Funky, upbeat and robust New York-style Hard Bop and R&B session, featuring tenor saxophonist Jerry Vivino - member of the Max Weinberg 7 on the Conan O'Brien Show.

11 MP3 Songs
JAZZ: Bebop, URBAN/R&B: Rhythm & Blues



Details:
In the great tradition of the three Louies -- Armstrong, Prima and Jordan -- Jerry Vivino is a jazz musician at heart with an eye on the entertainment factor. âMy live show is pretty much Louis Prima meets Sonny Rollins meets Louis Jordan,â says the tenor sax and flute doubler. âI try to make people leave the gig feeling happy. I get a great feeling of accomplishment when people listen because theyâre digging the tunes. And I hope that people feel that theyâre having a good time when theyâre listening to my records.â
Walkinâ with the Wazmo is definitely a good time. From the jivey title track (which wouldâve been a natural for Louis Prima) to his inventive, second-line interpretation of Sonny Rollinsâ âPent Up Houseâ and his Latin flavored take on Herbie Hancockâs âDolphin Danceâ to his vocal cover of Louis Jordanâs âKnock Me A Kiss,â it entertains in upbeat fashion as it swings. Add in the slamming B-3 fueled funk of âThe Fried Piper,â the boppish romp âCats âRâ Us,â the Latin son groove on âDorado Beachâ and the alluring samba of âBellissimaâ and youâve got Vivino cutting a wide swath stylistically while having a ball in the process.
âI play all different styles of music and respect all of them,â says the busy New York City session player who has also been a fixture on the Conan OâBrien show for the past 13 years as a member of the Max Weinberg 7. âI wear many hats and I do many different things musically. I play everything from Dixieland clarinet to King Curtis styled rhythm ânâ blues. Iâve played with Bruce Springsteen, James Taylor, Bette Midler and Bon Jovi, but Iâve also played with Wynton Marsalis, Tony Bennett and Dr John. Iâve done Latin dates with Ruben Blades and Marc Anthony, and I toured with Frankie Valli and Buster Poindexter. I love many types of music, and it all tends to come out in my playing.â
On tenor sax, Vivino flaunts a big, robust tone in the tradition of his honking heroes Sam Butera, Red Prysock and Willis âGatortailâ Jackson. âI admire so many different tenor players, but those are the three who really hit home with me and helped mold my style,â says the New Jersey native.
One of Jerryâs ongoing gigs for the past six years has been with singer Keely Smith, the former partner of Louis Prima from their wild heyday together in the mid â50s with Sam Butera & The Witnesses. âKeely is in her seventies, but she is completely at the top of her game,â says Vivino. âI met her when she came on the Conan show. Sometimes the acts come on and theyâll use either the whole band or just a couple of us. And she wanted a saxophone player so her manager called me and said, âYou know who Sam Butera is? Well, just try to sound like him.â We really hit it off on the show and Iâve been working with her ever since. Whenever I can get out on the road with her, I do.â
Vivino is joined on this diverse collection of eight originals and three cover tunes by a flexible crew of fellow NYC session cats, including including trumpeters Lew Soloff and Michael Morreale, valve trombonist Mike Fahn and pianist Brian Charette. The session is grounded by the solid rhythm section work of drummers Shawn Pelton (a regular in the âSaturday Night Liveâ house band), James Wormworth (Max Weinbergâs sub in the Max Weinberg 7), and Ray Marchica. These great drummers work in tandem with bassists Mike Merritt (Vivinoâs longtime bandmate on the Conan OâBrien show) and Kermit Driscoll (a former member of Bill Frisellâs quartet). Jerryâs guitar playing brother Jimmy Vivino (also a regular and assistant musical director on Conanâs TV show) contributes some stinging licks on the title track.
âEvery one of these musicians knows my show, so I can call them on a momentâs notice and they can step up and know what weâre doing and where weâre going on the gig. Being able to call on so many different players who had played with me over the years, I was able to treat each track individually on this project rather than just assemble a single band to play the whole album. I wanted to get the right guys for the right track. All of these guys are so versatile and Iâm happy to have them on the record.â
Soloff ignites the boppish âCats âRâ Usâ with his signature high note trumpet playing while pianist Charette pushes the harmonic envelope with some adventurous McCoy Tyner-ish flurries on âPent Up House.â Vivino provides some accomplished flute work on the soothing âDorado Beachâ then blends nicely with alto flute and Mike Fahnâs valve trombone on the hauntingly beautiful 6/4 ballad âMontelena Circle.â Jerry blows some urgent tenor lines over the modal vamp of âRed Moonâ while Soloff adds some animated plunger work on trumpet, a la Bubber Miley. On flute Vivino deftly navigates the tricky head of âThe Fried Piper,â a tune that is seriously grounded by Mike Merrittâs funky Fender basslines in combination with James Wormworthâs slamming backbeats, Fred Walcottâs percussion and Charetteâs Jimmy Smith styled B-3 work.
One special treat here is Jerryâs relaxed crooning on the charming ballad âIâm Mad About You,â an original number co-written by Ken Levinsky that has the feel of a classic Swing Era chestnut. âWhile I am primarily known as an instrumentalist, I also love to sing. When I was young and learning, I listened to Ella Fitzgerald, Billie Holiday, Frank Sinatra, Nat King Cole, and Louis Armstrong. Theyâve all influenced my singing. Iâm still a little self-conscious about it, but Iâm having fun doing it.â
Fun is the key with Vivino. âI am striving for accessibility and an easy, direct communication with my audience. The musicâs gotta swing and groove, and it should be appropriate to the genre of music Iâm playing. If Iâm gonna play a rhythm ânâ blues date, I canât use jazz licks, and vice versa. You canât play popcorn tenor on a swinging tune!â
Itâs just a matter of knowing which hat to wear. And Vivino wears them all well.
-- Bill Milkowski



Produced and arranged by Jerry Vivino. Recorded at Tedesco Studios, Paramus, NJ, on January 9 â 12, 2006. Engineered, mixed and mastered by Tom Tedesco at Tedesco Studios. Executive Producer: Joachim Becker.