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Product details

  • Audio CD (24 Aug. 2013)
  • Number of Discs: 1
  • Label: CLASSICAL
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 70,692 in Music (See Top 100 in Music)

1. The Duke
2. Miles Behind
3. Calamus
4. Lennie's Pennies
5. 'Twas Only Yesterday
6. Bitter Leaf
7. Upper Manhattan Medical Group
8. In Memoriam (John F. & Robert F. Kennedy)

Customer Reviews

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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By N. Jones on 3 Mar. 2014
Format: Audio CD
If like me your knowledge of West Coast arrangers is limited to Marty Paich and Gerald Wilson, then Fisher’s the man to make up a thoroughly worthwhile trio. He has his own thing going on all over this album from 1968, a point emphasised by the fact that he’s responsible for most of the compositions too.

His harmonic sense is reflective of no voice other than his own too, but of course the music still wouldn’t amount to much if it wasn’t for the fact that it’s played by a band of seasoned pros who always know exactly what they’re doing, a point emphasised by both Bill Perkins in his baritone sax solo on “Calamus” and Warne Marsh’s tenor sax outing on “Miles Behind” which, as was that master’s wont, is as singular as a finger print.

Fischer plays the electric as well as the acoustic piano on this set, but not to the point where –in my opinion- the reactionaries have reason to carp. Besides which, the combination of the former with Perkins’s baritone on “Twas Only Yesterday” is persuasive enough to convert the doubters, especially as the piece is arguably the best example of Fischer’s arranging skills the album has to offer.

In a review of this album by Brian Morton that I read he makes the point that Fischer himself is believed by some to be the alto sax soloist on “In Memoriam (John F. and Robert F. Kennedy) but I’m not so sure that it isn’t Gary Foster, who’s work can also be heard on Lennie Tristano’s “Lennie’s Pennies”, a piece for which at least eighty five percent of Foster’s instrumental personality is ideally suited.

Something that Fischer shares with Paich is the ability to make the resources he has actually sound smaller than they are.
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By Rene on 5 April 2014
Format: Audio CD Verified Purchase
I bought it because is have the original LP. Clare Fischer was a very talented arranger whose talents was not appreciated by enough people to warrant more recordings.
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Format: Audio CD
I can only agree with the previous reviewer - this is a stunning recording. I have been lucky enough to buy a mint copy on vinyl and it's barely been off my turntable since it arrived. However if you don't have a turntable, for little more than a fiver you can have a new CD - you won't regret all the expense!

PS...You don't have a turntable? Well it's time you did, as more and more jazz recordings are becoming available both on used and new vinyl.
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Format: Audio CD Verified Purchase
This excellent album by the Clare Fischer Big Band was recorded in Los Angeles during 1968 with a collective personnel of :- Clare Fischer(piano, electric piano, alto sax, arranger); Gary Foster, Kim Richmond(alto sax); Loius Ciotti, Warne Marsh(tenor sax); Bill Perkins(baritone sax); John Lowe(bass sax); Conte Candoli, Stewart Fischer, Steve Huffsteter, Larry McGuire, Buddy Childers, John Audino(trumpets); Gil Falco, Charley Lopez, David Sanchez(trombones); Morris Repass(bass trombone); Chuck Domenico(bass) & Larry Bunker(drums).
The eight memorable and varied tracks include four compositions by Clare Fischer, two by Stewart Fischer and one each from Lennie Tristano and Billy Strayhorn with fine solos from Bill Perkins, Warne Marsh, Gary Foster & Conte Candoli.
The imaginative and creative music on 'Thesaurus' deserves rescuing from obscurity and should be heard by all big-band jazz enthusiasts.
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Most Helpful Customer Reviews on (beta) 2 reviews
Classic Fischer from his Heavyweight Big Band 19 Jan. 2015
By simonjp - Published on
Format: Audio CD
Review by Simon Pilbrow – Jan 19 2015

Quite apart from the always inspired writing from the leader, the impressive star-studded personnel ought to be enough to tempt anyone to listen to this. Clare Fischer made a number of superb big band recordings in the late sixties The impressive cast of players included established jazz masters such as reedmen Warne Marsh and Bill Perkins, trumpeters Conte Candoli and Buddy Childers and drummer Larry Bunker. Also in the band were brilliant younger players whose greatest work would follow in the many decades afterward, like reedmen Gary Foster, Kim Richmond, trumpeter Steve Huffsteter and bassist Chuck Domanico. Clare Fischer is featured on acoustic piano (his piano sound is less legato than usual – probably a recording) and Fender Rhodes, which was a fairly new instrument at that time. As expected the arrangements are imaginative and demanding and exploit a large range of sound textures and moods.

Clare’s swinging composition ‘The Duke’ opens the recording and still sounds fresh today – it remains in the continuing Clare Fischer Big Band book today – and is a feature for trombonist Gil Falco’s fine soloing and a burning piano solo from Fischer before some fine ensemble work either side of an energetic trumpet solo from Huffsteter. ‘Miles Behind’ is a fine Fischer composition in 7/4 time and features strong solos from Marsh and Candoli and some challenging polyphonic ensemble writing, which is executed with the precision that a high caliber personnel could command and fine drum solo work from the driving Larry Bunker. ‘Calamus’ by Clare’s brother Dirk Fischer, who plays in the trumpet section was written as a baritone sax feature for Bill Perkins, who caresses the ballad melody and plays a compelling solo. Those familiar with Gil Evans will hear a brief quote in this arrangement from “Miles Ahead” Fischer’s vigorous arrangement of the classic Tristano tune, ‘Lennie’s Pennies’, is a saxophonists’ tour-de-force for the tenor of Marsh and the alto of the younger Foster, two men who would collaborate frequently over the next twenty years, and a feature for Fischer’s piano. Their solos are strong and confident, as is the excellent rendering of the final saxophone section chorus. ‘Twas only Yesterday’ is a swinger that sounds unusually contemporary with the Rhodes rhythm section sounds and the many changes of tempo. It features Perkins’ fine baritone sax, a change of pace into an up-tempo swing tempo before an energetic Candoli solo. Strayhorn’s composition ‘UMMG’ had been featured a year earlier on a memorial recording by Duke Elllington featuring compositions of his recently departed collaborator (“And His Mother Called Him Bill”) and Fischer’s arrangement makes an interesting contrast with the Ellington band’s recoding and features a fiery alto solo from Richmond. Continuing the memorial theme is Fischer’s own ‘Memoriam’ written for the brothers Kennedy, a brief requiem and a sad note to end on. This is an album that bears repeated listening to enjoy all of its great moments, and which stands tall as a fine 60’s big band recording.

To understand the title of this album, you will …ahem……have to consult a thesaurus.
0 of 1 people found the following review helpful
pretty nice 22 April 2014
By Julian Wilson - Published on
Verified Purchase
Very good arrangements. But that is what he does best. A very clean sound. Nice Beat, and rhythm. Like it a lot.
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