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360 Degrees
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Album: 360 Degrees
# Song Title   Time
1)    Cheryl
2)    Waltz, A
3)    All Too Soon
4)    Wingspan
5)    Why Not
6)    Aisha
7)    Valse
8)    Peacocks
9)    Whims of Chambers
10)    My Ideal
11)    Blues for McVouty (Revisited)
12)    Isfahan
 

Album: 360 Degrees
# Song Title   Time
1)    Cheryl
2)    Waltz, A
3)    All Too Soon
4)    Wingspan
5)    Why Not
6)    Aisha
7)    Valse
8)    Peacocks
9)    Whims of Chambers
10)    My Ideal
11)    Blues for McVouty (Revisited)
12)    Isfahan
 
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Product Details
Performer Notes
  • Personnel: Jay Thomas (alto flute, soprano saxophone, alto saxophone, tenor saxophone, trumpet, flugelhorn); Denney Goodhew (clarinet, baritone saxophone); Bill Ramsay (alto saxophone, tenor saxophone); John Goforth (alto saxophone); Greg Schroeder, Gary Shutes (trombone); Craig Hoyer, Larry Fuller , Travis Shook (piano); John Bishop , Jon Wikan (drums).
  • Audio Mixer: Bob Meador.
  • Liner Note Author: Doug Ramsey.
  • Recording information: Infinity Studio 819 N.E. 72nd Seattle WA (01/1994-11/1992); Infinity Studio, Seattle WA (01/1994-11/1992); Ironwood Studios 601 N.W. 80th Seattle WA (01/1994-11/1992); Ironwood Studios, Seattle WA (01/1994-11/1992).
  • Arrangers: Jack Perciful; Jay Thomas; Jim Knapp; Travis Shook; Bill Ramsay; Jon Wikan.
  • Seattle's Jay Thomas is yet another fine player from the fertile Northwest jazz scene. He has decided to take on the daunting task of multi-instrumentalist, playing brass and reed instruments, following in the footsteps of Benny Carter and Ira Sullivan. The tunes selected for this session, and their arrangements, are crafted not only to highlight Thomas' instrumental virtuosity, but to show he is also at ease in a variety of jazz styles. His facility with the soprano sax is shown on Charlie Parker's infrequently played "Cheryl." On trumpet, Thomas combines lyricism with bop on Kenny Dorham's "A Waltz." There's excellent ensemble work on "Wing Span" and "Blues for McVouty," revealing Thomas' West Coast music roots. These cuts are reminiscent of the style of any number of groups prominent on the coast during the '50s and '60s. Jimmy Rowles' "Peacocks" is given a lofty, haunting reading by Thomas' flute. Thomas' approach to this tune is much different than that taken by Rowles and Stan Getz on their 1975 collaboration. The liner notes credit a Thomas vocal on this cut, but there's no vocal by anybody. Post-bop is represented by the arrangement of "Whims of Chambers," where Thomas switches to flĀgelhorn, followed by chamber group jazz on "My Ideal." The blues get a workout on Thomas' own "Blues for McVouty." Thomas suffers from a reed problem on "All Too Soon," but not enough to detract from some fine baritone sax work by Denny Goodhew. The supporting cast of players ranges from very good to excellent. The unusually large cast of characters on a small group disc is explained by the fact that the album compiles three sessions recorded from 1990 to 1994. ~ Dave Nathan
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