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Johnny Coles, Hannibal Peterson, Stan Shafran (tracks 2–5) – trumpet; Jimmy Knepper – trombone (tracks 2–5) Howard Johnson – tuba, baritone saxophone, flugelhorn; Harry Lookofsky – tenor violin (tracks 1 & 6) Joe Beck – guitar, mandolin (tracks 1 & 6) Don Preston, Phil Davis (tracks 2–5) – synthesizer; Bruce Johnson ...
29 de ago. de 2010 · Gil wrote the following about Coles in the liner notes to the Artists House LP, Where Flamingos Fly: “Johnny Coles is right in the be-bop era, part of the be-bop happenings and all that, but at the same time he had a great lyric sense and the main reason he could indulge in it is because he's got a great tone.
Where Flamingos Fly (Artists House, 1971 [1981]) Bud and Bird (Electric Bird/King, 1986 [1987]) Farewell (Evidence, 1986 [1992]) Con Booker Ervin. Booker 'n' Brass (Pacific Jazz, 1967) Con Astrud Gilberto. Look to the Rainbow (Verve, 1966) Con Grant Green. Am I Blue (Blue Note, 1962) Con Herbie Hancock. The Prisoner (Blue Note, 1969)
Gil wrote the following about Coles in the liner notes to the Artists House LP, Where Flamingos Fly: “Johnny Coles is right in the be-bop era, part of the be-bop happenings and all that, but at the same time he had a great lyric sense and the main reason he could indulge in it is because he’s got a great tone.
Gil wrote the following about Coles in the liner notes to the Artists House LP, Where Flamingos Fly: "Johnny Coles is right in the be-bop era, part of the be-bop happenings and all that, but at the same time he had a great lyric sense and the main reason he could indulge in it is because he's got a great tone.
Where Flamingos Fly (Artists House, 1971 [1981]) Bud and Bird (Electric Bird/King, 1986 [1987]) Farewell (Evidence, 1986 [1992]) With Booker Ervin. Booker 'n' Brass (Pacific Jazz, 1967) With Astrud Gilberto. Look to the Rainbow (Verve, 1966) With Grant Green. Am I Blue (Blue Note, 1962) With Herbie Hancock. The Prisoner (Blue Note, 1969)
: 236–7 "Where Flamingos Fly" has a melody stated by trombonist Jimmy Knepper, and uses an earlier Evans arrangement done for vocalist Helen Merrill: 237 The music on this album was part of a move by Evans towards greater freedom in his compositions and arrangements, this "new work integrated the written and improvised, at times allowing the balance to shift imperceptibly".
