Category Archives: Glenn Zottola “Golden Age Of Jazz”

Glenn Zottola and Zoot Sims with Teddy Wilson , Milt Hinton and Gus Johnson.

Zoot Sims , Glenn Zottola , Teddy Wilson , Milt Hinton and Gus Johnson. I was very young and all the guys were 45 years my elders but you would never know it from the intensity of the band.This was recorded by someone in the audience so the sound quality is not great but you can certainly hear the energy. I felt Like I was at “Jazz At The Philharmonic”. Zoot was one of the great swingers of all time or as Milt Hinton called him “the salt of the earth” !

Elkhart Jazz Festival 1991

This is a classic jam session format which you might not see in this day and age let me explain. I was leading a quintet at the Elkhart Jazz Festival and I had the great Red Hollyway on alto and tenor and the great Butch Miles in the band. Frank Foster was on the bill leading the Basie band. When Frank finished his set he came in to hear my set. I saw him in the audience and invited him up on stage. Here is what occurred from the inside on this tune. I played the first solo on trumpet then Red on Alto. When Red and Frank started trading at the end of the tune I got inspired so picked up my alto and Red put down his alto and grabbed his tenor so you have 3 saxophone’s trading Frank on tenor , Red on tenor and me on alto. Then I switch back to trumpet to take the tune out !!

Glenn Zottola Signature Trumpet Mouthpiece

I am very proud that RS Berkeley has released a copy of my trumpet mouthpiece, the “Glenn Zottola Trumpet Mouthpiece” as part of their their “Legend Series” now available at select retailers around the world. By the way I was with my dad as a young boy in those New England Woods that day as this story tells. You can hear the quality of the sound of this mouthpiece with this track from my Clifford Brown tribute album.

Memories of You

The story behind the mouthpiece
In 1952, while walking through a quiet New England woods Frank Zottola came upon a smoothly flowing stream. Subconsciously, his musician’s ear noticed that it was producing a dark and diffused tonal quality. As he wandered along a little further where periodic rock obstructions on the stream’s bed interrupted the water’s flow creating turbulence, he became aware of the increase in brilliance and a compactness of sound. When the stream finally broke into a waterfall, crashing on the descending steps, the pitch, intensity and volume reached its maximum. At that moment, he had a realization that this natural phenomenon could be extended to a practical application in mouthpiece design. He believed that a stepped back-bore design might very well be what contemporary brass players have been searching for to solve their problem of ever increasing range and endurance demands.

I used my dad’s mouthpiece my entire career. I loved the way his patented “step back bore” assisted the upper register.  In 1979 I went to him and asked for some slight modifications. I wanted the same ease in the upper register that the step back bore gave me but with no resistance and a very free blow for a very fat sound.  He worked on this and came up with a modification to the tunnel leading into the back bore. The result was spectacular and exactly what I wanted.  He stamped it January 1979.  This became my signature sound for the rest of my career and was not available in his standard line.  My dad  was a beautiful man and master mouthpiece maker and was loved by all.   I would like to thank Les Silver and RS Berkeley for helping me to pay tribute to my dad Frank Zottola with the release of this mouthpiece.

You can buy it online at Amazon or at RS Berkeley dealers around the world or call 1-800-974-3909

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Glenn Zottola Syos Signature Tenor Mouthpiece.

I worked Closely with Pauline Eveno as I needed something unique in a tenor mouthpiece for a album I was doing with my Grammy friend Ricky Kej in India. It had to blend with a Indian singer and have a clarity and intonation to match. Pauline and her team achieved that beautifully. Listen to this track from the album.

Angelic Tears

Glenn Zottola plays Syos

Syos mouthpieces with their ease of playing , intonation and response allow a player to take attention off the equipment which is the goal and create with freedom. Many thanks to Pauline Eveno and the whole team for their incredible cutting edge work in the field of mouthpieces design.

Glenn Zottola is a multi-instrumentalist and musical savant, and has been heralded as the greatest brass and reed doubler in jazz history, playing both trumpet and saxophone at an equal level.

His stylistic spectrum stretches across a wide range, having played with Lionel Hampton , Benny Goodman, Zoot Sims ,Phil Woods, Gerry Mulligan all the way to Chick Corea and his career over the last 5 decades reads like a Who’s Who of jazz. He has recorded over 60 albums and was the bandleader on the Suzanne Somers Television Show at Universal Studios with his own jazz quartet.

Glenn has also performed with luminaries such as Michael Jackson, Frank Sinatra , Mel Torme, Peggy Lee, Tony Bennett, Ella Fitzgerald and Joe Williams. Glenn also has been nominated for the National Endowment Of The Arts Award in Washington D.C, one of the top honors in the arts.

Zoot Sims

These posts are coming from my website now. Zoot was not a man of many words he let his playing do the talking which I think is refreshing especially in this day and age. He was doing a clinic and doing everything right playing with the band etc. At the end of the session the music director in desperation because Zoot had not said anything just played and he says “Zoot we are coming to the end of the session there must be something you would like to tell the kids”. Zoot turns around and say’s “come on guys just play better ”. The guys I came up with didn’t talk that much about music but they certainly played and that is where I got it all. The bandstand was my college !

Glenn Zottola “Cottontail”

It is so heartwarming having great players like Terry Gibbs , Lew Tabackin and Ron Aprea compliment me. Most of the great players I admired and made me who I am musically and kept me going are gone now. This is my first pro session in Manhattan. I just moved there as a very young lad and was kind of the new kid in town and playing at a jazz club on 54th street Eddie Condon’s. A record producer Harry Lim who used to work for Keynote records and did some very famous sessions came in and said I like your playing would like to do a session for me. I said sure he didn’t tell what it was just when and where to show up. He started his own record label Famous Door and I ended up doing a dozen albums or more for him. I walk in the session and my jaw drops who is there John Bunch , George Mraz , Mousey Alexander , Phil Wilson and Al Klink ! No rehearsal NY energy at it’s best sink or swim !!

Glenn Zottola “My Life In Jazz” Charlie Parker with Strings Re-Visited – Final Episode 26

Glenn Zottola Charlie Parker with Strings Revisited Review 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.

Glenn Zottola “My Life In Jazz” Classic Standards with Strings Inspired by Ben Webster – Episode 21

Glenn Zottola Classic Standards with Strings Inspired by Ben Webster Review by Jazz Writer Nick Mondello

Jazz Legends Coleman Hawkins, Lester Young and Ben Webster are rightfully considered the Swing Era’s Pantheon of the tenor saxophone. It is from that glorious rock-solid foundation of the jazz tree that yet-to-come tenor greats such as Stan Getz, John Coltrane and others blossomed. The influence of the tenor triumvirate on those who followed them was enormous – Hawkins improvisational genius exemplified in the still-examined “Body and Soul,” Young’s suave and silky-smooth cool melodic and improvisational approach and Webster’s sensually breathy balladic and hard-swinging up-tempo interpretations. With “Classic Standards with Strings – Inspired by Ben Webster,” multi-instrumentalist Glenn Zottola, yet again musically validates his worldwide reputation as both an insightful and highly expressive musical artist. Here he grabs his tenor and brilliantly delivers a dozen of the Great American Songbook’s most melodic and romantic jewels. The result is an aural masterpiece of tone, melodic passion, and lyric sensitivity. Webster was a large man who was nicknamed “Brute.” However, his breathy entrances and tonal sensitivities belied the moniker. Zottola, who shrewdly doesn’t mime Webster’s sound or articulation here and who certainly isn’t brutish in any way – musically or otherwise – renders all of the smoothness and sensitivity that both the esteemed material and his mentor deserve. Working exclusively with the greatest of balladic material (“Can’t Help Lovin’ Dat Man,” “Laura,” “Embraceable You”) and backed by a lush string orchestra and superior arrangements, the recording is reminiscent of the great Jackie Gleason sides – you know, when music was about elegance, romance and class. Zottola, first and foremost a melody man, takes this classic material and literally breathes interpretive life into it. His reserved dynamic feel and vocal-tinged vibrato are a case study in lyricism and stellar ballad playing (“Where or When?” “Yesterdays,” and “Stardust”). When he covers the melody, Zottola gives the marvelous illusion of singing via his horn. And, his well-thought out improvisations all gravitate from a melodic core. The entire effort is a rapturous dream. Ben Webster is still revered worldwide and especially in Denmark where there is a street named after him (as well as a foundation that awards scholarships to young jazzers). However, I’m dead-certain that when the Danes get a hold of this effort from Glenn Zottola, they might consider getting a second street sign ready for another superb tenor man.

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

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.

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”

https://youtu.be/IyFvtcPA0Vo
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. 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”

https://www.youtube.com/watch?v=my8L67eB0uM
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 “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”

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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
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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.