Category Archives: Glenn Zottola “Golden Age Of Jazz”

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
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 “Teach Me Tonight”

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.

New Release 58th Grammy Entry – Glenn Zottola “Angel Eyes”

CJ 12 Classic Jazz Records Uploaded July 28th :

This album was inspired by Frank Sinatra. I worked with Frank on TV and he used some of the greatest arrangers of all time. This is a classic Nelson Riddle arrangement. My concept has always been to sing through the horn.

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

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

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 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.

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

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 an original “Jupiter” written by great guitarist Jimmy Raney .

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

New Release – Glenn Zottola “Come Back To me”

I mentioned my early experience in NY with the latin bands. I thought I would re-visit that a bit 50 years later now at 68 years old on this new album. Although not Machito i am able spread my wings on that power type trumpet playing that i did way back then with the latin bands in NY.

soon available on iTunes, Amazon, CD Baby , Target ad innercittyjazz.com

Bob Wilber/Glenn Zottola “Shaw Nuff”

I did a very successful tour with Bob Wilber for Smithsonian. It was a “History of Jazz” program starting in the 20s with Louis Armstrong and ending with Charlie Parker and Dizzy Gillespie and everything in between a very demanding 2 hour show. Bob played Charlie Parkers solo on alto beautifully and I just closed my eyes and did my own thing not Dizzy’s solo. I used to carry a Sony portable tape recorder around and throw it under my bandstand.

Bob Wilber/Glenn Zottola – Jelly Roll Morton “Black Bottom Stomp”

In the 80s I did a “history of jazz” tour for the Smithsonian with Bob Wilber. I had to play every trumpet style from Louis Armstrong through Dizzy Gillespie very demanding. We were on the same touring circuit as Vladimir Horawitz and some of the audience’s never really heard jazz before. It was a huge success and this was one of the beginning pieces of the program from the 20s by the great Jelly Roll Morton. I am proud that my jazz experience covers such a wide scope of jazz the entire “golden age of jazz” from Louis Armstrong through Charlie Parker and slightly beyond with Clifford and Miles. This piece is by the great Jelly Roll Morton and is called “Black Bottom Stomp.

Glenn Zottola with Milt Hinton “What Is This Thing Called Love”

Milt Hinton was a dear friend and legendary bass player who played with Charlie Parker. I loved trading 4s with him on this track. “All About Jazz” is doing a feature on my “Reflections Of Charlie Parker” album this month.
Available on iTunes, Amazon , Target , Best Buy, Barnes and Noble , CD baby and innercityjazz.com

Glenn Zottola and Marty Napoleon

Marty Napoleon was not only a great player but a great human being. He was the last surviving member of the Louis Armstrong Allstars. It was something playing with the guy that backed Louie you could feel it. He passed yesterday at 93 but his spirit and “joy of creating” will always be with us and left us a legacy and life to be celebrated:)

Glenn Zottola “Embraceable You”

I never learned , copied or transcribed anyones solo my whole life wouldn’t know how to do that I play jazz by ear. What I did do is try to capture the spirit and “mood” of the founding fathers of jazz with my own notes and most of all tell a story which they all could do.
Available in iTunes, Amazon , Target, Barnes and Noble, CD Baby and innercityjazz.com

Glenn Zottola – Remembering Miles Davis “I cover The Waterfront”

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. My good friend Chick Corea gave me a beautiful quote for this album which is heartwarming as he worked a lot with Miles.
Will be available on iTunes, Target, Amazon, CD Baby , Barnes and Noble and innercityjazz.com

Glenn Zottola – Remembering Miles Davis “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. My good friend Chick Corea gave me a beautiful quote for this album which is heartwarming as he worked a lot with Miles.
will be available on iTunes, Target, Amazon, CD Baby , Barnes and Noble and innercityjazz.com

Glenn Zottola “Triste”

Glenn Zottola – Salutes Stan Getz
From : Classic jazz Records

Etymologically, the Portuguese words bossa and bossa nova derive from a number of suggested derivations – “new trend,” “charmed” and, of course, the beach-like “fashionable wave.” The Portuguese word for genius is gênio. Of course, taking the sublime to the sublime in jazz, when the bossa nova is paired with saxophone, the result is Getz. With this lusciously performed effort, it could also be offered as Glenn, as in saxophonist, Glenn Zottola.
The great jazz artist, Stan Getz and vocalist Astrud Gilberto paired in the early 1960s to bring to the United States and its listeners a unique, elegantly smooth, samba-flavored groove that was topped with marvelous melody from another gênio, Antonio Carlos “Tom” Jobim. Zottola’s The Bossa Nova Story salutes Stan Getz (and, by extension, musical co-conspirators Gilberto and Jobim), but also, it provides a spectacular display of multi-instrumentalist Glenn Zottola’s awesome talent and boundless artistry. He simply nails this Five-Star performed and delivered effort. And, for that, he can also thank his globe-trotting friend and fellow Getz fan, John Travolta, who gave Zottola the idea for this album.
Unless one has been on a half-century trip to the far depths of space, the selections presented here are familiar (One Note Samba,” Meditation”). They are material drawn from what is now not only the bossa nova canon, but also, are an integral part of the jazz standards songbook (“The Girl from Ipanema,” “Gentle Rain,” “Triste”). Zottola channels – but wisely does not dare imitate – Stan Getz with a lush sound that screams “I’m inviting you. Come.” Parlay that with Zottola’s axe springing a rhythmic tension to the beat that is enchanting. While part of that sound and approach is due to Zottola’s custom-made Getz-copy saxophone mouthpiece, the real reason comes from the breath, fingers, heart and samba soul of one Glenn Zottola. He is as rhythmically smooth as a wet string bikini sashaying on Rio’s Ipanema Beach – and as sultry as they come (even on the more domestically composed “Baubles, Bangles and Beads” and “I Concentrate on You”).
Rest assured, The Bossa Nova Story is an elegant and equatorially warm album. It’s also very appropriate homage to both Stan Getz and the bossa nova genre itself. Copping an old Peter Allen tune, what’s “I Go to Rio” in Portuguese? Here, it’s Glenn Zottola.

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

Bob Wilber and Glenn Zottola “China Boy”

The Bechet Legacy – Bob Wilber/Glenn Zottola
From : Classic Jazz Records
Picture being with a group of young 21st Century musicians – say sax and trumpet players for argument’s sake – and they’re telling you that they’re bored to the gills with their current jazz listening fare. You know, that material that’s so over-intellectualized, electri-fried, contrived and ungodly sterile that, irrespective of tempo and groove, it just doesn’t move them – and worse – it doesn’t swing for them. Then, pull out this live recording, play it for them and watch their reaction. That would be not only an instantaneous and very swinging history lesson, but also an epic enlightenment and intro to both legendary jazzer, Sidney Bechet and the world-class musicians that comprise the Bechet Legacy – Bob Wilber, Glenn Zottola and crew, including fine vocalist Pug Horton, Mrs. Wilber.
Recorded live in 1991 at a series of Birch Hall concerts in England (where Wilber currently resides), this double-CD offers a hugely satisfying evening’s worth of the hottest jazz this side of the Sol. 23 – a number apropos for a very prime effort – classic selections associated with Bechet, Armstrong, Ellington and Goodman are magnificently performed with a hot-wire electricity that a studio effort can’t touch.
Bechet – one of the first inhabitants of the jazz pantheon – was an inspiration, teacher and mentor to Wilber and it shows demonstratively here. Wilber’s soprano (and clarinet) sound is full and rich, Bechet-tinged, dripping with virtuosity and heat (“Oh, Lady Be Good,” “The Mooche,” “China Boy”). Unfamiliar with Bechet, Kids? You’ll hear that Bechet-soprano sound reflected in John Coltrane’s soprano work; you know, when jazz “began” with “Giant Steps.” Trumpeter Zottola is absolutely impeccable, shading the incomparable Louis Armstrong superbly. Close your eyes: he has “Pops Chops” galore with all the range, stylistic flits, shakes and blitz-attacks in the swinging book. Together he and Wilber divine the melodic and improvisational nuances of the Masters they respectfully salute. And, each tips hat while intelligently adding their own graceful and inspiring jazz commentary (“I Got It Bad and that Ain’t Good,” “Si Tu Vois Ma Mere,” “Dear Old Southland”). The stellar rhythm section consisting of pianist, Mark Shane, drummer Butch Miles, guitarist Mike Peters and bassist, Len Skeat with vocals by Pug Horton assists, complements and helps to make this Legacy certainly create its own.
So, young musicians, drop the smartphones, the boring faux jazz, and get soprano-swinging smart with Sidney himself and the next best thing – The Bechet Legacy.

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

Bob Wilber and Glenn Zottola “The Mooche”

The Bechet Legacy – Bob Wilber/Glenn Zottola
From : Classic Jazz Records
Picture being with a group of young 21st Century musicians – say sax and trumpet players for argument’s sake – and they’re telling you that they’re bored to the gills with their current jazz listening fare. You know, that material that’s so over-intellectualized, electri-fried, contrived and ungodly sterile that, irrespective of tempo and groove, it just doesn’t move them – and worse – it doesn’t swing for them. Then, pull out this live recording, play it for them and watch their reaction. That would be not only an instantaneous and very swinging history lesson, but also an epic enlightenment and intro to both legendary jazzer, Sidney Bechet and the world-class musicians that comprise the Bechet Legacy – Bob Wilber, Glenn Zottola and crew, including fine vocalist Pug Horton, Mrs. Wilber.
Recorded live in 1991 at a series of Birch Hall concerts in England (where Wilber currently resides), this double-CD offers a hugely satisfying evening’s worth of the hottest jazz this side of the Sol. 23 – a number apropos for a very prime effort – classic selections associated with Bechet, Armstrong, Ellington and Goodman are magnificently performed with a hot-wire electricity that a studio effort can’t touch.
Bechet – one of the first inhabitants of the jazz pantheon – was an inspiration, teacher and mentor to Wilber and it shows demonstratively here. Wilber’s soprano (and clarinet) sound is full and rich, Bechet-tinged, dripping with virtuosity and heat (“Oh, Lady Be Good,” “The Mooche,” “China Boy”). Unfamiliar with Bechet, Kids? You’ll hear that Bechet-soprano sound reflected in John Coltrane’s soprano work; you know, when jazz “began” with “Giant Steps.” Trumpeter Zottola is absolutely impeccable, shading the incomparable Louis Armstrong superbly. Close your eyes: he has “Pops Chops” galore with all the range, stylistic flits, shakes and blitz-attacks in the swinging book. Together he and Wilber divine the melodic and improvisational nuances of the Masters they respectfully salute. And, each tips hat while intelligently adding their own graceful and inspiring jazz commentary (“I Got It Bad and that Ain’t Good,” “Si Tu Vois Ma Mere,” “Dear Old Southland”). The stellar rhythm section consisting of pianist, Mark Shane, drummer Butch Miles, guitarist Mike Peters and bassist, Len Skeat with vocals by Pug Horton assists, complements and helps to make this Legacy certainly create its own.
So, young musicians, drop the smartphones, the boring faux jazz, and get soprano-swinging smart with Sidney himself and the next best thing – The Bechet Legacy.

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

Glenn Zottola “In The Wee Small Hours Of The Morning”

Glenn Zottola – Reflections of Charlie Parker
From : Classic Jazz Records
For a man known for excesses of all kinds – musical and behavioral – Charlie Parker had the most unique way of ending his improvised phrases. Ever notice that? Some ended biting and abrupt, others were long tone vibratoed or they cascaded down a scale by way of his magnificent fingers. It was as if he was letting his genius-generated ideas fly off like bubbles from a child’s soap bubble wand here, there and everywhere. They’re for listeners to absorb and be touched. Now, listen to Glenn Zottola here on Reflections of Charlie Parker, this splendid ten tune Parker tribute. He exhibits a similar improvisational sense but that’s just one of the interesting jewels to be found on this superior recording.
For those who might not be aware, Zottola is not only a talented multi-instrumentalist, playing trumpet and alto and tenor saxophones, but, he’s been a child prodigy, talent show winner, musical director, music biz entrepreneur, composer – you name it and name who he’s performed with, just see the Encyclopedia of Jazz for starters. So, it’s no surprise that Zottola, always looking for new musical vistas, would select one of jazz’s greatest artists to salute here.
The Zottola alto sound is an engaging and inviting one. Sweeter than harsh, smoother than biting, it’s the perfect sonic platform for the GAS ballad material offered (“Moonlight in Vermont,” “Embraceable You”). Listen to and soak up his lyrical, gorgeous take on “In the Wee Small Hours of the Morning.” (Yes, Mother, he’s played with Frank. Can’t you tell?). Wisely, Zottola understands both Parker’s awesome technical skills and his own substantial chops (“I May Be Wrong”). Thus, on the up-tempo material here (“Oh, Lady Be Good,” “Three Little Words”) Zottola swings without attempting to imitate the inimitable (Although a keen ear will catch a slick Bird lick or two). One other point of interest that solidifies Zottola’s incredible talent: as both a trumpeter and a saxophonist, he never, not here or anywhere else I’ve heard him, plays the saxophone with a trumpeter’s mindset (and vice versa). Now that’s something that Bird, Diz and Miles would really dig. They’d dig Reflections of Charlie Parker, too!
Available on iTunes , Amazon , Target, CD Baby and innercityjazz.com