come Fly with Me,” trumpeter Glenn Zottola takes a rather unique turnaround of the Sinatra session routine. He has brilliantly prepped and recorded over magnificent session material which was culled from the enormous vault of Irv Kratka’s Classic Jazz Records. The result is an exquisite display of musicianship, preparation and trumpeting chops of which OBE, who certainly knew his trumpet men (i.e., Conrad Gozzo, Charlie Turner, Harry James, and Count Basie’s Guys) would be proud.
The 10 well-known GASser selections (“Come Fly with Me,” “How High the Moon,” “Come Back to Me”) – most of them recorded at one time by Sinatra (but not Frank’s arrangements, in case you might ask) – feature Zottola’s lush horn blowing and swinging over terrific charts performed by top-tier New York studio types. Their skill, combined with Zottola’s marvelous lyrical playing (“People,” “Come Back to Me”) is enthralling and vividly reminiscent of a time when art emanated from soundstages. This effort certainly falls into that designation. One would not be off-base if a memory is jogged of those wonderful Jackie Gleason sides that featured Bobby Hackett spinning melodies from his Angelic-speaking cornet. Zottola is that good.
To prepare one’s self to record in any environment is a daunting task. However, a pre-recorded environment of this caliber? That takes chutzpah. Yet, Zottola, obviously savant-like – blends so seamlessly into the material that if I weren’t aware of the methodology, I would not have discerned it. You won’t, either.
Enjoy “Come Fly with Me.” This jet is under Glenn Zottola’s able command and Frank is seated in First Class. That’s him with headphones on. Gee, why is he smiling?
Avaiilable on iTunes , CD Baby , Amazon , Target , Barnes and Noble and innercityjazz.com.

 

 

Glenn Zottola “Come Fly With Me”

Classic Jazz records Glenn Zottola “Come Fly With Me” by Jazz Writer Nick Mondello.

As portrayed in Chuck Granata’s fascinating “fly-in-the-studio” book, “Sessions with Sinatra – Frank Sinatra and the Art of Recording” (A Cappella Books/Chicago Review Press, 2004) the Master would always enter the studio ready to record with a fervent desire to nail first takes. The orchestra, whether under the baton of Nelson Riddle, Gordon Jenkins, “Q,” et al, would have been rehearsed and collectively primed for the business at hand.
With “Come Fly with Me,” trumpeter Glenn Zottola takes a rather unique turnaround of the Sinatra session routine. He has brilliantly prepped and recorded over magnificent session material which was culled from the enormous vault of Irv Kratka’s Classic Jazz Records. The result is an exquisite display of musicianship, preparation and trumpeting chops of which OBE, who certainly knew his trumpet men (i.e., Conrad Gozzo, Charlie Turner, Harry James, and Count Basie’s Guys) would be proud.
The 10 well-known GASser selections (“Come Fly with Me,” “How High the Moon,” “Come Back to Me”) – most of them recorded at one time by Sinatra (but not Frank’s arrangements, in case you might ask) – feature Zottola’s lush horn blowing and swinging over terrific charts performed by top-tier New York studio types. Their skill, combined with Zottola’s marvelous lyrical playing (“People,” “Come Back to Me”) is enthralling and vividly reminiscent of a time when art emanated from soundstages. This effort certainly falls into that designation. One would not be off-base if a memory is jogged of those wonderful Jackie Gleason sides that featured Bobby Hackett spinning melodies from his Angelic-speaking cornet. Zottola is that good.
To prepare one’s self to record in any environment is a daunting task. However, a pre-recorded environment of this caliber? That takes chutzpah. Yet, Zottola, obviously savant-like – blends so seamlessly into the material that if I weren’t aware of the methodology, I would not have discerned it. You won’t, either.
Enjoy “Come Fly with Me.” This jet is under Glenn Zottola’s able command and Frank is seated in First Class. That’s him with headphones on. Gee, why is he smiling?

Available on iTunes, amazon, CD Baby , Target , Barnes and Noble and innercityjazz.com

New Release – Glenn Zottola with Orchestra “How High The Moon”

Glenn Zottola with Orchestra “Come Fly With Me” By Jazz Writer Nick Mondello
As portrayed in Chuck Granata’s fascinating “fly-in-the-studio” book, “Sessions with Sinatra – Frank Sinatra and the Art of Recording” (A Cappella Books/Chicago Review Press, 2004) the Master would always enter the studio ready to record with a fervent desire to nail first takes. The orchestra, whether under the baton of Nelson Riddle, Gordon Jenkins, “Q,” et al, would have been rehearsed and collectively primed for the business at hand.
With “Come Fly with Me,” trumpeter Glenn Zottola takes a rather unique turnaround of the Sinatra session routine. He has brilliantly prepped and recorded over magnificent session material which was culled from the enormous vault of Irv Kratka’s Classic Jazz Records. The result is an exquisite display of musicianship, preparation and trumpeting chops of which OBE, who certainly knew his trumpet men (i.e., Conrad Gozzo, Charlie Turner, Harry James, and Count Basie’s Guys) would be proud.
The 10 well-known GASser selections (“Come Fly with Me,” “How High the Moon,” “Come Back to Me”) – most of them recorded at one time by Sinatra (but not Frank’s arrangements, in case you might ask) – feature Zottola’s lush horn blowing and swinging over terrific charts performed by top-tier New York studio types. Their skill, combined with Zottola’s marvelous lyrical playing (“People,” “Come Back to Me”) is enthralling and vividly reminiscent of a time when art emanated from soundstages. This effort certainly falls into that designation. One would not be off-base if a memory is jogged of those wonderful Jackie Gleason sides that featured Bobby Hackett spinning melodies from his Angelic-speaking cornet. Zottola is that good.
To prepare one’s self to record in any environment is a daunting task. However, a pre-recorded environment of this caliber? That takes chutzpah. Yet, Zottola, obviously savant-like – blends so seamlessly into the material that if I weren’t aware of the methodology, I would not have discerned it. You won’t, either.
Enjoy “Come Fly with Me.” This jet is under Glenn Zottola’s able command and Frank is seated in First Class. That’s him with headphones on. Gee, why is he smiling?

New Release – Glenn Zottola “The Very Thought Of You”

Classic Jazz – Glenn Zottola “Getting Sentimental” by Jazz Writer Nick Mondello
Our culture – and within that one of its bedrocks, our music – is in somewhat of a topsy-turvy, push-the-envelope-to-the-extremes flux. What excites or tempts, even repulses irrespective of good taste, is attractive and what formerly passed as beauty is bad toast. If it’s not “hot,” it’s not.
The music in “Getting Sentimental,” from trumpeter Glenn Zottola is the antipodal musical pole from entertainment icons and hit-makers such as “twerker,” Miley Cyrus, Lady Gaga (actually a homonym from the Italian meaning to defecate) and hip-hopper, Nicky Minaj (no talent, therefore no comment deserved), et al. His is an offering of exquisite taste, talent and beauty that is a throwback to days when talent and taste trumped exposed or undulating body parts – what author, Tom Wolfe once told me they were like “glistening giblets.”
This is simply a gorgeous recording reminiscent of the classic 1960s Bobby Hackett-Jackie Gleason collaborations. Brilliantly covering nine Great American Songbook ballad standards and performing them over lush material drawn from Irv Kratka’s Classic Jazz treasures, Zottola’s lush trumpet and singing style is hypnotically sensuous. I’d swear that there is a Sinatra, a Bennett, or a Hartman hiding in that horn of his. His playing approach values melody over technique – although, rest assured he has plenty of that – and beauty over finger-wiggling. There are very obvious shades of the great Clifford Brown here and Zottola’s sound is Grand, as in “Canyon.”
Post-modernists and “millennials” that have only been exposed to “entertainers,” as opposed to artists, could learn a valuable musical lesson here. This is brilliance and beauty in music. And, it is offered by a gifted performer being at his best. Perhaps on Grammy® night the “twerkers” and hip-hoppers might get to the stage first. That is, of course, if the presenters don’t hand out the awards in reverse alpha order. “Getting Sentimental” is that deserving.
Available on iTunes , Amazon , CD Baby , Target , Barnes and Noble and innercityjazz.com.

Glenn Zottola “I Remember Clifford”

This is the closing track on my Clifford Brown tribute I recorded last year. Clifford changed my musical life and In 1961 when I was 13 years old I had my first big jazz gig at the Atlantic City Jazz Festival on the bill with Dinah Washington, Gerry Mulligan , Oscar Peterson and Art Blakey. It was like yesterday standing in the wings waiting to go on to do my set being memorized watching “The Queen” Dinah Washington as she was called. I took the track she recorded in 1957 shortly after Clifford tragically died and asked my arranger to add a chorus for me to play on.

available on iTunes , CD Baby , Amazon , Target , Best Buy , Barnes and Noble and Innercityjazz.com

Glenn Zottola and Doc Cheatham at Carnegie Hall

Published on November 5, 2015
Doc Cheatham plays the first solo and I play the second. This is the jam session portion of that night in 1988 at Carnegie Hall on the 50th anniversary of the historic Benny Goodman concert the first time ever jazz was in Carnegie Hall. Doc Cheatham , Myself , Bob Wilber , Buddy Tate, Al Grey , Norris Turney , John Bunch , Al Casey and Panama Francis. What a band and what a night

Glenn Zottola , Zoot Sims , Teddy Wilson , Milt Hinton , Gus Johnson

I only used a portion of this track on my jazz life anthology because it was long the album just has the trades at the end with Zoot and I. This is the full cut Teddy Wilson arrived later so we started a blues without piano. I am playing alto on this cut. Great times and all star band circa 1984.
Available on itunes , Amazon, CD Baby , Target , Barnes and Noble and innercityjazz.com

Glenn Zottola – New Releases Review 2015

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REVIEWS
WHO IS THIS GUY?!?!? Glenn Zottola: Miles Davis Remembered, Come Fly With Me, Getting Sentimental, Classic Arrangements, Too Marvelous For Words
by George W. Harris • October 29, 2015 •

One of the real joys of music is when you discover an artist who is a kindred spirit. Glenn Zottola is one of those guys you’re gonna love. He’s been around since Moby Dick was an anchovy, playing the tenor, alto and trumpet (!) as a sideman for the likes of Benny Goodman, Lionel Hampton, Frank Sinatra and Peggy Lee. Yeah, he can’t keep a steady job. He looks like he should be behind the counter at your local deli asking how much prosciutto you want. He’s a swing-to-bopper at heart, with a tone on all three instruments that is as soothing as a mint julep.

He got my attention last year with a tribute to Charlie Parker with Strings, and another tribute to Clifford Brown with Strings. How many artists today could pull THAT off?!? Now, he’s just released five, count ‘em, five new ones. Dig in!!!

The first one is Miles Davis Remembered, which must be an oldie as it includes Stan Getz/ts, Jimmy Raney/g, Hal McKusick/fl-cl, George Duvivier/b and Ed Shaughnessy/dr in supporting roles. This is a subtle session that spotlights the gentler and romantic side of The Dark Prince. Remember his famous quote that he never plays ballads in concerts because he likes them so much? This disc gives evidence. Whether on Harmon mute or with the horn open, Zottolla glows warm embers on “Jupiter” and “Spring Is Here” while the obscure “Beta Minus” is a major plus. Look for this one!

Come Fly With Me has Zottolla on the trumpet still, with big band and strings doing Rat Pack pleasures with the title track while he glows like a full moon on “Prisoner of Love.” The version of “God Bless The Child” is a throwback to the 60s Blood Sweat and Tears read, while the pasta fazool is simmering on “Volare.” A ton of fun here.

Getting Sentimental has Zottola delving into classic Hollywood and Broadway musicals. The mood is highly romantic here, while nostalgia in the wind on “Red Sails in the Sunset” while images of WWII are evoked during “I’m Getting Sentimental Over You” and “Stardust.” A read of the lesser known “”Moonlight Becomes You” is a bel canto aria of passion. This guy’s a charmer!

Zottola switches to alto sax as he gets together with a hip orchestra to do some charts that were inspired by Frank Sinatra’s vintage years at Capitol Records. There’s a wonderfully moody read of “Angel Eyes” that has Zottolla’s alto caress the melody, while “Autumn in New York” and” Come Rain or Come Shine” are filled with yearning passion. He can swoon like Johnny Hodges on “Teach Me Tonight” and sound like he’s telling you a hard luck story on “Street of Dreams.” Lyricism at its best.

Speaking of the best, I saved the best for last, as Zottola on tenor sax is as close these days that you’ll get to hearing Lester Young, my friend. He’s with three different rhythm section s here, including luminaries such as Nat Pierce-Don Abney/p, Mundell Lower-Jimmy raney-Barry Galbraith/g, Milt Hinton-Oscar Pettiford-Wilbur Ware/b (where’d he find THESE guys?!?!?) and Osie Johnson-Kenny Clarke-Bobby Donaldson/dr. If you want to hear the definition of swing, start right here with “Three Little Words” and “Oh, Lady Be Good” where Zottolla takes his tenor and makes it flow like lava. The skies open on “Body and Soul” and a smoke ringed take of “You Go To My Head” is wonderfully remorseful. If the sound of the horn is more important than mindless chops, then this guy is your soul mate.

http://www.glennzottolla.com

http://www.innercityjazz.com

New Review Glenn Zottola In LA Jazz Scene By Scott Yanow

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Glenn Zottola
Miles Davis Remembered
(Classic Jazz)

Glenn Zottola had his greatest prominence in the jazz world in the 1970s and 80s when he appeared on many high-quality mainstream and swing sessions. An exciting trumpeter, he doubled on alto-sax during that era, working with Benny Goodman, Bob Wilber’s Bechet Legacy, Peanuts Hucko and his own combos,. His playing can be heard on recordings for such labels as Famous Door, Dreamstreet, Concord and Chiaroscuro. However Zottola’s career took a surprising turn when he became Suzanne Somers’ musical director, working on her television show away from the jazz scene. After that period, he largely retired from playing, just picking up his horns now and then for the fun of it.
During the past few years, Zottola’s life has taken another turn. He has returned to jazz, at least in the recording studios. In addition to a few previously unreleased sets of music being been released from his earlier years, he has also recorded 14 albums for the Classic Jazz label including tributes to Charlie Parker, Stan Getz, Ben Webster and Clifford Brown. What is particularly unusual is that Zottola is heard playing to pre-recorded tracks, some of which of which were Music Minus One productions from the 1950s and ‘60s. While the backgrounds are set, Zottola’s playing is full of life and constant invention. While some of these sessions feature him on alto or tenor, his comeback on trumpet was quite notable on the Clifford Brown set.
Miles Davis Remembered has Zottola on trumpet interacting with an orchestra on some Gil Evans-inspired arrangements and playing with a classic combo that includes Stan Getz and guitarist Jimmy Raney. Zottola has always been proud of the fact that he never copies his heroes and predecessors. While he purposely hints at vintage Miles Davis’ relaxed style and cool sound throughout these ten performances, most of the songs (other than ‘Spring Is Here” and “My Funny Valentine”) are actually not from Davis’ repertoire. Many, including “This Heart Of Mine,” “Just You, Just Me” and “Sunday,” were never recorded by Davis. Zottola even includes two originals, “Jupiter” and “Beta Minus,” as orchestral pieces. His trumpet solos are both melodic and fresh.
Glenn Zottola’s comeback is to be cheered.
Scott Yanow

Maxine Sullivan and Glenn Zottola “Killing Time”

This is a song from Maxine’s Jule Styne album I did. The lyrics were written by great lyricist Carol Leigh who wrote lyrics to “Witchcraft” , “The Best Is Yet To Come” and “Young At Heart” and she wrote these lyrics at the end of her life. Maxine delivers this “poignant” song setting a mood that was quite easy for me to contribute to. This is also on my anthology.
Available on iTunes, CD Baby , Amazon , Barnes and Noble and innercityjazz.com

Maxinne Sullivan and Glenn Zottola “Lady’s In Love With You”

I worked with Frank Sinatra , Tony Bennett , Mel Torme , Ella Fitzgerald , Peggy Lee and Joe Williams but Maxine is one of my favorite singers of all time. When I mentioned her name to Peggy Lee during the album I did for her she said “Maxine was a huge influence” and sure enough that easy swingin style is priceless and what a “lady” she was. I included this track from her album we did together on my anthology.
available in iTunes, CD Baby , Amazon and innercityjazz.com

New Release – Glenn Zottola “Summertime”

Classic Jazz Records – Glenn Zottola “Charlie Parker with Strings Revisited” By Nick Mondello

Musical genius has little regard for boundaries, whether those limits are stylistic, tempo, ensemble format, or, in this example, historical precedent. Expanding on that hypothesis, when an artist such as Glenn Zottola steps into the impossible-to-wear musical Florsheims of Charlie Parker, as he does so effortlessly here, he risks everything in a zero-sum game of musical Russian roulette. The emulation is a Herculean task, a pas de deux with the Devil fraught with musical and possible critical peril.
Here, Zottola, a multi-instrumentalist and musical savant if there ever was one, places himself in a musical Lion’s Den and performs his personal stylistic renderings of Parker’s classic string sessions of 1949 and 1950. The result is a portrait of both Parker’s enormous abilities and impact on jazz to this day and also Zottola’s incredible ability to perform brilliantly at such a level of precision and artistry.
The recording features Zottola playing nine cuts from Bird’s epic Mercury Records sessions along with impeccable orchestral transcriptions of the original Jimmy Carroll and Joe Lipman arrangements. If that weren’t enough of a feat, Zottola plays here entirely by ear and sans sheet music. Shrewdly, Zottola does not “cop” Parker’s original improvisations. He doesn’t have to. His interpretations are musically rich, inventive and, while they shade Parker’s style and technique, they are obviously not an attempt to play Bird’s licks. One gets the immediate impression that Zottola could do that if he foolishly so desired. He’s that good getting around the horn.
There’s a very famous photograph, a close-up of Bird’s fingers gingerly grasping his alto in an almost amorous manner as his musical magic poured out. I’d bet the house that Glenn Zottola probably holds his axe in a similar way since the result here is the same.

New Release – Glenn Zottola “I cover The Waterfront”

By NICHOLAS F. MONDELLO, Published: August 4, 2015 All About Jazz 2015 views View related photos

Glenn Zottola: Miles Davis Remembered
A young musician’s mind can be so very impressionable, so capable and available to lock onto a recording, a phrase or texture and hold it. The effect is almost nuclear—one note, perfectly placed by the performer and into a young listener’s ear, can set into play a chain of music-driven events that can spawn professional careers, if not a lifelong interest in the art. Such was-and is—the case with trumpeter and multi-instrumentalist, Glenn Zottola. A phenomenon in his own right.
With Miles Remembered Zottola, as he did with his prior tribute recordings of Clifford Brown, Stan Getz and Charlie Parker (all superb, by the way), Zottola offers a salute to another of his early childhood influences—Miles Davis. And, this effort is terrific.
Incorporating and recording in two accompaniment formats—a sextet and a full orchestra (both of which were previously recorded and plucked like gems mined from the exhaustive Classic Jazz Records vault), Zottola’s complete focus here shades and genuflects to Davis and his classic Prestige and early Gil Evans/Columbia period. It’s the best of all jazz worlds—great GAS material (“This Heart of Mine,” “I Cover the Waterfront,” “My Funny Valentine), highly-expressive improv, and trumpet wizardry.
Throughout the recording, Zottola demonstrates a beautiful sound, great technique and deep, musically sincere affection for Davis and this celebrated period. He wisely avoids any Miles Davis classics, direct playing imitation, or “Miles licks.” Zottola doesn’t have to; he’s an Ace player with a great sound and jazz touch (“Just You, Just Me,” “Beta Minus”). But, as any jazz trumpeter worth his valve oil would, the Davis influences on Zottola percolate effortlessly from the recesses of his mind and out the end of both his Harmon-muted or open horn.
A word about the accompaniment; as one would expect of Davis, Zottola or any performing great, the accompaniment here is A-1, swings and frames the front man fine. Zottola’s overdubbing onto the support of Jimmy Raney, Stan Getz, Ed Shaugnessy and also the All-Star orchestra is dead-on. This is not karaoke or recorda-me, by any means.
While Miles Davis was a constantly evolving jazz entity over many decades, with Miles Remembered Glenn Zottola ‘scopes a robust Davis period and in doing so does one of his idols -and himself -most proud.
Track Listing: This Heart of Mine; I’ll Be Seeing You; Jupiter; I Cover the Waterfront; Spring Is Here; Beta Minus; Autumn in New York; Just You, Just Me; My funny Valentine; Sunday.
Personnel: Glenn Zottola: trumpet; Jimmy Raney: guitar; Stan Getz: tenor saxophone; Hal McCusick: flute, clarinet; George Duvivier: bass; Ed Shaughnessy; unidentified string orchestra.
Record Label: Classic Jazz Records
Available on iTunes, Target, Amazon, CD Baby , Barnes and Noble and innercityjazz.com

New Release – Glenn Zottola “Sunday”

By NICHOLAS F. MONDELLO, Published: August 4, 2015 All About Jazz 2015 views View related photos

Glenn Zottola: Miles Davis Remembered
A young musician’s mind can be so very impressionable, so capable and available to lock onto a recording, a phrase or texture and hold it. The effect is almost nuclear—one note, perfectly placed by the performer and into a young listener’s ear, can set into play a chain of music-driven events that can spawn professional careers, if not a lifelong interest in the art. Such was-and is—the case with trumpeter and multi-instrumentalist, Glenn Zottola. A phenomenon in his own right.
With Miles Remembered Zottola, as he did with his prior tribute recordings of Clifford Brown, Stan Getz and Charlie Parker (all superb, by the way), Zottola offers a salute to another of his early childhood influences—Miles Davis. And, this effort is terrific.
Incorporating and recording in two accompaniment formats—a sextet and a full orchestra (both of which were previously recorded and plucked like gems mined from the exhaustive Classic Jazz Records vault), Zottola’s complete focus here shades and genuflects to Davis and his classic Prestige and early Gil Evans/Columbia period. It’s the best of all jazz worlds—great GAS material (“This Heart of Mine,” “I Cover the Waterfront,” “My Funny Valentine), highly-expressive improv, and trumpet wizardry.
Throughout the recording, Zottola demonstrates a beautiful sound, great technique and deep, musically sincere affection for Davis and this celebrated period. He wisely avoids any Miles Davis classics, direct playing imitation, or “Miles licks.” Zottola doesn’t have to; he’s an Ace player with a great sound and jazz touch (“Just You, Just Me,” “Beta Minus”). But, as any jazz trumpeter worth his valve oil would, the Davis influences on Zottola percolate effortlessly from the recesses of his mind and out the end of both his Harmon-muted or open horn.
A word about the accompaniment; as one would expect of Davis, Zottola or any performing great, the accompaniment here is A-1, swings and frames the front man fine. Zottola’s overdubbing onto the support of Jimmy Raney, Stan Getz, Ed Shaugnessy and also the All-Star orchestra is dead-on. This is not karaoke or recorda-me, by any means.
While Miles Davis was a constantly evolving jazz entity over many decades, with Miles Remembered Glenn Zottola ‘scopes a robust Davis period and in doing so does one of his idols -and himself -most proud.
Track Listing: This Heart of Mine; I’ll Be Seeing You; Jupiter; I Cover the Waterfront; Spring Is Here; Beta Minus; Autumn in New York; Just You, Just Me; My funny Valentine; Sunday.
Personnel: Glenn Zottola: trumpet; Jimmy Raney: guitar; Stan Getz: tenor saxophone; Hal McCusick: flute, clarinet; George Duvivier: bass; Ed Shaughnessy; unidentified string orchestra.
Record Label: Classic Jazz Records
Available on iTunes, Target, Amazon, CD Baby , Barnes and Noble and innercityjazz.com

New Release – Glenn Zottola “Charlie Parker With Strings Re-Visited”

Just Friends :

CJ 32 CharlieParkerStrings.GZ cover

Glenn Zottola: Charlie Parker With Strings Revisited (2015)

By EDWARD BLANCO, Published: October 13, 2015 | 361 views View related photos

Glenn Zottola: Charlie Parker with Strings Revisited
Saxophonist and trumpeter Glenn Zottola came out of retirement from a long distinguished career, for the specific purpose of paying tribute to jazz artists who influenced his life and his music. The tribute series of albums which, include homages to Miles Davis, Clifford Brown and Stan Getz among them, concludes with a tip of the hat to the legendary Charlie Parker with a reprise of his classic Charlie Parker with Strings sessions of 1949 and 1950 capturing the romantic and melodic side of this giant. Zottola’s Charlie Parker with Strings Revisited employs new transcriptions of the original arrangements from both Mercury recordings covering nine pieces (five from the first album and four from the second), in re-visiting and re-imagining Parker’s swinging rhythms section with the help of lush string arrangements that made these recordings a personal favorite of the jazz icon.

One major difference of note here is, that Zottola chose not to simply duplicate Parker’s original solos but rather, to infuse the music with his own solo statements with, as he states, “Charlie Parker’s “spirit” in mind…” the result of course, is another captivating documentation of the “Yardbird’s” music with a decidedly Zottolian twist. Opening up with the 1931 John Klenner favorite and all-time standard “Just Friends,” introduced by the sounds of the harp and strings, provides the saxophonist his first alto solo setting the stage for what is in store. Recording the standards for Parker was a bid for greater exposure and adding the strings just made it a first among jazz artists and as such, Vernon Duke’s “April In Paris” was forever changed and here, Zottola’s treatment of the classic brings the music to life.

The Gershwin’s defining “Summertime” is recalled here quite well, though brief but beautiful, Zottola’s magical solos make it memorable. Two oft-recorded standards, “East of the Sun,” and “I Don’t Know What Time It Was,” are remembered here with much of the saxophonist’s personal style imprinted on the arrangement clearly wielding a lyrical alto. The somber and humble David Raskin/Johnny Mercer classic “Laura,” still conveys the emotional message the authors intended and this version does not change that but rather enhances the high-pitched alto in a delicate way.

The standard “I’m In the Mood for love” features Zottola in a more pronounced manner while the familiar “Everything Happens to Me,” takes on a unique charm complimented well by the strings. The saxophonist does some off his best soloing on the Schwartz/Dietz finale tune “Dancing in the Dark” leaving little doubt that this Parker tribute has an unquestioned Zottola imprint. Traditional jazz at its best, Charlie Parker with Strings Revisited takes one on a musical journey of past glory remembering one of the legends of the genre fulfilling his long-held desire to record with a string section. Alto saxophonist Glenn Zottola pays homage to a legend and one of his most memorable works with a striking musical message that may be just as memorable.
Track Listing: Just Friends; April In Paris; Summertime; East of the Sun; I Didn’t Know What Time It Was; Laura; I’m In The Mood For Love; Everything Happens to Me; Dancing In The Dark.

Personnel: Glenn Zottola: alto saxophone; Mark Stalling: piano, arranger; String Section and other band members not listed.

Record Label: Classic Jazz Records

 

Classic Jazz Records Glenn Zottola Charlie Parker with Strings Revisited by Jazz Writer Nick Mondello.

Musical genius has little regard for boundaries, whether those limits are stylistic, tempo, ensemble format, or, in this example, historical precedent. Expanding on that hypothesis, when an artist such as Glenn Zottola steps into the impossible-to-wear musical Florsheims of Charlie Parker, as he does so effortlessly here, he risks everything in a zero-sum game of musical Russian roulette. The emulation is a Herculean task, a pas de deux with the Devil fraught with musical and possible critical peril.
Here, Zottola, a multi-instrumentalist and musical savant if there ever was one, places himself in a musical Lion’s Den and performs his personal stylistic renderings of Parker’s classic string sessions of 1949 and 1950. The result is a portrait of both Parker’s enormous abilities and impact on jazz to this day and also Zottola’s incredible ability to perform brilliantly at such a level of precision and artistry.
The recording features Zottola playing nine cuts from Bird’s epic Mercury Records sessions along with impeccable orchestral transcriptions of the original Jimmy Carroll and Joe Lipman arrangements. If that weren’t enough of a feat, Zottola plays here entirely by ear and sans sheet music. Shrewdly, Zottola does not “cop” Parker’s original improvisations. He doesn’t have to. His interpretations are musically rich, inventive and, while they shade Parker’s style and technique, they are obviously not an attempt to play Bird’s licks. One gets the immediate impression that Zottola could do that if he foolishly so desired. He’s that good getting around the horn.
There’s a very famous photograph, a close-up of Bird’s fingers gingerly grasping his alto in an almost amorous manner as his musical magic poured out. I’d bet the house that Glenn Zottola probably holds his axe in a similar way since the result here is the same.

From the Liner Notes – About this album :
Charlie Parker has been referred to as the Mozart of Jazz. He had a tremendous love for Classical Music and In 1949 jazz history was made when Charlie Parker went into the studio and recorded an album with strings the first time any jazz player had recorded with strings. There were 2 sessions released on 10 inch LPs one in 1949 with 6 songs and another session in 1950 with 8 songs. These 9 songs are culled from both sessions. Much like my earlier Clifford Brown album this album is truly from my heart and what a joy to be able to re-visit this historic recording. These are all my own solos with Charlie Parkers “spirit” in mind using transcriptions of the original arrangements from those sessions. I simply just wanted to see what it would of felt like had I walked in the studio that eventful day. Of course having Charlie Parker open the door and point the way is priceless. Another thing I loved about this album was how it displayed the romantic side of Charlie Parker and his aesthetic and melodic beauty and I wanted to attempt to get that across in my playing. I want to thank Irv Kratka the president of Classic Jazz records for giving me the opportunity to do this project and I hope you enjoy it as much as I enjoyed doing it.
Glenn Zottola
Available on iTunes, CD Baby , Target , Barnes and Noble and innercityjazz.com

 

JAZZ WEEKLY

Glenn Zottola: Charlie Parker with Strings Revisited
by George W. Harris • December 3, 2015 •

Glenn Zottola has had an impressive career serving as a sideman on trumpet, tenor and alto sax for artists ranging from Benny Goodman to Chick Corea. Here, he reaches into the heart of bebop founder Charlie Parker and focuses on the rarely appreciated side of the artist, that of a romantic. Zottola takes the original transcriptions of the historic 1949-50 recordings and breaths a fresh life into them. His sound is warmer and clearer than Bird’s, so that’s a major plus, while his solos and melodic statements are on a par with the originator.

The sweetness and freshness that mix between strings and horn are in abundance here. The lithe freedom of “April in Paris,” or pensive dreaminess of “I Didn’t Know What Time It Was” is captured perfectly by Zottola, while “Summertime” is a dramatic aria and “Laura” is fit for Dana Andrews. Zottola’s sound embraces you like a rippling wave foaming at the shore. If you don’t have the original, try this one instead for an intro to a sound that changed American recordings.

Classic Jazz Records

http://www.innercityjazz.com

New Release – Glenn Zottola “The Very Thought Of You”

Classic Jazz 14 “Getting Sentimental” Glenn Zottola by Nick Mondello
Our culture – and within that one of its bedrocks, our music – is in somewhat of a topsy-turvy, push-the-envelope-to-the-extremes flux. What excites or tempts, even repulses irrespective of good taste, is attractive and what formerly passed as beauty is bad toast. If it’s not “hot,” it’s not.
The music in “Getting Sentimental,” from trumpeter Glenn Zottola is the antipodal musical pole from entertainment icons and hit-makers such as “twerker,” Miley Cyrus, Lady Gaga (actually a homonym from the Italian meaning to defecate) and hip-hopper, Nicky Minaj (no talent, therefore no comment deserved), et al. His is an offering of exquisite taste, talent and beauty that is a throwback to days when talent and taste trumped exposed or undulating body parts – what author, Tom Wolfe once told me they were like “glistening giblets.”
This is simply a gorgeous recording reminiscent of the classic 1960s Bobby Hackett-Jackie Gleason collaborations. Brilliantly covering nine Great American Songbook ballad standards and performing them over lush material drawn from Irv Kratka’s Classic Jazz treasures, Zottola’s lush trumpet and singing style is hypnotically sensuous. I’d swear that there is a Sinatra, a Bennett, or a Hartman hiding in that horn of his. His playing approach values melody over technique – although, rest assured he has plenty of that – and beauty over finger-wiggling. There are very obvious shades of the great Clifford Brown here and Zottola’s sound is Grand, as in “Canyon.”
Post-modernists and “millennials” that have only been exposed to “entertainers,” as opposed to artists, could learn a valuable musical lesson here. This is brilliance and beauty in music. And, it is offered by a gifted performer being at his best. Perhaps on Grammy® night the “twerkers” and hip-hoppers might get to the stage first. That is, of course, if the presenters don’t hand out the awards in reverse alpha order. “Getting Sentimental” is that deserving.

New Release – Glenn Zottola “Come Fly With Me”

Layout 1

Available on CD Baby , iTunes , Amazon, Target , Barnes and Noble and innercityjazz.com

CJ 40 Glenn Zottola “Come Fly With Me” by Nick Mondello
As portrayed in Chuck Granata’s fascinating “fly-in-the-studio” book, “Sessions with Sinatra – Frank Sinatra and the Art of Recording” (A Cappella Books/Chicago Review Press, 2004) the Master would always enter the studio ready to record with a fervent desire to nail first takes. The orchestra, whether under the baton of Nelson Riddle, Gordon Jenkins, “Q,” et al, would have been rehearsed and collectively primed for the business at hand.
With “Come Fly with Me,” trumpeter Glenn Zottola takes a rather unique turnaround of the Sinatra session routine. He has brilliantly prepped and recorded over magnificent session material which was culled from the enormous vault of Irv Kratka’s Classic Jazz Records. The result is an exquisite display of musicianship, preparation and trumpeting chops of which OBE, who certainly knew his trumpet men (i.e., Conrad Gozzo, Charlie Turner, Harry James, and Count Basie’s Guys) would be proud.
The 10 well-known GASser selections (“Come Fly with Me,” “How High the Moon,” “Come Back to Me”) – most of them recorded at one time by Sinatra (but not Frank’s arrangements, in case you might ask) – feature Zottola’s lush horn blowing and swinging over terrific charts performed by top-tier New York studio types. Their skill, combined with Zottola’s marvelous lyrical playing (“People,” “Come Back to Me”) is enthralling and vividly reminiscent of a time when art emanated from soundstages. This effort certainly falls into that designation. One would not be off-base if a memory is jogged of those wonderful Jackie Gleason sides that featured Bobby Hackett spinning melodies from his Angelic-speaking cornet. Zottola is that good.
To prepare one’s self to record in any environment is a daunting task. However, a pre-recorded environment of this caliber? That takes chutzpah. Yet, Zottola, obviously savant-like – blends so seamlessly into the material that if I weren’t aware of the methodology, I would not have discerned it. You won’t, either.
Enjoy “Come Fly with Me.” This jet is under Glenn Zottola’s able command and Frank is seated in First Class. That’s him with headphones on. Gee, why is he smiling?

New Release – Glenn Zottola “Triple Play”

I can’t tell you what a joy it is reading a great jazz writers perceptions on my playing like Nick Mondello very rewarding and heartwarming :

triple play

New Release – Glenn Zottola CJ 41 “Triple Play” by Nick Mondello

When evaluating the finest of baseball talent, scouts refer to the the consummate ballplayers as “Five-Tool Players.” There’s no need for me to explain that, as you get the idea. However, when one evaluates the musical marvel that is Glenn Zottola, the assessment – whether quantitatively or qualitatively – is simply off the charts. Suffice to say that the guy is a true savant. First of all he’s a superior trumpeter, an outstanding saxophonist (alto and tenor, by the way), a world-class musical director and lastly a musician of impeccable taste across all of these. Oh, and he does it by ear, too! Rarely, with of course Benny Carter the other, has there been a trumpet-sax standout of Zottola’s caliber. And, it’s to our extreme benefit that we hear all of this talent effusively on “Triple Play.”
Zottola is at his most lyrical, expressive best here on 15 GAS and other selections “Moonlight in Vermont,” Darn that Dream,” et al). It really doesn’t matter which of the three horns is in his hands, Zottola’s joyous approach to melody, his gorgeous sound on all the axes, his savvy turns of improv and his impeccable taste all flow brilliantly throughout.
Some of the tracks presented here have been culled from other Zottola Classic Jazz releases. However, when they are juxtaposed with other material, they only serve to further amaze one at Zottola’s diverse talents. Whether it’s a small group or full strings component behind him, it’s all glorious music.
Remember when the melody and the music were the dominant attributes of a stellar recording? You know, the Gleason-Hackett material, for example? Well, don’t let anyone foolishly tell you that they don’t make ’em as they used to. Point them in this star’s direction. Trust me; they’ll thank you.

58th Grammy Entry – Glenn Zottola “My Funny Valentine”

Published on Aug 7, 2015
First Review by NICHOLAS F. MONDELLO, Published: August 4, 2015

Glenn Zottola: Miles Davis Remembered
A young musician’s mind can be so very impressionable, so capable and available to lock onto a recording, a phrase or texture and hold it. The effect is almost nuclear—one note, perfectly placed by the performer and into a young listener’s ear, can set into play a chain of music-driven events that can spawn professional careers, if not a lifelong interest in the art. Such was-and is—the case with trumpeter and multi-instrumentalist, Glenn Zottola. A phenomenon in his own right.
With Miles Remembered Zottola, as he did with his prior tribute recordings of Clifford Brown, Stan Getz and Charlie Parker (all superb, by the way), Zottola offers a salute to another of his early childhood influences—Miles Davis. And, this effort is terrific.
Incorporating and recording in two accompaniment formats—a sextet and a full orchestra (both of which were previously recorded and plucked like gems mined from the exhaustive Classic Jazz Records vault), Zottola’s complete focus here shades and genuflects to Davis and his classic Prestige and early Gil Evans/Columbia period. It’s the best of all jazz worlds—great GAS material (“This Heart of Mine,” “I Cover the Waterfront,” “My Funny Valentine), highly-expressive improv, and trumpet wizardry.
Throughout the recording, Zottola demonstrates a beautiful sound, great technique and deep, musically sincere affection for Davis and this celebrated period. He wisely avoids any Miles Davis classics, direct playing imitation, or “Miles licks.” Zottola doesn’t have to; he’s an Ace player with a great sound and jazz touch (“Just You, Just Me,” “Beta Minus”). But, as any jazz trumpeter worth his valve oil would, the Davis influences on Zottola percolate effortlessly from the recesses of his mind and out the end of both his Harmon-muted or open horn.
A word about the accompaniment; as one would expect of Davis, Zottola or any performing great, the accompaniment here is A-1, swings and frames the front man fine. Zottola’s overdubbing onto the support of Jimmy Raney, Stan Getz, Ed Shaugnessy and also the All-Star orchestra is dead-on. This is not karaoke or recorda-me, by any means.
While Miles Davis was a constantly evolving jazz entity over many decades, with Miles Remembered Glenn Zottola ‘scopes a robust Davis period and in doing so does one of his idols -and himself -most proud.
Track Listing: This Heart of Mine; I’ll Be Seeing You; Jupiter; I Cover the Waterfront; Spring Is Here; Beta Minus; Autumn in New York; Just You, Just Me; My funny Valentine; Sunday.
Personnel: Glenn Zottola: trumpet; Jimmy Raney: guitar; Stan Getz: tenor saxophone; Hal McCusick: flute, clarinet; George Duvivier: bass; Ed Shaughnessy; unidentified string orchestra.
Record Label: Classic Jazz Records – Available on iTunes , Amazon , CD Baby , Target , Barnes and Noble and innercityjazz.com
More info – glennzottola.com

Glenn Zottola Classic Jazz Trio “Polkadots And Moonbeams”

Classic Jazz Records – The Jazz Titans – by Nick Mondello

Greek Mythology, the “Titans” were extremely powerful divine beings surpassed in their eminence only by the Gods themselves. With this marvelously entertaining effort, multi-instrumentalist – and supremely talented – Glenn Zottola, superb pianist, Mark Shane and ever-so-tasteful drummer, Mark Manaitt – “The Classic Jazz Trio” – deliver a 16-selection mainstream jazz lightning bolt. Covering selections associated with artists on the Mt. Olympus of jazz – Louis Armstrong, Benny Goodman, Charlie Parker and others – Zottola and his bass-less brethren let it all fly in this hot session.
A truly gifted musician of Herculean abilities, Zottola steps up brilliantly on both trumpet and saxophone – and nails both. That’s no easy task. His melodic and improvisational stylings on the trumpet are spectacular as he shades the great Louis Armstrong. One can easily tell that Zottola is an attentive student and “ear” of the Armstrong legacy. Blowing all-to-the-wall, he soars high and low (“Jubilee,” “I Can’t Believe that You’re in Love with Me,” “After You’ve Gone”). Simultaneously, his alto work channels both that other trumpet-sax genius, Benny Carter and Bebop great, Charlie Parker (“Yardbird Suite,” “Whispering”). Pianist Mark Shane is absolutely ideal in this wonderful Swing vein (“Whispers in the Dark,” “If I Had You”), displaying obvious salutes to Teddy Wilson, Earl “Fatha” Hines, et al. There’s elegance as well as heat here, too (“Polka Dots and Moonbeams”). Drummer Manaitt is shrewdly “there but not there” as he supports but never intrudes on the swingfest – and, festive it certainly is.
While The Classic Jazz Trio is salutes “Jazz Titans,” with this heavenly recording the appellation certainly could also apply to its very mighty performers.

Available on itunes , Amazon , Target , CD baby , Barnes and Noble and innercityjazz.com More info : glennzottola.com
Category

Glenn Zottola Classic Jazz Trio “I Can’t Believe Your In Love With Me”

Classic Jazz Records – The Jazz Titans – by Nick Mondello
In Greek Mythology, the “Titans” were extremely powerful divine beings surpassed in their eminence only by the Gods themselves. With this marvelously entertaining effort, multi-instrumentalist – and supremely talented – Glenn Zottola, superb pianist, Mark Shane and ever-so-tasteful drummer, Mark Manaitt – “The Classic Jazz Trio” – deliver a 16-selection mainstream jazz lightning bolt. Covering selections associated with artists on the Mt. Olympus of jazz – Louis Armstrong, Benny Goodman, Charlie Parker and others – Zottola and his bass-less brethren let it all fly in this hot session.
A truly gifted musician of Herculean abilities, Zottola steps up brilliantly on both trumpet and saxophone – and nails both. That’s no easy task. His melodic and improvisational stylings on the trumpet are spectacular as he shades the great Louis Armstrong. One can easily tell that Zottola is an attentive student and “ear” of the Armstrong legacy. Blowing all-to-the-wall, he soars high and low (“Jubilee,” “I Can’t Believe that You’re in Love with Me,” “After You’ve Gone”). Simultaneously, his alto work channels both that other trumpet-sax genius, Benny Carter and Bebop great, Charlie Parker (“Yardbird Suite,” “Whispering”). Pianist Mark Shane is absolutely ideal in this wonderful Swing vein (“Whispers in the Dark,” “If I Had You”), displaying obvious salutes to Teddy Wilson, Earl “Fatha” Hines, et al. There’s elegance as well as heat here, too (“Polka Dots and Moonbeams”). Drummer Manaitt is shrewdly “there but not there” as he supports but never intrudes on the swingfest – and, festive it certainly is.
While The Classic Jazz Trio is salutes “Jazz Titans,” with this heavenly recording the appellation certainly could also apply to its very mighty performers.

Available on iTunes, Amazon, CD Baby , Target , Barnes and Noble and innercityjazz.com.

New Release – Glenn Zottola “Body And Soul”

Great jazz writer Nick Mondello not only does reviews like the “Remembering Miles Davis” review he did in the “All About Jazz” magazine but also writes for select record label’s to forward the cause of jazz. Being a trumpet player himself his writing is like a jazz solo truly a breath of fresh air !

CJ 16 Glenn Zottola “Too Marvelous for Words” by Nick Mondello
Going back to the Ancients, those who wrote – or verbally passed on – about Man were wise to have their subjects appear, act and react greater than life. Whether describing Gods or Heroes, the sagacious story-tellers knew that amplifying mortals was a way of garnering interest and inspiring listeners.
When it is Glenn Zottola, this writer has no need for amplification or exaggeration. The guy is indescribably talented at a level that astonishes and leaves heads shaking 180. Not only is Zottola an ace trumpeter, having performed worldwide with Benny Goodman, Bob Wilber, and other jazz Pantheon residents, not only is he a superior sax man (as demonstrated here), the guy, completely self-taught, does it primarily by ear, brain and most of all – heart. He’s off the planet talent-wise.
With “Too Marvelous for Words” Zottola grabs his tenor and sets off to superbly cover 10 GAS sides (performing with previously recorded rhythm section backing) that are absolutely beautiful, swinging, and as tasteful as anyone, be it Getz, Hamilton, Webster could deliver. He’s that good.
Zottola’s sax sound is classic – restrained, baby-butt smooth and reeking of lyric love. I don’t know if he sings, but, the guy certainly “vocalizes” his melodies (and his solos, for that matter). It’s almost magnetic, especially if a listener would already know the lyrics. Are those words flowing from his axe? It’s a grand “Grand Illusion,” for sure. Furthermore, performing across already recorded material, an artist can be easily constrained to accommodate that which cannot accommodate him. Shrewdly, Zottola, ever the “ear-man,” is so in synch with the three different All-Star rhythm sections that, unless the liners indicated it, you’d never know it.
Glenn Zottola’s “Too Marvelous for Words” certainly lives up to those words. Frankly, it’s another in a long line of examples of his being not one of us.
Available on iTunes , Amazon , CD Baby , Target , Barnes and Noble and innercityjazz.com.

Glenn Zottola – “A Jazz Life” Anthology

Chick Corea in my opinion and many others is one of the greatest living jazz artists. What a thrill to record this with him and add it to my anthology “A Jazz Life”.

Glenn Zottola – trumpet and alto with the Chick Corea Trio

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CJ 03 – “A Jazz Life: Glenn Zottola’s Story” By Nick Mondello
In most instances, recorded compilations of a musician’s recording career – especially one as lengthy and significant as this talented artist’s – are usually produced when the body of work is “warmer” than the musician’s body itself. That’s certainly not the case here, thank God. For you see, Glenn Zottola, thankfully, is not only alive, kicking and swinging as incredibly as he always has, but, there’s plenty that is and will surely be emanating from this multi-instrumentalist genius’s trumpet and saxophones. Based on this superlative compilation, you can count on that.
A true wunderkind, Zottola is a scion of a truly talented family. He was a child prodigy (and talent show winner) on trumpet and began playing professionally at an age when most kids can’t spell it. He’s played with – wait! Who hasn’t he performed with over a half-century-plus career that’s taken him from Westchester, New York to world-wide acclaim? From Goodman to Sinatra and from Suzanne Somers to Chick Corea, Glenn’s hot and inventive trumpet has covered it all. And the story so far is here. Rest assured, there’s lots more coming.
The 2-disc compilation is unique in that it is presented in a chronological manner, starting with Zottola’s first recording in 1964 (“Kids Christmas Album”). Even as a youngster, you’ll hear marvelous shades of Louis Armstrong, to this day a Zottola idol and influence. Those Armstrong-esque stylings resonate in his work heard here with saxophonist Bob Wilber (with whom Zottola soared in “The Bechet Legacy”) and other legendary musicians, including Steve Allen, Terry Gibbs and the rest of the Encyclopedia of Jazz. He can play hot a la Louis and cook a la Brownie (whose “Clifford with Strings” Zottola recently recorded with his Brownie-like interpretations without written music – all from his memory! (“I Remember Clifford”).
A musical savant of incredible abilities, Zottola is equally adept (self-taught, by the way) on saxophones. He recently recorded tribute albums to Charlie Parker and Stan Getz for Classic Jazz, cuts of which are included here. No amateur on sax, he channels Bird and Stan with an uncanny flair.
This is a big bite of splendid jazz music. It depicts a musician – an artist – of incredible talent and vision. Sit back, pop up the feet and dig in. You’ll dig.

New Release – Glenn Zottola “Three Little Words”

Great jazz writer Nick Mondello not only does reviews like the “Remembering Miles Davis” review he recently did for the “All About Jazz” magazine but also he is writing for my record label. Being a trumpet player himself his writing is like a jazz solo truly a breath of fresh air !

Glenn Zottola with all star rhythm section : Don Abney piano , Jimmy Raney guitar , Oscar Pettiford bass and Kenny Clarke drums.

CJ 16 Glenn Zottola “Too Marvelous for Words” by Nick Mondello
Going back to the Ancients, those who wrote – or verbally passed on – about Man were wise to have their subjects appear, act and react greater than life. Whether describing Gods or Heroes, the sagacious story-tellers knew that amplifying mortals was a way of garnering interest and inspiring listeners.
When it is Glenn Zottola, this writer has no need for amplification or exaggeration. The guy is indescribably talented at a level that astonishes and leaves heads shaking 180. Not only is Zottola an ace trumpeter, having performed worldwide with Benny Goodman, Bob Wilber, and other jazz Pantheon residents, not only is he a superior sax man (as demonstrated here), the guy, completely self-taught, does it primarily by ear, brain and most of all – heart. He’s off the planet talent-wise.
With “Too Marvelous for Words” Zottola grabs his tenor and sets off to superbly cover 10 GAS sides (performing with previously recorded rhythm section backing) that are absolutely beautiful, swinging, and as tasteful as anyone, be it Getz, Hamilton, Webster could deliver. He’s that good.
Zottola’s sax sound is classic – restrained, baby-butt smooth and reeking of lyric love. I don’t know if he sings, but, the guy certainly “vocalizes” his melodies (and his solos, for that matter). It’s almost magnetic, especially if a listener would already know the lyrics. Are those words flowing from his axe? It’s a grand “Grand Illusion,” for sure. Furthermore, performing across already recorded material, an artist can be easily constrained to accommodate that which cannot accommodate him. Shrewdly, Zottola, ever the “ear-man,” is so in synch with the three different All-Star rhythm sections that, unless the liners indicated it, you’d never know it.
Glenn Zottola’s “Too Marvelous for Words” certainly lives up to those words. Frankly, it’s another in a long line of examples of his being not one of us.

New Release 58th Grammy Entry – Glenn Zottola “Classic Arrangements’

Published on Jul 29, 2015
CJ 12 Classic Jazz Records Uploaded July 29th :
This album was inspired by Frank Sinatra. I worked with Frank on TV and he used some of the greatest arrangers of all time. My concept has always been to sing through the horn.

Available on iTunes , CD Baby , Target , Amazon , Barnes and Noble and Innercityjazz.com.

Angel Eyes :

CJ 12 ClasscArrngmnts

Classic Jazz Records – Glenn Zottola Plays Classic Arrangements inspired by Frank Sinatra by Jazz Writer Nick Mondello

The arranger’s task is a multi-dimensional one. He/she must develop an aural landscape that – as one certainly would for a great work of art – frame the subject appropriately, while never being so ornate as to distract or misrepresent. The greatest of arrangers, especially those who worked with Frank Sinatra – Nelson Riddle, Gordon Jenkins, Quincy Jones, Billy May and others – also had the knack to present material which stimulates the soloist, urging him or her on and effectively simultaneously challenging artist and musicians. Ennui and complacency – whether actual or perceived – are the arrangers’ Satans and Hell on earth for musical artists.

With this superior and fascinating effort, multi-instrumentalist Glenn Zottola brazenly places himself in the “Sinatra spotlight,” performing a baseball team’s worth of Sinatra-affiliated tunes (“Teach Me Tonight,” “Angel Eyes,” “Street of Dreams”). Each selection was inspired by the actual arrangements and was impeccably transcribed – and performed same. It’s brilliant all around.

Zottola’s alto saxophone is a classic one – a throwback to when sonic beauty trumped technical wizardry and when melody reigned supreme. This is a lush, elegant send-up of the highest order. Zottola is a melody marvel, possessing that unique, indescribable element that only occurs when what is written on staff paper flows through the performer’s heart and soul and becomes a “feeling,” a “touch,” a “memory,” or “picture” in the listener’s mind. It’s magic, and Zottola has the wand with which to make it here. Voila!

New Release – Glenn Zottola “Triple Play”

New Release on trumpet , tenor and alto with all star band Classic Jazz Records CJ 41 on Jul 13, 2015

Available on iTunes , Cd baby , Amazon , Target , Barnes and Noble and innercityjazz.com.

New Release – Glenn Zottola CJ 41 “Triple Play” by Nick Mondello

When evaluating the finest of baseball talent, scouts refer to the the consummate ballplayers as “Five-Tool Players.” There’s no need for me to explain that, as you get the idea. However, when one evaluates the musical marvel that is Glenn Zottola, the assessment – whether quantitatively or qualitatively – is simply off the charts. Suffice to say that the guy is a true savant. First of all he’s a superior trumpeter, an outstanding saxophonist (alto and tenor, by the way), a world-class musical director and lastly a musician of impeccable taste across all of these. Oh, and he does it by ear, too! Rarely, with of course Benny Carter the other, has there been a trumpet-sax standout of Zottola’s caliber. And, it’s to our extreme benefit that we hear all of this talent effusively on “Triple Play.”
Zottola is at his most lyrical, expressive best here on 15 GAS and other selections “Moonlight in Vermont,” Darn that Dream,” et al). It really doesn’t matter which of the three horns is in his hands, Zottola’s joyous approach to melody, his gorgeous sound on all the axes, his savvy turns of improv and his impeccable taste all flow brilliantly throughout.
Some of the tracks presented here have been culled from other Zottola Classic Jazz releases. However, when they are juxtaposed with other material, they only serve to further amaze one at Zottola’s diverse talents. Whether it’s a small group or full strings component behind him, it’s all glorious music.
Remember when the melody and the music were the dominant attributes of a stellar recording? You know, the Gleason-Hackett material, for example? Well, don’t let anyone foolishly tell you that they don’t make ’em as they used to. Point them in this star’s direction. Trust me; they’ll thank you.

New Release – Glenn Zottola “Come Back To Me”

Published on Apr 8, 2015
New Release -Classic Jazz Records CJ 40 published July 12, 2015

This is the last cut on the album. I wanted to re-visit some “bravura” on the horn at 68 years old that originally attracted me when I was a kid when i worked with all the latin bands at17 years old at places like the Palladium in NYC.

Available on iTunes , CD Baby , Amazon , Target , Barnes and Noble and innercityjazz.com. More info glennzottola.com

New Release – Glenn Zottola “Come Fly With Me”

Classic Jazz Records CJ 40 Published on Jul 11, 2015
It has been quite a journey these last 4 years since coming out of retirement after my TV show closed at Universal Studios. I have done 14 album’s giving me a career total of 65. What a joy playing in all these different settings small jazz group , strings , big band , Latin on trumpet , alto and tenor. This album CJ 40 follows CJ 39 Miles Davis Remembered and is very different. My thanks to Irv Kratka at Classic Jazz Records for giving me the opportunity to record in all these settings and the beautiful artwork.
Available on iTunes, CD Baby , Amazon , Target , Barnes and Noble and innercityjazz.com. More info on glennzottola.com

CJ 40 Glenn Zottola “Come Fly With Me” by Nick Mondello
As portrayed in Chuck Granata’s fascinating “fly-in-the-studio” book, “Sessions with Sinatra – Frank Sinatra and the Art of Recording” (A Cappella Books/Chicago Review Press, 2004) the Master would always enter the studio ready to record with a fervent desire to nail first takes. The orchestra, whether under the baton of Nelson Riddle, Gordon Jenkins, “Q,” et al, would have been rehearsed and collectively primed for the business at hand.
With “Come Fly with Me,” trumpeter Glenn Zottola takes a rather unique turnaround of the Sinatra session routine. He has brilliantly prepped and recorded over magnificent session material which was culled from the enormous vault of Irv Kratka’s Classic Jazz Records. The result is an exquisite display of musicianship, preparation and trumpeting chops of which OBE, who certainly knew his trumpet men (i.e., Conrad Gozzo, Charlie Turner, Harry James, and Count Basie’s Guys) would be proud.
The 10 well-known GASser selections (“Come Fly with Me,” “How High the Moon,” “Come Back to Me”) – most of them recorded at one time by Sinatra (but not Frank’s arrangements, in case you might ask) – feature Zottola’s lush horn blowing and swinging over terrific charts performed by top-tier New York studio types. Their skill, combined with Zottola’s marvelous lyrical playing (“People,” “Come Back to Me”) is enthralling and vividly reminiscent of a time when art emanated from soundstages. This effort certainly falls into that designation. One would not be off-base if a memory is jogged of those wonderful Jackie Gleason sides that featured Bobby Hackett spinning melodies from his Angelic-speaking cornet. Zottola is that good.
To prepare one’s self to record in any environment is a daunting task. However, a pre-recorded environment of this caliber? That takes chutzpah. Yet, Zottola, obviously savant-like – blends so seamlessly into the material that if I weren’t aware of the methodology, I would not have discerned it. You won’t, either.
Enjoy “Come Fly with Me.” This jet is under Glenn Zottola’s able command and Frank is seated in First Class. That’s him with headphones on. Gee, why is he smiling?

Suzanne Somers TV Show “Lady Be Good”

Published on Jul 13, 2015
I have been talking with Terry Gibbs a lot lately and very few jazz musicians have had the opportunity of being bandleader on network television like he and I have and I loved every minute. I got to play every kind of music imaginable and really loved the pace and the feeling evertime time I got a stage I was in front of 10s of millions of people not to mention all the other perks like driving to work 10 minutes from house ! I also go the knack of playing this way while the director was talking to me in my headset 🙂

New Release – Glenn Zottola “Remembering Miles Davis”

chick quote

A quote from my friend Chick Corea who was a great sounding board while recording heartwarming.

Uploaded on Jul 10, 2015
I met Miles Davis when I was 13 years old at Birdland in NYC in 1961. He was there with his historic sextet with John Coltrane and Cannonball Adderley. This album is half with all star small group and half orchestra ala Gil Evans concentrating on Miles work in the 50s that changed jazz and my life.

Available on iTunes, Target, Amazon, CD Baby , Barnes and Noble and innercityjazz.com

Glenn Zottola “Miles Davis Remembered” by Nick Mondello

A young musician’s mind can be so very impressionable, so capable and available to lock onto a recording, a phrase or texture and hold it. The effect is almost nuclear – one note, perfectly placed by the performer and into a young listener’s ear, can set into play a chain of music-driven events that can spawn professional careers, if not a lifelong interest in the art. Such was- and is – the case with trumpeter and multi-instrumentalist, Glenn Zottola. A phenomenon in his own right.
With Miles RememberedZottola, as he did with his prior tribute recordings of Clifford Brown, Stan Getz and Charlie Parker (all superb, by the way), Zottola offers a salute to another of his early childhood influences – {{Miles Davis}}. And, this effort is terrific.
Incorporating and recording in two accompaniment formats – a sextet and a full orchestra (both of which were previously recorded and plucked like gems mined from the exhaustive Classic Jazz Records vault ) Zottola’s complete focus here shades and genuflects to Davis and his classic Prestige and early {{Gil Evans}}/Columbia period. It’s the best of all jazz worlds – great GAS material (“This Heart of Mine,” “I Cover the Waterfront,” “My Funny Valentine), highly-expressive improv, and trumpeting wizardry.
Throughout the recording, Zottola demonstrates a deep, musically sincere affection for Davis and this celebrated period. He wisely avoids any “Miles Davis classics,” direct playing imitation, or “Miles licks.” Zottola doesn’t have to; he’s an Ace player with a great sound and jazz touch (“Just You, Just Me,” “Beta Minus”). But, as any jazz trumpeter worth his valve oil would, the Davis influences on Zottola percolate effortlessly from the recesses of his mind and out the end of both his Harmon-muted or open horn.
A word about the accompaniment; as one would expect of Davis, Zottola or any performing great, the accompaniment here is A-1, swings and frames the front man fine. Zottola’s overdubbing onto the support of {{Jimmy Raney}}, {{Stan Getz}}, {{Ed Shaugnessey}} and also the All-Star orchestra is dead-on. This is not karaoke or recorda-me, by any means.
While Miles Davis was a constantly evolving jazz entity over many decades, with Miles Remembered Glenn Zottola ‘scopes a robust Davis period and in doing so does one of his idols – and himself – most proud.

Glenn Zottola- “Miles Davis Remembered” by Scott Yanow
(Classic Jazz)

Glenn Zottola had his greatest prominence in the jazz world in the 1970s and 80s when he appeared on many high-quality mainstream and swing sessions. An exciting trumpeter, he doubled on alto-sax during that era, working with Benny Goodman, Bob Wilber’s Bechet Legacy, Peanuts Hucko and his own combos,. His playing can be heard on recordings for such labels as Famous Door, Dreamstreet, Concord and Chiaroscuro. However Zottola’s career took a surprising turn when he became Suzanne Somers’ musical director, working on her television show away from the jazz scene. After that period, he largely retired from playing, just picking up his horns now and then for the fun of it.
During the past few years, Zottola’s life has taken another turn. He has returned to jazz, at least in the recording studios. In addition to a few previously unreleased sets of music being been released from his earlier years, he has also recorded 14 albums for the Classic Jazz label including tributes to Charlie Parker, Stan Getz, Ben Webster and Clifford Brown. What is particularly unusual is that Zottola is heard playing to pre-recorded tracks, some of which of which were Music Minus One productions from the 1950s and ‘60s. While the backgrounds are set, Zottola’s playing is full of life and constant invention. While some of these sessions feature him on alto or tenor, his comeback on trumpet was quite notable on the Clifford Brown set.
Miles Davis Remembered has Zottola on trumpet interacting with an orchestra on some Gil Evans-inspired arrangements and playing with a classic combo that includes Stan Getz and guitarist Jimmy Raney. Zottola has always been proud of the fact that he never copies his heroes and predecessors. While he purposely hints at vintage Miles Davis’ relaxed style and cool sound throughout these ten performances, most of the songs (other than ‘Spring Is Here” and “My Funny Valentine”) are actually not from Davis’ repertoire. Many, including “This Heart Of Mine,” “Just You, Just Me” and “Sunday,” were never recorded by Davis. Zottola even includes two originals, “Jupiter” and “Beta Minus,” as orchestral pieces. His trumpet solos are both melodic and fresh.
Glenn Zottola’s comeback is to be cheered.
Scott Yanow

New Release 58th Grammy Entry – Glenn Zottola “Sunday”

New Release 58th Grammy Entry.
Uploaded on Jul 8, 2015
I met Miles Davis when I was 13 years old at Birdland in NYC in 1961. He was there with his historic sextet with John Coltrane and Cannonball Adderley. This album is half with all star small group and half orchestra ala Gil Evans concentrating on Miles work in the 50s that changed jazz and my life.

Will be available on iTunes, Target, Amazon, CD Baby , Barnes and Noble and innercityjazz.com

New Release – Glenn Zottola 58th Grammy Entry “I’ll Be Seeing You”

Uploaded on Jul 7, 2015

I met Miles Davis when I was 13 years old at Birdland in NYC in 1961. He was there with his historic sextet with John Coltrane and Cannonball Adderley. This album is half with all star small group and half orchestra ala Gil Evans concentrating on Miles work in the 50s that changed jazz and my life. This is one of the orchestra track’s “I’ll Be Seeing You”.

Will be available on iTunes, Target, Amazon, CD Baby , Barnes and Noble and innercityjazz.com.