(West Coast Jazz, Bop, Cool) Marty Paich - The Modern Touch - The Broadway Bit & I Get a Boot Out Of You - 1959, FLAC (tracks+.cue), lossless

a pianist, composer, arranger, producer, music director and conductor.
Real Name: Martin Louis Paich
Born: 23rd January 1925, Oakland, CA, USA
Died: 12th August 1995, Santa Ynez, CA, USA (Cause: Cancer)

on English
One of the best-known arrangers of the post-World War II era, Marty Paich had much stronger jazz credentials than many of his peers, thanks to his active presence on the West Coast scene during the '50s. >>> to read on allmusic.com
was a pianist, composer, arranger, producer, music director and conductor. In a career which spanned half a century, he worked in these capacities for such artists as >>> http://en.wikipedia.org/wiki/Marty_Paich
Welcome to the future home of The Marty Paich Archive, and The Marty Paich Library.
In the 50 years of his career Marty Paich wrote some 2000 charts, arrangements and original compositions. In the ten years since his death, Marty’s estate has painstakingly collected, preserved, catalogued and documented all of them.. >>> to read on official site
It is hard to disagree with Ted Gioia’s claim that “Marty Paich is one of the unsung heroes of West Coast Jazz.” [p.302]
As revealed by Charles Barber, curator of the Marty Paich website, this anonymity may in part be due to the fact that Marty “… took little interest in self-promotion, never acquired a personal agent, happily saw his business affairs managed by his capable first wife Huddy, and as soon as finances permitted decamped Los Angeles for a ranch in the Santa Ynez Valley north of Santa Barbara.” . >>> to read on jazzprofiles.blogspot.com
and
http://www.billboard.com/bbcom/bio/index.jsp?pid=84120
http://www.discogs.com/artist/Marty+Paich
http://rateyourmusic.com/artist/marty_paich
http://www.allaboutjazz.com/php/musician.php?id=10069
On Russian
http://www.lastfm.ru/music/Marty+Paich

Marty Paich was one of the best-known figures in the West Coast jazz scene of the 1950s.
Born in Oakland, CA on January 23, 1925, Marty Paich took up piano at a young age, and by 16 he was playing professionally. With World War II came military service, which he spent in the Army Air Corps Band.
Upon discharge, Marty took advantage of the Gl Bill; enrolling at the Los Angeles Conservatory of Music, where he studied arranging under Mario Castelnuovo-Tedesco. Paich capped off his education with a Master of Music Degree in Composition in 1951.
Within a couple of years, Marty was smack in the middle of the thriving West Coast "cool" jazz scene. The convergence of bop and swing - coupled with the occasional classical element - offered numerous opportunities for someone of his skills, and Marty was in much demand. During that time, he worked with many of the seminal musicians, playing piano and arranging. A complete discography of Paich's recorded works is well beyond the scope of this essay, however, a few examples will provide an overview of his involvement.
He sat in with drummer Shelly Manne for the essential & His Men sessions on Contemporary, alongside musicians with whom he'd work again and again. For instance, there was Jimmy Guiffre on sax, Bob Enevoldsen on valve trombone, Vince DeRosa on French horn and Joe Mondragon on bass, ail of whom joined Marty on The Broadway Bit and / Get A Boot Out Of You. In addition to playing piano, Paich also arranged and wrote compositions for the combo.
That same year -1953 - Paich also worked with Chet Baker. Fresh off gigs with Charlie Parker and Gerry Mulligan, Baker's early solo sessions included ones that spotlighted the young trumpeter in a septet-and-strings setting that included Russ Freeman on piano. Paich provided some arrangements for these seminal recordings, as well as a couple for Baker's legendary 1955 vocal sessions.
Paich played on stage behind Peggy Lee, acted as her musical director and arranged her September, 1953 Decca recording of Baubles, Bangles and Beads.
1954 found him at the keys in combos led by Shorty
Rogers (check out Rogers' cool take on Basie tunes found on Shorty Rogers Courts The Count with Marty on ivories), Herbie Harper and Bob Enevoldsen. He also participated in some fine sessions with a variety of musicians for the short-lived Nocturne label's Jazz In Hollywood albums.
In 1955, Paich began a successful collaboration with Mel Torme, and released his own debut album. The Torme sessions - released as It's A Blue World- took place in August with Paich playing piano and celeste, and contributing some arrangements for the 15 piece orchestra. Post-Blue World, Paich was a regular performer/arranger on Torme dates; most notably the famous dek-tette recordings.
In 1956 Paich, teamed up with saxophonist Art Pepper for the first of several stellar collaborations. Released on the Tampa label - for which Marty recorded the second album under his own name - Marty Paich Quartet featuring Art Pepper highlighted Pepper's alto horn and Paich's stellar piano solos.
1959 saw the release of Art Pepper's landmark recording, Modern Jazz Classics, credited to "Art Pepper + Eleven." Pepper took up alto and tenor sax and clarinet, and Paich crafted compelling arrangements of tunes by jazz giants Monk, Mulligan and Gillespie. The sessions took place in the spring of 1959, and were book-ended by the two albums in this reissue: The Broadway Bit and / Get A Boot Out Of You.
Although Modem Jazz Classics was drawn straight from the Be Bop era, while Broadway and Boot were much more swing/pop-oriented, many of the musicians on Modern contributed to one or both of the others: Candoli, DeRosa, Envoldsen, Freeman, Lewis, Mondragon, Perkins, Sheldon and Pepper. Paich acted as arranger/conductor for all the dates.
The brass lineup for the Los Angeles January 13th Broadway Bit date included three saxes, two trombones, two trumpets and one flugelhorn. Augmenting the horns were piano, bass, vibraphone and drums. In addition to arranging, Paich handled the keyboard chores; the rest were distributed among many of his fellow West Coasters. Chief among them was Art Pepper, whose sublime playing is even more remarkable in light of his ongoing drug problems. The others are also in fine form, whether lending a big band take on It's All Right With Me, swingin' through I've Never Been In Love Before, or languidly laying back on Lazy Afternoon (with Marty's gorgeous understated piano part). The Mancini-esque walk through I Love Paris is a nod to the explosion of Peter Gunn, which hit #1 on the album chart in February, 1959, and stayed there for 10 weeks.
As the Great White Way title implies, Marty drew his song selection from Broadway shows; most of which -Can-Can, My Fair Lady, Guys and Dolls, Oklahoma and Bells Are Ringing - had become as much a part of national culture as that of the New York stage.
Mr. Wonderful, the 1956 show created specifically as a star vehicle for Sammy Davis, Jr., may not be as widely known today as, say, Oklahoma, however, it ran for 383 performances. For The Broadway Bit, Paich chose Sammy's standout number, Too Close For Comfort.
The most obscure show represented here is The Golden Apple. It opened to raves in March of 1954 and won the New York Drama Critics Circle award for Best New Musical, then closed after only 16 weeks, leaving the classic Lazy Afternoon in its wake.
The tracks for I Get A Boot Out Of You were recorded in LA during three days in early summer: June 30, July 2 and July 9. On those dates, Paich stuck to conducting and arranging, and turned the piano part over to Russ Freeman. Broadway Bit players Pepper, Perkins, Enevoldsen, Roberts, DeRosa, Feldman and Lewis returned for these sessions, augmented by Joe Mondragon from the Modern Jazz Classics dates. The complement of instruments for Boot added one trumpet to that of The Broadway Bit.
This time around Marty mined the Duke Ellington song-book for five songs: It Don't Mean A Thing, What Am I Here For, Cotton Tail, Warm Valley and Things Ain't What They Used To Be (which served as Duke's theme song for part of the1940's).
The remaining four were No More, Love For Sale, Violets For Your Furs and Moanin'. No More had been written for Billie Holiday, and she recorded it at her first session fro Decca on October 4, 1944. Just about every jazzman/woman of note had tackled Love For Safe- from the Cole Porter musical The New Yorkers -after torch
singer Libby Homan popularized it in 1931. Violets For Your Furs was introduced by Tommy Dorsey, with Frank Sinatra on vocal, in 1941. And Bobby Timmons wrote Moanin' for Art Blakey and the Jazz Messengers while he was playing piano for them. The group's version appeared on its 1958 debut for Blue Note, and became the Messengers' first real hit.
Under Paich's guidance, even the well-worn numbers sound fresh. The band alternately swings, with sparkling interplay between the brass and rhythm, and lies back, as on No More with its quiet brass and piano give-and-take. Paich is adept at wrapping his soloists in an environment that highlights, rather than distracts from, their work. Especially beautiful is the setting he creates for Pepper on Violets For Your Furs.
Broadway Bit and Boof showcase Paich at the height of his talents. The band punches without pummeling; drops back without boring. In their distinctive voicings, tonal textures and unique use of instrumental combinations, his arrangements are first-rate. Straddling jazz and pop, without dumbing-down the former or giving into the excesses of the latter, these two albums are engaging extensions of the West Coast sound of Marty's formative years.
From 1960 on, Marty worked with the A-list of the music world: Antonio Carlos Jobim, Al Hint, Sammy Davis Jr., Andy Williams, Dean Martin, Little Jimmy Scott, Astrud Gilberto, Barbra Streisand, The 5th Dimension, Neil Diamond, Johnny Rivers, Dionne Warwick, Toto (in which son David played keyboards), Carly Simon, Michael McDonald, Rickie Lee Jones, Dr. John, Elton John, Linda Ronstadt, Michael Jackson and Natalie Cole.
Like many of his fellow West Coast jazzmen, Marty worked on film soundtracks - reportedly over 100 - including Hudson Hawk, Sleepless In Seattle, Prince of Tides, Carlito's Way. Wyatt Earp, Pretty Woman and The Fugitive. On the television side, Marty and his son David won an Emmy as writers of the theme from Ironside, which starred Raymond Burr.
After an illustrious career, Marty Paich died on August 12, 1995 in Santa Ynez, CA.