- Number of Discs: 2
- Released: October 12, 2004
- Label: Verve
Tracks on Disc 1:
- 1.I Should Care
- 2.Dreamer (Vivo Sonhando) - (with Antonio Carlos Jobim)
- 3.Granados - (with Bill Evans)
- 4.Bumpin' On Sunset - (with Wes Montgomery)
- 5.I Didn't Know What Time It Was - (with Stan Getz)
- 6.I Concentrate On You - (with Frank Sinatra)
- 7.Look of Love, The - (with Stan Getz)
- 8.Wave - (with Oscar Peterson)
- 9.By The Time I Get To Phoenix - (with Oscar Peterson)
- 10.Face Without A Name, A - (with Bill Evans)
- 11.Ana Luiza - (with Urbie Green)
- 12.Symbiosis (First Movement, Excerpt) - (with Bill Evans)
- 13.Favors - (with Hank Jones)
- 14.Time Passed Autumn (Parts 1, 2 & 3)
- 15.Vivaldi's Song - (with Mark-Almond)
Tracks on Disc 2:
- 1.Lazy Afternoon - (with Freddie Hubbard)
- 2.Love Connection, The - (with Freddie Hubbard)
- 3.City Lights - (with Dr. John)
- 4.Rain - (with Dr. John)
- 5.In the Presence and Absence of Each Other (Part 1) - (with Michael Brecker)
- 6.Corfu - (with Michael Brecker)
- 7.Lyricosmos - (with Michael Brecker)
- 8.Symphonic Dances (Second Movement, excerpt) - (with London Symphony Orchestra)
- 9.Symphonic Dances (Third Movement, excerpt) - (with London Symphony Orchestra)
- 10.I Loved You - (with Marilyn Schmiege)
- 11.Elegia - (with London Symphony Orchestra)
- 12.Smile - (with Gidon Kremer)
- 13.I Should Care - (with Diana Krall)
Adapter: Claus Ogerman.
Personnel: Claus Ogerman (strings, piano); Jon Mark (vocals, guitar); Diana Krall (vocals, piano); George Benson , Robin Ford, Hugh McCracken, Jim Hall, John Tropea, Kenny Burrell, Russell Malone, Sam Jones, Tony Mottola, Bucky Pizzarelli, Howard "Buzz" Feiten (guitar); Julius Held, Arnold Eidus, Joseph Malin, Bernard Eichen, Gidon Kremer, Gene Orloff, Paul Gershman, Emanuel Green, Harry Lookofsky (violin); Abe Kessler, Charles McCracken , Harvey Shapiro , George Ricci (cello); Don Hammond, Earl Slapin, Hubert Laws, Leo Wright (flute); Phil Bodner (clarinet, oboe, saxophone); Danny Bank, Eddie Daniels, Frank Wess, George Young , Arnie Lawrence (clarinet, saxophone); George Marge (oboe); Wally Kane, Donald MacCourt (bassoon); David Sanborn, Jerry Dodgion, Phil Woods, Walter Levinsky, Harvey Estrin (alto saxophone); Ernie Watts, Joe Farrell, Tom Scott, Buddy Collette (tenor saxophone); Charles Finley, Bob McCoy, Marky Markowitz, Marvin Stamm, Mel Davis , Oscar Brashear, Randy Brecker, Snooky Young, Steve Madaio, Victor Paz, Bernie Glow, John Frosk (trumpet); Jerry Hey (flugelhorn); Brooks Tillotson, Pete Gordon, James Buffington, Earl Chapin, Ray Alonge, Albert Richmond (French horn); Dick Hyde, Sonny Russo, Phillip Teele, Tommy Mitchell , Garnett Brown, Jimmy Cleveland, Phil Ranelin, Wayne Andre, Paul Faulise, Buddy Morrow (trombone); Ralph Grierson (piano, organ); Oleg Maisenberg, Robert Noble, Leon Pendarvis, Oscar Brown, Jr., Oscar Peterson, Warren Bernhardt, Bill Miller (piano); Joe Sample (electric piano); Chick Corea (keyboards, Moog synthesizer); Alan Pasqua, Richard Tee (keyboards); Ron Carter (bass instrument); Chester Thompson , Colin Bailey, Grady Tate, John Guerin, Marty Morell, Peter Erskine, Steve Gadd , Bobby Durham , Vinnie Colaiuta (drums); Ray Barretto (congas); George Devens, Dave Carey , Chino Valdez, Larry Bunker, Paulinho Da Costa, Ralph MacDonald, Arthur Jenkins , Doug Allen (percussion); Marilyn Schmiege (vocals, mezzo soprano); Dr. John (vocals, piano); Frank Sinatra (vocals); Antonio Carlos Jobim (guitar, piano); Wes Montgomery (guitar); Michael Brecker, Stan Getz (tenor saxophone); Freddie Hubbard (trumpet, flugelhorn); Urbie Green (trombone); Hank Jones (piano, celesta); Herbie Hancock, Bill Evans (piano).
Liner Note Author: Gene Lees.
Recording information: A&M Studios, Hollywood, CA (05/09/1963-??/??/2001); A&R Studios, New York, NY (05/09/1963-??/??/2001); Avatar Studios, New York, NY (05/09/1963-??/??/2001); Capitol Studios, Hollywood, CA (05/09/1963-??/??/2001); Columbia Recording Studios, New York, NY (05/09/1963-??/??/2001); CTS Studios, London, England (05/09/1963-??/??/2001); EMI Abbey Road Studios, London, England (05/09/1963-??/??/2001); Fantasy Studio, Berkeley, CA (05/09/1963-??/??/2001); Media Sound, New York, NY (05/09/1963-??/??/2001); MPS Studio, Villgen, Germany (05/09/1963-??/??/2001); Right Track (05/09/1963-??/??/2001); Schnee Studios, Los Angeles, CA (05/09/1963-??/??/2001); Teldec Studio, Berlin, Germany (05/09/1963-??/??/2001); The Hit Factory, New York, NY (05/09/1963-??/??/2001); The Power Station, New York, NY (05/09/1963-??/??/2001); Van Gelder Studios, Englewood Cliffs, NJ (05/09/1963-??/??/2001); Vanguard Recording Studio, New York, NY (05/09/1963-??/??/2001); Western Sound Studio, Hollywood, CA (05/09/1963-??/??/2001).
Arranger: Claus Ogerman.
There are plenty of jazz fans who can't stand the lush and lazy sentimentality of arranger Claus Ogerman. They think he's ruined it for every artist he's worked with -- Frank Sinatra and Diana Krall to name two -- but they always seem to ignore that he was an integral part of at least one accepted classic, Antonio Carlos Jobim's Wave. He's also been responsible for a lot of cheese -- this or that orchestra plays the "hits of Italy" type albums -- and his work for Andre Kostelanetz doesn't put him in a class with respected arrangers like Ellington or George Russell, and it isn't worth hearing anyway. That's why the well-picked American edition of Man and His Music beats the four-disc Man Behind the Music, released by the German Verve imprint Boutique (it also steals the too-big box's liner notes, which are insightful and mostly from the man himself). On the German release, you had to suffer a horribly suave cover photo of Claus with a '70s suit and European cigarette -- held by the tippy-tip, of course -- but you also had to suffer too much Streisand, Michael Franks, and Ogerman's own Gate of Dreams album. Since this is a Verve-proper release, there are plenty of Verve's artists represented, which is fine, since it's with this label that Ogerman did his best work. Oscar Peterson, Hank Jones, Bill Evans, Stan Getz, and Wes Montgomery all succumb willingly to Ogerman's sentimental aesthetic, one that's not really syrupy but is entirely formulaic. That's why it's up to the revolving door of guests to keep things interesting, and why three Michael Brecker tracks are one too many (especially when they could have included the great Getz/Ogerman version of "Moonlight in Vermont"). A taste of Freddie Hubbard's overly dated recordings with the arranger are, at the very least, time capsule interesting and Diana Krall's "I Should Care" is a superb closer. The Krall/Ogerman album Look of Love got whacked by the critics, but after a two-disc history lesson in the world of Ogerman, it's possible to guess why the chanteuse turned to the arranger. Ogerman makes fantastic mood albums, ones for rainy, sad days that are both wistful and warm. If you can relate a bittersweet breakup in Krall's life to the recording date of her Ogerman album, there you go. As far as the man himself, he's limited, but Man and His Music respects what he has to offer and represents his talent splendidly. ~ David Jeffries