I admit it: I’m in love with ballads. One of the important elements of performing ballads is sound. When that subject comes up as applied to the alto saxophone, I, of course, have my favorites and my vital influences. The listener will hear traces of Charlie Mariano, also Phil Woods and Cannonball Adderly, and of course Bird (where we all came from in our modern jazz era). And then there’s Johnny Hodges and Marshall Royal. These all (and a few others) are voices that speak to me a passionate language, that reaches into my inner soul. I hope I can affect someone out there in a similar manner.
These are ballads that have great meaning for me.
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NEVER LET ME GO
Every couple has an “our song,” and this is Chris’ and mine. Relatively obscure, there were memorable recordings made of this song by vocalists Nat King Cole and Nancy Wilson, as well as pianist Bill Evans.
YOUNG & FOOLISH
Another of my long-time favorite ballads, this one features my soprano on the melody and Clay Jenkins with an outstandingly special solo. This was a first and only take. Thanks to Frank Mantooth, from whom I borrowed some of the alternate chord changes.
I WISH I KNEW
This is a rubato treatment of this lovely tune, with constant rhapsodic movement. I was inspired to record this after hearing the duo recording of saxophonist George Coleman and pianist Tete Montelui.
LAZY AFTERNOON
A favorite of my wife Chris’ (June Christy did one of the original recordings of this), our version features the truly soulful sound of Clay Jenkins’ trumpet in duo with my soprano saxophone. Bari player Bob Carr has a heartfelt piece of the melodic statement.
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STREET OF DREAMS
Here’s another long-time favorite. I’ve already recorded this song with my Concert Jazz Orchestra, but I wanted to do a different version here. Percussionist Brad Dutz and I start this one off, joined suddenly by the full rhythm section. This is a ballad that need not be slow of tempo.
I’M GONNA LAUGH YOU RIGHT OUT OF MY LIFE
This one has become obscure over the years, but it remains one of my favorite ballads. I learned it from a recording by Nat King Cole. Our version features the caressing baritone saxophone sound of Bill Perkins, and an inspiring bass solo from Trey Henry.
DARN THAT DREAM
Long a favorite, this song has many twists and turns, both melodic and harmonic. Reggie and I do this as a duet for soprano and piano.
I’M A FOOL TO WANT YOU
One of Sinatra’s famous ballads, this tune has always been special for me as a result of hearing a version by guitarist Kenny Burrell. Its drawn-out mournful quality supports its attractiveness. Brad Dutz’ percussion gives it an exotic flavor.
CHARLENE WALTZ
Named for a long-time family friend, this is my only original on the album. It is made distinctive by Reggie Thomas’ reharmonization and gospel-tinged feeling.
IN A SENTIMENTAL MOOD
Perhaps one of Duke Ellington’s most recorded ballads, our version features Perk on the beginning and end, with the baritone saxophone inventions of Vinny Golia in the middle section.
A FLOWER IS A LOVESOME THING
I was planning to record this Billy Strayhorn composition as an alto solo without accompaniment, but, although the melody is unique and distinctively beautiful on its own, the harmony makes it additionally intriguing. Listen to how bassist Trey Henry weaves an irresistable harmonic web in this duet.
MISTY RAINBOW
Among the saxophonists whom I admire is the great Johnny Hodges. This tune, penned by humorist/pianist/author Steve Allen, is a perfect vehicle for a Hodges treatment.
THE MASQUERADE IS OVER
Not all ballads need to be slow, and the rhythm section enjoys down-home swinging in two tempos. Notice how they lock in with every switch. On the bridge Reggie matches my back-phrasing and establishes an ensemble feel.
WHAT’LL I DO
With a whimsical, carefree and charming quality about it, this is one from my childhood. We do it as a duet for Vinny Golia and myself with the rhythm section.
EVERYTHING MUST CHANGE
With a more contemporary than traditional ballad approach, this song has also been one of my favorites for years, with the lyrics providing great depth.
JUST ONE MORE CHANCE
This tune was popular during my high school years when we used to slow-dance to it. I’d forgotten about the song until pianist Reggie Thomas played me a recording by St. Louis saxophonist Willie Aikens.
YOUNG AT HEART
One of my favorite melodies with its wide expressive intervals. This one is unaccompanied alto.
